Special Program in The Arts Thesis

GUIMBAL NATIONAL HIGH SCHOOL
SPECIAL PROGRAM IN THE ARTS

Rizal Street, Guimbal, Iloilo
“Barakang; Istorya sang

mga Kamal-aman”
: A Historic Theatrical Play
Gecelle G. Celoso
Dianne G. Gealon
Aurora Gabrelle M. Moncera
Schenly Rose Terania
Igan James M. Nualda

Chapter 1
Introduction of the Study
The first chapter is split into five parts: (1) Background of the Study, (2) Purpose
of the Study, (3) Significance of the Study, (4) Definition of terms, (5) Delimitation of
the study.
Part One, Background of the Study, shows the information of what will be studied
and states the background information.
Part Two, Purpose of the Study, it indicates the intentions, point and aspirations
in going on with the research.
Part Three, Significance of the Study, articulates the advantages or what can the
study help in the subsequent generations.
Part Four, Definition of terms, terms that are imperative are given meaning,
ordered according to its importance or necessity.
Part Five, Delimitation of the Study, presents the coverage of the investigations,
interviews and time frames of the study.
Background of the Study
Long ago Augustinians or Escuetas came and brought a human

figure of Saint Nicholas de Tolentino in the municipality of Guimbal. In the 14th century
the Spaniards built a church with an area of 14,000 sq. meters which is facing the mouth
of the Guimbal River and sea called Gibuangan.
One day a serene and calm sea disrupted and parted ways which made the
sea dry making all the waters went up even surpassing the church of Guimbal. While the
Guimbalons were in complete chaos one person noticed a big and tall man wearing a
black robe with belt who had really strong arms and body standing at Guibuangan. His
legs extended sideward forming a blockade “nagabarakang” in bisaya language and his
head could not be seen because it was covered of halo strange lights. As he positioned to
squat in both areas of the sea which parted ways had slowly came back to its original
scenery. As he created a miracle he had companion who was Nuestra Señiora de la
Consolacion Sagrada Corea who was wearing a blue dress.
Legend said that the apparition was San Nicholas de Tolentino, patron
saint of Guimbal who saved the natives and the pueblo of Guimbal from a tidal wave
and as for the citizens and for the memory of the past they called the place Barakang until
today.
Nevertheless, many people nowadays especially those post millennial do

not appreciate the history of it were the patron saint who saved the town and their
ancestors from a natural calamity. They should know the details of the story, so that the
younger generations will know how their patron who saved the beautiful town from a
Tidal wave. The progressive and peaceful town of Guimbal offers its acquirement as
tribute to the patron, Saint San Nicholas de Tolentino, as well as a thanksgiving for its
wealthy heritage. This history was already left behind because of the influence of new
technologies brought by the improving society.
Therefore, the researchers planned and decided to conduct a research about

barakang, the miraculous happening to let them know the importance and significance of
the said story and to give the people deeper insight and understanding about Barakang.
Moreover, the main reason why the researchers have conducted the study is to let the
people and the younger generations know the essence and importance of the story which
brought independence to Guimbalanons.
Using the said Legend, the Special Program in the Arts major in theater arts
students will be performing a Historic Theatrical Play for the production. A historic
theatrical play is a play that is based on historical narrative. This genre has been best
defined by William Shakesphere’s plays like Julius Caesar and Henry IV. And for acting
Sanford Meisner’s famous acting method “Meisner’s Technique”, wherein he encourages
the actors or his students to live truthfully under any given imaginary circumstances.
Purpose of the Study Input of the Study
Research Purpose Research Inputs
This study aimed to know the Meisner Technique
whole story of the Legend of The Legend of Barakang

Barakang and to inform the next
generations of what the story really
is. Production Inputs
Creative Production Purpose Script
To act in a theatrical play Props and Costumes

that is about the Legend of Information or Backgrounds of
Barakang. the place before
Processes
Research Methodology Production Design
Internet Surfing Analyzing and memorizing the script ,
Interviewing and acting in the theatrical play wherein
Observation the characters from the Legend will be
portrayed.
Output of the Study

“Barakang: Istorya sang mga Kamal-aman; A Historic Theatrical Play”
Figure 1. A graphical representation of the inputs, processes and output of the study.
Statement of the Problem and the Hypothesis
This study aimed to know the whole story and details of the Legend of Barakang
and its capability to be used in a historic theatrical play.
Specifically, it sought to answer the following questions:
1. Will it be an interesting play since the story is old and about a decade?
2. Would it be hard for the script to be written since it’s only a legend?
3. Will the actors and actresses be able to be cast well?
4. Will it be easy for the actors to act in an old story or legend?
In the view of preceding problems, the following hypothesis were advanced:
1. The Legend of Barakang is a great part in the place’s history and it can help in
promoting the good values and Christianity of the place.
2. The History of Barakang can be an inspiration to the youth and a beautiful
memory for the elders.
Purpose of the Study
The study’s objective is to know the history of Barakang and how are the people
nowadays able to imagine or picture out the exact happenings in those times.
Specifically, it sought to answer the following questions:
1. What is the story behind the name of Barakang?
2. Is it possible that the story isn’t true and stay as just a Legend?
3. Who did the written copy of the story?
4. What are the lifestyles of people in that place those days?
The study also aims to use the Legend as a story to be performed or portrayed in a
Historic Theatrical Play.
To get this goal, the following questions were asked:
1. Is the Meisner Method appropriate in acting in a theatrical play with the story?
2. Can it be possible to use young actors to portray the characters from the Legend?
Significance of the Study
The outcome of the study may be beneficial to the following persons:
To the Guimbalanons, this can help in knowing that certain place and wondering
where the name of the place came from. And in remembering what happened in some of
the history in Guimbal.
To the next generations, this may help you in your curiosities of the place. This
can also set as an inspiration for the children, knowing where and what the lives of
people there was
To the Theater arts teachers, this study can be a source in teaching young
students, to give more knowledge in the acting technique and how to make a historic
theatrical play.
To the Theater arts students, this study may help as a reference in using a method
in acting in a historic theatrical play.
Definition of Terms
For purposes of clarity and understanding, the following terms are given their
conceptual and operational definitions.
San Nicholas de Tolentino- is a simple priest and Augustinian friar who touched
life of many. The patron saint of the town of Guimbal.
Historic Theaterical Play- this is a play that is based on historical narrative, they
are either an enactment of a historical event or personality, or an adaption of the same.
Meisner Technique- is an acting technique wherein the actors are acting

truthfully in an imaginary situation or circumstances.
Guimbalanon- are the folks living in Guimbal.
Barakang-is the name given to a certain region in Guimbal where a miraculous

legend of blocking (barakang) happened.
Delimitation of the Study
This research aimed to find out where the name Barakang really came from.
Gathered informations about the place, their lifestyle, livelihood and important
happenings those times. Use of Meisner Technique in acting. Brief history of Barakang
and the whole town. The script, props, and others that will be used in acting in a historic
theatrical play.
The study was conducted on September 15- November 27 2018 at Brgy.

Bagumbayan, Guimbal, Iloilo. The techniques used in doing the research is through
surfing the net and interviews.
CHAPTER II
REVIEW OF RELATED LITERATURE
This chapter is divided into four parts; (1) History of Barakang, (2) Stanford
Meisner’s Biography, (3)Meisner Acting Technique, (4) Historic Theatrical Play.
Part One, History of Barakang, It gives information about the name of the place,
where did it came from and the legend that is told by the folks.
Part Two, Stanford Meisner’s Biography, tells about the life of Meisner as an
actor, director and how did he found his own technique in acting.
Part Three, Meisner Acting Technique, discusses about how the acting method
works. And artists that had experience in using this acting technique.
Part Four, Historic Theatrical Play, it consists the meaning, history and everything
that is about what a Historic play is.
History of Barakang
Barakang at present is one of the quarters in the town of Guimbal that is inside
Brgy. Bagumbayan. This is located in the southern area of the present Rizal St. and
western part of the church. It was then crowded with people from the time of Spanish
occupation. Unluckily, the town Guimbal is always the center of the often happening
Moro raids.
Guimbal is founded in 1590 but was not yet a parish and only a Christian
settlement. The people living there are practically Christians. The town was back then
under the present town of Oton and Bugasong with the town of Igbaras. The Spaniards
are the one responsible of governing the people in the Island of Panay, it is believed that
the present roads and building was made by them, also the names of provinces, cities,
towns and other small parts of it.
Before the place was called Barakang the church of Guimbal is already built by
the Spaniards and was said that the former door of the church is facing Barakang. Which
is an easy access to the people living there.
A Huge wave coming from the sea is about to land on the place and suddenly a
man with bright rays of light came to block the way and to stop the wave. The people
said the man with those extraordinary light was San Nicholas de Tolentino.
This study was an ideal theoretical literature in the Legend of Barrio Barakang the
livelihood of people those times, everyday life scenes of the people living in the place
and possible happenings in the place during the time when the Spaniards came. In doing
the research, several interviews, observations in the place and internet surfing is used.
The legend is already written in one of Guimbal’s Christianity look.
Sanford Meisner’s Biography
‘’It takes twenty years to master’’. That’s how Sanford Meisner felt about
everything, and particularly acting. Perhaps that explains why the legendary New York
acting teacher, and creator of the Meisner Technique, waited so long to found his first
and only theater. When the doors opened to the Sanford Meisner Center in 1995, the
theater Great had reached his eighth decade of life. As passionate as ever, Meisner was
determined to turn the sixty-seat theater into a lively venue in which Meisner graduates
would interact with other artists, producing a unique exchange of artistic ideology and
succession of outstanding performances.
Born August 31, 1905 and raised in Brooklyn, New York, Sanford Meisner
graduated from Erasmus Hall in 1923 and attended The Damrosch Institute of Music
(now Juilliard), where he studied to become a concert pianist before talking his way into
a job in a Theatre Guild production of Sidney Howard’s They Knew What They Wanted.
He realized then that acting which really “dug at him” was what he was looking to find.
In 1931, a fervent group of young actors, including Meisner, Stella Adler, Lee
Strasberg, and Harold Clurman, amongst others, joined together to establish the Group
Theatre. It was the first permanent theater company that brought “method” acting, rooted
in methods of Konstantin Stanislavsky, to practice and prominence in America. Meisner
appeared in twelve Group productions, including the first, The House of Connelly, and all
of Clifford Odets’ plays, including Waiting for Lefty which Meisner co-directed with
Odets in 1935.
In 1933 Meisner became disenchanted with pure “method” acting. He wrote

“actors are not guinea pigs to be manipulated, dissected, let alone in a purely negative
way. Our approach was not organic, that is to say, not healthy.” Meisner has ongoing
discussion about technique with Adler, who worked with Stanislavsky in Paris and
Clurman, who took deep interest in the American character. Eventually Meisner realized
that if American actors were ever going to achieve the goal of “living truthfully under
imaginary circumstances,” an American approach was needed. The Neighborhood
Playhouse provided him with a venue to develop that approach on his own. In 1936, he
headed the Drama Department at The Playhouse, while continuing to act and direct plays
produced by The Group Theatre until its demise in 1941. He also appeared on Broadway
in Embezzled (1944) and Crime and Punishment (1948). He directed The Time of Your
Life (1955) and acted in The Cold Wind and the Warm (1958).
Meisner left The Playhouse in 1958 to become director of the New Talent
Division of Twentieth Century Fox. He moved to Los Angeles, where he was also able to
cultivate his career as a film actor.
He returned to the Neighborhood Playhouse as head of the Drama Department

FroSignCloseupm 1964-1990. In 1985, Meisner and James Carville co-founded The
Meisner/Carville School of Acting on the Island of Bequia in the West Indies. They later
extended the school to North Hollywood, California, with Martin Barter. Meisner,
Carville and Barter opened The Sanford Meisner Center for the Arts in March 1995, and
later the school and theater were combined to form the Sanford Meisner Center. This was
the first and last location that Sanford Meisner allowed his name to be graced with.
Sanford Meisner received commendations from Presidents Clinton, Bush and

Reagan. He was honored by California Governor Pete Wilson and was named the
“Humanitarian of the Year 1990” by The Washington Charity Awards. His final
appearance as an actor was in a guest starring role on a special episode of ER in 1995.
Backstage West dedicated an issue to Meisner and his world-renowned “Meisner
Technique.”
Arthur Miller once said of Meisner, “He has been the most principled teacher of
acting on this country for decades now, and every time I am reading actors I can pretty
well tell which ones have studied with Meisner. It is because they are honest and simple
and don’t lay on complications that aren’t necessary.”
Sanford Meisner passed away on February 2nd, 1997. An all day, public
memorial service was held at the Sanford Meisner Center on February 6th, 1997. But he
didn’t leave without assurance of the future success of his creation. Long before the
Meisner Center’s opening, longtime protégé Martin Barter had been groomed as
Meisner’s successor at the Meisner/Carville school. When the time came, Barter was
well-equipped and took the reigns as the Meisner Center’s Artistic Director and head
teacher. He was one of the fifteen trained teachers of the Meisner Technique personally
chosen by Mr. Meisner to carry his technique to the next generations, a position he holds
to this day. (https://www.themeisnercenter.com)
Meisner Acting Technique
Sanford Meisner said that his approach to training “is based on bringing the actor
back to his emotional impulses and to acting that is firmly rooted in the instinctive. It is
based on the fact that all good acting comes from the heart, as it were, and that there’s no
mentality to it.”
Learn to live in the moment as an actor, and let go of any idea of result. Learn
what it means to really “do” and to respond truthfully to a given moment based on what
you get from your partner. Through improvisation, emotional truth and personal
response learn to resonate authenticity within a given circumstance. Only in this way will
you begin to understand the definition of real acting, which is “to live truthfully under the
imaginary circumstances”.
The training involves a specific series of exercises that build upon each other.
The successful comprehension and execution of each exercise is essential to the success
of the next and so on. Everyone begins at the beginning and moves through each step
laying essential groundwork for the second semester’s focus of demonstrating a clear and
full understanding of emotional preparation, relationships, and objectives.
Course Objective
To obtain a clear understanding of Acting based on the principles of Sanford

Meisner, and to translate that understanding into practice through various classroom
exercises and experiences, culminating in the successful application of the Meisner
Method to assigned scene study; and ultimately creating a strong foundation by
discarding protective walls and unleashing hidden talents to emerge a more honest person
with an instrument ready for a future journey as actors and artists.
Method of Instruction
The Meisner technique is a progressive system of structured improvisations for

developing concentration and imagination, stimulating instincts and impulses, and
achieving “the reality of doing” in performance.
In Meisner’s view, great acting depends on the actor’s impulsive response to

what’s happening around him. His key exercise, spontaneous repetition, is designed for
the actor to develop that dormant capacity.
Meisner’s approach trains the actor to “live truthfully under imaginary

circumstances,” to discover or create personally meaningful points of view with respect
to the (written or improvised) word, and to express spontaneous human reactions and
authentic emotion with the outmost sense of truth.
(http://www.desotellestudio.com)
Historic Theatrical Play
Historical drama is almost as old as theatre itself and continues to play a viable
role in contemporary theatre. For the oldest surviving play, The Persians in 472 B.C.E.,
Aeschylus drew on events from the Greco-Persian War in which he had fought eight
years earlier. Using historical characters and events, he imagined dialogue, compressed
episodes for dramatic effect, and dramatized material to make points relevant to his
contemporary audience, all strategies that remain part of the genre. In The Poetics almost
140 years later, Aristotle advised that tragedies based on history increased an audience’s
belief in the probability of events and thus heightened the emotional impact of the play.
“History play”, describing a genre as opposed to the subject matter of a play, has
imprecise origins and boundaries. When the editors of the 1623 folio edition divided
Shakespeare’s plays into comedies, tragedies, and histories, they already had some sense
of the history play as a distinct dramatic type, but among the histories they included
Richard II and Richard III, which today we consider as tragedies, emphasizing the
difficulty of making sharp generic distinctions.
In the 19th century the term “chronicle", which had medieval origins, was
introduced to describe plays that depicted a series of events in temporal order, unified
usually by a central character or a specific occasion. Some critics posited a more
disconnected, episodic sequence in the “Chronicle play", contrasting with a cause and
effect order of events in the history play. While a useful distinction, it was not observed
by playwrights in any period. Today the term history play describes any play ostensibly
drawing on actual events.
With the development of theatre in the Renaissance, the history play re-emerged
from the religious moralities, a process we can see in England with John Bale’s King
Johan, written about 1538 for the court of Henry VIII. Here the abstract characters of the
morality play morph into historical figures with King John depicted as a proto-Protestant
battling an evil pope. Christopher Marlowe developed the genre more fully with his
Edward II and The Massacre at Paris, both probably written in 1593, and Shakespeare’s
Henry VI trilogy and the Richard II/Henry IV/V tetralogy follow in the 1590s. After the
death of Elizabeth in 1603, the popularity of the genre rapidly declined to the point that
John Ford in the prologue to his history play Perkin Warbeck, published in 1634,
commented that the genre was “of late so out of fashion, so unfollowed.” This was in
large part because the focus of art in this period was to depict universal truths
unencumbered by the peculiarities of specific times and places.
Interest in history plays revived in the early 19th century with the Romantic
rejection of neoclassicism in favor of a view that history depicts a metaphysical plane
revealing itself as it unfolds through the material world. Historical precedent was also
enlisted to support emerging forces of nationalism, democracy, and spiritualism.
Friedrich Schiller in Germany, Victor Hugo in France, and most of the important English
Romantic poets wrote history plays, though of the latter group only Alfred Lord
Tennyson’s plays had any degree of commercial success. Historical authenticity became
a new standard for elaborate stage spectacles throughout Europe and America, and even
melodrama explored historical or pseudo historical material.
In spite of elaborate staging, the 19th century history plays were basically
biographical dramatizations of major historical figures. Early 20th century historical
drama kept this focus, but reflecting the rise of realism, often shifted toward domestic
settings and greater emphasis on the private rather than public lives of “shakers and
movers.” The English playwright John Drinkwater created half a dozen successful bio-
dramas between 1918 and 1925, two of the most popular dealing with prominent
Americans Abraham Lincoln and Robert E. Lee. George Bernard Shaw, in separate plays,
reshaped General John Burgoyne, Julius Caesar, and Joan of Arc into social iconoclasts
who advocated Shaw’s political and social ideas.
Saint Joan was also the subject of one of the American Maxwell Anderson’s more
than half a dozen historical dramas. Of these, three of the most successful, written in
verse, dealt with British queens: Elizabeth the Queen (1930), Mary of Scotland (1933),
and Anne of a Thousand Days (1948). The most successful verse dramatization of the
period was T.S. Eliot’s one historical play Murder in the Cathedral (1935), depicting the
martyrdom of Thomas Beckett. Christopher Fry also cast historical material into verse.
His most successful play, Curtmantle (1962), dealt as well with Beckett, but focused
more on King Henry II, who was also the subject of James Goldman’s popular 1966 play
The Lion in Winter. This, like John Osborne’s 1961 psycho-biographical history play,
Luther, was successfully adapted as a film.
Another variation of historical drama developed in the 1930s— outdoor summer

productions, often with musical accompaniment, staged principally in America. The first
outdoor symphonic drama, Paul Green’s The Lost Colony, opened in 1937 and is still
performed. Green wrote eight subsequent history plays for outdoor theatres, often built
especially for each play. His plays usually retained a central male figure, but focused
more broadly on how events impact a community, reflecting the influence of the early
20th century Community Pageant Movement. The even more prolific Kermit Hunter
wrote as many as 40 outdoor historical plays. While the vogue for outdoor historical
plays peaked in the 1960s, more than 30 are still produced each summer in the United
States. Their impact is measurable more as a social phenomenon and an economic
resource for communities than in the quality of the scripts produced.
After World War II attitudes toward historical studies began to shift, a change
eventually echoed in the structure of history plays. Traditional historical studies, termed
pejoratively “Old History” or “Whig History", focused on political and military events,
commonly from a Euro-centric perspective. Individuals, usually male representatives of
the dominant culture, shaped events that led progressively to the ascendance of the
hegemony. Historical “facts” that could be discovered and objectively reported were
assumed to exist. The first challenges came from Marxist historians who viewed history
in terms of economic forces and class conflict. Later a group of French historians known
as the Annalistes shifted attention away from dominant figures to social, cultural, and
demographic processes. The Deconstructionists, influenced by Jacques Derrida, called
into question the efficacy of any metanarrative of history and rejected the positivist
confidence that historical data could be objectively discovered and reported.
Many contemporary historical dramas exploit the strategies of new history. In

addition to Marxist histories, social histories dramatize group actions rather than those of
individuals, and oppositional histories depict events from the outlook of the oppressed,
the losers, or the disenfranchised. Feminist drama borrows from other historical
approaches to reposition women and gender issues in the historical account. Conventional
narratives are challenged by Deconstructionist histories that use pastiche techniques and
emphasize micro narratives, traditional historical methods were not abandoned but
reconfigured. For example, Joan Littlewood in satirizing World War I in Oh What a
Lovely War! (1963) intermixed music hall techniques with projected charts, clippings,
and graphics, the latter used earlier by the Living Newspaper docudramas of the Federal
Theatre project to dramatize recent events.
Historical drama had always carried messages, but in contemporary theatre,

history serves even more blatantly to support specific agendas. For example, Charles
Wood’s pacifist play Dingo (1967) used expressionist and music hall techniques to
deconstruct World War II in North Africa from the viewpoint of common soldiers, a
technique of social history. David Hare’s Fanshen (1975) is a Marxist micro-history
recreating the collective process at work in a Chinese village. Caryl Churchill combined
social, Marxist, and feminist history in a number of plays. Light Shining in
Buckinghamshire (1976) dramatizes the English Civil War in terms of the frustrated
objectives of Levelers, Diggers, and Ranters, with multiple actors playing a single
character to deemphasize the individual’s role in shaping historical events.
This more complex view of history has reawakened contemporary playwrights,

particularly in the British theatre, to the rich possibilities of the history play.
(https://www.dramaonlinelibrary.com)
CHAPTER III
METHODOLOGY
This chapter presents the methods and procedures undertaken in the study. It
is divided into two parts: (1) Research Methodology and (2) Creative Production Design.
Part One, Research Methodology, restates the research purpose of the study,
describes the research method employed in the study specifies sources of information,
and discusses the procedure in gathering information.
Part Two, Creative Production Design, restates the production purpose of

the study, describes the medium and materials used; and discusses the procedures
undertake in coming up with the artwork.
Research Methodology
Research Purpose
The main purpose of this study is to create a historical play; it aimed to

reminisce the history of Barakang.
Research Method
This descriptive-qualitative research method is used in this study. According to

Bradshaw (2017), a qualitative descriptive design is particularly relevant where
information is required directly from those experiencing the phenomenon under
investigation and where time and resources are limited. The goal of qualitative
descriptive studies is a comprehensive summarization, in everyday terms of specific
events. In this study, the researchers deliberates on how to produce a Historic Theatric
presentation, as well as the techniques used by Sanford Meisner.
Sources of Information
The researchers gathered information from various and secondary sources,

which were obtained from historical books from Guimbal Church Administry. They
conducted also an interview from various persons in the Municipality who have further
knowledge of the topic.
Those interviewees are Captain Carmen Gilpo of Bagumbayan, Guimbal,

Iloilo and a teacher in Nalundan National High School, Mrs. Juvy Gelera, a resident
and Brgy. Kagawad of Brgy. Bagumbayan, Guimbal, Iloilo, Cynthia Iustia Suoberon:
35 years old a resident and Brgy. Kagawad of Brgy, Bagumbayan, Guimbal, Iloilo,
Mr. James Garferio; 34 years old Parsih Priest Assistant at Parish of San Nicholas
De Tolentino, Mr. Omar Ezra Gelpe: 28 years old working at SUREBIZ Marketing.
Parish of San Nicolas De Tolentino Lector and Catechist in Municipality of Guimbal

Teresita Germinanda: 50 yrs. old she worked for 20 yrs. at Guimbal Parish Church.
Research Procedure
Interview technique was engaged in gathering information needed in this study.

The researchers went to collect information in the Guimbal Church Administry. The
researchers prepared a letter of consent and was signed by the research panel. Then the
researchers presented the letter of authorization to the staff of the municipal hall to allow
the researchers to enter and avail information from the persons that knows the history of
Barakang. After, the researchers read and specified the gathered information cautiously.
Finally, the researchers continued to taking down notes of information.
Creative Production Design
Production Purpose
This production aimed to act in a historic theatrical play that is about the Legend
of Barakang.
Concept/Theme
The group of researchers will perform a play of the history of Barakang in the
school to dramatize what happened during the time when this existed.
Medium/Media Used
The group of Arts students will act out the history of Barakang using “Kinaray-a”
as a medium of instruction. The performers will prepare a script and perform a play with
the help of the arts teacher.
Styles and Techniques
The performers will use the Meisner acting technique.
Production Materials and Instruments
The performers will use costumes and props and other materials to be used in the
play. They will use drums and other sound effects to make it more realistic.
The researchers will also consider various materials to come up with the realistic
artworks. These were:
Costumes. The costume are various in each scene, it also makes the production realistic
and colorful.
Props. This will be used by the characters in the production.
Synopsis
All the theater arts students take a role in the said historic theater play. The
production asks for the help of theater students in the lower years to also take role in the
performance because of the lack of characters. There are props and background that is
used for the play to be more realistic. The play will be just about the happenings in the
miraculous legend that happened in Barakang. Background music and costumesfor each
character will also be prepared.
Creative Production Procedures
The researchers considered several processes undertaken one by one.
Analyzing and memorizing the script.
Acting in the theatrical play wherein the characters from the Legend will be portrayed.
Selection of costumes for each characters.
Polishing of every scene.


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GUIMBAL NATIONAL HIGH SCHOOL

SPECIAL PROGRAM IN THE ARTS

“Barakang; Istorya sang

Aurora Gabrelle M. Moncera

Schenly Rose Terania

Igan James M. Nualda

Introduction of the Study

Background of the Study

Long ago Augustinians or Escuetas came and brought a human

Nevertheless, many people nowadays especially those post millennial do

Therefore, the researchers planned and decided to conduct a research about

Purpose of the Study Input of the Study

Research Purpose Research Inputs

This study aimed to know the Meisner Technique

whole story of the Legend of The Legend of Barakang

Creative Production Purpose Script

To act in a theatrical play Props and Costumes

Research Methodology Production Design

Internet Surfing Analyzing and memorizing the script ,

Interviewing and acting in the theatrical play wherein

Observation the characters from the Legend will be

Output of the Study

Statement of the Problem and the Hypothesis

Specifically, it sought to answer the following questions:

In the view of preceding problems, the following hypothesis were advanced:

Purpose of the Study

Specifically, it sought to answer the following questions:

1. What is the story behind the name of Barakang?

3. Who did the written copy of the story?

4. What are the lifestyles of people in that place those days?

To get this goal, the following questions were asked:

Significance of the Study

The outcome of the study may be beneficial to the following persons:

Meisner Technique- is an acting technique wherein the actors are acting

Guimbalanon- are the folks living in Guimbal.

Barakang-is the name given to a certain region in Guimbal where a miraculous

Delimitation of the Study

The study was conducted on September 15- November 27 2018 at Brgy.

REVIEW OF RELATED LITERATURE

Sanford Meisner’s Biography

In 1933 Meisner became disenchanted with pure “method” acting. He wrote

He returned to the Neighborhood Playhouse as head of the Drama Department

Sanford Meisner received commendations from Presidents Clinton, Bush and

Meisner Acting Technique

To obtain a clear understanding of Acting based on the principles of Sanford

The Meisner technique is a progressive system of structured improvisations for

In Meisner’s view, great acting depends on the actor’s impulsive response to

Meisner’s approach trains the actor to “live truthfully under imaginary

Historic Theatrical Play

Another variation of historical drama developed in the 1930s— outdoor summer

Many contemporary historical dramas exploit the strategies of new history. In

Historical drama had always carried messages, but in contemporary theatre,

This more complex view of history has reawakened contemporary playwrights,

Part Two, Creative Production Design, restates the production purpose of

The main purpose of this study is to create a historical play; it aimed to

This descriptive-qualitative research method is used in this study. According to

The researchers gathered information from various and secondary sources,

Those interviewees are Captain Carmen Gilpo of Bagumbayan, Guimbal,

Parish of San Nicolas De Tolentino Lector and Catechist in Municipality of Guimbal

Interview technique was engaged in gathering information needed in this study.

Creative Production Design

Styles and Techniques