CREATIVE INDUSTRIES II:

PERFORMING ARTS

“A conversation of art and soul”

 FF

PERFORMANCE ART
VS
THEATRE ART

“To-may-toh
“Acting versus
, to-mah-toe”
action”
 PERFORMANCE ART
• a time-based art form
• typically features a live
presentation to an audience or to
onlookers
• generally an event rather than an
artifact
• Ephemeral by nature
 THEATER ART
• Also spelled as theatre
• Derived from the Greek word,
theoamoi, meaning “to see”
• Concerned almost exclusively with
live performances
• It is precisely planned to create a
coherent and significant sense of drama.
• The full participation of the spectator is
a vital element of the theatre
 IN OTHER WORDS…
• THEATRE is scripted with the main
purpose is to entertain. It appeals to a lot
of people and generates a lot of money to
the industry. It is well thought of and
planned.
• PERFORMANCE ART is
unpredictable. It can be random or
planned. Its purpose is to make viewers
think.
 IN OTHER WORDS…
• PERFORMANCE ART is ephemeral. It
is temporary as it comes and goes. It is
almost impossible to replicate.
• THEATRE works can be repeated –
according to the script.
• Both depend on the audience on how
they take them or not.
MUSIC
DANCE
ACTING
SET DESIGN
COSTUME DESIGN
 FIELDS OF EXPERTISE/
CAREER PATHS:
Acting Music Composition
Voice-acting Theater Director
Audio Engineering Dance
Singing Ventriloquism
Disc Jockey Opera Singing
Sound Effects Engineering
PYROTECHNIC ART
PAINTING
 THEATRE

“An art in motion”

ELEMENTS OF ART AS
APPLIED IN THEATRE

“A composition onstage”
ELEMENTS OF ART

Line
Color
Texture
Value
Space
Shape
Form
LINE
• a path created
by a moving
point, mark or
object
LINE
a path created
•• determines the
by a moving
stage movement.
point, mark or
object
 SHAPE
• areas of
enclosed
spaces in 2D
form
 SHAPE
•• areas of where
knowing
enclosed
to block a
spaces
person in 2D
form
 SPACE
• the emptiness
or the area
around or
within objects.
 SPACE
•• the emptiness
determines the
or the area
whole set’s
around or
appearance.
within objects.
COLOR
• derived from reflected or absorbed light
COLOR
• determines the mood of the production
derived
• based onfrom reflected or absorbed
the psychological light
and cultural
reactions of the viewers.
 TEXTURE
• how something
feels or looks
like it would
feel when
touched
 TEXTURE
• gives either a
how something
realistic or
feels or looks
artificial
like it would
impression on
feel when
the play
touched
production.
 FORM
• 3D version of
shape; has
height, width
and depth.
 FORM
• body formsofis a
3D version
crucial
shape; part
has of
a play width
height,
production.
and depth.
 VALUE
• the lightness
and darkness
of an object.

• used in
emphasizing.
 COMPOSITION

“the arrangement of parts in relation

to each other and to the whole.
It can show more about the characters,
gives a feel or emotion to the image and
tell a story”.
 PRINCIPLES OF COMPOSITION

Balance – a sense of stability

- Symmetrical, Asymmetrical and Radial
Rhythm – repetition or pattern of
elements
Movement - a path or direction for the
viewer’s eye
Proportion – how various design
elements ‘fit’ together
 PRINCIPLES OF COMPOSITION

Emphasis - accentuates the main

focus
Contrast – juxtaposition of dissimilar
elements
Variety – regular recurrence or
alteration of different elements
Harmony - sense of completeness
and orderly congruous whole
ASPECTS OF COMPOSITION
 LEVELS

“ depicts power, dominance and

positions onstage. It is broken down
into three types: High (heaven),
Medium (man) and Low (hell).”
 DEPTH (PLANES)

“ gives the illusion of space. It

keeps the characters and the set
from appearing one-dimensional
or flat.”
 DEPTH (PLANES)

“ a sure-fire way to give depth is by

avoiding straight lines and
thinking in terms of triangles.
Straight lines can be used for moods
like conformity.”
 FOCUS POINTS

“a character’s focus in a
compositions gives direction and
emotions to the story. It creates a
path for audience to look at or what
to look for.”
 MOOD

“ reinforces the meaning of the

story.”
 BLOCKING

“the precise movement and

positioning of actors onstage.”
 BLOCKING

“it must be made with careful

consideration and on the
interpretation of the
characters and script.”
 DIRECTOR

“who makes and communicates the

blockings concept for the play
An outside eye who see how actors
are arranged on stage in relation to
each other and the set.”
 ACTOR

“who portrays and gives life to a

character while evoking
emotions from its viewers.
Sometimes actors contribute to
blocking choices-conditionally. ”
 “Blocking is all about
relationships . Directors help
actors to make choices about
the character while blocking
the show.”
 FLAT-BLOCKING

“characters move in a straight

and flat line. Angles and
diagonals in moving actors from
place to another gives more
dynamic to the scene.”
 OVER-BLOCKING

“characters move continuously without

stopping. It gives confusion to the
mood and meaning of the scene.
Motivated movement encourages
organic flow of the character’s
movement and intentions.”
OBLIGATORY BLOCKING

“ the entrances and exits as

written on the script.”
 GENRES IN THEATRE

•Comedy •Musical
•Drama •Burlesque
•Opera
•Tragedy •Mime
•Romance •Puppetry
•Satire •Peking Opera
•Epic •Noh Theatre