BAAO COMMUNITY COLLEGE

San Juan, Baao, Camarines Sur

Email add: baaocommunitycollege@gmail.com
College of Education

THEATER

JESUS B. RANCES, LPT MARICON B. RANCES, LPT

Instructor, Baao Community College Instructor, Baao Community College
THEATER
 The activity or profession of acting, producing,
directing or writing plays.
 The actual production of the play.
THEATER
 It includes drama activities which may lead to the
formal presentation of a scripted play involving acting,
directing, designing, managing and other technical
aspects.
THEATER
 It is a building specifically designed for the purpose of
presenting dramatic performances before an audience
(Collier, 1995).
 It derives from the ancient Greek term “Theatron” which
means a place for viewing.
ELEMENTS OF THEATER
“There are certain elements common to all theater.
These elements are present whenever a theater event
takes place; without them, an event ceases to be theater
and becomes a different art form and different
experience”
-According to the book “Theater, The lively Art”
ELEMENTS OF THEATER
1. PERFORMERS
ELEMENTS OF THEATER
1. PERFORMERS
 Performers onstage presenting characters in dramatic actions.
 The audience is coming to see a performers pretend to be
someone else.
 When the actors/actresses is on stage, they must be
believable as the character they are portraying.
 If they are not believable, then the audience will be less
interested in the production.
ELEMENTS OF THEATER
2. AUDIENCE
ELEMENTS OF THEATER
2. AUDIENCE
 The essence of the theater is the interaction between performers
and the audience.
 Theater needs to be experience live. There is a “call and
response” atmosphere that can not be witnessed in a movie
theater.
 In a live theater experience, when the audience laughs out loud,
or cries, then the actors respond to that energy.
 In a movie, there is no connection between the actors and
audience, only reactions from audience.
ELEMENTS OF THEATER
3. DIRECTOR
ELEMENTS OF THEATER
3. DIRECTOR
 The director makes certain that the performers
understand the text and deliver the script excitingly
and appropriately.
 Also makes sure the blocking, costume designs, set
design, and other aspects of the show blend together
to make a production that works together.
 All the aspects of theater should compliment each
other, and the director overseas all these things.
ELEMENTS OF THEATER
4. SPACE
ELEMENTS OF THEATER
4. SPACE
 Another necessary element of the theater is the
‘SPACE’ in which performers or audience come
together.
 It is essential to have a stage, or some equivalent area,
where actors and actresses perform.
 It is also essential to have a place for audience
members to sit or stand.
ELEMENTS OF THEATER
5. VISUAL ASPECT
ELEMENTS OF THEATER
5. VISUAL ASPECT
 Visual Aspects – costumes, lighting, and some form of
scenic background.
 Non-visual Aspects – sound and background music.
ELEMENTS OF THEATER
6. SCRIPT
ELEMENTS OF THEATER
6. SCRIPT
 A final element essential to theater is the TEXT that
is performed, and it must be present for theater to
occur, Another name for the text is SCRIPT.
 One key element for writing is CONFLICT.
 The characters should have a goal to reach, but to
reach that goal must go through a series of conflicts.
 Without conflict the story would be bland and boring.
ELEMENTS OF THEATER
7. PROCESS
 This is the coordination of the creative efforts
usually headed up in theatre by the director.
 It is the pure process by which the playwright’s
work is brought to realization by the director, actors,
designers, technicians, dancers, musicians, and any other
collaborators that come together on the script, scenario,
or plan. 
 This is the works in progress stage.
ELEMENTS OF THEATER
8. PRODUCT
 This is the end result of the process of work
involved.
 The final product that results from all of the labors
coming together to complete the finished work of
script, scenario, and plan, in union with all of the
collaborators in the process to create the final
product.
 This is what the audience will witness as they sit in
the theatre and view the work.
STAGE TYPES
Proscenium stage
 Is what we usually think as theater. Its primary feature is the
proscenium. A “picture frame place around the front of the
playing area of an end stage. The frame is the proscenium;
the wings are spaces on either sides extending off-stage.
 Scenery can surround the acting area on all sides except side
towards audience, who watch the play through picture frame
opening. “Backstage” is any space around the acting area
which is out of sight of the audience.
PROSCENIUM STAGE

Image showing the proscenium arch at Sheffield Lyceum

STAGE TYPES
Thrust theater
 A stage surrounded by audience on three sides.
 The fourth sides serves as the background. In a typical
modern arrangement: the stage often a square or
rectangular playing area, usually raise, surrounded by
rake seating.
THRUST THEATER

Image showing the Thrust Stage at the Gulbenkian,

University of Kent.
STAGE TYPES
End stage
 A thrust stage extended wall to wall, like thrust stage
with audience on just one side, i.e. the front.
 “back stage” is behind the background wall. There is no
real wing space to the sides, although there may be
entrances located there. An example of a modern end
stage is a music hall, where the back ground walls
surround the playing space on three sides. Like a thrust
stage , scenery serves primarily as background. Rather
than surrounding the acting space.
END STAGE
STAGE TYPES
Arena theater
 A central stage surrounded by audience on all sides. The
stage area is often raised to improve sightlines.
ARENA THEATER
STAGE TYPES
Profile theaters
 Often used in “found space” theatres. ie. theatres made by converted
from other spaces. The audience is often place on risers to either
sides of the playing space, with little or no audience on either end of
the “ stage”. Actors are stage in profile to the audience. It is often the
most workable option for long, narrow spaces like “store fronts”.
 Scenically, a profile theater is most like an arena stage; some staging
as background is possible at ends, which are essentially sides. A non
theatrical form of the profile stage is a basketball arena if no one is
seated behind the hoops.
PROFILE THEATERS
STAGE TYPES
Flexible theater
 Sometimes called a “blackbox” theater, these stages are
often big empty boxes pained black inside.
 Stage and seating not fixed. Instead, each can be
altered to suit the needs of the paly or the whim of the
director.
FLEXIBLE THEATER
STAGE TYPES
Sports arenas
 Often serves as venues for music concerts.
 In form, they resemble very large arena stage (more
accurately the arena stage resembles a sport arena), but
with a rectangular floor plan.
 When used for concerts, a temporary stage area often is
set up as an end stage at one end of the floor, and the
rest of the floor and the stands become the audience.
SPORTS ARENAS
STAGE TYPES
Theatres in-the-round
 These have a central performance area enclosed by the
audience on all sides. The arrangement is rarely ‘round’:
more usually the seating is in a square or polygonal
formation. The actors enter through aisles or vomitories
between the seating. Scenery is minimal and carefully
positioned to ensure it does not obstruct the audience’s
view.
THEATRES IN-THE-ROUND

Image showing the in-the-round auditorium at the Stephen

Joseph Theatre, Scarborough.
STAGE TYPES
Open air theatres
 These are outdoor theatres that do not have a roof,
although sometimes parts of the stage or audience
seating will be covered. These stages may make use of
the natural light as it changes during the day, particularly
sunset.
OPEN AIR THEATRES

Image showing the Rutland Open Air Theatre.

STAGE TYPES
Site-specific Theatre
 Is usually performed in a non-traditional theatre space
such as a pub, home or warehouse, often reflecting the
history, atmosphere or experiences of a particular
location.
SITE-SPECIFIC THEATRE
THEATERS FOUND IN THE
PHILIPPINES
THEATERS FOUND IN THE
PHILIPPINES
TANGHALANG MANUEL CONDE (Dream Theater)
 The CCP Dream Theater is the first direct-to-home
satellite venue for art and culture films and videos on the
arts of the Philippines.
THEATERS FOUND IN THE
PHILIPPINES
TANGHALANG FRANCISCO BALAGTAS (Folk Arts Theater)
 This covered proscenium amphitheater is where popular
concerts are usually staged. It has a seating capacity of
8,458 with ten sections.
THEATERS FOUND IN THE
PHILIPPINES
TANGHALANG HUSENG BATUTE (Studio Theater)
 Is designed for experimental production and has two
levels. The upper level serves as a Gallery, the lower
level as a studio which features a variable stage. As
such, audience capacity varies depending n the size of
the stage or acting area.
THEATERS FOUND IN THE
PHILIPPINES
TANGHALANG AURELIO TOLENTINO (Little Theater)
 The Little Theater is a conventional proscenium stage,
designed for drama, chamber music, solo recitals,
lectures and film screenings, with a capacity of 421
guests. The stage curtain is a tapestry made in Kyoto,
Japan, based on the painting of Roberto Chabet, former
director of the CCP Museum.
THEATERS FOUND IN THE
PHILIPPINES
TANGHALANG NICANOR ABELARDO (Main Theater)
 The theater has four levels: Orchestra, Boxes, Balcony I
and Balcony II and is able to accommodate a total of
1,821 guests. The theater has a split orchestra pit floor
and is equipped to meet the requirements of large
theatrical production such as ballets, operas, symphonic
concerts and other musicals.
DRAMA
 The term comes from a Greek word meaning
“ACTION”, which is derived from the verb Dran, “to
do” or “to act”.
 The term when used to broadly involve enactment of life
situations for entertainment or for purpose of
understanding oneself or others
DRAMA
 The use of “Drama” in the narrow sense is to designate
a specific type of play dated from the 19th century.
Drama in this sense refers to a play that neither a
comedy nor a tragedy.
 Is a process that is geared to the participant and does
not require a formal audience.
DRAMA
 Is a kind of literature intended to be performed, acted
before an audience (Collier, 1995)
 Is a printed text of a play.
ELEMENTS OF DRAMA
1. PLOT

 It is the framework, the plan, or the main story line.

It includes the following;
 Exposition
 Rising Action
 Climax
 Falling Action
 Denouement
ELEMENTS OF DRAMA
2. SETTING

 Is the locale and period in which a drama takes place,

or the scenery, props, and costumes used in staging.
ELEMENTS OF DRAMA
3. CHARACTER

 Are the persons involved in a story, they may seem

real to us depending on how the playwright put words
on paper to make the characters come to life.
 Each character should have their own distinct
personality, age, appearance, beliefs, socio economic
background, and language.
ELEMENTS OF DRAMA
4. DIALOGUE/SCRIPT

 Is the only way of telling the story.

ELEMENTS OF DRAMA
5. THOUGHT/THEME/IDEAS

 Sometimes the theme is clearly stated in the title.

 It may be stated through dialogue by a character acting as

the playwright’s voice. Or it may be the theme is less
obvious and emerges only after some study or thought.

 The abstract issues and feelings that grow out of the

dramatic action.
ELEMENTS OF DRAMA
6. LANGUAGE

The word choices made by the playwright and the enunciation of

the actors of the language. 

Language and dialog delivered by the characters moves the plot

and action along, provides exposition, defines the distinct characters.

Each playwright can create their own specific style in relationship to

language choices they use in establishing character and dialogue. 
ELEMENTS OF DRAMA
7. MUSIC

Music can encompass the rhythm of dialogue and

speeches in a play or can also mean the aspects of the
melody and music compositions as with musical theatre.
 
Each theatrical presentation delivers music, rhythm and
melody in its own distinctive manner.    Music is not a part
of every play. 
ELEMENTS OF DRAMA
8. SPECTACLE

The spectacle in the theatre can involve all of the aspects of

scenery, costumes, and special effects in a production.
 
The visual elements of the play created for theatrical
event. 

The qualities determined by the playwright that create the

world and atmosphere of the play for the audience’s eye.  
DRAMATIC FORMS DURING
THE SPANISH PERIOD
CARILLO OR SHADOW PLAY

 Held before a lamp, are shadows of cardboard figures

projected on screen.

 A prompter provides the dialogue with the story line

taken from legends, fables or metrical romances.
DRAMATIC FORMS DURING
THE SPANISH PERIOD
COMEDIA/KOMEDYA/MORO-MORO

 The most popular theater during Spain 100 years reign.

 Stories revolve around battles between Christians and

Muslims presented with choreography and colorful
costumes.
DRAMATIC FORMS DURING
THE SPANISH PERIOD
LOA

 A short performance presented before a long drama to

introduce the main drama and praise its performance.

 Is an allegorical play written by the Mexican writer Sor

Juana Ineś de la Cruz, a short theatrical piece related to
the longer auto sacramental. This loa is a commentary
on historical events involving indigenous Aztec
inhabitants and Spanish colonist.
DRAMATIC FORMS DURING
THE SPANISH PERIOD
PANUNULUYAN

 A street play dramatizing the rooming-in of Mary and

Joseph for shelter in Bethlehem during Christmas Eve.

 Specific stopovers are designated on houses where the

entourage of Mary, Joseph and a group of singers would
walk from houses to houses to ask for a place to stay for
night.
DRAMATIC FORMS DURING
THE SPANISH PERIOD
MORO – MORO

 Like the Cenaculo, the Moro-moro is presented also on a

special stage. This is performed during town fiestas to
entertain the people and to remind them of their Christian
religion.
 A dramatic performances presented during town fiestas to
entertain people which depicts the struggles between
christian princes and moslem sultans. The outcome is always
predictable with the defeat and conversion of moslem
fighters into christians.
DRAMATIC FORMS DURING
THE SPANISH PERIOD
MORO – MORO

 Komedya or moro-moro in the tagalog region was

performed as a panata (vow/pledge) almost a religious
commitment for various reasons.
DRAMATIC FORMS DURING
THE SPANISH PERIOD
TIBAG-TEAR DOWN

 The reenactment of Emperor Constantine’s or Empress

Helena’s search for the cross.

 Dramatic performance for the purpose of manifesting

devotion for the holy cross.
DRAMATIC FORMS DURING
THE SPANISH PERIOD
SALUBONG

 An Easter presentation reenacting the meeting of Mary

and the resurrected Christ.

 Dramatizes the reunion of the risen Christ and his

mother.
DRAMATIC FORMS DURING
THE SPANISH PERIOD
ZARZUELA/SARSUWELA

 A three-in-one act play with songs ad dances.

 It depicts political conditions of our country, or feelings of

love, fear, grief, sorrow or any sublime emotion.

 is a play with songs and dances usually written in prose,

containing from one five acts, depicting the vagaries of
romantic love among idealized Filipino characters.
DRAMATIC FORMS DURING
THE SPANISH PERIOD
DRAMA SIMBOLIKA

 An indigenous revolutionary drama.

 It has patriotic contents written by playwrights who

cherished the ideals of the Philippine revolution.
CINEMA
 Is an act presentation in lights, made picture possible to
appear on a two-dimensional surface.
 a story or event recorded by a camera as a set of moving
images and shown in a theater or on television; a motion
picture.
 the film industry.
 the art or technique of making movies.
 a movie theater.
ELEMENTS OF FILM OR
CINEMA
1. ACTORS

 The men and women who act, portraying a particular

role in a story that is being presented in the medium
called film.

 An actor is a person who portrays a character in a

performance in the traditional medium of the theatre
or in modern media such as film, radio, and television.
ELEMENTS OF FILM OR
CINEMA
2. DIRECTOR

 This man will do or undo the film. He is usually the

captain of the ship.

 He brings the best and worst to the actors, staff and

all the other elements.
ELEMENTS OF FILM OR
CINEMA
2. DIRECTOR

 As a person who directs the making of a film. Controls a

film’s artistic and dramatic aspects and visualizes the
screenplay(script) while guiding the technical crew and
actors in the fulfilment of that vision.
ELEMENTS OF FILM OR
CINEMA
2. DIRECTOR

 A film director is a person who directs the making of a

film. A film director controls a film's artistic and dramatic
aspects and visualizes the screenplay (or script) while
guiding the technical crew and actors in the fulfilment of
that vision. The director has a key role in choosing the
cast members, production design, and the creative
aspects of filmmaking.
ELEMENTS OF FILM OR
CINEMA
3. SCRIPT

 Is usually the story itself.

 To be given treatment by the director and given life

by the actors.
ELEMENTS OF FILM OR
CINEMA
3. SCRIPT

 Is a written work by screenwriters for a film,

television program or video game. These screenplays
can be original works or adaptations from existing
pieces of writing.
ELEMENTS OF FILM OR
CINEMA
3. SCRIPT

 A SCREENPLAY, or SCRIPT, is a written work by

screenwriters for a film, television program or video
game. These screenplays can be original works or
adaptations from existing pieces of writing. In them,
the movement, actions, expression and dialogues of
the characters are also narrated.
ELEMENTS OF FILM OR
CINEMA
4. SOUND AND VOICE
 Sound is not a basic element.
 It adds to the glitter of the story.
 Sound can be natural as the sound of crickets or a
barking dog, if the scene is in the middle of the night.
 Voice is the natural voice of the actors captured and
recorded.
ELEMENTS OF FILM OR
CINEMA
4. SOUND AND VOICE
 Are terms for a broad range of different media, which
can themselves be mediated by other Physical (such
as air), mechanical ( such as radio and phonograph),
and psychological ( such as interpreter, editor) media.
ELEMENTS OF FILM OR
CINEMA
5. CINEMATOGRAPHY
 Defined as the picture in motion but instead of a flat
surface, it is now three dimensional setting.
 Is a blend of science and art used to capture,
manipulate and store moving images for the
purpose of creating a motion picture.
ELEMENTS OF FILM OR
CINEMA
5.CINEMATOGRAPHY
 (from ancient greek κίνημα, kìnema "movement" and
γράφειν, gràphein "to write") is the science or art of
motion-picture photography and filming either
electronically by means of an image sensor, or
chemically by means of a light-sensitive material such
as film stock.
ELEMENTS OF FILM OR
CINEMA
6. CAMERA SHOTS

 The camera is the sole medium to see a film into

completion.

 It is the means of expressing personal comments and

a definite point of view, by its position, angle
movement and even focus.
ELEMENTS OF FILM OR
CINEMA
6. CAMERA SHOTS

 A shot is the series of frames that runs for an

uninterrupted period of time, film shots are an
essential aspect of a movie where angles, transitions,
and cuts are used to further express emotion, ideas
and movement.
ELEMENTS OF FILM OR
CINEMA
6. CAMERA SHOTS

 A long shot usually places the character within a

background shot. A very or extreme long shot as it is
sometimes known is often used as an
establishing shot. These shots are used to show
landscape background and are there to give a general
impression rather than detail.
ELEMENTS OF FILM OR
CINEMA
7. REDEEMING VALUE
 Aside from its aesthetic significance, the purpose of
art is to make man a better person, culture and
refined.
 Porn on the other hand has led to a new polarization:
art/no art. Some form of culture and value is opposed
to unregenerate porn that lacks any redeeming vale.
ELEMENTS OF FILM OR
CINEMA
7. REDEEMING VALUE
 does not include the values expressed or implied in a
text but refers specifically to how one can attribute
worth to a text in terms of its value to 'civilisation', a
culture, a society, or a particular group of people.
ELEMENTS OF FILM OR
CINEMA
8. MUSIC
 Will set the mood and illusion in a film.
 Through its music, film may be more memorable and
enjoyable.
 Can have a powerful effect on the way viewers feel
about the story and can make movie scenes more
exiting and real.
KINDS OF FILM
1. ACTION
KINDS OF FILM
1. ACTION
 Action is full of suspense.
 It features guns, upper cuts and kicks, it is full of
vengeance, victory and defeat.
 A motion picture whose storyline involves fast-paced
activity and conflict, usually including such elements
as a heroic protagonist, violent fights, acrobatic
stunts, chase scenes, and gunplay.
KINDS OF FILM
2. HORROR
KINDS OF FILM
2. HORROR

 It depicts supernatural phenomenon and creatures

such as zombies, draculas, vampires and the famous
white lady.
 Its intention is to scare and make the audience
scream out of fear while enjoying at the same time.
KINDS OF FILM
2. HORROR
 Is a film that seeks to elicit fear for entertainment
purposes. Often aim to evoke viewers’ nightmares,
fears, revulsions, and terror of the unknown, horror
may also overlap with the fantasy, supernatural fiction,
and thriller genres.
 is a genre of speculative fiction which is intended to
frighten, scare, disgust, or startle its readers by inducing
feelings of horror and terror.
KINDS OF FILM
3. COMEDY
KINDS OF FILM
3. COMEDY

 Its main purpose is to entertain the audience while

they are laughing.
 Professional entertainment consisting of jokes and
satirical sketches, intended to make an audience
laugh.
KINDS OF FILM
3. COMEDY
 is a literary genre and a type of dramatic work that is
amusing and satirical in its tone, mostly having a
cheerful ending. The motif of this dramatic work is
triumph over unpleasant circumstance by
creating comic effects, resulting in a happy or
successful conclusion.
KINDS OF FILM
4. DOCUMENTARY
KINDS OF FILM
4. DOCUMENTARY

 Aside from its main purpose which is to entertain, a

documentary film educates also.
 It presents a fact or a phenomenon accurately
without bias or side comment.
KINDS OF FILM
DOCUMENTARY
 Is a nonfictional motion picture intended to document
reality, primarily for the purposes of instruction,
education, or maintaining the historical record.
 a presentation (such as a film or novel) expressing or
dealing with factual events
KINDS OF FILM
5. DRAMA
KINDS OF FILM
5. DRAMA

 This kind of film usually brings to the big screen the

real life situation of the common Tao or the so called
Bakya Crowd.
 Are serious presentations or stories with settings or
life situations that portray realistic characters in
conflict with either themselves, others, or forces of
nature.
KINDS OF FILM
5. DRAMA  
 is a mode of fictional representation through dialogue
and performance. It is one of the literary genres,
which is an imitation of some action. In simple words,
a drama is a composition in verse or prose presenting
a story in pantomime or dialogue.
THE DEVELOPMENT OF
CINEMA IN THE PHILIPPINES
The cinema of the Philippines (Filipino: Pelikulang Pilipino or Sine
Pilipino) began with the introduction of the first moving pictures to the country
on January 1, 1897 at the Salón de Pertierra in Manila.
The following year, local scenes were shot on film for the first time by a
Spaniard, Antonio Ramos, using the Lumiere Cinematograph. While most early
filmmakers and producers in the country were mostly wealthy enterprising
foreigners and expatriates, on September 12, 1919, Dalagang Bukid (Country
Maiden), a movie based on a popular musical play, was the first movie made
and shown by Filipino filmmaker José Nepomuceno. Dubbed as the "Father of
Philippine Cinema", his work marked the start of cinema as an art form in the
Philippines.
THE DEVELOPMENT OF
CINEMA IN THE PHILIPPINES
Even with the problems currently facing motion pictures around the world,
movies are still considered as one of the popular forms of entertainment among
the Filipino people, directly employing some 260,000 Filipinos and generating
around ₱2 billion revenues annually.
The Film Academy of the Philippines established its own national film archive
in October 2011. Furthermore, their annually held Luna Awards honor the
outstanding Filipino films as voted by their own peers. Meanwhile, the
Manunuri ng Pelikulang Pilipino hands out the Gawad Urian Awards, which is
well known due to its credible choices of winners. Currently, Box Office Mojo
compiles box office performance for local and foreign films in the country.
REFERENCES:
 https://www.nycastings.com/different-types-of-theatre-productions/
 https://books.goole.com.ph
 Ariola, M.M (2014). Introduction to Art Appreciation: A Textbook in Humanities (Second
Edition). C & E Publishing, Inc., Quezon City, Philippines.
 Sanchez, C.A., Abad, P.F., Jao, L.V., & Sanchez, R.A(2012). Introduction to the
Humanities(Sixth Edition). Rex Book Store, Manila, Philippines.