Quarter IV: ORIGINAL PERFORMANCE

WITH 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 STANDARDS
The 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.

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3. participates in an original performance inspired by local Philippine stories, myths, and events
relevant to current issues.

LEARNING COMPETENCIES
The 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 performance
9. 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)

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ARTS  Quarter IV

Quarter IV: Original Performance

With the Use of Media
INTRODUCTION

T heater is the one major art form that brings together all the other art forms—from painting
and 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 portraying
the characters, bringing them to life and developing the plot through dialogue and actions, and
sometimes through song and/or dance.

Contributing to the vivid theater experience are the stage sets and props, the lighting, the
background 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 and
techniques that you have been exposed to over the last three quarters. In this fourth quarter, you
will get to experience the complex and exciting process of mounting an original performance

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together with your classmates—combining most, if not all, of these skills and techniques.

Philippine Theater and Performing Groups

T he Philippines has a rich and thriving theater industry that you may be interested to venture
into 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 or
London’s West End. Below is an overview of some of the more prominent theater and
performing 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 was
inevitable that many U.S. and European theater forms and scripts found their way here. Among
them were the classics, such as the plays of William Shakespeare, as well as the works of great
American playwrights. At the same time, local theater groups staged original Philippine
zarzuelas which were plays performed in song, similar to the European opera.

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

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 Original Performance With the Use of Media

At the forefront of these are the Philippine Educational

Theater Association (PETA), founded in 1967 by Cecile
Guidote-Alvarez, and Tanghalang Pilipino, the resident
theater company of the Cultural Center of the Philippines,
founded in 1987.

Himala
Tanghalang Pilipino, 2004

Caredivas
PETA, 2011

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The productions of these groups span the range from daring
new presentations of classical works, to the spectacle of
Philippine myths and legends, to commentaries on current
social and political issues.

Haring Lear
PETA, 2012

Pamana
PETA, 2013

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ARTS  Quarter IV

Ibalong
Tanghalang Pilipino, 2012

Noli
Tanghalang Pilipino, 2011

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William
Tanghalang Pilipino, 2011

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 Original Performance With the Use of Media

M eanwhile, other Philippine theater groups are also staging original and adapted plays and
musical productions, primarily in English. Best known among these are Repertory
Philippines, Trumpets, and New Voice Company. More recently, Theater Down South has been
added to their roster. And championing the cause of the more classical form of musical
performances is the Philippine Opera Company.

Repertory Philippines

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

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

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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 international
hit 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

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ARTS  Quarter IV

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

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

Alice in Wonderland The Producers

Repertory Philippines, 2013 Repertory Philippines, 2013

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 Original Performance With the Use of Media

Trumpets

In the 1990s, the Philippine theater group Trumpets also began mounting grand productions of
originally-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 the
Wardrobe; Little Mermaid; Honk; N.O.A.H.; and The Bluebird of Happiness. The intention of
Trumpets is to provide wholesome theater experiences for Filipino youth while also building up
the Philippine theater-going public.

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

The Bluebird of Happiness

Trumpets, 2013

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ARTS  Quarter IV

New Voice Company

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

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Aspects of Love
New Voice Company, 2006

The Male Voice My Name is Rachel Corrie

New Voice Company, 2009 New Voice Company, 2010

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 Original Performance With the Use of Media

Philippine Opera Company

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

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

The Mikado
Philippine Opera Company, 2013

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ARTS  Quarter IV

Theater Down South

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

A Midsummer Night’s Dream The Red Carp

Theater Down South, 2007 Theater Down South, 2009

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

Roles in a Stage Production

M 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 to
life. While the members of this team may vary depending on how complex or simple the
production 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 mere
concept to an actual finished presentation. He or she chooses all the team members and assigns

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 Original Performance With the Use of Media

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 sources
the funds needed.

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

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

Throughout the play’s rehearsals, the director instructs and guides the actors as to the delivery of
their lines of dialogue; their positions and movements on stage (called “blocking”); the thoughts
or feelings they are to convey through tone of voice, facial expression, and gestures. By the time
of the actual performance, all these should be second nature to the actors as they portray their
characters on stage. The director also coordinates closely with the set, lighting, sound,

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costume/makeup designers, and the choreographer (if the play involves dance) to create the
envisioned total effect.

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

The script forms the basis of the entire production. It contains the exact lines of dialogue that
each character will memorize and deliver on stage, often with notes on tone of voice, facial
expression, 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 the
playwright on making some script adjustments in the course of the rehearsals to better achieve
the desired effect.

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

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ARTS  Quarter IV

Lighting designer – Coordinating closely with the set designer is the lighting designer. Lighting
is 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 even
providing 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 sunlight
through leaves, or flickering lights. The lighting designer plans all these and adds detailed notes
on 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 of
this is owed to the costume designer. He or she studies the general setting (time and place) that
the play is meant to take place in, as well as each character in the script. He or she then decides
what attire will not only give the audience a clear sense of the setting, but will also express each
character’s personality and distinct qualities.

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

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Sound designer – Similar to the lighting designer, the sound designer serves a vital role in
creating and enhancing the atmosphere of the performance. Sound, in this case, includes music
both on stage and as background, which the sound designer may need to source to suit the
general time and place of the play, as well as particular scenes. Also involved are special sound
effects 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 taking
place on stage. He or she adds detailed notes to the script to serve as a guide for the sound crew
during rehearsals and the actual performance.

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

Production manager – Coordinating all the complex behind-the-scenes details of staging a play
is 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 needed
elements, 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 the
time of the performance.

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

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 Original Performance With the Use of Media

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

Choreographer – In cases where a play involves dance in certain scenes, a choreographer is

included in the production team. He or she not only plans out all the dance steps to suit the
music, but also rehearses the actors until they are able to perform the dance skillfully—while
remaining “in character” on stage. Should the play happen to involve fight scenes, the
choreographer will likewise program the moves of the opposing sides so these can be executed
not only believably, but safely as well.

Makeup designer – As the costume designer deliberates on the characters’ main attire, the
makeup 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 their
respective roles—based on their characters’ age and personality, and the time and place of the
story. But it may also be far more challenging, such as transforming the actors into mythical

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creatures, animals, a different nationality, or futuristic beings.

Thus, the makeup designer works his or her magic through the wonders of makeup, face and
body painting, and hair coloring. Other accessories may be employed, like masks, wigs and hair
extensions, 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 plays
written in Filipino?
2. Name two performing groups that present adaptations of foreign plays, primarily in
English.
3. Which theater company has produced a number of actors and actresses who have
gone 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.

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ARTS  Quarter IV

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 live
play. Depending on what is available or accessible in your area within that period,
any of the following may be considered:

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

Option 2: a recorded performance of a production by any of

these 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 note
of 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 ______________________________________________

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 Original Performance With the Use of Media

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?

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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 culminating
activity of staging an original theater performance. Every class member would already have been
assigned his or her specific role in the production process, which each one should have been
carrying out in the course of the quarter.

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ARTS  Quarter IV

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 a

Philippine 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 will
create an original script. Note: Guidelines for effective scriptwriting would have
been taken up in your English classes.

2. Casting the Actors

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

3. Forming the Production Team

- The remaining class members will be assigned the following roles that are

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typically required for a school or class play:
a) Director
b) Technical/Assistant Director
c) Set Designer, with a team of 4-5 students as production crew
d) Lighting Designer, with a team of 4-5 students as lighting crew
e) Sound Designer, with a team of 4-5 students as sound crew
f) Production Manager, with a team of 6-8 students as stage crew
g) Costume Designer, with a team of 3-4 students as wardrobe crew
h) Makeup Designer, with a team of 2-3 students as makeup crew
i) 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 an
entire 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 design
of the lighting and sound; and the acting rehearsals, all class members should maintain a
clear intent to apply the following elements of art in this particular class production.

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 Original Performance With the Use of Media

Elements of Art as Applied to an Original Performance

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

2. Gesture, Movement, and Dance – incorporating appropriate dance styles and

techniques learned in Physical Education classes

3. Costume, Mask, Makeup, and Accessories – incorporating art techniques such as

painting, papier mache, assemblage, simple sculpture and industrial design

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

Principles of Art as Applied to an Original Performance

1. Rhythm, Movement
2. Balance
3. Emphasis

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4. Harmony, Unity, and Variety
5. Proportion

C. Last Weeks of the Quarter: Technical Rehearsal

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

- With the guidance of your Music and Arts teachers, and perhaps your Drama Club
moderator, 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 other
sections of Grade 10, other grade levels, and the school administration to be your
audience.

- Execute each of your roles—whether as an actor or a member of the production

team—to the best of your ability.

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

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ARTS  Quarter IV

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

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Rehearsal process

Production process

Cooperation among students

Carrying out of roles:

Scriptwriting
Direction
Stage management
Acting
Stage design
Lighting
Music
Choreography
Sound effects
Costumes
Makeup

Audience response

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