At least 7 different forms of indigenous theatre were used in the 70s (drama, puppetry, the zarzuela [light opera style], cancionan [argument in song and verse], balagtasan and bantayonan [poetic debate, and the balitao [court debate in song and dance]). Most organisations preferred the use of drama and musical plays to promote issues, key among them were those on the national agenda such as family planning, drug abuse, the dangers of deforestation and tourism. The National Media Production Centre covers almost the entire country. It has a network of community theatre groups whose members are labourers, factory workers and students. Volunteers are trained to perform puppet theatre both in urban and rural areas. Scripts are written by staff writers, commissioned non-staff writers and students. Funding, which is limited, usually covers production, auditorium costs, travel and accommodation, crews and props. Occasionally funding covers technical assistance and guidance. Performers are volunteers, employed amateurs and professional actors. In some cases they are clerks and factory workers, making efforts quite participatory. Some organisations and centres such as the University of the Philippines/Institute of Mass Communication have videotaped these traditional theatre forms for possible telecasting, while other organisations have recorded these performances for radio broadcasting.

In general, most government and non-government agencies have a positive attitude regarding the use of theatre for development purposes. Their advantages are many: flexibility in reaching villages, non-dependence on electricity and popular appeal especially with those who are illiterate.