DEPED COPY

299

Quarter IV: ORIGINAL PERFORMANCEWITH THE USE OF MEDIA

CONTENT STANDARDS

The learner demonstrates understanding of…1. how theatrical elements (sound, music, gesture, movement, and costume) affect the creation

and communication of meaning in a theater play/performance incorporated with media.2. theater and performance as a synthesis of arts.

PERFORMANCE STANDARDSThe learner…1. creates appropriate costumes, props, set accessories, improvised lighting, and other décor for

Philippine plays.2. creates/improvises appropriate sound, music, gesture, and movements for a chosen theatrical

composition.3. participates in an original performance inspired by local Philippine stories, myths, and events

relevant to current issues.

LEARNING COMPETENCIESThe learner…1. explains how an idea or theme is communicated in a selected performance through the

integration of musical sounds, songs, dialogue, and dance.2. analyzes examples of plays based on theatrical forms, and elements of art as applied to

performance.3. illustrates how the different elements are used to communicate the meaning.4. defines the uniqueness of each original performance.5. designs with a group the visual components of a school play (stage design, costumes, props,

etc.).6. assumes the role of a character as an actor/performer, or production staff (director,

choreographer, lighting designer, stage manager).7. analyzes the uniqueness of the group that was given recognition for its performance and

explains what components contributed to its selection.8. contributes to the conceptualization of an original performance9. choreographs the movements and gestures needed in the effective delivery of an original

performance with the use of media.10. improvises accompanying sound and rhythm needed in the effective delivery of an original

performance with the use of different media.

From the Department of Education curriculum for ARTS Grade 10 (2014)

All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

DEPED COPY

ARTS Quarter IV

300

Quarter IV: Original PerformanceWith the Use of Media

INTRODUCTION

heater is the one major art form that brings together all the other art forms—from paintingand sculpture, to installation art, to music, to dance, to literature, even to computer arts—in a

single production. A story is acted out on stage (or other performance area) by actors portrayingthe characters, bringing them to life and developing the plot through dialogue and actions, andsometimes through song and/or dance.

Contributing to the vivid theater experience are the stage sets and props, the lighting, thebackground music and sound effects, the costumes and accessories. In recent decades, computer-generated visual effects and mechanized sets have been incorporated as well.

All of these components draw from the various art forms and call upon the artistic skills andtechniques that you have been exposed to over the last three quarters. In this fourth quarter, youwill get to experience the complex and exciting process of mounting an original performancetogether with your classmates—combining most, if not all, of these skills and techniques.

Philippine Theater and Performing Groups

he Philippines has a rich and thriving theater industry that you may be interested to ventureinto in the future. Productions range from original plays with Philippine themes and settings,

to renowned theater classics from past centuries, to contemporary musicals from Broadway orLondon’s West End. Below is an overview of some of the more prominent theater andperforming groups in the country and their major productions.

PETA and Tanghalang Pilipino

With the American presence in the Philippines for the first half of the 20th century, it wasinevitable that many U.S. and European theater forms and scripts found their way here. Amongthem were the classics, such as the plays of William Shakespeare, as well as the works of greatAmerican playwrights. At the same time, local theater groups staged original Philippinezarzuelas which were plays performed in song, similar to the European opera.

In the past few decades, modern theater groups have continued to express the distinctlyPhilippine interpretation of both originally-written plays as well as adaptations of foreign workstranslated into Filipino.

T

T

All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

DEPED COPY

Original Performance With the Use of Media

301

At the forefront of these are the Philippine EducationalTheater Association (PETA), founded in 1967 by CecileGuidote-Alvarez, and Tanghalang Pilipino, the residenttheater company of the Cultural Center of the Philippines,founded in 1987.

HimalaTanghalang Pilipino, 2004

CaredivasPETA, 2011

The productions of these groups span the range from daringnew presentations of classical works, to the spectacle ofPhilippine myths and legends, to commentaries on currentsocial and political issues.

Haring LearPETA, 2012

PamanaPETA, 2013

All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

DEPED COPY

ARTS Quarter IV

302

IbalongTanghalang Pilipino, 2012

NoliTanghalang Pilipino, 2011

WilliamTanghalang Pilipino, 2011

All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

DEPED COPY

Original Performance With the Use of Media

303

eanwhile, other Philippine theater groups are also staging original and adapted plays andmusical productions, primarily in English. Best known among these are Repertory

Philippines, Trumpets, and New Voice Company. More recently, Theater Down South has beenadded to their roster. And championing the cause of the more classical form of musicalperformances is the Philippine Opera Company.

Repertory Philippines

In 1967, theater director Zenaida Amador fulfilled her dream of bringing the best of Broadwayand London’s West End to Filipino audiences. Together with actress Baby Barredo, Amadorestablished Repertory Philippines, a company that not only staged English-language plays andmusicals year-round but trained actors and actresses as well. The company continues with thisvision to this day.

Multi-awarded theater actress and singer, Lea Salonga, in fact, began her career as a child leadin productions of Repertory Philippines. From there, she went on to become an internationalstage superstar in the lead role of Kim in Miss Saigon—putting the Philippines on the world mapin terms of theater talent.

Lea Salonga in the lead roles of Repertory’s production of Annie, and London’s Miss Saigon

Also among Repertory’s many notable achievements was the 1993 staging of the internationalhit musical Les Miserables in Manila with an all-Filipino cast and production team.

Repertory Philippines’ founder, Zenaida Amador,with Les Miserables composer Claude Michel Schonberg

M

All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

DEPED COPY

ARTS Quarter IV

304

In its 2009 season, Repertory added a Filipino classic in English to its productions—A Portrait ofthe Artist as Filipino, by National Artist Nick Joaquin. To date, it continues to offer a mix ofproductions ranging from literary classics to contemporary satires, comedies, and musicals.

A Portrait of the Artist as Filipino Little WomenRepertory Philippines, 2009 Repertory Philippines, 2010

Alice in Wonderland The ProducersRepertory Philippines, 2013 Repertory Philippines, 2013

All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

DEPED COPY

Original Performance With the Use of Media

305

Trumpets

In the 1990s, the Philippine theater group Trumpets also began mounting grand productions oforiginally-written musicals with a slant towards good values for children and the whole family.Among their plays have been Joseph the Dreamer; First Name; The Lion, the Witch, and theWardrobe; Little Mermaid; Honk; N.O.A.H.; and The Bluebird of Happiness. The intention ofTrumpets is to provide wholesome theater experiences for Filipino youth while also building upthe Philippine theater-going public.

The Lion, The Witch, and The Wardrobe N.O.A.H.Trumpets, 1997 Trumpets, 2009

The Bluebird of HappinessTrumpets, 2013

All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

DEPED COPY

ARTS Quarter IV

306

New Voice Company

Also making its own distinct contribution to the Philippine theater scene is New VoiceCompany, established in 1994 by Monique Wilson—also a Repertory Philippines’ protégée whowent on to star on the international stage. New Voice has earned a reputation for staging thought-provoking productions on daring and deep topics.

Aspects of LoveNew Voice Company, 2006

The Male Voice My Name is Rachel CorrieNew Voice Company, 2009 New Voice Company, 2010

All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

DEPED COPY

Original Performance With the Use of Media

307

Philippine Opera Company

The Philippine Opera Company (POC) was founded in 1999 by a group of dedicatedclassically-trained singers, led by soprano Karla Gutierrez as artistic directress. The POC seeksto develop performers as well as audiences for classical music performances, both foreign andFilipino.

Harana Master ClassPhilippine Opera Company, 2009 Philippine Opera Company, 2010

The MikadoPhilippine Opera Company, 2013

All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

DEPED COPY

ARTS Quarter IV

308

Theater Down South

In 2007, Theater Down South was founded, with Philippine theater mainstay Michael Williamsas artistic director. The vision of the company is to widen the reach of stage productions beyondthe traditional centers within Metro Manila, and therefore develop a broader audience base.

A Midsummer Night’s Dream The Red CarpTheater Down South, 2007 Theater Down South, 2009

A Funny Thing Happened on the Way to the ForumTheater Down South, 2010

Roles in a Stage Production

ost visible on stage in a theater production are the actors and actresses playing their roles.However, behind the scenes is an entire team whose work begins months in advance of the

actual performance. It is they who support the actors and enable them to truly bring the play tolife. While the members of this team may vary depending on how complex or simple theproduction is, below are the basic roles that most plays require:

Producer – In a professional stage production, this is the person who takes the play from a mereconcept to an actual finished presentation. He or she chooses all the team members and assigns

M

All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

DEPED COPY

Original Performance With the Use of Media

309

them their functions, and oversees the casting of the actors and actresses for the different roles.He or she also decides on major logistical matters like when and where the play will be staged,the production schedule, and in most cases either finances all the production costs or else sourcesthe funds needed.

Note: In a school or class play, the role of the producer is normally fulfilled by the Drama Clubmoderator, the classroom teacher, or by the school itself.

Director – The director is the overall artistic coordinator of the entire production. Like aconductor of an orchestra, he or she has a vision of the desired total effect and impact of theperformance. With the play’s script serving as a “musical score,” the director ensures that eachone in the production “hits all the right notes” to create a cohesive, seamless performance thatwill engage the audience.

Throughout the play’s rehearsals, the director instructs and guides the actors as to the delivery oftheir lines of dialogue; their positions and movements on stage (called “blocking”); the thoughtsor feelings they are to convey through tone of voice, facial expression, and gestures. By the timeof the actual performance, all these should be second nature to the actors as they portray theircharacters on stage. The director also coordinates closely with the set, lighting, sound,costume/makeup designers, and the choreographer (if the play involves dance) to create theenvisioned total effect.

Playwright – For a script intended for stage performance, the writer of the script is morespecifically called a playwright. The initial concept or plot may be original, and then developedinto a play script. Or it may be based on an existing story or another play which the playwrightwill then adapt to present in a new way.

The script forms the basis of the entire production. It contains the exact lines of dialogue thateach character will memorize and deliver on stage, often with notes on tone of voice, facialexpression, and even movement or blocking. It also provides a clear description of the set, props,and lighting to be used in each scene. In some cases, the director may collaborate with theplaywright on making some script adjustments in the course of the rehearsals to better achievethe desired effect.

Set designer – The concept and creation of the physical stage setup is the task of the setdesigner. He or she builds the set (or sets) that will simulate the world that the play’s charactersare supposed to live in. The set may be realistic and filled with authentic details; or it may beminimalist, merely suggesting the setting with a few pieces of furniture or props and a simplebackdrop. In either case, the set designer ensures that the set will enable the actors to move abouteasily and naturally to make their roles believable, and will truly provide the ambiance on stagethat the director and the playwright intend.

All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

DEPED COPY

ARTS Quarter IV

310

Lighting designer – Coordinating closely with the set designer is the lighting designer. Lightingis critical in creating the mood of each scene in the play, highlighting a dramatic moment,signalling the entrance of a character, focusing attention on a specific spot on stage, or evenproviding the blanket of darkness for set and prop changes. Colored lights or filters may be used,as well as special effects such as gradual dimming or brightening, a speckled effect like sunlightthrough leaves, or flickering lights. The lighting designer plans all these and adds detailed noteson the script for the lighting crew to follow during rehearsals and the actual performance.

Costume designer – The actors and actresses must look believable in their roles, and much ofthis is owed to the costume designer. He or she studies the general setting (time and place) thatthe play is meant to take place in, as well as each character in the script. He or she then decideswhat attire will not only give the audience a clear sense of the setting, but will also express eachcharacter’s personality and distinct qualities.

The costumes may need to be designed and sewn to meet these requirements. Or they maysimply be assembled from available clothes and accessories, with some additional touchescreated as needed. For a modern or avant-garde play, the actors sometimes wear regular streetclothes with a simple prop, a mask, or headgear to denote the characters they are playing.

Sound designer – Similar to the lighting designer, the sound designer serves a vital role increating and enhancing the atmosphere of the performance. Sound, in this case, includes musicboth on stage and as background, which the sound designer may need to source to suit thegeneral time and place of the play, as well as particular scenes. Also involved are special soundeffects like thunder, birds chirping, rushing water, gunfire, passing cars, approaching footsteps,and the like. The sound designer works with all these to support the action and interaction takingplace on stage. He or she adds detailed notes to the script to serve as a guide for the sound crewduring rehearsals and the actual performance.

Note: In large scale productions where live musicians or even a full orchestra are involved, aseparate musical director is responsible for coordinating the play’s music.

Production manager – Coordinating all the complex behind-the-scenes details of staging a playis the production manager. He or she is tasked with overseeing the crews for the sets and props,the sound and music, the lighting, and the costumes. This includes ensuring that all the neededelements, facilities, and equipment are not only available, but are in good working order,properly catalogued and labelled, and safely stored from one rehearsal to the next, up until thetime of the performance.

Technical director – The technical director shadows the play’s director throughout the entireproduction process. From the time the director presents his or her vision for the play and issuesinstructions at every rehearsal, the technical director carefully notes how each actor and everymember of the stage, sound, lighting, and costume crews need to be coordinated to bring thedirector’s vision to life—ensuring that every instruction is properly executed.

All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

DEPED COPY

Original Performance With the Use of Media

311

By the time of the final technical rehearsal (sometimes called the dress rehearsal, since it isperformed in full costume and makeup), the director focuses on assessing the total effect of theperformance and how it might still be improved. It is then the technical director who takes overto closely monitor the individual details, and again ensure that these work together seamlessly inthe actual performance.

Choreographer – In cases where a play involves dance in certain scenes, a choreographer isincluded in the production team. He or she not only plans out all the dance steps to suit themusic, but also rehearses the actors until they are able to perform the dance skillfully—whileremaining “in character” on stage. Should the play happen to involve fight scenes, thechoreographer will likewise program the moves of the opposing sides so these can be executednot only believably, but safely as well.

Makeup designer – As the costume designer deliberates on the characters’ main attire, themakeup designer is brought in to plan the hairstyles and makeup to complement the costumes.The work of the makeup designer may be as simple as making the actors look natural for theirrespective roles—based on their characters’ age and personality, and the time and place of thestory. But it may also be far more challenging, such as transforming the actors into mythicalcreatures, animals, a different nationality, or futuristic beings.

Thus, the makeup designer works his or her magic through the wonders of makeup, face andbody painting, and hair coloring. Other accessories may be employed, like masks, wigs and hairextensions, headdresses, and even prosthetics to alter certain facial features or body parts.

WHAT TO KNOW

A. Philippine Theater Groups

1. What are the active theater groups in the Philippines specializing in original playswritten in Filipino?

2. Name two performing groups that present adaptations of foreign plays, primarily inEnglish.

3. Which theater company has produced a number of actors and actresses who havegone on to become stars on the international stage?

4. Which theater company tends to present productions with thought-provoking content?5. Name the production group that focuses on family-oriented and values-rich

performances.6. Which performance company aims to develop both performers and audiences for

classical music theater?7. What do you note as two of the main objectives that Philippine theater groups have in

common? Explain these briefly.

All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

DEPED COPY

ARTS Quarter IV

312

B. Roles in a Stage Production

1. How is the director of a play similar to an orchestra conductor? Explain briefly.2. Which member of the production team shadows the director? Briefly describe his or

her role.3. What is the creator of the script for stage performance called?4. Out of the many roles required in a stage production, name three that are involved

with the physical setup and mood of the performance area.5. Name two other roles that are responsible for the physical appearance of the different

characters on stage.6. What is another name for the technical rehearsal? Why was it given this name?

WHAT TO PROCESS

“Experiencing Theater”

1. Your teacher will schedule a time within Quarter IV for the class to watch a liveplay. Depending on what is available or accessible in your area within that period,any of the following may be considered:

Option 1: a live performance of a production by any Philippinetheater group (whether discussed above or others)

Option 2: a recorded performance of a production by any ofthese groups to be viewed in school

Option 3: a school or community play

Option 4: a classroom play

2. Watch the play very attentively. Observe how the plot is developed and take noteof the artistic elements and principles used.

3. Afterwards, write a reaction paper using the following outline:

Title of the play ______________________________________________

Scriptwriter ______________________________________________

Director ______________________________________________

Stage Designer ______________________________________________

Setting ______________________________________________

All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

DEPED COPY

Original Performance With the Use of Media

313

Main characters __________________________________________________________________________________________________________________________________________

Main story line (a 1-paragraph summary)__________________________________________________________________________________________________________________________________________

Personal reaction __________________________________________________________________________________________________________________________________________

WHAT TO UNDERSTAND

1. What is your impression of the theater industry in the Philippines?2. Would you like to attend a stage production of the various theater groups? What type

of play most interests you, and why?3. How do you feel about the Philippine theater performers who have become stars on

both the local and international stage?4. Can you envision yourself being involved in the theater arts in some way?5. Would you consider a full-time (or part-time) career in this field?

WHAT TO PERFORM

CULMINATING ACTIVITY FOR QUARTER IV:

“STAGING AN ORIGINAL PERFORMANCE”Assigned Theme: A Philippine Myth, Legend, or Folk Tale

Or a Current Issue

At the start of Quarter IV, your teacher would already have oriented the class on this culminatingactivity of staging an original theater performance. Every class member would already have beenassigned his or her specific role in the production process, which each one should have beencarrying out in the course of the quarter.

All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

DEPED COPY

ARTS Quarter IV

314

A. Start of the Quarter: Pre-Production

1. Sourcing/Writing the Script

- A group of class members will be tasked with sourcing an existing script on aPhilippine myth, legend, or folk tale; or dealing with a current issue.

- If an existing script is not available or not suitable for school use, this group willcreate an original script. Note: Guidelines for effective scriptwriting would havebeen taken up in your English classes.

2. Casting the Actors

- Based on the script that has been sourced or written, the characters will be castfrom among the class members.

3. Forming the Production Team

- The remaining class members will be assigned the following roles that aretypically required for a school or class play:a) Directorb) Technical/Assistant Directorc) Set Designer, with a team of 4-5 students as production crewd) Lighting Designer, with a team of 4-5 students as lighting crewe) Sound Designer, with a team of 4-5 students as sound crewf) Production Manager, with a team of 6-8 students as stage crewg) Costume Designer, with a team of 3-4 students as wardrobe crewh) Makeup Designer, with a team of 2-3 students as makeup crewi) Choreographer, with an Assistant Choreographer

B. Mid-Quarter: Production of Sets, Costumes, and Props

Design of Lighting and Sound, Using Different Media

Start of Acting Rehearsals and Blocking

As mentioned at the start of this Quarter, theater is an art form that brings together anentire range of art forms—along with their corresponding elements and principles.

As the entire class begins production of the play’s sets, costumes, and props; the designof the lighting and sound; and the acting rehearsals, all class members should maintain aclear intent to apply the following elements of art in this particular class production.

All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

DEPED COPY

Original Performance With the Use of Media

315

Elements of Art as Applied to an Original Performance

1. Sound and Music – incorporating sound recording and editing techniques availableusing applications for desktop or laptop computers, tablets, and android phones

2. Gesture, Movement, and Dance – incorporating appropriate dance styles andtechniques learned in Physical Education classes

3. Costume, Mask, Makeup, and Accessories – incorporating art techniques such aspainting, papier mache, assemblage, simple sculpture and industrial design

4. Spectacle – creating a striking, even awe-inspiring effect on stage through the use oflighting, sound, music, costumes, dance, and special effects

Principles of Art as Applied to an Original Performance

1. Rhythm, Movement2. Balance3. Emphasis4. Harmony, Unity, and Variety5. Proportion

C. Last Weeks of the Quarter: Technical Rehearsal

- Schedule a technical rehearsal at least a week before the intended performance date ofyour play.

- With the guidance of your Music and Arts teachers, and perhaps your Drama Clubmoderator, assess what components of the play may still need improvement.

D. End of the Quarter: Performance Proper

- This is the culmination of your months of hard work and preparation. Invite the othersections of Grade 10, other grade levels, and the school administration to be youraudience.

- Execute each of your roles—whether as an actor or a member of the productionteam—to the best of your ability.

- Your Arts teacher will schedule a critiquing session after the performance (see guideon the following page) to discuss the various learnings that took place in the course ofstaging an original theater performance.

All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

DEPED COPY

ARTS Quarter IV

316

Critiquing the Performance

As a form of self-evaluation, rate the class performance using the format below:

“STAGING AN ORIGINAL PERFORMANCE”Evaluation Form

Criteria Very Good Good Fair Poor

Choice of play subject(theme and message)

Casting of characters

Assignment of tasks

Rehearsal process

Production process

Cooperation among students

Carrying out of roles:

ScriptwritingDirectionStage managementActingStage designLightingMusicChoreographySound effectsCostumesMakeup

Audience response

All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.