Republic of the Philippines

Department of Education
REGION VII
SCHOOLS DIVISION OFFICE OF DANAO CITY
SANTICAN NATIONAL HIGH SCHOOL
SANTICAN, DANAO CITY

Prepared by:
MA. JANICA CREZEL M. CABANIGAN
MAPEH TEACHER

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 Western Classical Plays/ Opera
LEARNING COMPETENCIES
1. Defines what makes selected western classical plays and operas unique
through visual representation.
2. Designs the visual elements and components of the selected Western
classical theater play and opera through costumes, props, etc.
Analyzes the uniqueness of each group’s performance of its selected Western
classical theater play and opera. (To be performed at the end of the week
together with other competencies).

Read and Learn!

ANCIENT GREEK THEATER STRUCTURE

Epidaurus became known in the entire ancient Greek world for the holy sanctuary of
Asklepios, which was considered the most marvelous of all sanctuaries in Greece.
Beautifully surrounded by the verdant landscape, the ancient theatre of Epidaurus is
one of the best-preserved monuments in the world, and the finest example of
ancient Greek architecture, dedicated to Asklepios. It was built during the late 4th
century by Polykleitos, on the slopes of Mount Kynortion. This structure, including an
auditorium, orchestra, and stage, is characteristic of the Hellenistic period theaters. It
consists of two sections separated by a semi-circular aisle: the lower section has 34
rows of benches and the upper section which was added later has 21.

The theatre of Epidaurus dedicated to the God of healing had huge extent and is
known for its great acoustics, even to this day. In contrary to other ancient theatres
in Greece, the theatre of Epidaurus did not change its form during the Roman years,
thus it retained its authentic form until the end of the antiquity. The visitor will be
amazed by the wondering monuments and sights in the archaeological site of
Epidaurus.

However, the architecture of Epidaurus is not restricted in the ancient site. In close
distance lays Nea Epidaurus, a picturesque settlement which is built on the hill slopes
of a steep gorge, under the ruins of the Venetian castle. There you will see a nice
collection of tiled roof houses but in order to access the top of the hill, you will pass
through many colorful yards. Of great interest is the church of Agios Loannis and
Agnoundos Monastery.

What make Greek Theater unique? Semi-circular shape with rows of tiered stone
seating around it. The shape of the theatres gave everyone in the audience
excellent viewing and also meant they could hear the actors well too. The stage
was raised within the circle – this shape made sure all the audience could see and
helped amplify the sound.

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Costumes and Props of Ancient Greek Play
The Ancient Greek actors wore mask. Their term for a mask is prosopon (lit.,
"face"),[14] and was a significant element in the worship of Dionysus at Athens likely
used in ceremonial rites and celebrations. Many masks worshiped the higher power,
the gods, making masks also very important for religion. Most of the evidence comes
from only a few vase paintings of the 5th century BC, such as one showing a mask of
the god suspended from a tree with decorated robe hanging below it and dancing
and the Pronomos vase,[15] which depicts actors preparing for a Satyr play.[16] No
physical evidence remains available to us, as the masks were made of organic
materials and not considered permanent objects, ultimately being dedicated at the
altar of Dionysus after performances. Nevertheless, the mask is known to have been
used since the time of Aeschylus and considered to be one of the iconic
conventions of classical Greek theatre.
Masks served several important purposes in Ancient Greek theater: their
exaggerated expressions helped define the characters the actors were playing;
they allowed actors to play more than one role (or gender); they helped audience
members in the distant seat see and, by projecting sound somewhat like a small
megaphone, even hear the characters better.
In a tragedy, masks were more life- like; in a comedy or satyr play, masks were ugly
and grotesque. Masks were constructed out of lightweight materials such as wood,
linen, cork, and sometimes real hair. Unfortunately, they lacked durability, and none
has survived.
Masks were also made for members of the chorus, who play some part in the action
and provide a commentary on the events in which they are caught up. Although
there are twelve or fifteen members of the tragic chorus, they all wear the same
mask because they are considered to be representing one character.

ROMAN THEATER
Greek theaters had a great influence on the Roman’s theater, too. The Triumvir
Pompey was one of the first permanent (non- wooden) theatres in Rome, whose
structure was somewhat similar to the Theatron of Athens. The building was a multi-
use complex that included a large quadriporticus (a columned quadrangle),
directly behind the scaenae from (an elaborately decorated background of theater
stage and is enclosed by the large columned porticos with an expansive garden

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complex of fountains and statues. There were rooms that were dedicated to the
exposition of art and other works collected by Pompey Magnus which were located
along the stretch of covered arcade.

The usual themes for Roman theater plays were chariots races, gladiators, and
public executions. The Roman loved a good spectacle. They loved to watch
combat and admired blood sports and gladiator competition. The more realistic the
violence, the more it pleased Roman audiences. The Christians however opposed
the barbaric themes of the plays and closed down all theaters.

Comedy plays were popular too in the Roman theater from 350 to 250 B.C. and
women were allowed to perform on stage.

Instead of drama and storytelling, the focus was firmly on entertainment, with
Roman plays almost being what we’d call a circus performance today. Citizens of
Rome wanted a spectacle! Singing and dancing was a significant feature of
performances, along with mime.

MEDIEVAL THEATER

The church applied the conventions of the time to stage liturgical dramas. To
showcase the play’s setting, small structures called mansions were set up as
backdrops at the sides of the stage. The number of mansions used for a play could
increase depending on the length or complexity of the play. Mansions could be
arranged in straight lines, circles or rectangles. The Platea, the large space near the
mansion, served as the general acting area where actors performed their character
portrayals. The church provided the costumes which could be worn along with other
accessories. Actors in liturgical dramas wore church clothes but this gradually
changed over the course of time.

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Costumes and Props of Medieval Theater

After Rome fell in 600 A.D. a period known as the Dark Ages or Middle Ages began. The theater of
this time is now known as Medieval theater. Medieval Theater was highly influenced by the
Catholic church, and the costumes of this period showed that. A lot of the costumes were
probably just church vestments (e.g. robes. Etc.) For instance, an actor playing an angel would
wear a church robe with wings attached. Sometimes the costumes resembled real life. An actor
playing a soldier would wear an armour and priests would wear a robe that catholic priests wore.

RENAISSANCE THEATER

- It was a "presentational" theater; that is, no attempt was made to convince the
audience that they were not present in a theater.

- Theaters became established and profitable (admission was charged). At first

theaters were performed in inns with tables put together as the stage. People could
stand on the balconies of their rooms and watch. Later on, they were constructed to
three stories high and built around an open space at the center.

- The Renaissance theater was a unified theater, allowing all social classes to attend.

- The Renaissance theater was an intimate theater as the actor was no more than
forty feet from his audience.

- Performances of the same play were repeated while this play was new, then fewer
times, until after about a year and a half, the play would cease to be performed.

- The roles were performed by professional actors, all of whom were men (young
men performed the female roles). In fact, certain actors specialized in tragic roles,
while others performed only comic roles.

- There were certain dramatic gestures used consistently to signify to the audience
specific emotions.

- Plays were often written by dramatists for a particular company of actors. He would
read the play, or parts of it, to these actors, welcoming their input. Thus, plays were
often joint ventures between writer and actor.

- Masques and such that were performed by courtiers were replaced by these plays.

- The performances during the renaissance period took place during the day, and
the open plan theater allowed for the use of natural light. Since there could be no
dramatic lighting and there was art direction (scenery and props), audiences relied
on the actors’ lines, dialogue, movements, and stage directions to tell the time of
day and year, same as the location, mood, and weather.

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ELIZABETHAN THEATER

INNOVATIONS OF THE STAGE:

1. Proscenium was developed. This is the area of a theater surrounding the stage
opening. Arches frame and divide the stage from the audience.

2. Backdrops for scenery were popularized by the art of painting clothes.

3. Commedia dell’arte or Comedy of the Profession was developed. It was quick-

witted performance of the characters/ players.

Props and Costumes of Renaissance Play

In Shakespeare’s time, clothes reflected a person’s status in society – there were

laws controlling what you could wear. As plays had kings, queens and wealthy
people in them, the actors’ costumes reflected their characters social status.
Costumes were mainly the modern dress of the time. So, for less important roles,
actors might wear their own clothes.

In Shakespeare’s time all actors were male. Men and boys played all the female
parts. As with the men, women’s costumes were usually ordinary clothes that
reflected the social status of the character the actor was playing. They also wore
wigs which, by their color and styles, showed the age and status of their character.

BAROQUE THEATER

The theater of the Baroque period is marked by the use of technology in current
Broadways or commercial plays. The theater crew uses machines for special effects
and scene changes which may be changed in a matter of seconds with the use of
ropes and pulleys.

This technology affected the content of the performed pieces, practicing at its best
the Deus ex Machina (a Latin word meaning “god from the machine”) solutioning
which the character gods were finally able to come down from the heavens and
rescue the hero in dangerous situations.

As a result, the theater was richly decorated, the multiplicity of plot turns and a
variety of situations characteristic of Mannerism (a variety of approaches or
intellectual sophistication as well as using artificial qualities of the play) were
succeeded by opera.

The Use of theatrical technologies in the Baroque period may be seen in the films
Vatel (2000), Farinelli (1999) and in the different stage productions of Orpheus by
Claudio Monteverdi.

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Costumes and Props of Baroque Play:

A galaxy of specialists joined the courts of the French kings Louis XIII and Louis XIV,
with Giacomo Torelli, the chief originator of Baroque theatre, arriving from Venice.
This monumental scenic style included magnificent colonnades, temples, palaces,
and scenes so lavish that only the great ruling houses could afford them. Designers
such as Torelli brought great prestige to their patrons. An outburst of Baroque
opulence bore witness to the power and splendour of the Sun King. In France in the
early 17th century, the designer Daniel Rabel worked inventively, producing many
witty and droll effects and costumes of grotesque conception. Burlesque costume
had found its way to amuse the court.

Chroniclers record gorgeous costumes appearing in 17th-century ballet, opera, and

dramatic offerings; gold brocades covered with lace, diamonds, emeralds, ribbons,
and immense trains graced the stages of France. The French surpassed the Italians in
their opera costumes, which were richer than any elsewhere. In the designs of Berain
there is a homogeneity of style that is the mark of a great master. Berain’s costumes
for women, which were based on contemporary court dress, were serious and noble
in style. Their tight bodices and flared basque shirts had decorative overskirts with
trains; they followed an almost uniform silhouette. The headdress, also carefully
designed, was a formal arrangement of feathers or lace. Male garments were in the
Roman style, the tunic fitting tightly to the chest, worn with tonneler (short skirt), high
boots, and cape. To avoid monotony, Berain devised an amazing variety of
ingenious trimmings—embroideries, fringes, slashings, puffs and paddings, inlaid
ornamental motifs, pastes, and semiprecious stones to punctuate every small
decorative panel and part. Scaly or bejeweled bodies, serrated leaves—every
elegant or fantastic theatrical device was used to create a sophisticated ensemble

NEOCLASSICAL THEATER

Richelieu believed that the French stage needed drastic reform and looked to Italy
for guidance. He advocated adoption of the proscenium stage and perspective
scenery and a drama that would adhere to theoretical principles articulated in Italy
during the sixteenth century. These principles make up what came to be called the
neoclassical ideal. The transition to the new ideal also required that the theatre
structure be altered. To set an example, Richelieu in 1641 had the first theatre in
France with a proscenium arch erected in his own palace. By 1650, all of the Parisian
public and court theatres had been transformed into picture-frame stages of the

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Italian type. Thus, by the mid seventeenth century, the Italian order had replaced
the medieval heritage.

COSTUMES AND SCENERY OF NEOCLASSICAL THEATER

The Neoclassical period was a movement where the styles of Roman and
Greek societies influenced the theater arts.
During the Neoclassical period, the theater was characterized by its
grandiosity. Costumes and sceneries were highly elaborate. The main
concepts of the plays were to entertain and to teach lessons. Stages were
restyled with dramatic arches to highlight the scenes. Multiple entry points on
the stage were evident in many plays. Lighting and sound effects intensified
the mood and message of each scene, enhancing the dramatic experience.
The idea of changing scenery and backdrops become more noticeable,
particularly with the invention of pulley systems that allowed parts to move
more quickly across the stage.

The concept of decorum (meaning right and proper audience behavior) was
applied in this period which means classical concepts and appropriate social
behavior must be observed.

In this period, the first Spotlight was used in the U.S. and was called the
Limelight.

The theater regulation act of 1843 banned drinking in legitimate theaters.

Many tavern owners took advantage of the situation and renovated their
establishments to accommodate life performances.

ROMANTIC THEATER
During romanticism, the stage scene lives a stage of fullness. The most
prominent name of this period is Francesc Soler I Rovirosa, the first to
experiment with electric light in 1874. IN Germany, he knows firsthand the
stage design of Richard Wagner’s works at the Bayreuth theater and is one of
the artists who most tries to adapt it to the Catalon theater.

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 A sharp increase in the number of theatre buildings matched the rapid
growth in urban development. During the London winter season of 1807, for
example, only 10 theaters were operating; by 1870 there were 30. Drury Lane
was rebuilt on a huge scale in 1794, designed to seat 3, 600 people. This
made audiences difficult for actors to control, and subtle acting became
almost impossible. Most of the new theaters, however, were much smaller.

Acting, scenery, costumes, and dance were important elements of theater. It

usually performed in an opera house, accompanied by an orchestra or small
musical ensemble.

WEEK 3
LEARNING COMPETENCY: Shows the influences of the selected
Western Classical Play or opera on Philippine theatrical
performance in terms of form and content of story.
Read and Learn!
But the performances we see today are mere products of the cultures that
have influenced the country through the years. Let’s take a look at how the
history of Philippine theatre has evolved.

Pre-colonial Time

During the pre-historic times, theater in the Philippines was in the form
of indigenous rituals, verbal jousts or games, or songs and dances to praise
gods. According to early chronicles, pre-historic dramas consisted of three
elements – myth, mimesis, and spectacle.

These mimetic performances mostly dramatized primitive rituals and epic

poetry about deities and mythical legends, where the spirit of the deities
would seemingly possess a Catalonian (priest) or babaylan (priestess).

During this entranced state, the priest or priestess would consume the
sacrificial offering, which could be in the form of a pig, chicken, rice, wine, or
nuts.
"…seemed to shoot flames from her eyes; her hair stood on end, a fearful sight
to those beholding, and she uttered words of arrogance and superiority."
– Juan de Plasencia, 1590

Spanish Regime

When the Spaniards reached our shores, they used dramas such
as zarzuelas as a pedagogical tool to influence the pagan tribes and teach
them about Christianity and religion.

Another important form of theater popularized during the Spanish

colonization is the comedia, also known as moro-moro,
linambay, or arakyo. It is a play in verse that portrays the lives, loves, and
wars of moors and Christians.

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 Moro-Moro is a secular comedy that dramatizes the war between Christians
and Muslims through the forbidden love between the prince and the princess.
The comedy is resolved with the non-Christian being converted to Christianity,
or through his or her death, immediately followed by his or her resurrection.

Comedias were normally performed in the pueblos or village centers to

attract more people to the foundation of its regime. The comedia can last
anywhere from 3 to 15 hours through a series of performances. The first
Filipino comedia was performed in Latin and Spanish by Fr. Vicente Puche in
Cebu in 1598.

On the other hand, a zarzuela is a form of musical theater that combines

spoken word and song that celebrates various Catholic liturgical feasts. Jugar
Con Fuego by Francisco Asenjo Barbieri was the first zarzuela introduced in
the country in late 1878 or early 1879.

By August 17, 1893, Teatro Zorilla, the home of zarzuela, was inaugurated.
Throughout the 333 years of the Spanish regime, the Philippines was widely
influenced by their culture, tradition, and religion.
Today, zarzuelas and comedias are still being performed, albeit with other
cultural influences and contemporary touches.

American Colonization

When American colonial rule was established, the United States introduced
the American way of life through education, media, and language. Their
influence on Philippine theatre is most apparent through
the bodabil (vaudeville) and the plays and dramas staged or translated into
English.

In 1898, the first bodabil was produced by the Manila Dramatic Guild for the
sole purpose of entertaining American soldiers and other Americans residing
in Manila. It was also the first theatrical performance since the revolution.

The bodabil is not a straight-up play. The theatrical performance is, in fact, a
mix of songs, dances, comedy skits, and even magical performances. Local
audiences bought-in and productions soon found themselves becoming
entertainment spectacles that can be transported from one town to the next.
Not long after, the bodabil was interjected into comedias and zarzuelas, as
intermission numbers known as jamborees.

In the 1930s, the country was introduced to Broadway theatre or stage plays
through the westernized education that was provided in most private schools
for privileged children. Shakespearean tragedies and comedies, as well as
western classics, were performed in the original English or English adaptation.

The Japanese Occupation

By the 1940s, when the Japanese took over the Philippines from the
Americans, movie actors and actresses could no longer appear in films, as

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 the Japanese confiscated all film equipment. However,
the comedia, zarzuela, and bodabil remained in the country as forms of
entertainment and expression.

Eventually, the bodabil evolved to become stage shows or variety shows with
a short melodrama at the end to accommodate the actors and actresses who
moved their craft to bodabil and theatre. Venues such as the Manila Grand
Opera House and the Savoy Theatre became homes of bodabil.

After the war, movies returned to popularity, and the bodabil era slowly lost its
luster. Stage shows became small, cheap performances held in open-air
stages in the provinces. Sadly, the bodabil deteriorated decades later to
become burlesque and strip shows held in cheap theatres around American
military bases.

Philippine Theatre as We Know It Today

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. Meanwhile, zarzuelas such as “Ang Kiri,” “Dalagang Bukid,” and
“Paglipis ng Dilim” became well-known beyond their regions.

By the 1950s, theatre had moved out of classrooms and the concept of
paying for a ticket to see a theatrical performance emerged. This
“legitimate” theatre was held in closed theaters – these became events in
themselves, not just mere parts of a celebration or religious ritual.

During this time, playwrights such as Severino Montano, Wilfrido Ma. Guerrero,
and Alberto S. Florentino honed their crafts and contributed to the
development of performing arts in the Philippines.

Through the years, Philippine theatre groups have staged numerous plays in
both English and Filipino, be it written by a Western or local playwright.
Spanish culture and traditions largely influence performing arts in the
Philippines, but the contemporary style is borrowed from the Americans.
Classic shows such as The Westside Story and Sound of Music made waves in
recent years when it took the local stage. This year, The Theatre at Solaire
presents The Lion King, an internationally renowned production set to wow
Philippine audiences.
Famous Artists in the Philippine Theater and Literature
1. Francisco Balagtas y de la Cruz (Francisco Baltazar)

• His best-known work was Florante at Laura.

• He learned to write poetry from Jose de la Cruz (Huseng Sisiw), one of
the most famous poets of Tondo. It was de la Cruz himself who
personally challenged Balagtas to improve his writing.
• IN 1835, Balagtas moved to Pandacan, where he met Maria Asuncion
Rivera, who served as the muse for his future works. She is referenced in
Florante at Laura as Celia and Mer.

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 Balagtas’ affections for Rivera were challenged by the influential
•
Mariano Capule. Capule won the battle when he used his wealth to
get Balagtas imprisoned under the accusation that Balagtas ordered a
servant girl’s head to be shaved. It was in prison that he wrote Florante
at Laura so that the events of the poem were meant to parallel his own
situation.
• Balagtas published Florante at Laura upon his release in 1838. He
moved to Balanga, Bataan in 1840 where he served as the assistant to
the Justice of Peace and later, in 1856 as Major Lieutenant.
• Balagtas is so greatly revered in the Philippines that the term for Filipino
debate in extemporaneous verse is named after him: Balagtasan and
one oft the greatest literary award in the Philippines is also named after
him.
2. Severino R. Reyes (A playwright)

• Father of the Tagalog Zarzuela

• A Filipino writer, dramatist, and playwright, Reyes was highly
acclaimed as one of the giants of Tagalog literature.
• In 1902, Reyes founded and directed the Grand Compania de
Zarzuela Tagala.
• On June 14, 1902, the company staged his play Walang Sugat
(No Wounds), a drama set against the historical events in
Bulacan during the Philippine revolution.
• 1923, Reyes co- founded the Liwayway, a Tagalog Literary
weekly which published a series of fairy tales titled Mga Kwento
ni Lola Basyang, written by Reyes. The storyteller, Lola Basyang,
was based by the author on a neighbor named Gervacia de
Guzman.
• Severino Reyes died on September 15, 1942, when the
Philippines was under the Japanese regime.
• Severino Reyes’ masterpiece, Walang Sugat broadly
underscores the injustice of Spanish rule even as it dances
around the cruel fate of the young lovers Tenyong and Julia
with humor and song. Set in the final leg of the Philippine
Revolution.
• The production was directed by Ricardo Abad, under the
musical direction of Josefino Tolledo. Jonjon Villareal handled
lights designs while Dexter Santos choreographed. Set and
costumes were designed by National Artist Salvador Bernal.
3. Dr. Ricardo G. Abad (A Director)

• A full- time faculty, department of Sociology and Anthropology;

Artistic Director, Tanghalang Ateneo Metrobank Network of
Oustanding Teachers Pathways/ ANI, Ateneo de Manila
University Role Players, Theater for Life Social Weather Stations.
• Has been involved as actor and director in over 120 productions
while at the same time doing sociological work as teacher,
researcher, and editor.
• He has also directed and acted for professional companies like
Teatro Pilipino and Tanghalang Pilipino of the Cultural Center of
the Philippines, and the Metropolitan Theater.

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 • Theater Guild. Many of his theater productions were classics of
western drama but in terms of a Filipino and Asian sensibility, like
Shakespeare’s Romeo and Juliet.

4. Salvador F. Bernal (Father of Theater Design in the Philippines)

• He was the first to develop theater design as a profession and
elevated it to an art form.
• He had designed more than 250 productions in ballet, theater,
and film. National Artist awardee.

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