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・ Bienservida
・ Bienstädt
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・ Bienvenido "Bones" Banez, Jr.
・ Bienvenido Cedeño
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Bienvenido Noriega, Jr.
・ Bienvenido Santos
・ Bienvenido Zacu Mborobainchi
・ Bienvenidos
・ Bienvenidos (album)
・ Bienvenidos (TV program)
・ Bienvenidos al Noa Noa
・ Bienvenu
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・ Bienvenue
・ Bienvenue Basala-Mazana
・ Bienvenue chez les Ch'tis
・ Bienvenue chez moi
・ Bienvenue en Suisse
・ Bienvenue Nnengue


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Bienvenido Noriega, Jr. : ウィキペディア英語版
Bienvenido Noriega, Jr.

Bienvenido Munoz Noriega, Jr. is a Phiippine playwright.
He is the second child of (Bienvenido Noriega and Socorro Munoz ) of Cauayan, Isabela and Cabatuan, Isabela, respectively. He finished his secondary education in St. Anthony School, Singalong, Malate (Salutatorian, 1968), and he took up his tertiary education in the University of the Philippines (A.B. Economics, cum laude and Valedictorian of the class, 1971 and M.A. Economics, 1973) and he continued his postgraduate studies at Harvard University (Master in Public Administration, 1979; “A” student) and in Columbia University (Executive Program in Business Administration, 1983). In the University of the Philippines he took up courses such as Modern Drama, Shakespeare, Comedy and Film Theory.
He worked for the Philippine government for more than twenty years (most of them were in the National Economic and Development Authority and Philippine National Bank). He taught part-time in the U.P. Diliman and U.P. Manila, Ateneo, La Salle, Assumption, and U.E. Norieda helped in Experimental Cinema of the Philippines, in Tanghalang Pilipino and currently in Dramatis personæ. And even before he died Noriega was an Executive Vice President at a large bank in Makati, Philippines.
== About his work ==
He wrote plays that engaged in the complexities and conflicts of the values and identity of the Filipino. His works question issues of identity formation, especially those institutionally produced. His works mirrored current social problems at the same time critical of institutional practices. His works bring about the issue of individual or community identity as representation of national identity. He also wrote for television and film. He guided modern Philippine theater to its sensitive appeal to personal and national identity issues

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