Lesson 7-Drama, Music and Film

Republic of the Philippines
Surigao del Sur State University

Rosario, Tandag City, Surigao del Sur 8300
Telefax No. 086-214-4221
Website: www.sdssu.edu.ph
LEARNING ACTIVITY:
Name Ladesiree G. Plazo Score/Rating

Degree/Program BA FIL Date
Instructor Emmanuel Wales A.Y/Semester
Learner-Centered and Outcome Based
ACTIVITY – WORKSHOP 1
DRAMA as THEATRE ART
Directions: On dramatic Monologue: Check in the internet a copy of dramatic
monologue; rehearse and perform through video presentation.

Directions: Theatre History: Check out in the internet. Search on the different theatre
design through the ages. Draw the theatre design or copy paste from the internet with
other label and citation.
Shakespeare's Globe in London, Façade of the former Theatre a

reconstruction of an Elizabethan theatre Royal, Truro
Etching of Wilton's Music Hall, London Sepia illustration of the 1867 fire
at Her Majesty's Theatre, London
Telefax No. 086-214-4221
Tower Circus, Blackpool Frank Matcham's Grand Opera House,

Belfast
Proposals for the New Victoria Theatre Belgrade Theatre, Coventry

(now the Apollo Victoria) in London, 1928

Directions: The Art of Mask (Maskara) Making: Intricate Tapestry of One’s Culture
1. Create an elaborate face Mask (mascara) using paper mache or you may buy a ready-
made plain mask.
2. Design the mask as elaborate and beautiful as you want it to be. Use sequence, feathers
(synthetic), beads, etc.
Telefax No. 086-214-4221

FILM as ART
Directions: Answer the question by logically presenting your arguments.
1. Do you think that film literacy should be required among students in the tertiary
level regardless of their degree of specialization (i.e BSBA, BA/BS, Engineering,
Com. Scie., etc.) Explain your stand in this issue.
Yes, in the twenty-first century, being cinema and media literate is critical; film education
in schools increases student engagement, inspires writing, improves literacy attainment,
and improves conduct, even if they have different majors or selected courses. Film literacy
helps children to comprehend the meaning of the films and moving picture texts they
consume, encourages them to view films from a range of sources, and motivates them to
develop their own films. The use of cinema as a text allows us to assist communication,
understanding, and written expression. Film is an exceptionally powerful instrument for
education and literacy development.

Telefax No. 086-214-4221
FILM as ART
Directions: answer the following questions/explain the following statements
comprehensively.
1. Discuss the contributions of the following “film” personalities in the world of
motion picture.
a. WKL Dickson
William K.L. Dickson, an employee interested in photography, in 1888. After studying
the work of various European photographers who also were trying to record motion,
Edison and Dickson succeeded in constructing a working camera and a viewing
instrument, which were called, respectively, the Kinetograph and the Kinetoscope.
Synchronizing sound and motion proved of such insuperable difficulty, however, that
the concept of linking the two was abandoned, and the silent movie was born. Edison
constructed at the laboratory the world’s first motion-picture stage, nicknamed the
“Black Maria,” in 1893, and the following year Kinetoscopes, which had peepholes that
allowed one person at a time to view the moving pictures, were introduced with great
success. Rival inventors soon developed screen-projection systems that hurt the
Kinetoscope’s business, however, so Edison acquired a projector developed by Thomas
Armat and introduced it as “Edison’s latest marvel, the Vitascope.”
b. Lumiere Brothers of France
In 1895, Louis and Auguste Lumière gave birth to the big screen thanks to their
revolutionary camera and projector, the Cinématographe. Auguste and Louis
Lumière invented a camera that could record, develop, and project film, but they
regarded their creation as little more than a curious novelty.
c. George Melies
Georges Méliès is famous for his many innovations in motion pictures. He was one of
the first to film fictional narratives, and he is regarded as the inventor of special effects
in movies. His films were among the first to use such techniques as double exposure,
stop-motion, and slow motion.
d. Thomas Alba Edison
Edison's laboratory was responsible for the invention of the Kinetograph (a motion picture
camera) and the Kinetoscope (a peep-hole motion picture viewer). Most of this work was
performed by Edison's assistant, William Kennedy Laurie Dickson, beginning in 1888.
e. George Eastman
In 1889, Eastman hired chemist Henry Reichenbach to develop a type of flexible film
that could be more easily inserted into cameras. Thomas Edison adapted the film for
use in the motion-picture camera he was developing, further propelling the success of
Eastman's company.
2. Narrate in an essay from the development of the cinema and hot it changed the
entertainment industry.
The medium of cinema has been around for almost 130 years and has dramatically advanced due
to brilliant minds of innovation in art, math and science. The early 1900’s were some of the most
pivotal years for the U.S. film industry, marking the inclusion of sound at the movies one of the
most dramatic changes in all of film history. At first the concept of synchronized sound had
many studios worried about the economic risk. As history goes on to prove, anything that
requires growth and change, includes the willingness to take a chance. Had it not been for the
leading creators of the early 20th century, one of the biggest and most profound economic
advancements in the entertainment industry would have never taken place. It wasn’t before long
many recognized it was a beginning to a new era. The coming of sound affected every aspect of
the cinematic experience from: technical production, to the dynamics of the studio system,
performers, and the way mass audiences consumed film around the world.
Among the some of the first to achieve sound in cinema is Thomas Edison and Eadweard
Muybridge. Thomas Edison, a pioneer of many things like the first motion picture camera, the
incandescent light bulb and the phonograph, which was the first audio recording devices that
allowed for audio to be heard while being played back. By the early 1930s, nearly all feature-
Telefax No. 086-214-4221
length movies were presented with synchronised sound and, by the mid-1930s, some were in
full colour too. The advent of sound secured the dominant role of the American industry and
gave rise to the so-called ‘Golden Age of Hollywood’.
During the 1930s and 1940s, cinema was the principal form of popular entertainment, with
people often attending cinemas twice a week. Ornate ’super’ cinemas or ‘picture palaces’,
offering extra facilities such as cafés and ballrooms, came to towns and cities; many of
them could hold over 3,000 people in a single auditorium.
In Britain, the highest attendances occurred in 1946, with over 31 million visits to the cinema
each week. By the late 2000s, however, that number had trebled. The first British multiplex
was built in Milton Keynes in 1985, sparking a boom in out-of-town multiplex cinemas.
Today, most people see films on television, whether terrestrial, satellite or subscription video
on demand (SVOD) services. Streaming film content on computers, tablets and mobile phones
is becoming more common as it proves to be more convenient for modern audiences and
lifestyles.
Although America still appears to be the most influential film industry, the reality is more
complex. Many films are produced internationally—either made in various countries or
financed by multinational companies that have interests across a range of media.
In the past 20 years, film production has been profoundly altered by the impact of rapidly
improving digital technology. Most mainstream productions are now shot on digital formats
with subsequent processes, such as editing and special effects, undertaken on computers.
Cinemas have invested in digital projection facilities capable of producing screen images that
rival the sharpness, detail and brightness of traditional film projection. Only a small number of
more specialist cinemas have retained film projection equipment.
In the past few years there has been a revival of interest in 3D features, sparked by the
availability of digital technology. Whether this will be more than a short-term phenomenon (as
previous attempts at 3D in the 1950s and 1980s had been) remains to be seen, though the trend
towards 3D production has seen greater investment and industry commitment than before.

FILM as ART
Directions: Conduct an internet based research and write a narrative (report) on the
development of motion picture.
Motion pictures are an important part of human life. Millions of people routinely view them in
small and large theaters, classrooms, places of worship, workplaces, small outdoor community
squares, and large auditoriums. Motion pictures are internationally distributed where they can be
projected onto screens, broadcast to television sets, or circulated by videocassette or digital disk
technology, and in some parts of the world, motion pictures can be viewed on computers with
Internet connections. The movies, in only one hundred years, have become a pervasive and
Telefax No. 086-214-4221
influential mass medium. Understanding motion pictures requires a historical and cultural
perspective. Although the technology of the cinema plays an important role in its development, it
is more often the sociopolitical and cultural environment in which films are made that most
significantly affect them as a mode of communication and entertainment. In most places, motion
pictures are both art and commerce, and maintaining the balance between these two, often
competing, forces is difficult. Likewise, movies are both entertainment and cultural
communication, another duality that causes problems in terms of representation and ideological
perspective.
Modern motion picture technology, or the movies, has existed for a little over a century. Yet, as
early optical devices such as the phenakistoscope, the zoetrope, and picture “flip-books” attest,
human beings have been fascinated with pictures that move for much longer. These devices used
their optical “tricks” to make still pictures printed on paper appear to move. However, the
modern mass medium known as motion pictures.
had to wait for technical advances in the related areas of photography and projection. The
development of the requisite technology for moving pictures was not achieved by any one
individual or group, although many people is different countries did claim to invent the movies.
Motion picture technology was developed, improved, and, often, transformed through the
combined efforts and inventions of many people working in Western Europe and North America
in the late 1880s and 1890s. In the United States, Thomas Edison had taken an interest in having
moving pictures to accompany his already popular phonograph. One of his assistants, W. K. L.
Dickson, was primarily responsible for the development of Edison’s early motion picture
camera, the kinetograph, and the device they used to view their short moving images captured on
a clear strip of photographic film, the kinetoscope. The kinetoscope was not a projector but,
rather, a free standing viewer that allowed a single user to peer inside its cabinet and view the
brief moving image, often called a “film” because Dickson utilized the relatively new flexible
film (known as celluloid) developed by the Eastman Kodak Company. The bulky kinetoscope
soon proved to be inferior to film projection, and Edison began producing a projector invented
by Thomas Armat, the vitascope. On April 23, 1896 at Koster and Bail’s Music Hall in New
York City, the new system premiered. Meanwhile, in Paris, France, Louis and Auguste Lumière
were working on their cinématographe, a combination camera and projector. One of their earliest
moving pictures was a short view of workers leaving their factory and was probably filmed in
early 1895. It survives today as one of the earliest important landmarks in film history. In Paris’s
Grand Café on December 28, 1895 they presented their first program of short films.
Simultaneously, motion picture producers like the Edison Company and the Lumière Brothers
set about making short films and distributing them around the globe and, in so doing, spread
interest in motion pictures.
The earliest filmmaking was, for the most part, documentary and docudrama in style and content.
These brief movies (usually less than a minute or so in length) were often representations of real
life occurrences, such as vaudeville and stage performers, or everyday events such as a train
rapidly entering a station or a comical recreation of a common event such as young couple trying
to feed their child. Yet, these little views of life and short performances did not consist of much
more than a static camera set up to record the image on film. The narrative art of filmmaking
developed as a natural outgrowth in this new entertainment medium. Its similarities to theater
were obvious, and its potential for presenting vignettes was realized by several different
filmmakers early on. Although it is a matter of some dispute as to who made the very first
narrative motion picture, many important clues suggest that it was the French filmmaker Alice
Guy. Regardless, narrative filmmaking developed quickly, and motion pictures became longer
and more sophisticated as the technology developed and the public demand grew. This public
clamor for motion pictures, combined with the desire of early filmmakers to capitalize on what
they feared might be a passing fancy, encouraged many different.
Telefax No. 086-214-4221
people to become involved in the burgeoning industry. They created a highly competitive
character for the early film industry that encouraged filmmakers to be innovative in both the art
and technology of motion pictures. France, Italy, and the United States led the early development
of the motion picture industry; however, the early 1900s also saw filmmaking develop in
England, Germany, Denmark, and Japan. Unfortunately, this early period of competitiveness by
a large group of independent filmmakers was relatively short lived. Soon it became apparent that
a few large companies would dominate the filmmaking business by a variety of means, including
forcing out their competition, merging, and the formation of oligopolies that protected their
investments in filmmaking by controlling the industry through vertical integration. In essence,
the large companies, called studios, produced the films, distributed the films, and either directly
or indirectly controlled the exhibition of the films. In the United States, several large companies
who owned various patents on motion picture equipment came together, primarily under the
leadership of the Edison Company, and made legal agreements that effectively forced many of
the smaller movie producers to merge or close down production. The United States government
eventually dissolved the Motion Pictures Patent Pool (MPPC), also known as “the trust.”
Unfortunately, the damage to their competitors was already done. The MPPC was responsible for
several important changes in motion pictures including lengthening them, a trend that had
already begun in France, the beginning of the star system, legitimizing movies for the middle
classes, furthering reliance upon genre films, and moving film production to Hollywood,
California, USA. The MPPC reached its goal of driving out the competition. It further ensured
that large companies would continue to dominate the filmmaking industry by raising the
production values of films and, therefore, making movies much more expensive to produce. This
increased cost helped to keep the financial investments required to make movies out of the reach
of most independents. Further, the MPPC had a significant influence and control over the content
of motion pictures by focusing production on themes and issues that would appeal to a
mainstream, middle-class, and ethnically “white” audience. The silent film master D. W. Griffith
in his epic 1915 film The Birth of a Nation exemplified this condition. The silent era in the
United States produced many important directors including Griffith, Cecil B. De Mille, Erich
von Stroheim, and Charlie Chaplin, and the standardization that took place during this period
helped to form the classical Hollywood cinema style which would eventually dominate cinema
internationally. Yet, the French industry was the dominant international film industry in the early
decades of filmmaking. It was not until World War I severely curtailed the production and
distribution of films in Europe that the United States motion picture industry was able to
dominate filmmaking in the West (see World War I). The motion picture producers in the United
States took advantage of the war by continuing to develop their own industry and by using the
European market, after the war, to expand their influence and audience. Similar conditions arose
during and after World War II, as the United States’ “Hollywood” film industry furthered its
international dominance. Filmmaking in Europe after World War I was an exciting time as
alternative film styles were explored, partly as a reaction to the new international dominance of
the Hollywood style and partly due to an interest in further developing the art of film. In France,
French.
Impressionism (1918–1929) and the related but less popular French Surrealism movements
focused on subjective states of mind, particularly those associated with love and sex, and drew
from the rich tradition of Impressionist painting. Impressionist and Surrealist filmmakers such as
Abel Gance, Marcel L’Herbier, Jean Epstein, Germaine Dulac, and Luis BuΖuel were pioneers
in form and style and were essential to the development of Art Cinema. In Germany, German
Expressionism (1920–1927) dominated cinematic style. Like Impressionism, Expressionism was
concerned with psychological states, but Expressionism focused more on abnormal psychology
such as insanity. It also dealt greatly with legends and myths. Stylistically, these films drew from
the visually exciting Expressionist theatre and, therefore, set design and expressionistic acting
were emphasized. The dark worlds that Expressionist filmmakers created had a powerful and
long-lasting effect on filmmaking internationally, as almost all horror and science fiction films
owe a debt to German Expressionism. Furthermore, the important post World War II Hollywood
Telefax No. 086-214-4221
film style known as film noir was also greatly influenced by the style of Expressionism (see
Modern Art). Expressionist directors such as Robert Wiene, Fritz Lang, F. W. Murnau, and G.
W. Pabst changed filmmaking forever with their contributions to cinematic style and mise-en-
scene. Meanwhile the Soviet Montage movement (1925–1933) flourished in the Soviet Union.
Soviet Montage films were heavily influenced by the work of great film theorists who were also
filmmakers such as Lev Kuleshov, Sergei Eisenstein, and Dziga Vertov. Eisenstein, in particular,
was influential in furthering the theoretical aspects of moviemaking. Eisenstein is particularly
associated with dynamic editing that emphasizes conflict, movement, and rhythm that furthered
the narrative point of his films. Likewise, because of their Marxist beliefs, Soviet Montage
filmmakers often focused on revolutionary themes and social topics (see Russian Revolution).

FILM as ART
Directions: Answer the following question/explain the following statements
comprehensively by logically presenting your arguments or coting an example.
1. Choose the best film you have seen in the last two (2) or three (3) years and discuss
the reason why you have chosen this film.
Harry Potter
 Talk about things
 Friendship is important
 It's okay to turn to your parents for help
 It's important to believe in yourself
 Community is important
 Never give up
 You can find help in unexpected places
 Face your fears
2. Choose five of the best actors/actresses in Philippine cinema and state your
reasons for choosing him/her.
 Fernando Poe Jr. – All Filipino knows him Cool and calm demeanor. The
King of Filipino movies is known for his action films. But unlike other action
stars who portrays anger in their scenes with raised voices, FPJ speaks in a calm
voice, even on the action scenes, and shows his anger through his eyes.
 Eduardo(Eddie) Verchez Garcia - Garcia became a role model for the
people in the industry and thus, became a timeless presence that will remain in
the hearts and minds of Filipinos,” HR 401 stated. It added: “Mr. Garcia has
proven, beyond accolades and awards, his worthiness to be called a National
Artist in his works, ethics, and virtues.
 Susan Roces - She is regarded as a beacon of inspiration to her co-actors
and colleagues, especially in the Mowelfund where she was an active member.
Perhaps, the reason for her staying power in this challenging, always changing
industry is her constant kindness.
 Rodolfo(Dolphy) Vera Quezon - Dolphy was one of the most enduring and
Telefax No. 086-214-4221
esteemed pillar in the local movie industry whose unparalleled dedication to his
work and exemplary achievements, as an actor, producer, and philanthropist,
has brought joy, laughter, hope and inspiration to the Filipino people amidst
various political, economic
 Gloria Romero - She is the first recipient of the lifetime achievement award
from the MTRCB. She attended school in Mabini, Pangasinan. Her brother
was also an actor, Tito Galla. Gloria Galla married Juancho Gutierrez after
they met during a movie; they had one child, a daughter, Maritess.
Name Score/Rating
Degree/Program Date
Instructor A.Y/Semester
Food for the Soul: MUSIC as PERFORMANCE ART
Directions: Music Composition
1. Choose one song from abroad or international song.
2. Translate this song in Filipino.
3. Choose one stanza and perform thus art form.
Title of the Song/Pamagat ng Kanta
Sun and Moon
Oh, binibini napakaganda naman nang iyong mata

Pag ngumingiti ka sa akin ako’y natutulala
Kung panaginip man ito ayoko nalang magising
Pag naalala ka ang tulog ko ay mahimbing
At, ako’y nalilito, natutuliro, nanginginig

Kinikilig hindi ko na marinig
Sa sobrang lakaslakas nang pintig
Ikaw lang sigaw ng aking tinig
Ilang beses ko bang dapat sabhin na
Sa araw-araw ko ikaw lang ang nagpapasaya
Hindi ko ata kakayanin kung ika’y mawala

Ang gusto ko lang naman ay mapa sa’kin ka
Kung papalarin man ako pangakong
Iingatan ka, kung papayagan man ako
Pangakong liligawan ka
Mamahalin ka aking sinta
Araw at gabi, hanap-hanap

Ka sa magdamag
Sa dami ng pagpipilian ikaw lang ang naibigan
Telefax No. 086-214-4221
Ko na mahalin, aalayan ka ng biulaklak
Mapa ngiti kalang ay ayos na
Ikaw sakin ang tinadhana
Ang gusto kung makasama
Hanggang sa tumanda.

Directions: Check in the internet the life story of the OPM singer of your choice. Choose only
one.
Arthur Nery is today’s hottest singing heartthrob. For those of you out there who want to know
more about him, here are some facts.
Arthur was born on Jan. 28, 1996. He is 26 years old and an Aquarius. He was born and raised
in Cagayan de Oro, Mindanao.
He comes from a musical family. Both of his parents sing and they listen to a lot of jazz and
blues. Frank Sinatra and Michael Bublé were his father’s favorites. They also liked Michael
Jackson. As a boy, Arthur remembers how his family would sing worship songs after dinner.
The first time that Arthur performed in public was for a birthday party. He was eight years old
and he sang Fly Me to the Moon which was a favorite of the celebrator.
Despite these influences and his budding talent, music was never considered a possible career
for Arthur. He did begin to start writing songs while in high school.
Arthur majored in Psychology while in college at the Ateneo de Cagayan.
It was while he was in college that music entered his life again. He joined the glee club and got
some formal training. He also started to take his songwriting seriously.
While trying to decide if he would go full-time into music or not, Arthur trained as a call
center agent and gave English lessons online to Japanese students.
Urged on by friends, Arthur finally decided to try his luck as a singer and songwriter. It was
hard work and he accepted whatever gig came his way where he sang mostly covers and
occasionally one of his own compositions.
It was Wacky Kiray who got Arthur started off on his career. Arthur was booked to sing in the
comedian’s show in Bukidnon. Wacky Kiray heard him sing his original, Life Puzzle, and saw
his potential to become a star.
When Wacky Kiray found out that Arthur was not signed to any label, he called his friend,
Kean Cipriano, the frontman of the band Callalily, who had just launched his own label, OC,
which is under Viva Music.
Initial negotiations were made by Kean and Arthur over the phone that same evening in
Bukidnon. Before the night was over, Arthur had agreed to sign with OC. He flew to Manila to
Telefax No. 086-214-4221
finalize his contract and do his first recording.
It was that pivotal trip that brought him the stardom he never even dreamed of.
The hit songs started coming. His first album Letters Never Sent was both a commercial and
critically acclaimed release. The singles Life Puzzle, Binhi, Higa, Happy w u featuring Jason
Dhakai, Take All The Love generated massive numbers of views and continue to do so.
Arthur’s biggest seller so far is Pagsamo with over 70 million views on YouTube. The song
even bested the famed BTS by 200,000 streams in a single day.
His latest Isa Lang is threatening to do even better with over 12 million views as of this
writing. The song is now the highest ranking local recording in the Top 50 chart of Spotify
Philippines.
Arthur’s Wishbus rendition of Binhi was named the Wishclusive Contemporary R&B
Performance of the Year last January. His Take All The Love bagged the Wish R&B Song of
the Year. Arthur donated the corresponding cash prizes to the Operation Smile Philippine
Foundation, Inc. and to Child Hope Philippines.
Arthur is set to mark a career milestone soon when he records his first cover version of a
classic Filipino pop song.
Hopefully, he will also be able to fulfill his dream of recording a song in the Visayan dialect
soon.
Arthur’s swoony heartthrob appeal was in full view for his screaming fans during his
performance at the recent Miss Universe Philippines beauty pageant where he sang Isa Lang.

Directions: Write a biographical essay on the life and career of the one and only Ms. Lea
Salonga. Highlight your research on her achievements as an international singing star.
Multiple award-winning actress and singer Lea Salonga is renown across the world for her
powerful voice and perfect pitch. She is best known for her Tony Award winning role in Miss
Saigon. In addition to the Tony, she has won the Olivier, Drama Desk, Outer Critics Circle and
Theatre World Awards. She was also the first Asian to play Eponine in the musical Les
Misérables on Broadway and returned to the beloved show as Fantine in the 2006 revival.
Many fans of all ages recognize Lea as the singing voice of Princess Jasmine from Aladdin and
Fa Mulan for Mulan and Mulan II. For her portrayal of the beloved princesses, the Walt
Disney Company bestowed her with the honor of “Disney Legend”.
Telefax No. 086-214-4221
Telefax No. 086-214-4221
Most recently, Lea starred in the critically acclaimed Sony musical-drama Yellow Rose and in
the Netflix animated series Centaurworld. Additionally, in August, Lea released her single
“Dream Again” with all profits donated to charities aiding in COVID-19 relief around the
world, including The Actor’s Fund. In November 2020 Lea Salonga: Live with the Sydney
Symphony Orchestra from Sydney Opera House aired as part of Great Performances on PBS.
A live album of the performance was subsequently released by Broadway Records.
Telefax No. 086-214-4221
Lea’s 2019 The Human Heart Tour saw sold-out audiences and record-breaking sales across
North America, the United Kingdom and Australia. On Broadway, Lea most recently starred in
the 2018 Broadway revival of Once on This Island as the Goddess of Love, Erzulie. The
show’s return to the Broadway stage earned a Tony Award for “Best Revival of a Musical”
Telefax No. 086-214-4221
and also garnered Lea and the cast a Grammy nomination for “Best Musical Theater Album.”
Lea served as a judge on the Philippines hit version of The Voice including the ratings
juggernaut The Voice Kids. Mitoy Yonting, a member of Team Lea, was named the first
season winner.
In late 2017, Lea released “Bahaghari,” an album of traditional Filipino songs. The album
serves as a reflection of all the intricate and different languages found in the Philippines and
aims to help preserve the island nation’s dynamic culture. Lea also released her electrifying
live album “Blurred Lines” in the spring of 2017. The album was recorded during her sold-out
run at Feinstein’s / 54Below the year before. The original six-date showcase was received with
overwhelming accolades from fans and critics alike. So well received in fact that Lea returned
to the famed venue for a record-setting 15-show encore performance in the late spring (2017).
Telefax No. 086-214-4221
In the fall of 2015 Lea began her critically acclaimed run as Kei Kimura in the Broadway
production of Allegiance. The musical, inspired and developed by legendary actor George
Takei, tells the story of a Japanese American family forced into an internment camp during
World War II. Lea garnered a Craig Noel nomination for Outstanding Featured Performance in
a Musical for her performance in the Old Globe production and can be heard on the show’s
original cast album. Following this, Lea made a guest appearance on the hit CW television
show Crazy Ex-Girlfriend.
Telefax No. 086-214-4221
For much of 2014, Lea performed with legendary popera quartet Il Divo, accompanying them
in Asia, the United States, Canada, Mexico, and all through Eastern and Western Europe on
their A Musical Affair tour, celebrating the band’s 10th anniversary. She can be seen on their
latest DVD and CD bearing the same name.
Lea made her debut in the world of Cabaret in 2010, performing a sold out, three-week
engagement at the Café Carlyle in New York City. She returned in June 2011 to delight
audiences in another multi-week engagement and released a live version of her 2010 concert
“Lea Salonga: The Journey So Far,” her 26th career CD, in August 2011. The CD rose to the
#3 spot on iTunes Jazz Charts. In 2013, she did a third engagement titled “Back to Before,”
which was lauded by the New York Times.
Lea has toured all over the world, performing sold out concerts in such locations as the Sydney
Opera House, 02 Arena, Disney Concert Hall in Los Angeles, Singapore’s Esplanade , Kuala
Lumpur Convention Center, Hong Kong Cultural Center ), Queen Sirikit Convention Center in
Bangkok and Carnegie Hall in New York.She was also the first artist to sell out two shows at
Brigham Young University’s deJong Concert Hall in Provo, Utah since The Kings Singers in
2009.
In 2010, she participated in the 25th Anniversary Concert of Les Misérables to sold out crowds
at the UK’s O2 arena having appeared as Eponine in the show’s 10th Anniversary concert. She
also dazzled as the hauntingly tragic Grizabella in a limited run of CATS in her hometown of
Manila. Lea also teamed up with legendary Grammy winner, Patti Austin, to perform the
concert series, ‘Heart and Soul,’ at venues throughout the United States.
Telefax No. 086-214-4221
Telefax No. 086-214-4221
Telefax No. 086-214-4221
Honored with an appointment as a United Nations Food and Agriculture Organization

Goodwill Ambassador in October of 2010, Lea vowed to act as an advocate for the Youth and
United Nations Global Alliance initiative led by the FAO. The same year, she also joined
forces with Avon as a celebrity judge for Avon Voices, alongside such artists as Fergie,
Natasha Beddingfield and Diane Warren, in the first ever global, online singing talent search
for women and songwriting competition for men and women.
In her 40-year career, Lea has performed for six Philippine presidents (from Ferdinand Marcos
to Benigno S. Aquino III), three American Presidents (George H. W. Bush, Bill Clinton, and
Telefax No. 086-214-4221
George W. Bush), and for Diana, Princess of Wales and Her Majesty Queen Elizabeth II. She
began her career as a child star in the Philippines, making her professional debut in 1978 at the
age of seven in the musical The King and I. She went on to star in productions of Annie, Cat
on a Hot Tin Roof, Fiddler on the Roof, The Rose Tattoo, The Sound of Music, The Goodbye
Girl, Paper Moon, The Fantasticks and Rodgers and Hammerstein's Flower Drum Song on
Broadway.
An avid techie and gamer, Lea divides her time between Manila, Philippines with her family
and the United States.

Directions: Music Research: Check out in the internet the life story of the icon in the
Philippine music history. Choose only one.
Enrico De Jesus known as Rico J. Puno was born on February 13, 1953 and nurtured by his
loving Parents; Nanay Corazon and Tatay Felipe Puno. Rico J. studied at MAPA High School
and finished his Bachelor of Arts Degree in Business Administration at PSBA. Being the
eldest among the six siblings who grew up in Balic-balic Sampaloc Manila, he knew he had to
initiate and do something to be able to help his family. He sought for employment and even
applied as a Bell Boy in which he was not hired. Not giving up, he applied as a Folk Singer in
various Manila Clubs such as Spindle. With his God-given Talent and Passion for his Craft,
fueled with Hunger, Grit and Perseverance; Rico J. Puno was on his way to his Kapalaran or
Destiny of being the Philippines' one and only Total Entertainer!
One afternoon in the 1970's; the famous American Motown group, The Temptations along
with the Executive Producers from Vicor Records had lunch at The Palazzi where Rico J. Puno
was having his regular gig. The Motown group was so impressed with the Folk Singer that one
of the members of The Temptations sang with him. Mr. Puno was later on invited by Mr. Vic
Del Rosario to visit their office and as the saying goes, the rest was history. Vicor Records
proceeded in making Rico J. Puno's first record.
He's known for instilling his own Tagalog Lyrics with English songs and among these
were LOVE WON'T LET ME WAIT and THE WAY WE WERE. He also became one of San
Miguel Beer Corporation's Product Endorser in the 1970's in which the
advertisement was popularly known as the "Isang Platitong Mani" Commercial, making Rico
J. Puno a sought after Endorser. Rico J. also represented the Philippines at the Tokyo Music
Festival in 1979 and sang LUPA. It must have been great to witness the rise of OPM in our
country. Rico J. Puno was one of those who paved the way for it to flourish.
Longevity and how to stay in Music Industry is a completely different story. In 2001, The
Greatest Hits Series was born and brought the Hitmakers such as Hajji Alejandro, Rey Valera,
Nonoy Zuniga, Marco Sison, and Rico J. Puno together. The Hitmakers had great chemistry
together. It became such a huge success that it became one of the longest running in demand
Concert Series here and abroad.
Aside from being a great Singer/Performer, Rico J. was also a great Host. He was one of the
Telefax No. 086-214-4221
hosts of GMA Network's noon time Variety Show, Lunch Date alongside Orly Mercado, Toni
Rose Gayda, and Chiqui Hollman. Later on, Rico J. and Hajji Alejandro led RPN 9's Chibugan
Na with Arnel Ignacio, Michelle Aldana, Chiqui Pineda and Gino Padilla. Later on in his
career, he became part of Abs-Cbn's Pilipinas Win na Win and Happy Yipee Yehey. He would
always ask the bubbly audience, "Are you happyyyyyyyy?" He was also seen encouraging the
contestants of It's Showtime's Tawag Ng Tanghalan as one of the "Hurados" or judges.
Rico J. Puno was also a good Actor. Aside from doing movies, he was also in T.V. Series and
Sitcoms. He was also a part of ABS-CBN's Home Sweetie Home Sitcom and FPJ's
Ang Probinsyano as Daga. Rico J. Puno was also a great public servant who generously and
happily served the People of Makati as a City Councilor for 11 years. He lived his life with
much love, humility, and passion. The Filipino people are proud to have Rico J. Puno as the
Philippines' very own Macho Gwapito and The Total Entertainer.

Lesson 7-Drama, Music and Film

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Lesson 7-Drama, Music and Film

Uploaded by

Copyright:

Available Formats

Republic of the Philippines

Surigao del Sur State University

Name Ladesiree G. Plazo Score/Rating

Name Ladesiree G. Plazo Score/Rating

Shakespeare's Globe in London, Façade of the former Theatre a

Tower Circus, Blackpool Frank Matcham's Grand Opera House,

Proposals for the New Victoria Theatre Belgrade Theatre, Coventry

Name Ladesiree G. Plazo Score/Rating

Name Ladesiree G. Plazo Score/Rating

Name Ladesiree G. Plazo Score/Rating

Name Ladesiree G. Plazo Score/Rating

Name Ladesiree G. Plazo Score/Rating

Title of the Song/Pamagat ng Kanta

Sun and Moon

Oh, binibini napakaganda naman nang iyong mata

At, ako’y nalilito, natutuliro, nanginginig

Hindi ko ata kakayanin kung ika’y mawala

Araw at gabi, hanap-hanap

Name Ladesiree G. Plazo Score/Rating

Name Ladesiree G. Plazo Score/Rating

Honored with an appointment as a United Nations Food and Agriculture Organization

Name Ladesiree G. Plazo Score/Rating

You might also like