Module

Teacher :
Name :
Section :

The Roman Catholic Bishop of San Pablo, Inc.

San Pablo Diocesan Catholic Schools System
Diocese of San Pablo
LICEO DE PILA

A. Description: This learning kit provides essential support to formulate arts class suggested
lessons to students
 A. Philippine theater and Performing Groups
B. Roles in a Theater Production

Curriculum type: K-12 Grade level: 10

Learning Area: Arts
Content/Topic: The learner demonstrates understanding of characteristics of Philippine Theater
and Performing Groups

Intended users: Teacher and Learners

LESSON 1. Philippine Theater and Performing

Groups

Philippine Theater and Performing Groups

After the Japanese occupation, the Philippine theatre has evolved to become an
amalgamation of the various influences such that of the zarzuela, comedia, bodabil, and western
 classics. Theatre was largely performed in English during the time, as it became a large part of
classroom education.
Here are some of themany leading prominent Philippine theater and performing groups
and samples of their major production:

1. Philippine Educational Theater Association (PETA)

On April 7, 1967, Cecile Guidote-Alvarez established the Philippine Educational Theater Association
(PETA) who meant the organization to be a vehicle for Philippine Theater to play a role in the
development of the country's people and society. Four years later in 1971, PETA was named the
UNESCO-International Theater Institute Center in the Philippines. In the same year, coinciding with the
400th foundation anniversary of Manila, PETA organized the first Third World Theater Festival.

Martial law in the Philippines forced founder Guidote-Alvarez to go to a political exile in 1972 but the
theatrical organization remains operational. The theatrical works of the organization revolved around
the social conditions and political climate during the Martial law era and focused on using the medium
of theater as an empowerment for the marginalized sectors.

By this period, PETA began creating and performing theatrical plays in Filipino. Among the venues for its
first productions was Paco Park, until it gained access to a portion of Fort Santiago which it transformed
into the Raja Sulayman Theater. This open-air theater was designed by Leandro V. Locsin, a National
Artist. About 300 plays were adapted, translated, written, published, and performed by the organization
by the 1990s.

2. Tanghalang Pilipino

Tanghalang Pilipino (Philippine Theater) is the leading exponent of Philippine theater and the resident
drama company of the Cultural Center of the Philippines since its organization in 1987. It has
successfully presented hundreds of productions over more than 30 theater seasons, earning numerous
awards and citations while generating one of the best attendance records among the CCP's resident
companies.

Tanghalang Pilipino wishes to develop and train actors, playwrights, and designers with special emphasis
in the production of original Filipino plays. By staging plays from the repertoire of Philippine past and
plays in translation from other countries, TP hopes to bring to the experience of both artists and
audience the best of Philippine and global theatre tradition. It looks forward to educating and
awakening the cultural consciousness of the Filipino audiences through its regular performances and
other related activities like workshops, symposia and interactions.

The Tanghalang Pilipino season runs from July to March. Off season, TP finalizes theater project
proposals for a cause. In 2013, along with UNICEF and the AIDS Society, TP aimed to disseminate correct
information about the human immunodeficiency virus (HIV) and acquired immune deficiency syndrome
(AIDS). Using theater as a medium, an original play and workshops about HIV/AIDS were made available
in Manila, Cebu and Davao.

3. Repertory Philippines

Founded in 1967 by a group of actors on the initiative of the late Zeneida A. Amador who was its
President and Artistic Director until her death in 2005, REPERTORY PHILIPPINES FOUNDATION, INC., also
known as “REP”, has often been called “the most professional English-speaking theater company in the
country”.

Considered the most prestigious theater company in the country, Repertory Philippines is a vital part of
a thriving vibrant theater industry filling its specific niche as an actor oriented training company; with a
loyal following and an ever growing audience; and a truly special place in the hearts of theater.

4. Trumpets

Trumpets , the first Asian professional gospel theater group , is known for wholesome family
entertainment musicals such as “First Name,” “Fables and Parables,” “NOAH,” “The Lion, The Witch and
the Wardrobe,” “Joseph the Dreamer” and “The Little Mermaid.”

Activity 1

If you were a stage designer of the play Noli Me Tangere how would you want to design the stage? Use
the box below to illustrate your ideas. Add color to emphasis your concept.

Let’s Explain

1. What do you think are the main objectives that Philippine theatre groups have in common? Explain
these briefly.

2. How did theater groups in the Philippines develop?

 LESSON 2. Roles in a Theater Production

Producing theatres have creative teams which develop new productions from existing or new
works. This includes directors, musical directors and choreographers, as well as designers of
sets, props, and costume, lighting and audio-visual media.

Board of Directors (President, Vice President, Secretary, Treasurer):

Selected by: Members Reports to: Members

1. Maintains club budget and finances.

2. Selects productions.
3. Selects Artistic Director.
4. Selects Producer.
5. Collectively acts as Executive Producer for each production: approves and, if necessary,
sets budgets; adjudicates any casting and production issues not resolved by Board
Representative, Producer, and Artistic Director; approves all other production staff
appointments.

Producer:

Selected by: Board Reports to: Board

1. Develops budget (approval by board) for entire production, including at least the
following categories: performance fees, theater rent, theater labor, publicity, programs,
music, costumes, set construction supplies and construction expenses, fundraising
expenses.
2. Secures rights to production selected by board of directors and ensures all involved in
production are made aware of those rights.
3. Develops and maintains overall production schedules.
4. Arranges rehearsal space, audition space, production meetings.
5. May designate Assistant Producers and delegate any portion of these responsibilities as
appropriate.
6. Secures performance space for production.

Board Representative for Casting:

Selected by: Board Reports to: Board

1. Generally a Board member; may be another designee.

2. Participates in auditions and casting meetings.
3. Responsible for ensuring that casting guidelines are followed.
4. Brings draft cast list to Board only if there are unresolved issues regarding casting
guidelines/
5. Releases final cast list to cast; approves any communication from Artistic Director with
individual cast members regarding casting options, if needed prior to releasing cast list.

Artistic Director:

Selected by: Board Reports to: Board

1. Responsible for all artistic decisions related to the production, except those increasing
costs beyond budgets.
2. Expected to block all scenes and run blocking rehearsals and general rehearsals.
3. Delegates most musical decisions to the Musical Director, most choreographic decisions
to the Choreographer, most technical production matters to the Technical Director, and
most set construction decisions to the Set Designer, while still retaining responsibility for
 the overall artistic quality and consistency of the production. May overrule any
designated decisions when necessary to this end.
4. Develops draft rehearsal schedule prior to auditions; updated shortly after auditions.
5. Sets audition dates, rehearsal dates, etc., in conjunction with Musical Director,
Choreographer, and Producer
6. Organizes auditions; responsible for casting decisions subject to approval of Board or
participating Board Representative; may participate in selection of orchestra members by
Musical Director and/or technical crew members by Technical Director.
7. Able to commit club to paid actors in emergency replacement situations only after
concurrence of producer and treasurer.
8. May designate Assistant Directors and delegate any portion of these responsibilities as
appropriate.
9. method in which figures are manipulated to appear as moving images. In traditional
animation, images are drawn or painted by hand on transparent celluloid sheets to be
photographed and exhibited on film. Today, most animations are made with computer-
generated imagery (CGI). Computer animation can be very detailed 3D animation, while
2D computer animation (which may have the look of traditional animation) can be used
for stylistic reasons, low bandwidth or faster real-time renderings. Other common
animation methods apply a stop motion technique to two and three-dimensional objects
like paper cutouts, puppets or clay figures.
10. Commonly the effect of animation is achieved by a rapid succession of sequential images
that minimally differ from each other. The illusion—as in motion pictures in general—is
thought to rely on the phi phenomenon and beta movement, but the exact causes are still
uncertain. Analog mechanical animation media that rely on the rapid display of
sequential images include the phénakisticope, zoetrope, flip book, praxinoscope and film.
Television and video are popular electronic animation media that originally were analog
and now operate digitally. For display on the computer, techniques like animated GIF and
Flash animation were developed.

Musical Director:

Selected by: Producer and Artistic Director Reports to: Artistic Director

1. Represents the Artistic Director on all musical matters and decisions for the production,
including running vocal and orchestra rehearsals, selecting songs and running the musical
portions of auditions, assisting the director with casting decisions, and working with
technical crew on sound, microphones, balance, etc.
2. May commit club to pay orchestra members with concurrence of treasurer if within
producer’s budget (also needs producer’s concurrence if over budget).
3. Selects orchestra members or assigns and delegates this responsibility to an orchestra
manager.
4. May designate Assistant Musical Directors and delegate any portion of these
responsibilities as appropriate.

Choreographer:

Selected by: Producer and Artistic Director Reports to: Artistic Director

1. Represents the Artistic Director on all choreographic matters and decisions for the
production, including running choreography rehearsals, selecting numbers and running
choreography portions of auditions, and assisting the director with casting decisions.
 2. May designate Assistant Choreographers and delegate any portion of these
responsibilities as appropriate.

Technical Director:

Selected by: Producer and Artistic Director Reports to: Artistic Director

1. Surveys performance space for technical production elements/capabilities and serves as a

consultant to production staff on technical issues.
2. Works with set designer on technical construction and implementation aspects of scenery.
3. Obtains and sets up any technical theatre elements (pyrotechnics, fog machine, etc.) of
the production outside of those maintained by the production house. Any expenditures
must be coordinated with producer.
4. Develops lighting design based on set design and survey of production space lighting
capabilities. May be deferred in whole or in part to in-house lighting designer.
5. Works with production house master electrician to ensure lighting design is implemented
correctly.
6. Develops sound design based on musical and theatrical demands of production and
current club sound reinforcement capability. May be deferred in whole or in part to in-
house sound designer.
7. Coordinates deployment and use of club owned and/or rented sound reinforcement
equipment. May be deferred in whole or in part to other production participant(s) or in-
house audio personnel.

Set Designer:

Selected by: Producer and Artistic Director Reports to: Artistic Director

1. Designs scenery with input from artistic director which will be both technically and
financially feasible based on the current status of the club's set construction talent pool
and budget.
2. Establishes set construction budget and submits to producer for approval.
3. Creates set construction schedule which shall optimally consist of sessions no more than
one day per week for approximately four to six hours at a time. Sessions will not conflict
with rehearsal schedule unless prior arrangement is made with the artistic director.
Schedule shall be coordinated with and integrated into producer's production schedule. It
shall be recognized by all members of the production staff that final set construction
customarily occupies several days during the week before a production opens.
4. Organizes scenery construction sessions by purchasing or otherwise acquiring (rent,
borrow, etc.) all necessary set construction items, arranges delivery to construction
location, and plans for each session's activities anticipating widely varying levels of
participation from session to session.
5. Ensures set construction schedule is well-publicized at rehearsals and recruits all club
members to participate in all aspects of set construction.
6. Arranges for the delivery of the scenery to and from the production theatre.
7. Arranges for the salvage and storage of main set pieces for reuse in future club
productions.

Costume Designer:
Selected by: Producer and Artistic Director Reports to: Artistic Director

1. Identifies necessary costume requirements for production.

2. Obtains (purchase, sews, rents, etc.) necessary costumes for production.
3. Organizes cast members to help acquire necessary costumes.
4. Repairs existing costumes as necessary.
5. Organizes return of cleaned costumes to general club storage after production.

Ticket Manager:

Selected by: Producer Reports to: Producer

1. Arranges for ticket printing (generally with theater).

2. Coordinates ticket distribution by cast.
3. Responsible for providing and tracking complimentary tickets.
4. Returns any unsold tickets to theater prior to performance, if necessary.

Publicity Director:

Selected by: Producer Reports to: Producer

1. Advertises shows and auditions.

2. develops detailed budget within budget ceiling from producer.

Production Photographer:

Selected by: Producer Reports to: Producer

1. Photographs at auditions.
2. Photographs for advertisements and paper submissions.
3. Photographs individual and activity photos for programs.
4. Photographs for web site.

Program Designer:

Selected by: Producer Reports to: Producer

1. Designs general program. The Producer is responsible for getting bios and photos from
the cast to the Program Designer. The Fundraising Chairperson is responsible for
providing all sold program advertisements.
2. Arranges to have program printed.
3. Coordinates with theater house manager to have programs distributed to attendees.

Fundraiser Chairperson:

Selected by: Producer Reports to: Producer

 1. Organizes fundraising activities for the club. The Secretary of the club provides e-mail
support for such activities.
2. Selects a fundraising crew when appropriate. Designates individuals to be responsible for
specific fundraising activities.
3. Coordinates selling program advertising. Provides sold ads to the Program Designer.

Properties Manager:

Selected by: Producer Reports to: Producer

1. Identifies and obtains (rents, borrows, builds) property requirements for the production
based on set design and production script. The Artistic Director and Producer provide
input.
2. Purchases batteries for body microphones.

Social Chairperson:

Selected by: Board Reports to: Board, Producer

1. Organizes social functions for the club.

2. Selects a social crew when appropriate. Designates individuals to be responsible for
specific social activities.

Activity 1

What type of play interest you the most and why? If you were a stage costume designer, what type of
costumes would you like to design? Use the space below to illustrate your ideas.
Let’s Explain

1. How do the concepts of the set designer influence the stage production?

2. How realistic should a production look?