Theatre

Theatre, also spelled theater, in dramatic arts, an art concerned almost exclusively with

live performances in which the action is precisely planned to create a coherent and significant

sense of drama.

Though the word theatre is derived from the Greek theaomai, “to see,” the performance

itself may appeal either to the ear or to the eye, as is suggested by the interchangeability of the

terms spectator (which derives from words meaning “to view”) and audience (which derives

from words meaning “to hear”). Sometimes the appeal is strongly intellectual, as in William

Shakespeare’s Hamlet, but the intellectual element in itself is no assurance of good theatre. A

good performance of Hamlet, for example, is extremely difficult to achieve, and a poor one is

much less rewarding than a brilliant presentation of a farce. Moreover, a good Hamlet makes

demands on the spectator that may be greater than what that spectator is prepared to put forward,
while the farce may be enjoyed in a condition of comparative relaxation. The full participation of

the spectator is a vital element in theatre.

There is a widespread misconception that the art of theatre can be discussed solely in

terms of the intellectual content of the script. Theatre is not essentially a literary art, though it has

been so taught in some universities and schools. For many years the works of the Greek

dramatists, Shakespeare, and other significant writers such as Friedrich von Schiller were more

likely to be studied than performed in their entirety. The literary side of a theatrical production

works most effectively when it is subordinated to the histrionic. The strongest impact on the

audience is made by acting, singing, and dancing, followed by spectacle—the background

against which those activities take place. Later, on reflection, the spectator may find that the

meaning of the text has made the more enduring impression, but more often the literary merit of

the script, or its “message,” is a comparatively minor element.

Yet it is often assumed that the theatrical experience can be assimilated by reading the

text of a play. In part, this is a result of the influence of theatrical critics, who, as writers, tend to

have a literary orientation. Their influence is magnified by the fact that it is difficult to make

serious theatre widely available; for each person who sees an important production in a theatre,

thousands of others will know it only through the notices of critics. While reviewers in the

mainstream press may give greater credence to such elements as acting and dancing, critics in the

more serious journals may be more interested in textual and thematic values. Such influences

vary from country to country, of course. In New York City a critic for one newspaper, such as

The New York Times, may determine the fate and historical record of a production, assuring it a
successful run or forcing it to close overnight. In London, however, audiences have notoriously

resisted the will of the critics.

This is not to say that the contribution of the author to the theatrical experience is

unimportant. The script of a play is the basic element of theatrical performance. In the case of

many masterpieces it is the most important element. But even these dramatic masterpieces

demand the creative cooperation of artists other than the author. The dramatic script, like an

operatic score or the scenario of a ballet, is no more than the raw material from which the

performance is created. The actors, rather than merely reflecting a creation that has already been

fully expressed in the script, give body, voice, and imagination to what was only a shadowy

indication in the text. The text of a play is as vague and incomplete in relation to a fully realized

performance as is a musical score to a concert. The Hamlets of two great actors probably differ

more than two virtuoso renditions of Johann Sebastian Bach’s Goldberg Variations possibly can.

In general, the truly memorable theatrical experience is one in which the various elements of

performance are brought into a purposeful harmony. It is a performance in which the text has

revealed its meanings and intentions through skillful acting in an environment designed with the

appropriate measure of beauty or visual impact.

This article contains a treatment of the art of theatre in the most general terms, an attempt

to illuminate what it is and why it has been regarded as a fundamental human activity throughout

history. An extensive treatment of the elements of theatre can be found in theatrical production.

For the relationship of theatre to music and dance, see theatre music, opera, and dance. For

historical treatment of Western theatre, see Western theatre. The theatrical traditions of other
cultures of the world are considered in articles such as African theatre, East Asian arts, Islamic

arts, South Asian arts, and Southeast Asian arts. For a general survey of dramatic literature and

its tragic and comic forms, see dramatic literature. Dramatic literature is also treated in articles

on the literatures of particular languages, nations, or regions—e.g., African literature, Belgian

literature, English literature, French literature, German literature, Russian literature, and so on.

Elements of Theatre

Performer
 People onstage presenting characters in dramatic action. The audience is coming to see a

performer pretend to be someone else. When the actor/actress 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.

Audience
 The essence of theater is the interaction between the performer and audience. Theater

needs to be experienced live. There is a "call and response" atmosphere that can’t 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 the

audience.

Director
 The director makes certain that the performers understand the text and deliver the script

excitingly and appropriately. The director also makes sure the blocking, costume designs, set

designs and other aspects of the show blend together to make a production that works together.

All the aspects of theater should complement each other, and the director oversees all these

things.

Theater Space
 Another necessary element of theater is the space in which performers or audiences come

together. It is essential to have a stage, or some equivalent area, where actors and actresses can

perform. It is also essential to have a place for audience members to sit or stand.

Design Aspect

 
Visual Aspect - costumes, lighting, and some form of scenic background 

Nonvisual Aspect- sound.

Text
  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 they must go through a series of

conflicts. Without conflict the story would be bland and boring. 

 Principle of Theatrical Balance
Defining Unity and Balance

In the visual and performing arts, artists employ elements and principles of design to

organize the aesthetic composition — the arrangement of the visual information. The elements of

design are the building blocks, such as line, shape, value, form, space, color, and texture, that the

artist uses to fill in the composition. Principles are the concepts that guide the artists in placing

those elements for their greatest visual impact. These include balance, contrast, movement,

emphasis, pattern, proportion, and unity. In this lesson we will focus on unity and balance.

Unity and balance are achieved when a sense of harmony is created.

Unity can be achieved in these primary ways:

 By organizing the elements in a pleasing and harmonious way, often by

employing repetition.

 Through a clear message presented by the subject matter.

Balance is achieved by giving proportionate weight to the right number of elements so that

the viewer has a sense of equilibrium. Balance can be achieved through symmetry when equal

weight is given to each area usually by repeating the same elements in each area,

or asymmetry when elements of varying visual weight are used throughout the piece to balance

each other out.

Variety is another important factor in achieving unity and balance. Variety provides contrast and

difference that help make the balance and unity dynamic and interesting.
 Drama and Elements of Drama

Drama

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. Drama is also a type of a play written

for theater, television, radio, and film. In simple words, a drama is a composition

in verse or prose presenting a story in pantomime or dialogue. It contains conflict of characters,

particularly the ones who perform in front of audience on the stage. The person who writes

drama for stage directions is known as a “dramatist” or “playwright.”

Elements of drama

Theme The theme of a play refers to its central idea. It can either be clearly stated

through dialogue or action or can be inferred after watching the entire performance. The theme is

the philosophy that forms the base of the story or a moral lesson that the characters learn. A

theme, in simple terms, is what the play is about. It is the message or lesson that the writers of

the play want the audience to learn. For example, the theme of a play could be about how

unforgiveness destroys relationships or how love can bring people together regardless of their

race or background.

Plot In simple terms, a plot is the chain of events in a play. Essentially, the plot is the

story that the play narrates. It is the sequence of events in the story.
 Characters The characters are the roles that actors play in a play. The main characters

of any play are the protagonist and the antagonist. Characters include people, animals, or figures

represented in a literary work. Depending on character development, a character can be either

dynamic, static, round, or flat.

Dialogue

The contents of the dialogues and the quality of their delivery have a major role to play

in the impact that the play has on the audience. It is through the dialogues between characters

that the story can be understood. Dialogues also help to reveal the personalities of the characters

and help the audience understand characters more. Monologues and soliloquies are also as
important as dialogues are in a play. They are speeches that actors give to themselves or that are

directed to the audience in a play.

Setting The time and place where a story is set in one of its important parts. The era of

time in which the incidents in the play take place. Stage design and costumes are some of the

ways the place and time settings of a play are portrayed.

Performance This is about how actors give life to the characters that are written on

paper. How well actors portray their characters' personalities determines how well the play will

be taken by the audiences.

Music This element includes the use of sounds and rhythm in dialogues. It also includes

music compositions that are used in plays. The background score, songs, and sound effects are

used to complement the scenes and the characters in it. Music also helps to portray the emotions

in a scene to the audience.

Visual element

The visual element of drama, also known as the spectacle, gives a visual appeal to the

stage setup. The costumes and makeup of characters are also parts of visual elements. Visual

elements help scenes to be dramatic enough to hold an audience's attention.

Classification of Drama
Comedy

Comedy is a type of drama that aims to make the audience laugh. Its tone is light and it

mostly has a happy ending. The classic conception of comedy came from the Ancient Greek

theatre, where comedy first emerged as a form of drama. Comedy can be further divided into

subcategories, for example, lampoon, farce, satire, black comedy, etc. Each type of comedy has

its audience. Interestingly, such preferences may also depend on the cultural background of

people.

Tragedy
 Tragedy is a type of drama in which the protagonist or hero is brought down by

his/her flaws. Murders, deaths, insanity, and pain are among the most common ideas

in tragedies. Main characters usually have some kind of weakness or defect that

causes their downfall. Tragedy first appeared in the theatre of Ancient Greece. Like

comedy, it lived through the Roman Empire, Medieval times, Renaissance, and other

eras. The aim of tragedy, as stated by Aristotle, is to create a release of certain

emotions from the audience, to arouse in them sensations of pity and fear, so that they

leave the theatre with an understanding of the ways of gods and men. The audience

catharsis is brought about by witnessing some disastrous and moving change in the

fortunes of the protagonist.

Tragicomedy
 Tragicomedy is a special kind of drama that combines the features of tragedy and

comedy. This means that such play may be sad but will have a happy ending, or it may be

serious with some elements of humor emerging throughout the whole play. Unlike comedy and

tragedy, tragicomedy emerged a bit later, in the times of the Roman Empire. Roman dramatist

Plautus was the first to write a tragicomedy and to use the term. In his play Amphitryon, he used

the lightheartedness of comedy but chose gods and kings as the main characters. This was quite

revolutionary of him. Before Plautus, there were strict rules about writing drama, it was either

comedy or tragedy. These genres were never mixed. Plautus was the first to note that in our daily

lives, we have features of both tragedy and comedy.

Melodrama
 Melodrama is the last one of the four types of drama. It is a kind of drama in which

everything is hyperbolized. Usually, themes depicted in melodramas are simple and without any

unpredictable plot twists. There are quite a lot of stereotypes in such dramas. However, the main

point of a melodrama is not to tell a story but to awaken feelings in the audience. Melodramas

are mostly love stories with beautiful heroines, charming heroes, and scary villains. Melodrama

originated much later than comedy, tragedy, and tragicomedy. It first appeared in France at the

end of the 18th century. Later, it reached Britain and became one of the most popular types of

drama in the 19th century. Particularly, the 19th century was the period when melodrama was the

most popular kind of theatre entertainment and was visited by a vast number of people. This is

because, in those times, theatres became available for common people. As melodrama was aimed

at this layer of society, in particular, it became immensely popular among artisans and the

working-class population. The influence of melodrama on society was so great that it lived to our

days and even penetrated other areas of literature and entertainment.

Type of Drama

Classical Acting

Before talking pictures developed, actors primarily learned and practices their craft on

stage in theatres. Acting for the stage required overly dramatic gestures, exaggerated actions and

slow, drawn out speech to reach the audience in the back of the theatre. With the advent of

talking pictures in the late 1920s, this type of overacting began to lose favor and transformed

itself into what is known as Classical Acting. With its roots in Shakespearean acting, Classical
Acting is action-oriented and strives not to stray from the screenplay dialogue. This stems from

the legal language used for theatrical stage productions which states that the performance must

be as written, or not at all—no ad libbing allowed. Classical actors bring a character to life

through analysis of the writer’s words and the actions required to bring these words to life. Some

famous actors who were trained in Classical Acting include Richard Attenborough, Alan Bates,

Richard Burton, Bette Davis, William Shatner and Patrick Stewart.

Modern Acting

Modern acting techniques stem from Constantin Stanislavski, a Russian actor and

director and guiding force behind the Moscow Art Theatre. In the early 1900s, he began

developing a style of acting that called for actors to inhabit authentic emotions while performing

by drawing upon their own life experiences. Part of this acting process was to encourage actors

to explore their character’s motivations which is where the line “What’s my motive?” began.

This type of acting became known as the Stanislavski method or “Method Acting.” Laurence

Olivier and John Gielgud were practitioners of the Stanislavski’s system.

Nationalistic Plays

National Theatre Collection

Comedies

 London Assurance: Simon Russell Beale and Fiona Shaw star in this new version of

Dion Boucicault’s classic comedy

  One Man, Two Guvnors: Tony Award-winning James Corden plays Francis Henshall in

the hilarious West End and Broadway hit

 She Stoops to Conquer: Directed by Jamie Lloyd with a cast including Cush Jumbo and

Katherine Kelly

20th Century Classics and Modern Plays

 Cat on a Hot Tin Roof: Sienna Miller stars alongside Jack O’Connell and Colm Meaney

in Tennessee Williams’ searing, poetic story

 The Cherry Orchard: ‘Beautifully skewed, melancholic and haunting.’ The Stage

 Consent: Nina Raine’s powerful, painful, funny play which sifts the evidence from every

side and puts justice herself in the dock.

 The Deep Blue Sea: Starring Helen McCrory, Time Out described it as ‘Stunning.

Exquisitely sad. Beautifully judged.’

 Les Blancs: This theatrical search for the soul of post-colonial Africa features Danny

Sapani as Tshembe

 A Streetcar Named Desire: Starring Gillian Anderson, Ben Foster and Vanessa Kirby,

The Daily Telegraph called it 'An absolute knock-out. Raw, emotional and deeply

unsettling.’

 Translations: Brian Friel’s modern classic, a powerful account of nationhood, described

by The Guardian as 'A flawless production. A culture-clash masterpiece’

 Yerma: Billie Piper won an Olivier Best Actress award for her performance in Lorca’s

achingly powerful masterpiece

Shakespeare Plays

 Coriolanus: An award-winning performance from Tom Hiddleston in the title role

 Hamlet: ‘Tremendous. Rory Kinnear’s performance is superb’ The Times

 Julius Caesar: Ben Whishaw and Michelle Fairley play Brutus and Cassius, David

Calder plays Caesar and David Morrissey is Mark Antony.

 King Lear: Starring Sir Derek Jacobi and directed by Tony Award winning Michael

Grandage, The Telegraph said it was ‘The finest and most searching Lear I have ever

seen.’

 Macbeth: First performed as part of the National Theatre’s series of Shakespeare for

younger audiences

 Othello: Adrian Lester and Rory Kinnear jointly won the Evening Standard Best Actor

Award for their performances in the iconic roles of Othello and Iago.

 Romeo and Juliet: Bijan Sheibani's thrilling production brings the greatest love story of

all time alive for a new generation

 Twelfth Night: Tamsin Greig as a transformed Malvolia, in a new twist on

Shakespeare’s classic comedy of mistaken identity

 The Winter's Tale: The perfect introduction to Shakespeare for younger audiences

Literary Adaptations and Inspirations

 Frankenstein: Benedict Cumberbatch and Jonny Lee Miller each play Victor

Frankenstein and his creation in these two performances of Danny Boyle's smash-hit

production
  Jane Eyre: ‘Aflame with passion. A picture of exultant feminism.’ The Observer

 Peter Pan: Sally Cookson directs this “dazzling production” (Radio Times) of JM

Barrie’s classic

 Small Island: The Guardian described this adaptation of Andrea Levy’s Orange Prize-

winning novel as 'One of the most important plays of the year.’

 Treasure Island: Robert Louis Stevenson's classic adventure brought to life in a thrilling

adaptation by Bryony Lavery

 Wonder.land: Inspired by Lewis Carroll’s tale of Alice, this musical is a coming-of-age

adventure for the online generation

Greek Classics and World Historical Drama

 Antigone: Adapted by Don Taylor into a gripping political thriller with a cast including

Jodie Whittaker and Christopher Eccleston

 Medea: ‘Extraordinary. Helen McCrory ascends to greatness’ The Sunday Times

 Dara: Shahid Nadeem’s epic tale of the dispute that shaped modern-day India and

Pakistan

Problem in the Philippines Theatre

Lack of financing, audience hounds Philippine theater Modern theater has

come a long way in the Philippines since it made its arrival during the American Occupation. But

challenges remain, especially the lack of financial wherewithal and support from the state. Then
there’s the seeming paucity in audience.The literary forum “Ang Teatro sa Pilipinas sa Bagong

Milenyo,” organized by the University of Santo Tomas Center for Creative Writing and Literary

Studies, recently featured theater artists Rody Vera, Nicolas B. Pichay, Liza Magtoto and Sir

Anril Tiatco discussing the poor state of Philippine theater.“There is a financial catastrophe that

we feel in theater because we don’t have any funding, we don’t have support from the

Government unless we apply for a grant,” said Magtoto, whose recent works included the hit

musical “Rak of Aegis.” She said professior theater was in its death throes (“naghihikahos”).She

noted that many companies were having a hard time inviting audience to watch their shows

because of the high ticket prices.“Audience building is really difficult,” she said. “The good

thing about this, however, is that many theater companies were conceived. But many theater

companies are having a problem with marketing. Unless it was free of charge, it was difficult to

bring in audience.”

‘Urgency’

Tiatco, who teaches at the Department of Speech Communication and Theater Arts in

University of the Philippines Diliman, said that contemporary theater in the Philippines, or at

least in Manila, is rooted in social criticism.Citing critic Doreen G. Fernandez, he noted that with

thematic concerns of the Filipino playwrights, directors and actors, “the vitality of theater is in its

urgency.”“[Filipino playwrights] do not need to hear the strengths in writing techniques in order

to want to write a play in like manner; instead, their themes invade their craft and they reach for

techniques,” he said. “By urgency, Fernandez said theater in the Philippines used to represent
social concerns of the time and therefore provide a commentary on the state of things at that

time.”

 Tiatco stressed that contemporary artists behind the staging of current productions “worked on

the same tradition of social activism which might be viewed as a call for resisting certain social

and cultural threats while the real are imagined.”

 In the same vein, Vera noted the tradition of well-known Filipino playwrights such as Reuel

Aguila, Rene Villanueva, Al Santos, Malou Jacob who wrote because of the “urgency of the

time”.“It was important for them to say what they wanted to say more than how they could say

it,” said Vera, who was inducted this year in the Palanca Awards Hall of Fame. “It was clear to

them what they wanted to send across their audience.”

Musicals

Writer-lawyer Pichay, who wrote “Maxie The Musicale,” noted the rise of musical

theater. “We have a musical culture,” Pichay said. “We are a karaoke nation. We have a

theatrical tradition with moro-moro, zarzuela and vaudeville.” Pichay noted that the Filipino

people’s penchant for musicals came around in the 1980s when the whole world began to notice

then 17-year-old Lea Salonga, who played Kim in the musical “Miss Saigon.”Meanwhile,

Magtoto, who wrote the musical “Care Divas,” noted the rise of theater-goers in the country

because of musical productions, but she said that the theater did not always have to show

musicals.

Gay sensibility
 

The gay sensibility in musicals has long been a heated discussion in queer theories. But

what is gay sensibility?According to Pichay, it is the way in which the world is viewed through

the eyes of a gay person. However, he said that this was hard to signify because one cannot

actually define this.Pichay was referring to an article written by Anthony Tommasini for the

New York Times in which the latter argued that the notion of “gay sensibility” associated to

musicals came from the fact that the earlier productions were written mostly be gay

people.“Would it help to think that that musicals have actuality that is mostly associated with the

gay culture?” asked Pichay. “Masaya lang talaga ang kumanta and sumayaw, but it doesn’t

necessarily mean that the person who is enjoying a musical is gay.”

Performance and literature

Vera, who was one of the co-founder of the 10-year-running Virgin Labfest, said that the

festival sought to reconcile drama and literature, performativity and literary quality. In the ’90s,

playwright Rene Villanueva set up the group called Telon where Pichay, Elmer Gatchalian, Jun

Lana, Tim Dacanay, Luna Sicat-Cleto were members. The group was largely built because of

their belief that “the true test of a play was to be in production.” Then, the late Charley de la Paz

founded the Playwrights’ Development Program of the Philippine Educational Theater

Association (Peta), which was later joined with Telon to form what would be called the Writers’

Bloc, which Vera now heads.Vera said that it was important for them that the drama they write

would be eventually translated on stage.“In film writing, the work must be set to production

before we could say that this was what had become of it. Sometimes what the actors say help to
contribute in enriching the material. Not only the light and ‘literariness’ of the words, but also its

stageability. This is the vision of Virgin Labfest.”Meanwhile, Pichay said that the theater offered

more engagement than did TV shows or films. He stressed that in the age of social media, TV

had created a big divide among the people because it did not build a community, only

consumerism.“In the Greek times, the theater really was a community,” he said. “When you

build a community, you build a theater. The theater should entertain and educate. It should

address a particular audience and make people introspective and let them know their place in

society. That is what we want the theater to be.”

Will the coronavirus kill Philippine theater?

MANILA, PHILIPPINES

Theater artists face a tough season as the pandemic rules out mass gatherings, but as the

nation itself goes through this difficult chapter, Filipino thespians say the art of storytelling will

flourish in adversity On the eve of the lockdown of Metro Manila, Stella Cañete Mendoza

returned to her backstage dressing room to pack the blouses, skirts, dresses, the shirt-and-jeans,

and the headband she had meticulously plotted to help herself get into character. Stella had

arrived early for that final company call. Soon her two-dozen fellow actors trickled in to collect

their costumes and props, too. Stripped of sets and equipment, the bare hall echoed the sounds of

things being put away. The producers, cast, and crew of the musical Dekada ’70 decided to

postpone the final leg of the show’s run just before the government placed the metro under

enhanced community quarantine. Theirs was an intimate show. The Doreen Black Box at the

Ateneo’s Areté arts center seated only 200 people in the audience. It made for immersive,
riveting performances. It’s exactly the thing to avoid during the coronavirus pandemic. How

does one practice social distancing inside a theater? “Wala. You can’t. We in the cast, we

embrace and hold hands a lot in the show. Then of course, the audience sits in front of us, side by

side,” said Stella. She played the lead role of Amanda Bartolome, a doting mother who, by the

end of the play, finds her militant voice. In the weeks before the pandemic took hold, the crew

considered setting the audience chairs farther apart, leaving alcohol dispensers at the entrances,

giving every audience member a face mask, and disinfecting before and after every performance,

just so the show could go on. They realized it wouldn’t be prudent. The 4 shows on their final

weekend were sold out, which meant they would have been responsible for the 800 people who

would have attended. “Of course, we were all heartbroken because we all believed in the

message of the show, especially during these times,” Stella said. Dekada ’70, based on the novel

by Lualhati Bautista, is set in the martial law era of the Marcos dictatorship. Stella’s character

grapples with the issues of the time through the varied experiences of her husband and sons, until

she finds her own place in the struggle for justice.The show opened on February 21, just days

before the Senate passed its version of the anti-terrorism bill, a measure that casts a repressive

shadow over dissent and activism.“More than anything else – the financial loss, ‘yung udlot mo

bilang artist to perform – nasayangan talaga ako that we weren’t able to reach out to 800 more

people and share the message,” Stella told Rappler.

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q=Theater+Space&tbm=isch&ved=2ahUKEwiY9o2ensjsAhXMx4sBHatlA4oQ2-
cCegQIABAA&oq=Theater+Space&gs_lcp=CgNpbWcQAzIECCMQJzIICAAQBRAeEBMyC
AgAEAUQHhATMggIABAFEB4QEzIICAAQBRAeEBMyCAgAEAUQHhATMggIABAFEB4
QEzIICAAQBRAeEBMyCAgAEAUQHhATMggIABAFEB4QEzoHCCMQ6gIQJ1CR2AZY2f
0GYMeFB2gBcAB4AIABuAOIAbgDkgEDNC0xmAEAoAEBqgELZ3dzLXdpei1pbWewAQr
AAQE&sclient=img&ei=w3-
RX9iIGcyPr7wPq8uN0Ag&bih=657&biw=1366#imgrc=Q5L_GaAeZxZ6gM
Drama
https://literarydevices.net/drama/
Principle of Theatrical Balance
https://study.com/academy/lesson/unity-balance-in-visual-performing-arts.html?
fbclid=IwAR0azMcTSTlgKyq_GoxhitPXEyUeXNEBWPuzC5bMJlvZ_3QkdUx1MKdXteI
Elements of Drama
https://www.legit.ng/1219307-4-types-drama-literature.html#:~:text=There%20are
%20four%20major%20types,culture%20and%20should%20be%20appreciated.
Classification of Drama
https://www.legit.ng/1219307-4-types-drama-literature.html#:~:text=There%20are
%20four%20major%20types,culture%20and%20should%20be%20appreciated.
Type of Acting
https://www.filmconnection.com/blog/2019/11/11/types-of-acting-explained/
Nationalistic play
https://www.dramaonlinelibrary.com/national-theatre-collection?
fbclid=IwAR1OYkq5NagAcS9JYN9iqoWTk4nkR2ozt1piLzDJR2J4cRhOUk4TUjIoorI
Problems in the Philippines Theatre
https://lifestyle.inquirer.net/180056/lack-of-financing-audience-hounds-philippine-theater/?
fbclid=IwAR3aJqfV4br0BjvWaXEirDa6bMbukf1BUowKXFRDOaMBP4x1RJ-
BbX9PK38
https://www.rappler.com/newsbreak/in-depth/will-coronavirus-kill-philippine-theater?
fbclid=IwAR1m_mfXSRieDydg9cXasSLY83Fa3koN7rn-aVSXN-LerzvDiuVa5_1L-IE