Annex1B to DepEd Order No. 42, s.

2016
Daily Lesson Log SCHOOL TRECE MARTIRES CITY NATIONAL HIGH SCHOOL GRADE LEVEL GRADE 8
in

MAPEH TEACHER JELIAN B. ARTIAGA LEARNING AREA ARTS

TEACHING DATE AND QUARTER 4TH

TIME

I. OBJECTIVES
The learner…

1. how theatrical elements (sound, music, gesture, movement, and costume) affect the creation and
A. Content Standard communication of meaning in Asian Festivals and Theatrical Forms as influenced by history and culture

2. theater and performance as a synthesis of arts and a significant expression of the celebration of life in various
Asian communities

The learner….
1. create appropriate festival attire with accessories based on authentic festival costumes
2. create/improvise appropriate sound, music, gesture, movements, and costume for a chosen theatrical
B. Performance Standard composition

3. take part in a chosen festival or in a performance in a theatrical play

The learner….
C. MELC’S
identifies selected festivals and theatrical forms celebrated all over the Asian region (A8EL-IVa-1)

At the end of the lesson, the learner will be able to:

D. Learning Competencies/ a. discuss the kabuki theatre, its features, and elements
Objectives b. draw a costume and props design inspired by kabuki and Peking Opera
c. value the importance of elements and principles in kabuki theater.

II. CONTENTS
Kabuki Theater ( features, and elements)
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Annex1B to DepEd Order No. 42, s. 2016
III. LEARNING RESOURCES
A. References
1. Teacher’s Guide pages
2. Learner’s Materials pages
3. Textbook pages
4. Additional Materials from
Learning Resources (LR)
portal
B. Other Learning
Resources
C. Approach
IV. PROCEDURES
A. Reviewing Previous
Lesson or Presenting The
New Lesson
Grade 8 music and arts module pp. 302-307
VIDEO PRESENTATION
https://www.youtube.com/watch?v=67-bgSFJiKc
Integrative Approach (Content-based Instruction)
CHOOSE A STAGE
Mechanics:
 The teacher will present 4 different STAGE, each stage have different statements in relation to the next lesson.
 To start the game, there will be a box and music playing along with the box.
 When the music stops the student who’s beside the student who held the box will answer the statement behind
the tree.
 The students will only answer lie or truth. Truth if the statements is true and lie if it is not.
Questions
“theatre represent the culture and traditions of the country”
“Every theatre performers’ did not put beauty into their performance”
“people in Japan spend whole day of watching their famous theatre.”
“make-up, provides an element of style easily recognizable”
1. Truth
2. Lie
3. True
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Annex1B to DepEd Order No. 42, s. 2016
4. True

Guide questions
1. Do you have an idea of what are the statements all about?
B. Establishing A Purpose For 2. What conclusions can you draw about the statements in the game?
The Lesson

WATCH WITH ME!!

The teacher will ask the students to watch the video of kabuki theatre

Guide questions
C. Presenting Examples/
1. What did you observed on the video?
Instances of The New Lesson
2. How did the costumes in the play make it more interesting to watch?
3.

KABUKI OF JAPAN

D. Discussing New Concepts

And Practicing New Skills #1

Kabuki is a form of traditional Japanese drama with highly stylized song, mime, and dance, now performed only by
male actors. Japanese, originally as a verb meaning “act dissolutely,’ later interpreted as: ka – song, bu – dance and ki
– art/skill.

Kabuki theater is known for the stylization of its drama and for the elaborate make-up worn by some of its
performers. Kabuki is therefore sometimes translated as "the art of singing and dancing". Since the word kabuki is

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Annex1B to DepEd Order No. 42, s. 2016
believed to derive from the verb kabuku, meaning "to lean" or "to be out of the ordinary", kabuki can be "bizarre"
theater. The expression kabukimono referred originally to those who were bizarrely dressed and paraded on a street.

The Kabuki stage features:

 Hanamichi – a flower path, a walkway which extends into the audience and via which dramatic entrances and
exits are made; Okuni also perform on a hanamichi stage with her entourage.
 Kogakudo -kabuki theaters that have stages both in front of the audience and along the sides help create a
bond between the actors and viewers
 Mawaro butal -the interior of the theater contains a revolving stage
 Suppon -a platform that rises from below the stage
 Hanamicho – a walkway that cuts through the audience seating area to connect the stage with the back of the
theatre
 Magicians and supernatural beings often make their entrances from trap doors in the hanamichi
 Some stages have 17 trapdoors.

The three main categories of the kabuki play are:

 jidai-mono- historical, or pre-Sengoku period stories
 sewa-mono- domestic, or post-Sengoku stories and
 shosagoto - dance pieces Jidaimono, or history plays, were set within the context of major events in Japanese
history. Strict censorship laws during the Edo period prohibited the representation of contemporary events and
particularly prohibited criticising the shogunate or casting it in a bad light, although enforcement varied greatly
over the years.
Sewamono focused primarily upon commoners (townspeople and peasants). It is generally related to themes of
family drama and romance.

Elements of kabuki:

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Annex1B to DepEd Order No. 42, s. 2016
Mie - in which the actor holds a picturesque pose to establish his character and his house name yagō, is
sometimes heard in a loud shout (kakegoe) from expert audience member, serving both to express and enhance
the audience's appreciation of the actor's achievement. An even greater compliment can be paid by shouting the
name of the actor's father.Keshō

Actors are separated into two main categories:

 Onna-gata - female roles and;
 Aragoto - male role agoto, because of its super-stylized masculine, heroic style.

Most main characters in Kabuki plays are aragoto, because of its super-stylized masculine, heroic style.

Onna-gata Role (left)

Aragoto Role (right)

Kabuki "Hero" character

Make-up is also one of the most iconic parts of Kabuki. Actors apply their own make-up
by painting their faces and necks white, then adding stylized lines in red, black, or blue.
The colors and lines that are used tell you what kind of character is being performed.

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Annex1B to DepEd Order No. 42, s. 2016
Red and blue are usually aragoto roles, onna-gata playing young women have very little paint.

Kabuki make-up, provides an element of style easily recognizable even by those unfamiliar with the art form.
Rice powder is used to create the white oshiroi base for the characteristic stage
make-up, and kumadori enhances or exaggerates facial lines to produce dramatic
animal or supernatural character.

 The color of the kumadori is an expression of the character's nature:

 red lines are used to indicate passion, heroism, righteousness, and other
positive traits;
 pink, for youthful joy;
 light blue, for an even temper;
 pale green, for peacefulness
 blue or black, for villainy, jealousy, and other negative traits;
 green, for the supernatural; and
 purple, for nobility

Kabuki is performed in full-day programs. Audiences escape from the day-to-day world, devoting a full day to
entertainment. Though some individual plays, particularly the historical jidaimono, might last an entire day, most were
shorter and sequenced with other plays in order to produce a full-day program.

The play occupies five acts. The first corresponds to

 jo, an auspicious and slow opening which introduces the audience to the characters and the plot
 ha, speeding events up, culminating almost always in a great moment of drama or
 tragedy in the third act and possibly a battle in the second and/or fourth acts.
 kyu, is almost always short, providing a quick and satisfying conclusion.

Kabuki props are often quite interesting. Flowing water is usually represented by fluttering roles of linen; and creatures
like insects and foxes. Props often have symbolic meanings. Fans are used to symbolize wind, a sword, a tobacco pipe,
waves or food.

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Annex1B to DepEd Order No. 42, s. 2016
Costumes are swung from sticks or manipulated by helpers who come on stage dressed in black hooded robes so they
are invisible to the audience. The female characters generally wear an elaborate kimono and obi. Pleated hakuma
trousers are worn by characters of sexes. Actors playing both sexes often have a supported midriff because a straight
and curveless figure are regarded the essence of beauty

Costume changing is considered as an art. There are special teams that take care of complete and partial costume
changes and are done as part of the performances.

Wigs are important accessories, with each costume having its own type. Specialized craftsmen shape the wigs to the
head. Wigs are made of human hair or horse hair or, bear fur or yak-tail hair imported from Tibet.
E. Discussing New Concepts
And Practicing New Skills
#2

Directions: On a ½ sheet of paper, fill out the table below. Write the characteristics of elements and principles found
in the KABUKI.

F. Developing Mastery ELEMENTS PRINCIPLES

(Leads To Formative
Assessment 3)

G. Finding Practical ACTIVITY:

Applications Of Concepts On a 1 whole bond paper, draw your costume and props design inspired by Peking Opera and Kabuki.
And Skills In Daily Living
The teacher will ask the students about the following questions

H. Making Generalizations 1. What are the significance of theatrical forms in presenting culture in their country?
And Abstractions About The
Lesson 2. How are the elements and principles important in the Kabuki theatre?

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Annex1B to DepEd Order No. 42, s. 2016
TRUE OR FALSE: On a ¼ sheet of paper, answer the following questions. Write true if the statement is true and write
false if it is not.

1. Hanamichi, Kagakudo, Mawaro butal, and suppona are the Kabuki stage features.

2. kabuki is a form of traditional Japanese drama with highly stylized song, mime, and dance.

3. a platform that rises from below the stage is called suppon.

4. the interior of the theater contains a revolving stage.

5. Most main characters in Kabuki plays are aragoto, because of its super-stylized masculine, heroic style.
I. Evaluating Learning

Key correction

1. TRUE

2. FALSE

3. TRUE

4. FALSE

5. TRUE

J. Additional Activities For

Application or
Remediation
Advance reading on wayang kulit theatre
K. Assignment
Physical Education and Health Module pp. 359-365

V. REMARKS

VI. REFLECTION
A. No. of Learners Who Earned
80% In The Evaluation.
B. No. of Learners Who Require

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Annex1B to DepEd Order No. 42, s. 2016
Additional Activities For
Remediation Who Scored
Below 80%
C. Did The Remedial Lessons
Work?
D. No. of Learners Who Continue
To Require Remediation
E. Which of My Teaching
Strategies Worked Well? Why
Did These Work?
F. What Difficulties Did I
Encounter Which My Principal
or Supervisor Can Help Me
Solve?
G. What Innovation Or Localized
Materials Did I Use/Discover
Which I Wish To Share With
Other Teachers?
Prepared By: Checked By:

JELIAN B. ARTIAGA DULCE F. ERSANDO

Practice Teacher Teacher I

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