Passed 5104 13 21MELCS Baguio Roles of Theater Edt

Roles of Theater in Sustainable
Development
Learner’s Module in SPA Theater
Quarter 1 ● Module 1
Florel W. Acfiawen
Developer
Department of Education • Cordillera Administrative Region
NAME:________________________ GRADE AND SECTION ________________

TEACHER: ____________________ SCORE _____________________________
Republic of the Philippines
DEPARTMENT OF EDUCATION
Cordillera Administrative Region
SCHOOLS DIVISION OF BAGUIO CITY
Military Cut-off, Baguio City 2600
Published by:
Learning Resource Management and Development System
COPYRIGHT NOTICE
2020
Section 9 of Presidential Decree No. 49 provides:
“No copyright shall subsist in any work of the Government of the Philippines.
However, prior approval of the government agency of office wherein the work is
created shall be necessary for exploitation of such work for profit.”
This material has been developed for the implementation of K-12 Curriculum
through the Curriculum Implementation Division (CID)—Learning Resource
Management and Development System (LRMDS). It can be reproduced for
educational purposes and the source must be acknowledged. Derivatives of the work
including creating an edited version, an enhancement or a supplementary work are
permitted provided all original work is acknowledged and the copyright is attributed.
No work may be derived from this material for commercial purposes and profit.
ii
PREFACE
This module is a project of the Curriculum Implementation Division particularly

the Learning Resource Management and Development Unit, Department of
Education, Schools Division of CAR which is in response to the implementation of the
K to 12 Curriculum.
This Learning Material is a property of the Department of Education- CID,

Schools Division of CAR. It aims to improve students’ performance specifically in
Special Program in the Arts – Theater.
Date of Development August 2020

Resource Location DepEd Schools Division of Baguio City
Learning Area SPA – Theater
Grade Level 10
Learning Resource Type Module
Language English
Quarter/Week Q1/W1/W2/W3/W4/W5/W6/W7/W8
SPA_TA-TST10-Ia, SPA_TA-TST10-Ib-I,
Learning Competency Code and SPA_TA-TST10-Ij
1. Explains what the role of theater in

sustainable development is
2. Presents theatrical examples and
illustrations on theater for various
Learning Competency developmental messages
3. Articulates reflection and synthesis
generated from theatrical
presentations on development and
social transformation
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ACKNOWLEDGEMENT
The developer wishes to express his appreciation to those who helped in the
development of this learning material. The success of this material would not be likely without
these organizations and people who gave their expertise and commitment:
The developer extends his indebtedness to the Youth Advocates Through Theater Arts
(YATTA), Young Artist’s Playlab (YAP), and the Philippine Educational Theater Association
(PETA), for instilling the Creative Pedagogy for blended learning and other artistic strategies
and techniques that teachers can utilize this “new norm.”
To also extend his whole-hearted appreciation and gratitude to the Special Program in
the Arts (SPA) Head Teacher coordinator, Francis B. Lumiwes, the Baguio City National High
School Principal, Brenda M. Cariño, and the Education Program Supervisor – MAPEH, Lolita
A. Manzano for giving continuous support, opportunity to maximize and hone the talents and
skills of the SPA mentors and student-artists, and for being advocates in promoting Arts in the
community.
And to all other help directly and indirectly given to the developer to finish this learning
material, Thank you and God bless you a thousand fold.
Development Team
Developer & Layout Artist: Florel W. Acfiawen
Illustrator: Peniel Zenith W. Acfiawen
School Learning Resources Management Committee

Brenda M. Carińo School Head / Principal
Francis B. Lumiwes Subject / Learning Area Specialist
Sherwin Fernando School LR Coordinator
Quality Assurance Team

Lolita A. Manzano, Ed.D. EPS – MAPEH
Lourdes B. Lomas-e PSDS – BCNHS District
Learning Resource Management Section Staff

Loida C. Mangangey EPS – LRMDS
Victor A. Fernandez Education Program Specialist II - LRMDS
Christopher David G. Oliva Project Development Officer II – LRMDS
Priscilla A. Dis-iw Librarian II
Lily B. Mabalot Librarian I
CONSULTANTS
JULIET C. SANNAD, EdD SORAYA T. FACULO, PhD

Chief Education Supervisor – CID Asst. Schools Division Superintendent
MARIE CAROLYN B. VERANO, CESO V

Schools Division Superintendent
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TABLE OF CONTENTS
Page
Copyright Notice …………………………………………………..……...…..…. ii
Preface …………………………………………………………………...…….… iii
Acknowledgement……………………………………………………. …….…... iv
Table of Contents……………………………………………………….……. … v
Title Page…………………………………………………………………………. 1
Introduction ………………………………………………………………………. 2
Learning Objectives
Pretest………………………………………………………………….…………. 3
Lesson 1: Roles of Theater in Sustainable Development ………………… 4
Review…………………………………………………………………………. 4
Activity ……………………………………….……………….…………. 4
Discussion ……………………………………...………………………… 5
Enrichment ……………………………………………………….…………… 10
Activities…………………………………………………………………… 10
Activity 1…………………………………………………………………… 10
Activity 2…………………………………………………………………… 24
Activity 3…………………………………………………………………… 27
Generalization …………………………………………………………………… 30
Application ……………………………………………………………….……… 30
Lesson 2: Theater for Various Developmental Messages ..………………… 36
Review…………………………………………………………………………. 37
Activity……………………………………….……………….…………. 37
Discussion……………………………………...………………………… 39
Enrichment ……………………………………………………….…………… 54
Activities…………………………………………………………………… 54
Activity 1…………………………………………………………………… 54
Activity 2…………………………………………………………………… 56
Activity 3…………………………………………………………………… 62
Generalization …………………………………………………………………… 64
Application ……………………………………………………………….……… 65
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Additional Activity………………………………………………….…………….. 69
Discussion……………………………………...………………………… 69
Activity…………………………………………………………………… 69
Post-Assessment …………………...…………………………………………… 80
Reference Sheet…………………………………………………...…….…….… 81
Answer Key……………………………………………………………………….. 82
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Roles of Theater in Sustainable
Development
Learner’s Module in SPA Theater
Quarter 1 ● Module 1
Florel W. Acfiawen
Developer
Department of Education • Cordillera Administrative Region
NAME:________________________ GRADE AND SECTION ________________

TEACHER: ____________________ SCORE _____________________________
1
What I Need to Know
This learning material is an exposition of Play Directing and

the Production Process. Through the learning activities presented,
you will understand Theater better and its application in the
contemporary world for social transformation through the principles
of play directing via theatrical interventions like play productions using applications of
theater and drama for different developmental goals in society with emphasis on the
role of the director and different artistic tasks in a production.
This module was made and intended for blended learning through the use of
google classroom and other google applications and/or softwares. It is also required
for the learner to download at least one video editing application on his/her device to
be able to accomplish the given performances throughout this module. Selected
instructional videos and/or other learning resources are also presented with an online
link which will serve as a guide for you to engage yourself with the topics before
answering the given tasks. The lessons will also prepare you for a post assessment
at the end of the module. Online options for outputs’ submission is also provided.
This module is divided into two lessons:

Lesson 1 – Roles of Theater in Sustainable Development
Lesson 2 – Theater for Various Developmental Messages
Learning Objectives
• Appraise Theater as a medium for sustainable development of the community

• Decipher various developmental messages in a Theatrical play using
differentiated analytical methods
• Explore Theater as an art form for social change
• Manifest patriotism by allowing the creative self to be a tool for developmental
messages
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What I Know
Pre-assessment: Let us determine how much you already know
about the Roles of Theater in Sustainable Development and Theater
for Various Developmental Messages.
*Multiple Choice.
Instructions: Encircle the letter and word/s of the correct answer. Avoid erasures and
superimpositions.
1. It is often associated with traditional western stage performance.

a. Art b. Theatre c. Dance d. Drama
2. “Theatre is a _ for highlighting man’s humanity…” by Shakespeare.
a. reflection b. light c. tool d. mirror
3. Popular theater has been utilized to project:
a. reality b. art c. life d. issues
4. It transforms the audience into actors and creators of the drama.
a. Dinner Theatre b. Epic Theatre c. Forum Theatre d. Metatheatre
5. These are roles of Theater in Sustainable Development EXCEPT:
a. Reconciliation b. Exploration c. Participation d. Imagination
6. Theater and drama are tools to inspire youth to be:
a. “performers” b. “activists” c. “artists” d. “change makers”
7. In making any play and/or story, the first step is to do a:
a. Storyline b. Brainstorm c. Script d. Research
8. It develops from a playwright’s personal values.
a. Theme b. Idea c. Character d. Plot
9. What do you call your moral or ethical position about the story you are telling?
a. Theme b. Plot c. Denouement d. Dillema
10. Developmental messages in a play can also refer to the:
a. Theme b. Storyline c. Plot d. Sedition
11. This becomes the first play by a Latino writer to be nominated for a Tony Award
as best play.
a. Uncle Vanya b. Short Eyes c. Clybourne d. Our Town
12. A Tanghalang Pilipino’s stage musical which is a proud celebration of our roots
as a people before colonization.
a. Hudhud b. Lam-Ang c. Bana d. Mahabarata
13. It is considered as the first great musical of 2019 in the Philippines
a. Katsuri b. Lam-Ang c. Nana Rosa d. Spring Awakening
14. Who is the first Filipina to come out as a comfort woman during the Japanese
occupation?
a. M.R. Henson b. R.M. Rosa c. M.R. Valentino d. M.R. Rosal
15. This was called “The Golden Age of Philippine Theater.”
a. 1900s b. 1960s c. 1940s d. 1970s
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What’s In
Theatre has been an influential factor in many people's lives.
Creativity can flourish, academics can improve, and means of self-
expression can be developed. It is important to have mandatory
theater classes because when a student participates, they benefit significantly, not
only in terms of exploring the unexplored or hidden ability to act, but also by shedding
the inhibitions associated with performing in front of an audience.
Theater can be influential in all aspects of life. Participating in theater classes
can stimulate student's creativity and thought process. The whole experience of
theatre makes people more aware and sensitive towards various issues. It empowers
the meek and makes people do away with their reservations.
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What’s New
Characterization is one of the things being utilized all the

time by actors which I know that you are familiar with from the
previous grade level you undergone with. Now, we will do an
exercise so as to recall how to do it.
Activity: Animals – a characterization exercise.

For this activity, you will mimic movements of animals and try to slowly put it to
human gestures and actions. This will introduce you to some of the Philippine culture
concepts which sometimes includes immitatation of movements from animals. Further,
this will give you an experience on cultural preservation which is a role of Theater in
sustainable development.
*Procedure:
1. Observe the animals in your home. If you do not have any animal at home, you
can watch different animals through YouTube.
2. Choose one to observe closely:
how does it give off sound, move, sleep, eat, and etc.
3. See what excites your chosen animal.
4. Try to become the animal.
5. Plan a short story (good for a minute) and perform it as the animal.
6. Make the animal actions to that of a human. So the characteristics of the animal
will be interconnected with that of a person to create the personality for a
character.
7. Modify your story to accommodate that of a human character.
8. Take a video of your performance.
9. Edit your video by adding the following:
Title, background music, and credits
10. Submit your video on your google classroom for feedback and discussion.
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This activity will keep you rooted on how our forefathers immitated the
movements of animals to come up with various cultural performances like the mimetic
dances we have today.
Share your experience of the activity by answering the following questions below:
What animal did you choose? Describe it.
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Why did you choose that animal to immitate?.

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What character did you create upon integrating the movements of your chosen
animal?
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How did the experience help you become more creative as an artist especially as a
director?
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What are the challenges you encountered throughout the activity?

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What’s in it
Lesson 1: Roles of Theater in Sustainable Development
Theater and drama are tools to change the community and

inspire youth and kids to be “change makers”. Arts in general can be
used to build sustainable communities, through empowering young
people who can make a difference in their local communities as they
are always trying to develop creative and sustainable solutions to the
challenges of their daily life.
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Roles of Theater in Sustainable Development
‘Theatre’ is often associated with traditional western stage performance for
wealthy spectators with luxurious costumes and beautiful backdrops. While this is
certainly a very prominent form of theatre, there are also various other forms which
have been used for purposes beyond mere entertainment, such as to convey religious,
educational, political, social or economic messages (UNESCO, 2006).
A. Theater for Reflection

Theatre as a media of communication constantly mirrors and reflects the
society. This has been emphasized by Yerima (2007), who quoted Shakespeare:
“Theatre is a mirror for highlighting man’s humanity and also a tool for
understanding why man also finds it so easy to transgress that same humanity”.
The dramatic representation of real stories or phenomena brings the hidden
values or questions in the society to people's awareness, thus induces people to reflect
on problems (Aprill et al., 2006). While we might witness a particular phenomenon and
hear of someone’s story in our daily lives, they will not have as strong an impact
without a dramatic representation that engages people’s emotions. Without art,
authenticity doesn’t mean much’, said Richard William (1970), the writer of the film
Nil by Mouth, which narrated the real life experience of alcoholism and drug-taking by
a man called Gary Oldman.
When real life experiences are captured within the dramatic form, strong
emotions and resonance can be aroused among audience and powerful outcomes
such as change in attitudes, behaviours or even causes of life are possible (Somers,
2008).
For this reason, popular theatre has been utilized to project reality or a specific
local issue to guide participants and targeted audience into analyzing their own real-
life situations (Mdoe, 2002). For instance, after the civil war in Mozambique between
1975 and 1992, a social survey and a theatre presentation were conducted among the
displaced people who remained in the area of Nawagene (Scott-Danter, 1999).
While the social survey raised the issues of lack of local services such as need
for clean water and accessible health centres, the theatre presentation brought out
more subtle concerns of social-relationship and the social causes inhibiting
development (ibid). Theatre thus sensitizes a community on priority issues (Akashoro,
Kayode & Husseini, 2010), clarifies on people’s common visions and purposes, and
inspires them to work towards achieving them. The reflect process stimulated by
theatre also leads people to discover neglected patterns of thought or behaviour,
notice new potential within themselves and experience new ways of perceiving reality
(Reich, 2012). Those can then serve as the basis to be strengthened into an act of
resistance or assertion (ibid).
B. Theatre for Mutual Understanding and Reconciliation

Theatre can also function to bridge understanding among members in a
community by providing an insight into others’ point of view (Kasoma, 1974). This
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occurs when stories are narrated from the perspective of a particular character, or
when audience participate in acting different, or even opposite characters from
themselves.
For example, in the film "Reaching Rural Families" i, a family planning worker
plays the role of an ignorant mother, while the mother takes on the role of the family
planning worker (ibid). This promotes mutual understanding and tolerance by
permitting the audience or actors to experience a different perspective or a role.
Someone who was previously seen as the other becomes familiar and gains empathy
(Akashoro, Kayode & Husseini, 2010). The community gets a richer understanding
and more complex view of its own people.
Any movement towards social change might emerge from such changes in
perception of self and others (Somers, 2008). In Lebanon, forum theatre was
incorporated into a conflict transformation framework in order to build relationships
between formerly conflicting parties by employing its capacity to relate, experience
and understand via bodily interactions, with and without words (Reich, 2012).
On the other hand, when performed for outsiders, theatre can sensitizes the
authority or practitioners to the needs and aspirations of a community, and show
others their problems to encourage more understanding (Scott-Danter, 1999).
One example is in Arua, Uganda, where a powerful piece of theatre on the
theme of family neglect has been developed by the local community. The play
captured, through the stories of members of a family, a range of interconnected issues
from prostitution and alcoholism to domestic violence, school drop-out, early marriage
and petty crime. At the end of the performance, the audience consists of government
and NGO officials were invited to discuss the issues raised and the role of their
institutions to address the root causes of the problems.
C. Theatre for Therapy

A good theatre might possess therapeutic effect, for both its participants and
audiences. By watching or participating in a play that is tightly connected to one’s
memory/personal story, one can re-categorize their memories, reedit their personal
stories, and re-establish meanings from a complex, reflexive relationship between
dramatic experience and personal identity (Somers, 2008).
People find telling their stories surprisingly therapeutic, as reported by Scott
Danter (1990) about an ex-detainee who helped in a play about asylum seekers which
took place in Oxford in 1997. The Crude Theatre in Kibingo Village, Uganda for
instance, invited old people without families to retell memorable events of their lives,
serving as a therapy for the old and linkages across generations (Dinesh, 2005).
For a specific group of audience who have defective well-being but
embarrassed to share the issues they are facing with those they feel may not
understand, watching a story which recognizes and understands their problems and
circumstances is itself sufficient to alleviate pain and combat isolation (ibid).
Theatre can illustrate a shared experience of many within the same community
and provides ‘de-solating’ effect (ibid), making people realize that they are not alone
in their struggles, and that they are somehow being understood by others. Written by
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Somers, ‘The Living at Hurford’ dealt with the struggle of small family farms to stay in
business following the foot and mouth disease outbreak in 2001. A farmer approached
after the performance and said to Somers, ‘That’s my life you put up there tonight.’
As a group which often finds expression of emotions difficult, farmers were able to
provide advice to the main character, Chaplain and shared his pain, thus providing
some sorts of healing and restoration (Somers, 2008).
These healing effects towards both the audience and the actors themselves are
important for empowerment, meaning-making, identity formation and even collective
recognition of social injustice, which can potentially provide seeds for future social
transformation.
D. Theatre for Participation

Theatre also serves as a participatory tool by inviting audience to participate in
the act, making it a genuine two-way medium for communicating information (Kasoma,
1974). Forum theatre or playback theatre, for instance, transforms the audience into
actors and creators of the drama.
Members of the audience are encouraged to actively engage themselves in the
process, critically reflect on, challenge and change the course of the play and try out
different solutions . They can interrupt a performance and suggest different actions for
the actors who in turn carried out their suggestions, thus giving the spectators
themselves an opportunity to come up with different solutions of a collective problem
(Rizoaica, unknown).
Theatre has been employed as a research tool by multiple development
projects for engaging the community in a dialogue, and mobilizing communities to rally
and support development activities (Kamlongera, 2005). One example is the Primary
Health Care (PHC) system in Malawi, which works together with the Chancellor
College Theatre for Development team to probe, stimulate and tease out ideas from
the community (Kalipeni and Kamlongera, 1996).
The theatre team used a technique called “opening up the play”, which involves
asking direct questions to the audience at critical points of the story line in the play
and then incorporating their responses to the plot. As a result, a bigger picture of the
community’s health status emerged. Everybody in the community contributed to the
dialogue (ibid).
The “play” nature of drama serves as a democratizing tool, as anybody present
at performances felt free to voice out their opinions. Participation and self-expression,
especially from those who often go unheard is encouraged (Akashoro, Kayode &
Husseini, 2010).
E. Theatre for Imagination

As a dynamic mix of fiction and reality, theatre offers opportunity for people to
express and challenge ideas and issues using a fictional voice and symbolic situations
. Theatre creates space and distance, which helps to reduce sensitivity of certain
topics or taboos like sexuality. People are able to explore their personal experiences
and ideas without feeling exposed (UNESCO, 2006).
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By involving participants in a fictional experience that does not focus on their
own attitudes, feelings and behaviour (but which has relevance to them), the
immersive yet distancing effects of theatre (Mdoe, 2002) can create opportunities to
address a whole range of issues and offer conducive environment for positive
transformation . For this very reason, theatre has been promoted as a tool to raise
awareness about HIV and AIDS issue (UNESCO, 2006).
Interactive theatre creates a transitional space for social imagination where one
can safely experiment on different roles and test out new ways of behaving before
using them in real life. This ’imagination’ exercise also encourages people to find their
own creative solutions and remedies to problems, rather than looking to outside forces
for intervention or replication, which is sometimes inappropriate for local culture or
conditions.
Even when an outside intervention is required, theatre can help people to think
more about how best this can be innovated and channeled into local circumstances,
and what are their own roles in it (Dinesh, 2005).
Conclusion
We live in a media culture, with battles of ideas and
values (Aprill et al., 2006). While artists and ordinary people
might lack the political and economic power to implement
changes, they possessed the ability to influence feelings
and ideas through their work (Carter, 2009) of acting and
performing, which has potentially more profound impact on
people’s attitudes and mentality.
Theatre is one such media where artists and ordinary
people with stories can become indirect activists, and contribute their part towards
achieving a better world. Its promotion of reflection, reconciliation, therapy,
participation and imagination leads to empowerment of its participants and spectators,
turning them into potential creators or resolvers of their own circumstances.
Theatre representation of the contemporary environmental themes also add to
its new important role of communicating scientific information. History provides
evidence for the potential of theatre in generating lasting social impacts. Theatre as a
tool thus deserves appropriate recognition, research, support and advocacy from
activists, academicians and donors as a valid strategy to instill societal transformation..
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What’s More
Here are activities which will help you identify the role of Theater
in sustainable development. Further, these will help you in
planning and the things you should be considering on your future
performances and plays as a producer.
Activity 1: My Video Reaction

*Instructions:
1. Watch all the given Filipino plays below.
a. Rated: PG | PETA Theater Online
https://www.youtube.com/watch?v=mG0OptDrchE
b. UP Playwrights' Theatre's THE KUNDIMAN PARTY

https://www.youtube.com/watch?v=zYTQaswTCco
c. Tanghalang Ateneo's Dolorosa (dir. Jenny Jamora, 2019)

https://www.youtube.com/watch?v=qiudmA8f8v4
d. A Game of Trolls | PETA Theater Online

https://www.youtube.com/watch?v=7yC9dtNKJK8
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e. ANG BAGONG CRISTO
https://www.youtube.com/watch?v=10UqiSlaNKQ
2. Shoot your own video reaction on each of the 5 plays adding the following:
➢ Title:
➢ A Summary of the play: (Short version of the play/script…)
➢ Plot: (Storyline of the play. 1-3 sentences only.)
➢ Theme: (Main idea where the play revolves)
➢ Characters: (Name, status, background, and etc.)
➢ Setting: (Place and time/era)
➢ Reactions/Insights:
a. Director (directions executed to the performers, stage, props, and etc.)
b. Actors/Performers (acting, emotions, and overall performance)
c. Playwright/Story/Script (dialogues, words, and organization of thoughts
within the lines of the characters)
d. Sound and Lights (all effects projected and their impact on stage)
e. Set & hand props, Costumes, Make-up (impact on stage,
performers/characters, and performance)
f. Ending (Do you agree or not? Suggestions and other comments)
g. Role of the play to sustainable development considering social, economic,
and other factors of development.
3. Combine and edit your video using your chosen video editing
application/software and add the following:
a. Title of the video output
b. Supporting pictures/screenshots of the play and narratives like
descriptions and labels for clarity of information.
c. Credits for the videographer, performer, editor, and etc.
4. Check the next pages for the activity sheet for your video reaction content
sheet and rubric for guidance and output expectations. Use the activity sheet
as your script during your video reaction.
5. Submit output through your google classroom.
(*Note: Ask your teacher for the class code or check your Gmail account for
the class invitation.)
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Here are some tips when shooting your video:
➢ Make sure that you are presentable when
taking/shooting your video. Observe proper grooming.
Add light make-up or as needed.
➢ Check that your whole face down to your shoulders can
be seen in your video.
➢ Your distance from the camera should neither be very
close nor very far. You should look like your 2x2 ID
picture in the video but it also depends upon what is required by your
performance/output.
➢ Check your lighting of your room if it’s enough. It should neither be dark nor
too bright.
➢ Do some “voicing”/vocalize techniques, warm-ups, and facial exercise.
➢ Rehearse what you are going to say or do in the video until you can do it as
perfect as possible.
➢ Write down the things you are about to say for your reference once you forgot
what to say.
➢ Reshoot your video if you are not contented with it.
➢ Dominate your performance space and project confidence through your voice,
facial expressions, and gestures.
➢ Think every time you perform that it is like your last and only performance.
➢ Perform with your heart not with your ego or pride.
.
*Note: For questions and other clarifications, you can post on your google classroom
or group chat for discussion and solution.
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1st Play: My Video Reaction (Content Sheet)
(Activity Sheet)
Name: _ Date: _
Grade Lvl. & Section: _ Score: _
*Instructions: (Please refer on the previous pages…)
Title of the Play: _
Summary of the Play: (Short version of the play/script…)

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Plot: (Storyline of the play. 1-3 sentences only.)

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Theme: (Main idea where the play revolves)

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Characters: (Name, status, background, and etc. Focus on the main characters.)
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Setting: (Place and time/era)

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Reactions/Insights:
• Director (directions executed to the performers, stage, props, and etc.)
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• Actors/Performers (acting, emotions, and overall performance)
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• Playwright/Story/Script (dialogues, words, and organization of thoughts within

the lines of the characters)
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• Sound and Lights (all effects projected and their impact)

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• Set & hand props, Costumes, Make-up (impact, performers/characters, and

performance)
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• Ending (Do you agree or not? Suggestions and other comments)
• Role of the play to sustainable development considering social, economic,

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2nd Play: My Video Reaction (Content Sheet)
(Activity Sheet)
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3rd Play: My Video Reaction (Content Sheet)
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4th Play: My Video Reaction (Content Sheet)
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5th Play: My Video Reaction (Content Sheet)
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*Process Questions:
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2. How did you deal or provide solutions with these difficulties?
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Activity 2: Poster Making
*Instructions:
1. Research for other roles of Theater in sustainable development.
2. Create a poster that will collate your research with the discussed concepts.
3. Use the activity sheet provided on the next page for your output. Be artistic and
creative!
4. Include a short description of your output.
5. Please see attached rubric for the activity on the following page for guidance &
expectations.
6. Submit your output through you google classroom.
*Process Questions: (Answer these after the activity…)

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Poster Making
(Activity Sheet)
Name: Date:
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In making any play and/or story, the first step is to do a research about it to
come-up with enough facts that will serve as the foundation of the performance. Every
country has social issues which the people needed to deal with. You did a little
research last time. Expand your research and involve a social issue for your story.
Activity 3: Research Activity

*Instructions:
1. Research on at least three issues you have in the community.
2. Use the following guide questions for your research:
a. What is/are the issue/s?
b. Where is your source of the issue? (News paper, website, etc.) Cite.
c. What is the nature of that issue? (Is it economic, social, or others?)
Explain.
d. Is it that critical to talk about? If yes, why do you say so? If no, then
change your researched issue.
e. What is/are your proposed solution? Explain.
*Note: You can add other questions to get the facts you needed for the story.
3. Use the activity sheet on the next page as your notebook for the interview.
4. Please check the rubric below for your guidance throughout the activity.
5. Submit your output to your google classroom.
*Process Questions: (Answer these after doing the activity…)

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Research Activity
(Activity Sheet)
Name: _ Date: _
*Guide Questions for your research:

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Is it that critical to talk about? If yes, why do you say so? If no, then change your
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*Note: You can use a separate sheet of paper if the space provided is not enough…
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What I Have Learned
As part of your generalization of the topic/lesson, write
ideas/concepts/insights you succesfully learned/gained from it.
Roles of Theater in Sustainable Development

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What I can do
For the rest of the week, think of various ways to present your
research in a creative and artistic manner. You can try browsing the
internet for various stories based on a social issue which you can get
an idea from in making the output for the this next activity.
Story Writing
Let’s integrate your creativity, imagination, and writing skills on the research
activity you did last time!
*Instructions:
1. Using the research information and other facts you acquired from the previous
activity, build a “theatrical story” that will not only combine the issues you
researched but also provide solution on these.
2. Integrate the previous playwriting techniques and facts (e.g. Point of view, Point
of attack, beginning-middle-end, and etc.) you acquired from your previous
grade level.
*Note: Think outside of the box! And consider the platform of performance you
might present the output.
3. Read the attached rubric for your guidance throughout the activity.
4. Use the activity sheet on the next page as your final and analysis paper for your
story. make sure to fill in the needed information on the ativity sheet.
5. Submit outputs through your google classroom.
(*Note: Ask your teacher for the google classroom class code or check your gmail
account for the class invitation.)
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Story Writing
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*Questions/Tasks for your analysis as the writer:
1. Using five points, write the storyline of your output.
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2. What is the main goal of the character/s?

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3. What are the conflicts/hindrances to the main character you integrated in the
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*Process Questions: (Answer this after the activity…)

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(Insert Lesson 2: Theater for Various Developmental Messages Title Page
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What’s In
Plays nearly always tend to be about something that matters.
Screenplays have the luxury – assuming you want that – of only
needing to be about what-happens-next. But plays need this
something of consequence. Being about something that matters guarantees that a
play comes with a theme.
Themes develop from a playwright’s personal values (moral, social, or
political) expressed through a play's plot and characters. In a sense, the theme is your
moral or ethical position about the story you are telling.
What’s New
Activity: Theme Analysis (A Written Activity)
*Instructions:
1. Recall the theater plays, movies, stories, or books you encountered.
2. Choose one to focus on its story.
3. Write down the summary based on what you recalled.
4. Based on your recollection of the story, identify the themes or messages that
was intertwined within the plot, storyline, or even in the goals of the
characters.
5. Add a short explanation on the reason/s or your basis of writing those themes
or messages.
6. Use the activity sheet on the next page for your written output.
7. Submit outputs through the google form link provided in your google
classroom.
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Theme Analysis
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What’s in it
Lesson 2: Theater for Various Developmental

Messages
In theater performances and plays, developmental
messages or themes were being relayed through the
performance of the script instead of just verbally presenting it. This is being made so
as to provide situational examples and solutions of what is happening to the real world
specifically in the society we are living in.
Playwrights are usually the mastermind of these messages and will be more
effective if relayed properly to the director so that the vision of the two will align towards
the main purpose of the play.
Here are some tips and notes for the playwrights and directors:
Integrating Your Personal Values

Playwrights do not often think consciously about their themes as they write.
Their personal values tend to be so integrated into how they see the world that their
themes flow into each play as the dialogue goes on the page. That is why the same
theme often shows up in a writer's work from one play to the next. If you are new to
dramatic writing, spend some time thinking about what matters to you socially,
politically, and ethically as you look at the world and the people around you. Write
about this in your journal as a way of clarifying your thinking.
Best Practice: What matters deeply to you will matter to your audience.
Some Intriguing Themes

A sampling from plays currently in the seasons of regional theatres, ranging
from an American classic to recent premieres.
1. David Henry Hwang's M. Butterfly

➢ Believing in racial stereotypes will blind you to reality.
2. Wendy Wasserstein's The Heidi Chronicles

➢ A heavy price was paid by women who were the professional career
path-makers and breakers of the 1970's.
3. Beth Henley's Crimes of the Heart

➢ It is a crime not to follow your heart's desires.
4. Tennessee Williams' Cat on a Hot Tin Roof

➢ Overly sensitive people are crippled by the lies of the world we live in.
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5. Michael Hollinger’s Opus
➢ Staying together emotionally is even harder than playing together
harmoniously.
6. Tracy Letts’ August: Osage County

➢ Parents who cannot release their children create havoc in their lives.
Most playwrights express their themes with considerable subtlety. That is the
difference between having a theme and a message. If your primary goal is getting
across a message, there are probably more effective ways of doing that than writing
a play, though one of the attractions of docudramas is that they can carry a significant
message with ease.
Cautions on Writing from a Theme

Nearly all contemporary playwrights would say it is a fool’s errand to try writing
a play driven consciously by a predetermined theme or message. But it can be
tempting to try. Doing this seems especially intriguing since it can be argued that
Shakespeare did it with his political tragedies (Hamlet and Macbeth among them) and
his history plays, probably to help support the monarchy that allowed his theatre
company to operate. If the Bard could make this work, why not try?
The poster-boy for why this practically never works is the German playwright
Bertolt Brecht, one of the major dramatists of the 20th century. He tried writing from a
theme in most of his great plays including his masterpieces, Mother Courage and Her
Children and Galileo. One of the liabilities he had in attempting this was the misfortune
to create such compelling characters that they obscured his intended messages, but
those characters were only part of the problem.
The main obstacle for Brecht (and contemporary playwrights) is that a

playwright’s real themes – those deeply held and integrated personal values – always
end up being infused into the play whether they want them there or not. As those
values enter the play, they overwhelm and finally bury any consciously intended
themes. Brecht’s overriding personal values – the way he lived his entire life – centered
on a belief that wily survival skills were essential in the world. It is no surprise that his
major plays have title characters incorporating that same belief toward living and
survival. In Mother Courage, he wanted us to take away the message that the title
character was a stupid (his word) woman who never learned that the loss of her
children and her own near ruin was being caused by her pursuit of capitalist ideas.
That intended theme was overwhelmed for audiences by Brecht’s internalized theme:
They always saw Mother Courage as a wily survivor fighting to make it against nearly
impossible odds. Instead of seeing her as stupid, audiences always saw her as worthy
of admiration. Despite reworking the ending of Mother Courage in subsequent years
to make his intended theme clearer for audiences, he could never get it to break
through his internalized theme.
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Best Practice: For messages to work in plays, they need to coincide with your
deeply held values.
A second danger in writing from a theme is that it can lead to unconsciously

manipulating characters and plots to make the point rather than allowing the conflict
between the characters to logically drive the play. The artificiality that nearly always
results from this risk turning off audiences, primarily because the logic of the play’s
climax and resolution won’t make sense to them. The best approach with themes is to
allow them to flow naturally into the play as you write. Since it is nearly impossible to
prevent your personal values from flowing into a play (if you take your characters
seriously) it makes sense to just let this process happen.
Now, let’s look at some international plays with their descriptions, messages,
and the driving force for it to be published or performed.
1. Hamlet by William Shakespeare

What doesn't this tragedy have? There's sublime poetry,
rich psychology for characters of both sexes, a hefty dose of
comedy to leaven the mood, and, depending on a director's
interpretation, a crackling good mystery lying underneath the
tale of "The Melancholy Dane." Shakespeare took a standard-
issue—for the period—genre and used it to create a monument
in Western literature, dramatic or non. This play can be debated
and dissected ad infinitum.
2. Long Day's Journey Into Night by Eugene O'Neill

This autobiographical play about O'Neill's young
adulthood scorches from start to finish. You can feel the
rawness as soon as it starts, as a man—along with his two adult
sons—strives to ensure that his wife remains serene after a
stint in rehab for morphine addiction. It goes downhill from there
as she starts using again and all three guys hit the bottle.
Written from a place of utter rawness, this drama stands at a
pinnacle of the American family drama.
3. Who's Afraid of Virginia Woolf? by Edward Albee

The language of theater—not in the stagecraft sense, but
in the actual dialogue sense—became something new with this
lacerating 1962 drama. Two couples at a tiny New England
liberal arts college drunkenly go at each other from the wee
hours of the morning until almost dawn. Their weapons are their
words, and what words they are. Erudition and profanity blend to
lyrical heights as secrets, resentments, and even genuine
affection are revealed.
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4. Death of a Salesman by Arthur Miller
"Attention must be paid." Indeed. Not just to Willy Loman
and the sad realities of his life as a mediocre traveling salesman
and the delusions that barely keep him afloat, but also to Miller's
exquisite modern tragedy about an average Joe. Both grittily
naturalistic and ethereally dream-like, this one punches the
audience in the gut time and again simply because it allows us
to witness his heartbreaking final downfall while also allowing us
to go inside his mind to seemingly feel his deep-seated pain.
5. Oedipus Rex by Sophocles

Used as the exemplar of dramatic writing in
Aristotle's Poetics, this Greek tragedy remains a pillar of
playwriting. Before walking into a production or picking up a
copy of the script, we all know that King Oedipus has killed his
father, married his mother, etc. And yet Sophocles' slow reveal
of the truths of the monarch’s life and the pride that sets him and
his family spiraling toward a tragic downfall never ceases to be
genuinely compelling. This one stands the test of time simply
because it's good stage storytelling.
6. Angels in America by Tony Kushner

Its two parts, Millennium Approaches and Perestroika,
give theatergoers a whirlwind trip through stories ranging from a
man's battle with AIDS to über-Republican Roy Cohn's
homophobia and his own realization that he also has the
disease, and from the Rosenbergs' legacy to a Mormon couple's
struggle with his gayness and her drug addiction. Digressions
include fever dreams and trips to the heavens. It's all exactly
what Kushner promises in the piece's subtitle: "A Gay Fantasia
on National Themes," and the boldness Kushner's storytelling and unbridled
imagination means that this one thrills.
7. The Glass Menagerie by Tennessee Williams

As with so many others on this list, Williams is a playwright
whose works could take up several entries.
Choosing Menagerie over, say, A Streetcar Named
Desire or Cat on a Hot Tin Roof comes down to
this: Menagerie is his breakthrough work that introduced his
unique brand of theatrical lyricism to the world. And while some
of his other plays go farther in terms of stretching stage
conventions or tackling weightier issues, this one takes a gentle
sliver of a story and turns it into something magical.
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8. Look Back in Anger by John Osborne
Wouldn't it be great to write a play that inspired a label for
work from an entire generation of writers? This 1956 drama did
just that as it took middle age (mostly) out of playwriting and
instead offered up a picture of life among a group of discontent
British twentysomethings, pulling English drama out of parlors,
dining rooms, and genteel patios, and into cramped inner-city
apartment squalor. Long live the "angry young man play."
9. A Raisin in the Sun by Lorraine Hansberry

Hansberry broke a barrier with this drama about an
African-American family attempting to better itself by moving to
a new neighborhood; she became the first black woman to have
a play produced on Broadway. It's not just this factor that
puts Raisin on this list. As we saw with not one but two fine
revivals in a period of 10 years, Raisin speaks to audiences of
all races and generations because its plot elements and themes
cut across ethnic and chronological divides.
10. Woyzeck by Georg Büchner

Although this uncompleted script about a soldier's
descent into madness was written in the early 19th century, it
feels much more like an experimental drama from 100 years
later. Part of the reason for this is the fact that it is indeed
unfinished and hence sketchy. But Büchner also pioneers
objectifying characters by using only their titles to identify them
and commandingly sets a standard for dramatizing fever dreams
and his central character's fragile grasp on reality.
11. Waiting for Godot by Samuel Beckett

A new era in playwriting dawned with the debut of this
play in 1948. Beckett eschewed standard plot in this piece about
two tramps on a mostly barren plain waiting for someone named,
obviously, Godot. When he doesn't show in the first act, they do
it again with variations in the second. Are they waiting for some
sort of perverse God? Is Beckett simply depicting the mundane
realities of daily existence in the play? Both? Regardless, Godot
brought abstraction center stage and did and still does it
beautifully.
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12. The Bald Soprano by Eugene Ionesco
The life of the complacent bourgeois—and by extension the
worlds of many theatergoers—got put through an absurdist prism
in this French classic that simultaneously blew the roof off the
houses where drawing-room comedies had traditionally taken
place. Language, narrative, and character all get zanily and
incisively fractured in this play about two couples and the two
evenings they spend visiting one another. When the piece debuted
in 1950, no one had never seen anything quite like it.
13. Hedda Gabler by Henrik Ibsen

What is a woman in a terrible marriage supposed to do?
Norwegian playwright Ibsen gave us several answers in his career.
With Hedda, the only escape turns out to be suicide. Hedda does
not strike quite the same feminist blow as another of Ibsen's plays
(A Doll's House, where the Nora just leaves), but that's
why Hedda is here. This play demonstrates incontrovertibly
Ibsen's determination to make his audiences consider feminist
issues in the 19th century by presenting them with such a grim outcome.
14. The Homecoming by Harold Pinter

A guy brings home his girlfriend to meet the family. It's a
simple premise that Pinter turns into a debatable conundrum as he
makes action and dialogue concurrently realistic and opaque, both
ordinary and menacing. Much of this has to do with the fabled
"Pinter Pause," which simply mirrors the way we often respond to
each other in conversation, tossing in remainders of thoughts on
one subject well after having moved on to another.
15. Machinal by Sophie Treadwell

Expressionism and feminism collide in this 1928 play that
explores how many women were just disposable objects as the last
century dawned. For the heroine of this sometimes-harrowing play,
life moves from an office job to marriage to the electric chair with
cruel intensity. It has become a mainstay of both the stage and the
classroom for good reason.
16. Fences by August Wilson

Theoretically any of Wilson's 10 plays chronicling the African-
American experience in Pittsburgh during the last century would
easily fit onto this list, but this one stands apart from the others
because of its tremendous heart and its commanding central figure
who reaches almost tragic dimensions. It's little wonder that the
play, set in the 1950s and centering on a former Negro league
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baseball pitcher struggling to provide for his family and battling against his bitterness,
has attracted actors such as James Earl Jones and Denzel Washington.
17. Uncle Vanya by Anton Chekhov

Why Vanya and not The Seagull or Cherry Orchard or Three
Sisters, you may ask? Ultimately, for me, this one comes down to
scope. All of Chekhov's meticulously observed plays find both the
comedy and tragedy in ordinary lives. What sets this one apart from
the others is its relative quietness as it looks at small crises in an
extended family's everyday existence, becoming something of a
benchmark for brooding family drama.
18. Tartuffe by Moliere

Simultaneously riotous and scathing, this comedy explores
and exposes the hypocrisy that can often lie underneath religious
fervor and the lengths to which a zealot's followers will go to protect
him or her and their beliefs. The play might have been originally
written as an indictment of members of Louis XIV's court, but this
satire can speak to almost any age.
19. What the Butler Saw by Joe Orton

With this play Orton takes the British sex farce (and to a
lesser extent the British procedural) to the dark side as the insanities
of a mental health clinic rise to both bizarre and hilarious heights.
Orton tackles everything from sexual and gender politics to
governmental ineptitude in this iconoclastic play from the late 1960s
that seems particularly apt for revival right now.
20. Uncommon Women and Others by Wendy

Wasserstein
Wasserstein won the Pulitzer for The Heidi Chronicles, but
well before that look at life in post-feminist America she wrote this
touchingly funny play about a group of Mount Holyoke alums
traversing feminism's second wave. As the piece works backward
through time from 1978 to 1972, what emerges is a cunning portrait
of women during a period when possibilities seemed both infinite and curiously limited.
21. This Is Our Youth by Kenneth Lonergan

Lonergan's play about a trio of young people hanging out,
squabbling over a coke deal, and looking for some sense of direction
in the early years of the Reagan era follows in the footsteps of the
British "angry young man" plays. The fact that it premiered about 10
years after the period in which it's set gave (and gives) this funny/sad
piece a haunting resonance for Gen Xers.
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22. Rosencrantz and Guildenstern Are Dead by Tom Stoppard
What happened when Hamlet wasn't at the forefront of events
in Elsinore? It's not a question that many would have considered, but
leave it to Stoppard's fertile brain to latch onto the question and
answer it with a rip-roaring riff on a classic. His ability to mirror the
events of his source material and echo its existentialist themes only
makes R&G more impressive. It's another debut work whose promise
was fulfilled repeatedly over the years, in plays ranging
from Arcadia to Jumpers and the elephantine Coast of Utopia trilogy.
23. The Normal Heart by Larry Kramer

The energy and anger of a community—and the playwright
himself—make this play about the earliest days of the AIDS crisis
vibrate with passion and intensity even 30 years after its premiere.
Kramer's achievement in this snapshot of events from the early
1980s is twofold: It works as a standalone drama for the ages and
retains its edge as a damning piece of political theater from the
shameful period in the country's history.
24. Topdog/Underdog by Suzan-Lori Parks

Critics and audiences alike had come to savor Parks' ability
to challenge our ideas about race, history, and relationships with
poetic and often opaque plays before this 2001 piece debuted. Her
unique gifts coalesced and found a wider audience with this play
about two brothers (named Booth and Lincoln) whose existences
are irrevocably and tragically intertwined. It's a drama that works
both as a family drama and as profound investigation about the
legacy of slavery. Small wonder it’s a Pulitzer winner.
25. Candida by George Bernard Shaw

What to do about Shaw? So many of his plays zing as
comedies and also still work as social commentary. Looking over his
canon (pun sort of intended), it struck me that this one of the "Plays
Pleasant" series might be most important. It's a simple play, about a
young poet who thinks he needs to "rescue" a woman away from
her clergyman husband, that bristles with Shavian wit and pointed
political and social debate, ultimately shimmering as a shrewd
consideration of love and marriage in Victorian England—or really any period.
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26. Playboy of the Western World by J.M. Synge
The Aristotelian notion that a tragic hero needs to be noble
gets thrown out the window in this play about a man who's
heralded as a hero for having killed his father in self-defense only
to be reviled by those who had cheered him when it turns out the
old man was only wounded. The play sparked riots when it
premiered in 1907, and while it no longer has the ability to inspire
that level of passion, the play is a touchstone for the sort of dark
Irish dramas we now expect from the likes of Conor McPherson and Martin McDonagh.
27. The Importance of Being Earnest by Oscar Wilde

This quintessential comedy of manners has retained its
ability to tickle audiences for over 100 years. It's also been an
inspiration for numerous writers who have adapted it to suit
changing times. Wilde's unparalleled ability to spin cutting
epigrams is only one of the reasons that this piece has endured.
There's also his genteel mockery of classism and chauvinism. Like
the watercress sandwiches that are consumed in the play, it's
always a refreshing treat.
28. Awake and Sing! by Clifford Odets

Tensions run high in this play about three generations of
a Bronx Jewish family and each one's pursuit of the American
Dream. Can one achieve it while also remaining true to one's
heritage? It's a question that immigrants have had to ponder in
any decade, and as evidenced by the NAATCO revival in 2015
this kitchen-sink drama poignantly transcends race and religion.
29. The School for Scandal by Richard Brinsley Sheridan

This 18th-century confection skewers the mores and
mouths of London's elite as they backstab one another with
gossip. It's best served up in an era in which society is itself
preying on dirt and innuendo, and for better or worse we're never
quite far away from that. Thus, it's a piece that has remained
timely and delightful through the centuries.
30. Stuff Happens by David Hare

Hare borrowed a phrase from Donald Rumsfeld and
adopted a Shakespearean flair for both fact and fiction for this
play about the events that led up to the Iraq War. Parts of the
play are taken verbatim speeches, press conferences and
meeting transcripts. Other portions are imagined versions of
meetings that took place between elected and other government
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officials. The result was one of the most impressive political dramas to emerge in
recent memory.
31. Life With Father by Howard Lindsay and Russell

Crouse
Of all the plays on this list, this might be the "sturdiest" and
probably the most old-fashioned. Yet this lithesome comedy about
a woman's fears that her husband was never baptized has a unique
place in theater annals. Until Fiddler on the Roof came along, Life
was the longest-running show in Broadway history, and as late as
1987 it was among the top five long runs. Until a theater is willing
to revive it, look at the delightful 1947 movie version.
32. Twelfth Night by William Shakespeare

The Bard of Avon is the only writer to get two slots on this
list. Twelfth Night has made it because it represents, to me, all of the
best elements of Shakespeare's romances: mistaken identities, low
comedy among the servants, and some of his most gorgeous poetry.
The cross-dressing of one character also gives the play, for modern
audiences, a homoerotic vibe, and this aspect, combined with a
certain darkness in the end, makes the play feel unquestionably
contemporary.
33. Cloud 9 by Caryl Churchill

The lives of the British elite in Victorian-era India and among
a group of modern-day Londoners have striking similarities in this
gender-bending play. Churchill brings both humor and compassion
to her characters and their worlds, and in the process creates a
play that can concurrently move theatergoers emotionally and
provoke thought. Originally seen in 1979, the play established a
new benchmark for theatrical conversations about race and gender politics.
34. Volpone by Ben Jonson

An already wealthy man sets out to increase his fortune by
duping his friends into thinking he's at death's door. Avaricious as
he is, they all shower him with presents with the expectation that
they will receive his money when he dies. Garrulously sexual and
wildly satiric (the characters' Italianate names are references to
animals ranging from fox to crow to vulture), this comedy has lasted
simply because we have yet to live in an era in which greed has
gone out of style.
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35. Our Town by Thornton Wilder
So homespun. So traditional. It's taught to teenagers around
the country. Yet this 1938 work was a game-changer. Wilder did
away with sets, brought a "stage manager" in front of the audience
to help move them through the New England town of Grover's
Corners, and in the process created a transcendent play about
human existence, from cradle to, quite literally, grave. It's a work that
has inspired generations of writers and moved theatergoers around the world.
36. Ruined by Lynn Nottage

Inspired by another play on the list (Brecht's Mother
Courage), this play expands on the idea of a woman earning her
wages off the war and places it squarely in the 20th century and in
particular the middle of the civil war–torn Congolese republic.
Nottage's prize-winning play depicts with warmth and reality the
desperate plight that women faced during the war, and rather than
condemning the central character's actions, the play boldly allows audiences to see
that in desperate times unbearable and unthinkable choices must be made.
37. The Vortex by Noël Coward

Yes, everyone thinks about the frothy farces Private
Lives and Blithe Spirit when Sir Noël Coward's name comes up, but
here's the one that made his reputation. It's a potboiler of sorts that
exposes the extravagance of British youth during the height of the
jazz age and the privileged Edwardian culture that gave rise to them
and their behavior. Drug abuse and a hefty dose of Oedipal love
spice up the drama, and all the while Coward's dry wit sparkles.
38. She Stoops to Conquer by Oliver Goldsmith

This 18th-century comedy makes the list because of its
enduring popularity (we don't see many plays from the era over and
over) and because it is a clever amalgam of a host of theatrical
comedic genres, encompassing romance, satire, and farce. It's these
different aspects that have allowed the piece to endure through the
centuries, each speaking with a clear voice to new generations.
39. Mother Courage and Her Children by Bertolt Brecht

This saga about a woman who makes her living from the
soldiers fighting on both sides of the Thirty Years War has proven
remarkably versatile since its premiere in 1939. Brecht's depiction of
how Courage's business tears her three adult children from her has
been reset in periods and on continents far away from its original
location of Europe, thanks to the story's universal themes about war
profiteers and the human cost of warfare.
49
40. John by Annie Baker
A couple takes refuge in a small bed and breakfast after
spending holidays with the woman's family. Tensions run high
between them, and while the charming tchotchke-filled inn might
seem to be the place where frayed nerves could be soothed, it
proves to be anything but. Baker's simultaneously warmhearted and
spooky play proves to be a heartbreaker, investigating the
infinitesimal moments that combine to propel all our lives and relationships.
41. Clybourne Park by Bruce Norris

In this 2010 dramedy Norris takes audiences into the Chicago
house that is the focus of the Younger family's dreams and
aspirations in Lorraine Hansberry's A Raisin in the Sun, both in the
days preceding that family's potential move there and then, five
decades later. In the process he provides shrewd insights into the
delicate threads that tie a community together and the stronger
forces of bigotry and self-interest that can brutally snap them. This Pulitzer Prize
winner remarkably expands upon a landmark drama with crackling humor and insight.
42. Master Harold…and the boys by Athol Fugard

The Signature Theatre Company's recent revival of this 1982
play set in 1950s South Africa demonstrated that it still has the power
to move audiences. Originally banned in Fugard's homeland, the
play—about a white teenager and the two African men who work for
his parents as servants—systematically depicts and denounces the
psychological and governmental prejudices and divides that
Apartheid visited upon generations.
43. Fefu and Her Friends by María Irene Fornés

Fornés impact on playwriting cannot be underestimated, not
one but two generations of Latino and Latina playwrights studied with
the dramatist. Although her 14th play, Fefu and Her Friends was
Fornés breakthrough work, simultaneously naturalistic and
presentational as it depicts a gathering of women in various locations
over the course of a day. Because of its demands on theater makers, we do not see it
often, but when Fefu is produced it’s a reminder that interactive and environmental
theater started well before Sleep No More.
44. The Women by Claire Booth Luce

The lives and loves of Upper East Side society doyennes get
put under the microscope in this 1936 play. Luce's willingness to
depict the women's bitchiness and the characters' dependence on
the men in their lives has made some think of it as being antithetical
to the feminist movement. Ultimately, though, the piece, which has
50
an all-female cast, does reveal the women's individual and collective strengths,
striking, if not a feminist blow, a pro-female stance.
45. The Humans by Stephen Karam

In this acclaimed drama a family's seemingly innocuous
Thanksgiving gathering on the Lower East Side beats in tune with
the tense pulse of the country as fears about financial security, aging,
relationships, and more bubble to the service. A quiet rumination in
the style of Chekhov or Thornton Wilder, the play quickly moved from
its berth Off Broadway to one on Broadway, where it served as an
eerie reflection of a nation.
46. M Butterfly by David Henry Hwang

Sometimes truth is indeed stranger than fiction, as was
demonstrated by the real-life story of a French diplomat who
maintained a sexual relationship with a male Peking opera singer for
years, all the while remaining oblivious to the performer's gender.
Hwang astutely saw the story's theatrical possibilities and created a
piece that thrillingly explores racial and sexual stereotypes. It was a
groundbreaker in 1988 and, among other honors, was a finalist for the Pulitzer.
47. Short Eyes by Miguel Pinero

From one of the co-founders of the Nuyorican Poets Café,
Short Eyes plunges its audiences into gritty realities of life behind
bars. Pinero's own incarceration at Sing Sing inspired many pieces
of the drama that eventually hit Broadway in 1974 (courtesy of
Joseph Papp and the New York Shakespeare Festival), where it
picked up a bevy of award nominations, becoming the first play by
a Latino writer to be nominated for a Tony Award as best play.
48. Everyman
Although this medieval morality play rarely takes to the stage
anymore, its position of importance in theatrical history cannot be
underestimated. At a time when plays were pageants that
reenacted stories from the bible, this one incorporated a fictional
narrative to serve up roughly the same lessons (or morals). Is it
Marlowe or Shakespeare? No. But it did pave the way for these
poet-dramatists and many others.
51
49. Dutchman by LeRoi Jones
In 1964 this play about a white woman and an African
American man's encounter on the New York City subway
unflinchingly explored race relations not just in Manhattan but also
across the country. Both naturalistic and allegorical, the play
continues to pulse with urgency, as was evidenced in a 2007
revival at the Cherry Lane Theatre that starred Dulé Hill.
50. The Persians by Aeschylus

This tragedy about a Persian king's disastrous war against
the Greeks is the oldest play that we know in Western drama.
Theatrical day one, so to speak. Beyond the play being the starting
point for drama as we know it, the piece can also have exceptional
timeliness in today's world. Aeschylus' depiction of a son
attempting to wage a war against an enemy who defeated his
father certainly had resonance during the second Bush presidency.
On the other hand, here are some 2019 shows in the Philippines with some
descriptions and messages for you to further ponder on for your coming scripts,
productions, or plays:
1. Angels in America
It is but fitting, given the recurring theme of last year, that the best production
of 2019 is this revisited work, which kicked off Atlantis’ 20th anniversary season.
Bobby Garcia first directed this back in 1995 but this production is hardly bent on
nostalgia. Instead, Garcia brought to this much-celebrated work a more mature sense
of artistry, honed by decades of theatrical experience. This new staging felt more
intimate despite the sprawling narrative, allowing both the actors and the audience to
ruminate on the play’s core message, which is really about love and life and how we
are all interconnected in this world.
2. Stop Kiss
Another revisited work, “Stop Kiss” was first presented in 2003 with the same
lead stars, Missy Maramara and Jenny Jamora. This time they switched roles, but the
two actresses are not the only reasons why “Stop Kiss” is on this list. It is heartbreaking
to note that hate crimes continue to be waged against members of the LGBT
community and “Stop Kiss” beautifully reminds us that ultimately #lovewins. But more
than that, the design and direction of Ed Lacson Jr. are further proof that he is the
most exciting creative in theater right now.
3. Katsuri
Playwright Bibeth Orteza made an excellent translation that stayed true to John
Steinbeck’s classic “Of Mice and Men” but totally believable in its new setting in
present day Negros with the desperation and injustice and the feeble dreams of the
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sugar plantation workers. "Katsuri" is a powerful drama of class struggle and wanton
disregard of the poor that continues disturbingly well after Steinbeck's Great
Depression and Negros' own difficult history of suffering.
4. Sweeney Todd
Bobby Garcia’s stunning, post-apocalyptic vision for “Sweeney Todd” is
ultimately a matter of personal taste but his radical reimagining of Stephen Sondheim’s
beloved, 40-year-old masterpiece sets a new bar for local companies staging popular
Broadway fare. He also gave Lea Salonga her meatiest role post- “Miss Saigon” —
and she totally kills it.
5. Lam-Ang
Tanghalang Pilipino’s stage musical based on the epic “Lam-Ang” is a proud
celebration of our roots as a people before colonization. It achieves this by mixing
rituals and tradition with highly theatrical flourishes, resulting in a kinetic presentation
that leaves you spellbound. Despite the careful research that went into the overall
design and storytelling, “Lam-Ang” doesn’t feel like a museum relic and its message
remains oddly relevant in this savage period in our history.
6. Spring Awakening
This exquisite production by Ateneo Blue Rep was truly the first great musical
of 2019, even better than those mounted by the pros with its moody, modern design,
stripped down and haunting musical arrangements, and clear stage direction. Then
there is that star-making performance of Krystal Kane and the strong ensemble of
students’ actors. What is not to love?
7. Company
Director Topper Fabregas proved that this popular Sondheim work can feel
fresh and modern while still staying true to the spirit of the ‘70s. Its central story about
the search for love and happiness rings true regardless of decade and Fabregas’
“Company” is more emotionally resonant than just funny or hummable. He gave equal,
if not more, importance to its non-musical parts and storytelling that made me feel as
if I am watching it for the first time, while maximizing the overflowing talent onstage.
8. Nana Rosa
“Nana Rosa,” Rody Vera’s movie script-turned-stage drama about Maria Rosa
Henson, the first Filipina to come out with her harrowing experience as a comfort
woman during the Japanese occupation in World War II, is a brave, engrossing and
important piece of theater. Director Jose Estrella brought an almost cinematic sweep
to the story with blunt, in-your-face theatrical moments and moving performances from
Upeng Galang Fernandez (Peewee O’Hara alternated) and especially Krystle
Valentino. “Nana Rosa” reminds us that there are other painful stories in our history
that we also should never forget.
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9. Passion
Philippine Opera Company’s anniversary offering is simply captivating.
Sondheim’s music here is drop-dead gorgeous and director Robbie Guevara and his
design team brought it to life in the most alluring manner, with lustrous costumes, and
dramatic lighting, and a luminous performance by Shiela Valderrama-Martinez.
10. Alpha Kappa Omega

Taken on its own, as a drama on fraternities in today’s woke millennial society,
the intense “Alpha Kappa Omega,” a stage adaptation of Mike de Leon’s classic movie
“Batch 81,” works very well in communicating its message to its primary college target.
With gritty stage violence, an austere set, and anchored by a strong central
performance by student John Sanchez as Sid Lucero, this is the most realized
production of Tanghalang Ateneo in an ambitious if uneven year.
What’s More
Now, you are already aware with the importance of
Theater for sustainable development of the community’s social,
economic, health, and other aspects. Theater is one of the
strongest medium of the people to change not only himself but
also his government and community.
Activity 1 – Crossword Puzzle

*Instructions:
a. Using the boxes provided for the puzzle through the activity sheet on the next
page, complete the the crossword by filling in a word/s that fit each clue
provided.
b. If the answer is composed of two words, write you answer on the crossword
continuously without adding a space in between.
c. Fill in the needed information on the activity sheet.
d. Submit output/answer through the google form link provided in your Google
Classroom.’s Classwork.
*Note: If you have other questions and clarifications, you can always reach your
teacher through your messenger group chat or google classroom.
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Crossword Puzzle
(Activity Sheet)
Name: Date:
Grade Lvl. & Section:
*Instructions: (Please refer on the previous pages…) *A total of 15 points.
1 2
7 8
10
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ACROSS
3. the best approach with themes is to allow them to into the play you write.
4. "Alpha Kappa Omega" is a drama on in today's woke millennial society
6. oldest play that we know in Western drama
7. written by Sophie Treadwell where expressionism and feminism collide
10. What matters deeply to you matters to your _.
12. reflects the energy and anger of a community written by Larry Kramer
13. Lam-ang is a musical play based on an _
DOWN
1. a drama about Maria Rosa Henson
2. a powerful drama of class struggle and wanton disregard of the poor
5. the playwright of the play "Death of a Salesman" first name
7. one of Shakespeare's political tragedies
8. Hwang's piece which created a piece that thrillingly explores racial and sexual stereotypes.
9. one of Bertolt Brecht's masterpieces
11. for messages to work in plays, they need to coincide with your deeply held .
12. this is your moral or ethical position about the story you are telling
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Activity 2. Watch and Scrutinize.
*Instructions:
1. Aside from the Philippine theater plays you already encountered, search for
three other Filipino plays that has developmental messages.
2. Examine the plays based on the following:
➢ Title:
➢ Plot: (Storyline of the play. 5 sentences only.)
➢ Themes/Messages:
➢ Characters: (Name, status, background, etc.)
➢ Setting: (Place and time/era)
3. Answer the following questions:
a. Based on the themes/message within the play, Is it worth your time?
Explain.
b. What other themes/messages would you like to add to make the play more
impactful to the audience? Describe and explain.
c. How would you direct the play to include the themes you wanted to add?
Describe.
4. Check the next pages for the activity sheet and rubric to be guided throughout
the process of output making.
5. Submit output through the link added to your classwork in your google
classroom.
*Process Questions: (Answer these after doing the activity…)

1. What are the difficulties you encounter through the activity?
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3. How did the activity help you understand more the lesson/topic?
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Watch and Scrutinize
(Activity Sheet)
Name: Date:
Grade Lvl. & Section: Score: _
*A Total of 90 points.
Title of the Play #1: _
Plot: (Storyline of the play. 5 sentences only.)

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Themes/Messages: (Developmental Messages intertwined in the story…)

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*Questions:
a. Based on the themes/message within the play, Is it worth your time? Explain.
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Describe.
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*Questions:
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Describe.

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Characters: (Name, status, background, etc. Focus on the main characters.)

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*Questions:
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Describe.
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Activity 3: Creative Video Reporting/Presentation
*A total of 30 points.
*Instructions:
1. Present your written output earlier (Watch and Scrutinize Activity) through a
creative video reporting.
2. Shoot yourself in a way like you are doing a creative reporting in front of the
class.
3. Edit your video and add the technicalities needed like intro, outro, etc.
4. Refer on the next page for the rubric of the activity to be guided throughout the
reporting process.
5. Submit final output through your google classroom’s assigned classwork.
Here again are some REMINDERS when shooting your

video:
taking/shooting your video. Observe proper
grooming. Add light make-up or as needed.
➢ Check that your whole face down to your shoulders
can be seen in your video. It still depends upon the
kind of presentation you are going to make.
➢ Your distance from the camera should neither be very close nor very far. You
should look like your 2x2 ID picture in the video, but it also depends upon
what is required by your performance/output.
➢ Check the lighting of your room if it is enough. It should neither be dark nor
too bright.
➢ Write down the things you are about to say/do for your reference once you
forgot what to say/do in front of the camera.
➢ Perform with your heart and enjoy what you are doing.
.
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*Process Questions: (Please answer these after you are done with the previous
activity…)
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3. How did the activity help you understand the lesson/topic better?
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What I Have Learned
As part of your generalization of the topic/lesson, write a

reflection/reaction of your learning experience from it. Shoot yourself
while sharing your insights to these concepts and paste the link of
your video through your google classroom’s assigned classwork.
Theme
_
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Developmental Messages
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Theater for Various Developmental Messages

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What I Can Do
As theater directors and producers, you should have a
detailed vision or perception of what will happen on the stage so
that the theme or message of the story will be effectively and
smoothly relayed to the audience with minimum distractions.
Descriptive Directing
(A Writing Activity)
*Instructions:
a. Using your story you did on the previous lesson, describe in detail all the
movements and imagery of the performers, technical aspect, etc. like you are
narrating all the activities and process of the show from the opening to the
curtain call.
b. Read and understand the given rubric (A Holistic Rubric for Story Writing)
before doing the activity for your guidance and output expectations.
(*Note: I chose the rubric for story writing because the concept is similar, the only
difference is that this activity is more detailed and descriptive than the simple story
writing)
c. Write and rewrite until satisfied with your output.
d. Use the activity sheet attached on the next page as your draft paper.
e. Submit output through your google classroom’s assigned classwork.
(*Note: To access your google classroom, use the invitation sent to your gmail
accounts or the class code given by your teacher)
*Process Questions: (Please answer these questions after you are done with the
activity)
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Descriptive Directing
(Activity Sheet)
Name: Date: _
*A Total of 40 points.
Title of your Story:
Character/s with descriptions:

_
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Setting/s: _
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Themes/Messages: _
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Directions and Details:

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(*Note: Please attach a separate sheet if the space provided is not enough…)
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Additional Activity:
My Article Reaction
*Instructions:
1. Read the article below:
Philippine Protest Theater Through the Decades by Nicole Datlangin
Credit: Nicole Datlangin
“Philippine theater has never hesitated to go to war,” wrote cultural historian

Doreen G. Fernandez. In times of political struggle, Filipino activists have used plays
to express their vision for a better world and give the ordeals of the oppressed a place
at center stage. To this day, shows like Black Box Productions’ Dekada 70, PETA’s A
Game of Trolls, and Dulaang UP’s The Kundiman Party have been staged and
restaged, empowering younger audiences to confront social realities.
In honor of Independence day, we revisit the roots of protest theater in

Philippine history—how our nation’s storytellers served as harbingers of hope, voices
for the voiceless, and the citizens’ conscience, even as censors threatened to stifle
them.
1900’s: “Seditious” plays of the Philippine-American War
In 1901, the Sedition Law was enacted under the Taft Commission,
criminalizing the advocacy of Philippine independence. Any protest art was considered
a rousing threat to American rule. Still, playwrights took their anti-American sentiments
onstage, risking not just their own arrests but those of cast, crew, and audience
members.
69
Juan Matapang Cruz’s Hindi Aco Patay was about the love between Karangalan
(honor) and Tangulan (the defender) as they resisted the usurper Macamcam (who
symbolized the American insular government). During a performance on May 8, 1903
in Malabon, a drunken American soldier hurled a beer bottle at a Katipunan flag prop,
proceeding to tear the scenery apart. Cruz and ten of the play’s actors were soon
arrested. The renowned playwright Aurelio Tolentino also suffered nine imprisonments
in his life, one of which was for a staging of his equally patriotic play, Kahapon, Ngayon
at Bukas.
(*Note: For further reading, please follow this link: https://ncca.gov.ph/about-culture-and-

arts/in-focus/seditious-and-subversive-theater-of-war/)
Their works—while labelled ‘seditious’ then—are now recognized as some of the first
nationalist plays of the country, marking the advent of revolutionary drama.
With Western movies

banned under Japanese
rule, Filipinos were
entertained by stage
shows, presented on
Manila stages like that of
the Zorrilla Theatre.
Photos c/o Retrato Photo
Archive
(https://web.archive.org/web/20110722141049/http:/www.retrato.com.ph/photodtl.asp?id=AR00382).
1940’s: Secret messages in the Japanese Occupation
The ban on American films in Japanese-occupied Manila allowed live shows to

take their place on the stages of movie theaters. This gave rise to what National Artist
Daisy Hontiveros-Avellana called ‘The Golden Age of Philippine Theater’, when
Filipino plays were much in vogue. The efficient censorship of scripts, however, did
not allow for the obvious symbolism seen in the nationalist plays that preceded them.
(*Note: For further reading, please follow this link: http://philippineperformance-

repository.upd.edu.ph/511/)
Instead, stage shows carried subtle messages of hope to those shaken by the
war. “Darating si Mang Arturo,” an actor uttered in one skit, alluding to General
Douglas MacArthur’s famed promise.
70
(*Note: For further reading, please follow this link:
https://www.jstor.org/stable/42632553?seq=1)
Theaters also reportedly served as message centers for guerrillas, where they
could furtively meet with friends and supporters. If the Kempeitai (Japanese police)
entered the theater, a vocalist would suddenly go onstage mid-show to perform a
signal song, alerting the rebels that they had to bolt.
A scene from Gintong Silahis’

epic proletarian drama Barikada,
directed by Behn Cervantes.
(https://entertainment.inquirer.net/6423/proletarian-theater-in-the-%E2%80%9970s-banked-on-
ingenuity-and-guts)
Members of the Kamanyang

Players from the Philippine
College of Commerce. Photos
c/o Cervantes and
the Kamanyang Blog.
(http://kamanyangplayers.blogspot.com/p/photo-gallery.html)
1960’s: Proletarian theater groups and the tide of nationalism
The return of the American presence in the forties restored the use of English
in local theater. Western classics (such as Shakespeare and Broadway) ruled
Philippine stages even after independence in 1946, making theater a bourgeois art
appreciated only by the fluent, upper-class minority. By the early sixties, many
thespians acknowledged this problem, prompting a huge shift: Where at first, the
Filipino tongue was called baduy, by the end of the decade, it had become the
language of the stage.
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Companies like PETA and playwrights like Rolando Tinio started staging more
original Filipino works and translations of Western plays. The rise of student activism
also led to the formation of cultural groups like Panday Sining, Gintong Silahis,
Tanghalang Bayan, and Samahang Kamanyang. They popularized ‘proletarian
theater’, devising spectacles from real-life experiences of oppression, and exposing
the injustices that hounded the era’s political landscape.
Through their ‘dulansangan’ in basketball courts, churchyards, and rice fields,

these groups laid the groundwork for theater activism under Marcos’ martial law
regime.
A scene from the play

Pilipinas Circa 1907 by
Nicanor Tiongson.
Photo c/o Doreen G.
Fernandez
(https://www.jstor.org/stable/1124438?origin=JSTOR-pdf&seq=1)
1970’s: Camouflaging political intent under martial law
Under Proclamation No. 1081, theater could not be as propagandistic as

before. While some commercial theater troupes stuck to ‘harmless’ zarzuelas,
comedies, and musicals, activists strove to resist indirectly through their art.
They staged plays around history and tradition, depicting past issues that mirrored
those of their dark present. Nicanor Tiongson’s Pilipinas Circa 1907, for instance, was
a politicizing spectacle disguised in an anti-American Christmas play.
UP Repertory’s Bonifacio Ilagan also used the cover of religion in Pagsambang

Bayan. But because of the more blatant criticism it contained against the tyrannical
Marcos administration, director Behn Cervantes was arrested after a 1977 staging of
the play. Many other cultural workers and political actors simply ‘disappeared’.

https://opinion.inquirer.net/107112/pagsambang-bayan-musical-liturgy-masses)
72
“Political will and a keen sense of the power of the medium drove us to learn
theater through actual and urgent theater work, like learning warfare through
warfare…No rally was complete without activist theater,” Ilagan later wrote.

https://journals.ateneo.edu/ojs/index.php/kk/article/view/1467)
The multi-
awarded
progressive
playwright,
filmmaker, and
Panday Sining
co-founder
Bonifacio Ilagan
at a 1971
protest in UP
Diliman. Photo
c/o Boni Ilagan.
(https://cnnphilippines.com/news/2017/09/17/martial-law-museum.html)
PETA was an
active force in
political theater,
staging an anti-
nuclear rock
musical entitled
Nukleyar in
1986 (Left).
Members also
performed in
Manila rallies
(Down). Photos
c/o Eugene van
Erven.
(https://www.jstor.org/stable/1145816?origin=JSTOR-pdf&seq=1)
73
https://www.jstor.org/stable/1145816?origin=JSTOR-pdf&seq=1)
1970’s—1980’s: People’s theater in Visayas and Mindanao
As performance activists grew louder with increasing human rights violations

and the Aquino assassination, some left Manila to bring people’s theater to outlying
regions. Former participants of PETA’s Basic Integrated Theater Arts Workshop
(BITAW)—a three-day course that empowered thespians to stage their stories of
exploitation—in the early seventies relayed their knowledge in Davao, Lanao del
Norte, Negros, Leyte, and Samar.
Playwright and Mindanao Community Theater Network founder Fr. Karl Gaspar
was among these BITAW organizers. Although he was arrested twice for the protest
plays he produced, he continued to write behind bars and even established a theater
program for his fellow detainees in 1983. Meanwhile, members of the police
intelligence chased actors around the stage in a Christmas play from Samar’s
Makabugwas theater group. This blossoming of regional theater came with such
‘necessary evils’ of thespian harassment.

https://www.jstor.org/stable/42634184?seq=1)
74
‘Militant priests’ in
Mindanao
encouraged
church-based
community theater
in parishes and on
religious holidays.
This began in the
sixties with an
alliance between
PETA and the
church. Photo
c/o Karl Gaspar.

https://www.resurgent.ph/articles.aspx?id=10 )
Protest theater has gone a long way since colonial years. In every stage, it has
proven to be a powerful weapon—an art of resistance and emancipation that
flourished when others tried to muzzle it.
With their ingenuity and guts, these pioneering activists remind us to continue
making noise on the stage of the nation.
End of Article…
2. Shoot your own video reaction on the short article you read and add the
following:
➢ Title:
➢ A Summary of the Article: (Your short version of the article…)
➢ Message of the Article: (What message/s the article wanted to convey/reveal to
the readers?)
➢ Reactions/Insights:
a. Writer/Author (What can you say about his/her ideas and research?)
b. Role of Theater to sustainable development considering social, economic,
and other factors of development based on the article you read.
c. Personal Insights and Reflections (Do you agree or not? Why? Or Why
not? Suggestions and other comments…)
d. Message to the article’s Author/Writer:
e. Message to your future self as a Theater artist: (with regards to Theater for
Sustainable Development…)
f. Message to other Theater artists: (with regards to Theater for Sustainable
Development…)
75
3. Combine and edit your video using your chosen video editing
application/software and add the following:
a. Title of the video output
b. Supporting pictures/screenshots and narratives like descriptions and
labels for clarity of information.
c. Credits for the videographer, performer, editor, etc.
4. Check the next pages for the activity sheet for your article reaction content
sheet and rubric for guidance and output expectations. Use the activity sheet
as your script during your article reaction shooting.
5. Submit output through your google classroom.
(*Note: Ask your teacher for the class code or check your Gmail account for
the class invitation.)
Here are some tips when shooting your video:

taking/shooting your video. Observe proper grooming.
Add light make-up or as needed.
➢ Check that your whole face down to your shoulders can
be seen in your video.
➢ Your distance from the camera should neither be very
close nor very far. You should look like your 2x2 ID picture in the video but it
also depends upon what is required by your performance/output.
➢ Check your lighting of your room if it’s enough. It should neither be dark nor
too bright.
➢ Write down the things you are about to say for your reference once you forgot
what to say.
➢ Perform with your heart not with your ego or pride.
.
76
My Article Reaction (Content Sheet)
(Activity Sheet)
Name: _ Date: _
Title of the Article: _
Summary of the Article:

_
_
_
_
_
Message of the Article:

_
_
_
Reactions/Insights:
• Writer/Author
_
_
_
_
_
• Role of Theater to sustainable development considering social, economic,

and other factors of development based on the article you read
_
_
_
_
_
• Personal Insights and Reflections

_
_
_
_
_
77
• Message to the article’s Author/Writer
_
_
_
_
_
• Message to your future self as a Theater artist

_
_
_
_
_
• Message to other Theater artists
*Process Questions: (Please answer these questions after you are done with the
activity)
_
_
_

_
_
_
_
_
_
78
79
Post Assessment
Post-assessment: Let us check your learning from the previous
lessons about the Roles of Theater in Sustainable Development and
Theater for Various Developmental Messages.
*Multiple Choice.
Instructions: Encircle the letter and word/s of the correct answer. Avoid erasures and
superimpositions.
1. It is often associated with traditional western stage performance.

a. Art b. Theatre c. Dance d. Drama
2. “Theatre is a _ for highlighting man’s humanity…” by Shakespeare.
a. reflection b. light c. tool d. mirror
3. Popular theater has been utilized to project:
a. reality b. art c. life d. issues
4. It transforms the audience into actors and creators of the drama.
a. Dinner Theatre b. Epic Theatre c. Forum Theatre d. Metatheatre
5. These are roles of Theater in Sustainable Development EXCEPT:
a. Reconciliation b. Exploration c. Participation d. Imagination
6. Theater and drama are tools to inspire youth to be:
a. “performers” b. “activists” c. “artists” d. “change makers”
7. In making any play and/or story, the first step is to do a:
a. Storyline b. Brainstorm c. Script d. Research
8. It develops from a playwright’s personal values.
a. Theme b. Idea c. Character d. Plot
9. What do you call your moral or ethical position about the story you are telling?
a. Theme b. Plot c. Denouement d. Dillema
10. Developmental messages in a play can also refer to the:
a. Theme b. Storyline c. Plot d. Sedition
11. This becomes the first play by a Latino writer to be nominated for a Tony Award
as best play.
a. Uncle Vanya b. Short Eyes c. Clybourne d. Our Town
12. A Tanghalang Pilipino’s stage musical which is a proud celebration of our roots
as a people before colonization.
a. Hudhud b. Lam-Ang c. Bana d. Mahabarata
13. It is considered as the first great musical of 2019 in the Philippines
a. Katsuri b. Lam-Ang c. Nana Rosa d. Spring Awakening
14. Who is the first Filipina to come out as a comfort woman during the Japanese
occupation?
a. M.R. Henson b. R.M. Rosa c. M.R. Valentino d. M.R. Rosal
15. This was called “The Golden Age of Philippine Theater.”
a. 1900s b. 1960s c. 1940s d. 1970s
80
REFERENCES
Fajardo, B. and Topacio, S. (1989). BITAW: Basic Integrated Theater Arts
Workshop. Philippine Educational Theater Association. No. 1 Scout de Guia
corner Mother Ignacia St. Quezon City
Toscan, R. (2012). The Playwriting Seminars: The Full-Length Play. Accessed on

October 17, 2020 from http://www.vcu.edu/arts/playwriting/
Propst, A. (2020, March 11). The 50 best plays of all time. Time Out America LLC.
Retrieved on October 17, 2020 from https://www.timeout.com/
Bunoan, V. (2020, January 5). REWIND: Best plays, musicals, performances of

2019. ABS-CBN Corporation. Retrieved on October 17, 2020 from
https://news.abs-cbn.com/
Datlangin, N. (2020, June 12). Philippine Protest Theater Through the Decades.
TFM Media Co. Retrieved on October 17, 2020 from
http://theaterfansmanila.com/
Valdes-Lim, A. (2014). Theater for Wellness: Creative Techniques To Be Well and

Whole. Mandaluyong City: Anvil Publishing, Inc.
Valdes-Lim, A. (1997). Workshop: A Manual on Acting. Pasig City: Anvil Publishing,

Inc.
Mendoza, A. (2007). Get into Acting. World Marketing Corporation. Worldlink Books.
Schanker, H.H. and Ommanney, KH. (1989). The Stage and the School. 6th Edition.
Oklahoma City, New York: McGraw-Hill, Inc.
Abadier, NA., Quilla, M., Lamason, N., & et.al. REEDZ: A collection of PSICOM’s
Fictional Literary Pieces. (n.d.). Quezon City: PSICOM Publishing Inc.
MasterClass. (2019, September 16). MASTERCLASS Articles. Accessed on July 8,

2020 from https://www.masterclass.com/
Broadway Educators. (2019). All Tickets, Inc. Accessed on July 18, 2020 from
http://broadwayeducators.com/
Rcampus. iRubric. (2020). Reazon Systems, Inc. Accessed from

https://www.rcampus.com/indexrubric.cfm on August 6, 2020
Cover and Title pages’ raw pictures. Retrieved from and Designed by
macrovector/Freepik and canva
81
ANSWER KEY
Lesson 1: Roles of Theater in Sustainable Development

Activity 1: My Video Reaction
(Answers are dependent upon the perspective of the students…)
Lesson 2: Theater for Various Developmental Messages

Activity 1 – Crossword Puzzle
1 2
N K
3
A F L O W N A T U R A L L Y
N T
4
F R A T E R N I T I E S
R U
5
O A R
6
S T H E P E R S I A N S
A T
7 8
M A C H I N A L M
9
G A U B
10
A U D I E N C E R U
11
L B V T
12
I T H E N O R M A L H E A R T
L H T L E
E E H U R
13
O M E P I C F
E S L
Y
EclipseCrossword.com
Pre & Post-assessment:

1. b. Theatre
2. d. mirror
3. a. reality
4. c. Forum Theatre
5. b. Exploration
6. d. “change makers”
7. d. Research
8. a. Theme
9. a. Theme
10. a. Theme
11. b. Short Eyes
12. b. Lam-Ang
13. d. Spring Awakening
14. a. M.R. Henson
15. c. 1940s
82
For inquiries or feedback, please write of call:
Department of Education – Cordillera Administrative Region
Wangal, La Trinidad, Benguet
Telefax: 422-1318 / 422-4074
Email Address: car@deped.gov.ph
Social Media: facebook.com/DepEdTayoCordillera
83

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Roles of Theater in Sustainable

Learner’s Module in SPA Theater

NAME:________________________ GRADE AND SECTION ________________

Section 9 of Presidential Decree No. 49 provides:

This module is a project of the Curriculum Implementation Division particularly

This Learning Material is a property of the Department of Education- CID,

Date of Development August 2020

1. Explains what the role of theater in

School Learning Resources Management Committee

Quality Assurance Team

Learning Resource Management Section Staff

JULIET C. SANNAD, EdD SORAYA T. FACULO, PhD

MARIE CAROLYN B. VERANO, CESO V

Learner’s Module in SPA Theater

NAME:________________________ GRADE AND SECTION ________________

This learning material is an exposition of Play Directing and

This module is divided into two lessons:

• Appraise Theater as a medium for sustainable development of the community

1. It is often associated with traditional western stage performance.

Characterization is one of the things being utilized all the

Activity: Animals – a characterization exercise.

Why did you choose that animal to immitate?.

What are the challenges you encountered throughout the activity?

Theater and drama are tools to change the community and

A. Theater for Reflection

B. Theatre for Mutual Understanding and Reconciliation

C. Theatre for Therapy

D. Theatre for Participation

E. Theatre for Imagination

Activity 1: My Video Reaction

b. UP Playwrights' Theatre's THE KUNDIMAN PARTY

c. Tanghalang Ateneo's Dolorosa (dir. Jenny Jamora, 2019)

d. A Game of Trolls | PETA Theater Online

Summary of the Play: (Short version of the play/script…)

Plot: (Storyline of the play. 1-3 sentences only.)

Theme: (Main idea where the play revolves)

Setting: (Place and time/era)

• Playwright/Story/Script (dialogues, words, and organization of thoughts within

• Sound and Lights (all effects projected and their impact)

• Set & hand props, Costumes, Make-up (impact, performers/characters, and

• Ending (Do you agree or not? Suggestions and other comments)

• Role of the play to sustainable development considering social, economic,

Summary of the Play: (Short version of the play/script…)

Plot: (Storyline of the play. 1-3 sentences only.)

Theme: (Main idea where the play revolves)

Setting: (Place and time/era)

• Playwright/Story/Script (dialogues, words, and organization of thoughts within

• Sound and Lights (all effects projected and their impact)

• Set & hand props, Costumes, Make-up (impact, performers/characters, and

• Ending (Do you agree or not? Suggestions and other comments)

• Role of the play to sustainable development considering social, economic,

Summary of the Play: (Short version of the play/script…)

Plot: (Storyline of the play. 1-3 sentences only.)

Theme: (Main idea where the play revolves)

Setting: (Place and time/era)

• Playwright/Story/Script (dialogues, words, and organization of thoughts within

• Sound and Lights (all effects projected and their impact)

• Set & hand props, Costumes, Make-up (impact, performers/characters, and

• Ending (Do you agree or not? Suggestions and other comments)

• Role of the play to sustainable development considering social, economic,

Summary of the Play: (Short version of the play/script…)

Plot: (Storyline of the play. 1-3 sentences only.)

Theme: (Main idea where the play revolves)

NAME:________ GRADE AND SECTION

NAME:________ GRADE AND SECTION