Teaching Date: October 9, 2019

Learning Area: Contemporary Philippines Arts from the Regions ( CPAR)

I. LEARNING COMPETENCY
* Conceptualizes contemporary art based on techniques and performance
practices in their locality CAR11/12AP-0f -h-14
* Applies artistic skills and techniques in the process of creation
CAR11/12AP-0f -h-15

II. CONTENT
Main Topic: CONTEMPORARY ARTS PRODUCTION
Subtopic: Integrative Arts

III. OBECTIVES:
1. Define integrative art.
2. Discuss how to use integrative art.
3. Plan how to use integrated art in a theater production.

IV. LEARNING RESOURCES

Ruby Angela, Intern at Straight Shooters Media,Inc. Retrieved October 6, 2019
from https://www.slideshare.net
https://www.slideshare.net/rubyangela01/theater-arts-45071320

V. PROCEDURE
A. Daily Routine
1. Preliminary Activities
Bible Verse Reading & Prayer
Checking of Attendance

2. Review
* Identify local materials used in creating and performing art.
 Visual Art- Mixed Media Techniques
Using Parts of Coconut Tree
 Dance – Folk-Modern Presentation

3. Motivation
Video Presentation
Shadow Theater- Cinderella

What can you say about the video?

What are the different elements present in the video?
 B. Lesson Proper
Video Presentation
Integrative Art

Guide Questions:
1. What is integrative art?
2. How do we use integrative art in visual and performance?

Group Activity
Group your selves according to your “theater groupings”
Discuss with your group mates how are you going to use integrative art
on your theater play.
Choose one representative from your group to discuss your output.

VI. EVALUATION
Will be based on group activity and will be graded using Scoring Rubrics
for Group Presentation.

VII. ENRICHMENT
1. What are the steps in planning a theater production?

Reference: Terry Berliner, Putting on a Play: How to plan for a Successful

Production. Retrieved October 7, 2019 http://www.bbbpress.com/2016
http://www.bbbpress.com/2016/02/putting-on-a-show-10-steps-to-lay-
groundwork-for-a-successful-production/

Prepared by: Checked by:

MARY JOSEPHINE ALICE N. DAYO LPT NOEL H. NATIVIDAD DPA

Subject Teacher SHS-Coordinator

Noted:

EDWINDA P. TALAVERA, PhD

Principal IV
 SCORING RUBRICS
For
GROUP PRESENTATION
CRITERIA 6 8 10 TOTAL

The
The The
presentation
presentation presentation
DELIVERY was good the
wasn’t well was clear and
topic was well
discussed well-discussed
discussed
The students
The students The students
finished the
needed much ask some
ACCURACY task without
help from the help from the
any help from
teacher teacher
the teacher
Students Students
Students did not
finished the finished the
TIMELINESS finish the task
task just in task before the
on time
time time limit
Only some of All group
Most group
GROUP the members members
member did not
DYNAMICS worked worked well
participate
together together

SCORING RUBRICS
For
GROUP PRESENTATION
CRITERIA 6 8 10 TOTAL

The
The The
presentation
presentation presentation
DELIVERY was good the
wasn’t well was clear and
topic was well
discussed well-discussed
discussed
The students
The students The students
finished the
needed much ask some
ACCURACY task without
help from the help from the
any help from
teacher teacher
the teacher
Students Students
Students did not
finished the finished the
TIMELINESS finish the task
task just in task before the
on time
time time limit
Only some of All group
Most group
GROUP the members members
member did not
DYNAMICS worked worked well
participate
together together
7 Types of Theater in the
Philippines

SANDY DA SILVA AUGUST 24, 2019

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Tanghalang Pilipino's "Walang Sugat" led by Noel Rayos and Cris Villonco (2012); photo by Jory Rivera
Long before the different forms of theater we enjoy today, like straight plays and
musicals largely influenced by the West, the Philippines has had many types of theater
through the years. It’s a rich performing arts tradition – from folk legends passed
down through generations to intellectual debates as performance art; from pagan
practices to the deeply religious celebrations influenced by years of colonization,
here’s a look back through the colorful history and evolution of theater in the
Philippines.

1. Epic poetry

Epic poetry is considered the highest point of Filipino folk literature, and dates back
to the pre-colonial period. These epics, usually of romance or adventure, are
commonly presented during festivals and gatherings such as weddings, baptisms, and
wakes. Singers have been known to perform for hours at a time. One of the most
famous epic poems is Biag ni Lam-ang, the national epic of the Ilocano people, and
notable for being the first folk epic to be recorded in written form after being passed
on from generation to generation.

2. Duplo

The duplo is a poetic debate presented through song and dance, which originated from
indigenous courtship customs. Poets used proverbs and riddles to present their suit to
the woman of their choice. This ultimately evolved into a more formal debate on
issues, and started to be called the balagtasan.

3. Moro-moro

Moro-moro from Brittanica.com

For a time, one of the most popular types of theater in the Philippines was the Moros y
Cristianos, which is not surprising for a country that was under Spanish rule for 300
years. Commonly called moro-moro, it is a street drama that usually lasted for several
days, and presented both secular themes like love and vengeance, and the Spanish-
influenced religious theme of the conflict between Christians and Moors. The moro-
moro only survives in isolated towns today, and though an integral part of Filipino art
history, it may not bear too much close scrutiny these days with its less than admirable
depictions of intolerance.

4. Senakulo

Another performing art stemming from religious custom is the senakulo or Passion
Play. This is the dramatization of the life and death of Jesus Christ and is usually
presented as a community activity during the Lenten season. This still endures to the
present, ranging from simple productions to more technically sophisticated and
modernized versions.

5. Traditional Folk Dance

With its varied cultures and communities throughout its 7000 islands, the Philippines
has a diverse collection of folk dances. Some of the most popular folk dances are
the Singkil, a folk dance that originated from the Maranao people of Lake Lanao in
Mindanao, from the epic legend Darangen; the Itik-Itik, which originated as an
improvised dance in Surigao del Sur and was discovered by National Artist for Dance
Francisca Reyes-Aquino; and the Tinikling, which is similar to Singkil with its use of
bamboo poles that dancers must weave through. It is supposed to mimic the
movement of the local tikling birds.

6. Bodabil

It sounds like “vaudeville”, and it is. This form of theater was an American import in
the pre-war era, but became uniquely Filipino with the indigenization of the name.
Like its American counterpart, bodabil featured a variety of musical numbers,
comedic and dramatic skits, and song and dance numbers. Popular Filipino performers
such as Dolphy, Anita Linda, and sarsuwela legend Atang de la Rama got their start
in bodabil. It has since died out with the rise of cinema, but its influence can still be
felt in television variety shows.

7. Sarsuwela

The sarsuwela is a type of melodrama, usually in three acts, that uses alternately
spoken and sung words. It was the Spanish influence that started the sarsuwela, but it
was also this colonization that led Filipinos to incorporate nationalistic overtones in
the art. This resulted in the arrest of several prominent writers such as Aurelio
Tolentino and Pascual Poblete, and eventually, the shutdown of sarsuwela companies
during the American occupation. As proof of its importance in Philippine culture, in
2011 the National Commission for Culture and the Arts designated the sarsuwela as a
nominee for the UNESCO Intangible Cultural Heritage lists.
Putting on a Play: How to Plan for a Successful
Production
By bbbpress
Feb 13, 2016 11 Comments

Embarking on a new production can be daunting, filled with questions like: How are we going to build the set?
Will we have enough rehearsal time? And who’s going to make sure every actor has a costume? Here are 10
easy steps to lay the groundwork for a successful production.

1. Choose a show that you love. You’re going to be spending the next 4-6 months deep in the trenches of the
show you’ve chosen. If you love the show and the music, working hard on the show will be worthwhile. When
picking a show make sure the language, number of roles, themes, and style are appropriate for your performers
and audience.
2. Assemble your team of collaborators. You can use the sample list below. Start at the top and put a name
next to each job. If there is one person covering more than three jobs, try to expand your staff to distribute the
workload. Look to all students, parent volunteers, and staff within your organization that have these special
skills. You’ll be pleasantly surprised who has a interest or side hobby in say lighting design or who may have a
hidden love for carpentry.
Sample list of jobs on any given production:

Producer
General Manager
Director
Music Director
Choreographer
Production Stage Manager
Assistant Stage Manager
Assistant Stage Manager
Set Design
Lighting Design
Costume Design
Sound Design
Prop Design
Sound Mixer
Production Manager
Technical Director
Carpenters
Electricians
Follow spot operators

3. Get your design ideas in order. Design includes sound, lights, props and costumes. As the director, take
the lead in the design process. Start by getting all your designers on the same page before rehearsals, also
known as “pre-production”. Gather everyone’s ideas on the entire feel of the show as a group or one-on-one
meetings.
4. Post audition notices. Be specific about what you want actors to prepare for auditions, such as: Sixteen (16)
bars of an up tempo song (or any section of a song that has a natural beginning, middle and end). You can also
suggest the actor use a specific section of a song (a verse and chorus). If you’re working with younger actors,
teaching them a short section of a song from the show as a group, then have them perform it for you
individually. For acting, it’s best to work with short sides from the show you are producing. Sides are short
excerpts of longer scenes. I like to start with one actor asking another actor a question, and then use enough
dialogue to get a sense of whether or not a person is right for the role. Usually 1 page of dialogue is plenty.
Sometimes ½ page is all that you need. Monologues are an okay substitution for sides, but you will get a more
accurate understanding (and maybe a pleasant surprise or two) of who is best for a part if you audition actors
from sides.
5. Set up a room that feels like a real audition room. If there are computers or desks in the room make them
neat and tidy, so that the actor coming in for an audition feels like he/she is in an audition room and not a
computer lab. This gesture alone will raise the bar on their performance. In the audition room the producer,
director, choreographer, music director, and a reader should be present. Actors on Broadway audition only in
front the necessary staff. Avoid auditioning actors in front of other actors. Your team’s goal is to cast the best
person for the role. It is the job of the director, choreographer, and music director to set up a situation where all
of the actors will succeed and feel comfortable, and be cast in the role most appropriate for their skill level and
type (or “essence”, which is much deeper than just the way someone looks, but really encapsulates who they
are as a person).
6. Create a production calendar. The production stage manager should put together a production calendar,
with clear goals, like: “Rehearsal,” “Work through Scene 2/3,” “Designer run,” “Load In,” “Tech,” “Dress
Rehearsal,” specifically sketched out. Obviously things can change along the way, but there should be a well
thought out plan to begin with. This calendar (which helps performers understand the timeline and goals in a
tangible way), should be distributed on the first day of rehearsals, along with a contact sheet that includes who
is playing which role(s) (all members of your team should be noted on this document), cast/scene breakdown
(this tells you who is in each scene), script, music, and any other necessary paperwork including contracts.
7. Make the rehearsal space comfortable. Make sure the room is clean and organized. Put out enough chairs
so that every person has a chair, a place to store their belongings and water. People may think, “This group of
actors likes to sit on the floor.” They might, but in reality if you give everyone a place in the room that is
designated (like a chair of their choice), or a music stand, they will use their space and feel calm when they are
in their space with their stuff. The room will be easier to manage.
8. Always start and end rehearsals on time. From here it is the director’s job to guide the ship. It is
important that everyone is treated with the utmost respect, and that time is managed efficiently. Any
actor sitting around without something to do is potential trouble. So make sure that everyone is engaged and
participating while they are in the rehearsal room.
9. Share your process and expectations up front. When working with performers ages 7-25, it’s important to
set clear goals and expectations. For instance, I let actors know that during an initial staging (or “blocking” if
you prefer that word), of a scene I assume that they will be on book (writing down their staging notes). The
next time I schedule that scene for rehearsal all actors should be off book (have their lines and their staging
memorized), even if the rehearsal is the next day. Getting off book as you go is far better than one giant “off
book” deadline in the future. This way, the actor and director can actually work on acting all along the way.
And, if an actor finds him/herself with time to spare in a rehearsal, you should suggest that he/she might want
to work on running lines (rather spending any time on a cell phone). Note on cell phones: With the exception of
recording/listening to music from the show, cell phones should be absolutely forbidden from the rehearsal
room. I cannot emphasize enough how important it is to set up a high standard of concentration in the
rehearsal room, where the focus is entirely on the task at hand. Your performers will become better actors by
being in the moment, not glued to instagram or snapchat.
10. Stage a Scene, then Run Through It. The director and choreographer are responsible for staging and
teaching choreography in an efficient and timely manner. Once a scene of the show is staged, work through the
whole scene stopping and adjusting as necessary. Then, run the whole scene off book. Then move on to the
next scene. Same process. Give yourself a couple of rehearsals to circle back to previous scenes, and a
rehearsal or two to put scenes together. Even if you don’t rehearse previous scenes for a while, trust that the
good work you did along the way will stick, and be informed by all of the work you do on later sections.
Actors and directors get smarter about a show as they work on it. And, if the actors know up front what they
are aiming for, success is inevitable.