Department of Education

SCHOOLS DIVISION OF CITY OF MALOLOS

City of Malolos
10

Quarter 4 – LAS No. 1

(Week 1-4)
ORIGINAL PERFORMANCE WITH THE
USE OF MEDIA
(A10EL-IVa-2, A10PL-IVh-1, A10PR-IVh-2, A10PR-IVf-g-5)
 LET US KNOW

This learning activity sheet will help you recognize and understand all the
components drawn from the various art forms and call upon the artistic skills and
techniques that you have been exposed to over the last three quarters. In this fourth
quarter, you will get to experience the complex and exciting process of mounting an
original performance together with your classmates—combining most, if not all, of these
skills and techniques.

LET US REVIEW

What You Know

Match Column A with the correct answer on Column B. Write your answer on a
separate sheet of paper.

Column A Column B

a. Maryo J. Delos
Reyes

1.
b. Advertising

2.
c. George Tapan

3.
d. Laurice Guillen

4.
 e. Animation

5.

LET US STUDY

Philippine Theater and Performing Group

The Philippines has a rich and thriving theater industry that you may be interested to venture into in the
future. Productions range from original plays with Philippine themes and settings, to renowned theater classics
from past centuries, to contemporary musicals from Broadway or London’s West End. Below is an overview
of some of the more prominent theater and performing groups in the country and their major productions.

PETA and Tanghalang Pilipino

With the American presence in the Philippines for the first half of the 20th century, it was inevitable that
many U.S. and European theater forms and scripts found their way here. Among them were the classics, such
as the plays of William Shakespeare, as well as the works of great American playwrights. At the same time,
local theater groups staged original Philippine zarzuelas which were plays performed in song, similar to the
European opera.

In the past few decades, modern theater groups have continued to express the distinctly Philippine
interpretation of both originally - written plays as well as adaptations of foreign works translated into Filipino.

At the forefront of these are the Philippine Educational

Theater Association (PETA), founded in 1967 by Cecile
Guidote-Alvarez, and Tanghalang Pilipino, the resident
theater company of the Cultural Center of the Philippines,
founded in 1987.
Himala
Tanghalang Pilipino, 2004

Caredivas
PETA, 2011

Haring Lear
PETA, 2012
 The productions of these groups span the range from daring new presentations of classical works, to
the spectacle of Philippine myths and legends, to commentaries on current social and political issues.

Meanwhile, other Philippine theater groups are also staging original and adapted plays and musical
productions, primarily in English. Best known among these are Repertory Philippines, Trumpets, and
New Voice Company. More recently, Theater Down South has been added to their roster. And
championing the cause of the more classical form of musical performances is the Philippine Opera
Company.

Repertory Philippines
In 1967, theater director Zenaida Amador fulfilled her dream of bringing the best of Broadway and
London’s West End to Filipino audiences. Together with actress Baby Barredo, Amador established
Repertory Philippines, a company that not only staged English-language plays and musicals year-round but
trained actors and actresses as well. The company continues with this vision to this day.

Multi-awarded theater actress and singer, Lea Salonga, in fact, began her career as a child leadin
productions of Repertory Philippines. From there, she went on to become an internationalstage superstar
in the lead role of Kim in Miss Saigon—putting the Philippines on the world mapin terms of theater talent.

Lea Salonga in the lead roles of Repertory’s production of Annie, and London’s Miss Saigon

Also among Repertory’s many notable achievements was the 1993 staging of the international hit
musical Les Miserables in Manila with an all-Filipino cast and production team.

Repertory Philippines’ founder, Zenaida Amador,

with Les Miserables composer Claude Michel Schonberg

In its 2009 season, Repertory added a Filipino classic in English to its productions—A Portrait ofthe Artist
as Filipino, by National Artist Nick Joaquin. To date, it continues to offer a mix of productions ranging from
literary classics to contemporary satires, comedies, and musicals.

Trumpets
In the 1990s, the Philippine theater group Trumpets also began mounting grand productions
of originally-written musicals with a slant towards good values for children and the whole family.
Among their plays have been Joseph the Dreamer; First Name; The Lion, the Witch, and the
Wardrobe; Little Mermaid; Honk; N.O.A.H.; and The Bluebird of Happiness. The intention of
Trumpets is to provide wholesome theater experiences for Filipino youth while also building up the
Philippine theater-going public.
 N.O.A.H
Trumpets, 2009

The Lion, The Witch, and The

Wardrobe
Trumpets, 1997

New Voice Company

Also making its own distinct contribution to the Philippine theater scene is New Voice
Company, established in 1994 by Monique Wilson—also a Repertory Philippines’ protégée who
went on to star on the international stage. New Voice has earned a reputation for staging thought-
provoking productions on daring and deep topics.

Aspects of Love
New Voice Company, 2006

The Male Voice My Name is Rachel Corrie

New Voice Company, 2009 New Voice Company, 2010
Philippine Opera Company
The Philippine Opera Company (POC) was founded in 1999 by a group of dedicated classically-trained
singers, led by soprano Karla Gutierrez as artistic directress. The POC seeks to develop performers as well
as audiences for classical music performances, both foreign and Filipino.

Harana Master Class

Philippine Opera Company, 2009 Philippine Opera Company, 2010

Theater Down South

In 2007, Theater Down South was founded, with Philippine theater mainstay Michael Williams as
artistic director. The vision of the company is to widen the reach of stage productions beyond the
traditional centers within Metro Manila, and therefore develop a broader audience base.

A Midsummer Night’s Dream The Red Carp

Theater Down South, 2007 Theater Down South, 2009

A Funny Thing Happened on the Way to the Forum

Theater Down South, 2010
Roles in a Stage Production

M ost visible on stage in a theater production are the actors and actresses playing their roles.
However, behind the scenes is an entire team whose work begins months in advance of the actual
performance. It is they who support the actors and enable them to truly bring the play to life.
While the members of this team may vary depending on how complex or simple theproduction is,
below are the basic roles that most plays require:

Producer – In a professional stage production, this is the person who takes the play from a mere
concept to an actual finished presentation. He or she chooses all the team members and assigns
them their functions and oversees the casting of the actors and actresses for the different roles.
He or she also decides on major logistical matters like when and where the play will be staged, the
production schedule, and in most cases either finances all the production costs or else sources the
funds needed.

Note: In a school or class play, the role of the producer is normally fulfilled by the Drama Club
moderator, the classroom teacher, or by the school itself.

Director – The director is the overall artistic coordinator of the entire production. Like aconductor
of an orchestra, he or she has a vision of the desired total effect and impact of the performance.
With the play’s script serving as a “musical score,” the director ensures that each one in the
production “hits all the right notes” to create a cohesive, seamless performance that will engage
the audience.

Throughout the play’s rehearsals, the director instructs and guides the actors as to the delivery of
their lines of dialogue; their positions and movements on stage (called “blocking”); the thoughts
or feelings they are to convey through tone of voice, facial expression, and gestures. By the time
of the actual performance, all these should be second nature to the actors as they portray their
characters on stage. The director also coordinates closely with the set, lighting, sound,
costume/makeup designers, and the choreographer (if the play involves dance) to create the
envisioned total effect.

Playwright – For a script intended for stage performance, the writer of the script is more
specifically called a playwright. The initial concept or plot may be original, and then developed into
a play script. Or it may be based on an existing story or another play which the playwright will then
adapt to present in a new way.

The script forms the basis of the entire production. It contains the exact lines of dialogue that each
character will memorize and deliver on stage, often with notes on tone of voice, facial expression,
and even movement or blocking. It also provides a clear description of the set, props, and lighting
to be used in each scene. In some cases, the director may collaborate with the playwright on
making some script adjustments in the course of the rehearsals to better achievethe desired
effect.
Set designer – The concept and creation of the physical stage setup is the task of the set
designer. He or she builds the set (or sets) that will simulate the world that the play’s characters
are supposed to live in. The set may be realistic and filled with authentic details; or it may be
minimalist, merely suggesting the setting with a few pieces of furniture or props and a simple
backdrop. In either case, the set designer ensures that the set will enable the actors to move about
easily and naturally to make their roles believable, and will truly provide the ambiance on stage
that the director and the playwright intend.
Lighting designer – Coordinating closely with the set designer is the lighting designer. Lighting
is critical in creating the mood of each scene in the play, highlighting a dramatic moment, signalling
the entrance of a character, focusing attention on a specific spot on stage, or even providing the
blanket of darkness for set and prop changes. Colored lights or filters may be used, as well as special
effects such as gradual dimming or brightening, a speckled effect like sunlight through leaves, or
flickering lights. The lighting designer plans all these and adds detailed notes on the script for the
lighting crew to follow during rehearsals and the actual performance.

Costume designer – The actors and actresses must look believable in their roles, and much of
this is owed to the costume designer. He or she studies the general setting (time and place) that
the play is meant to take place in, as well as each character in the script. He or she then decides
what attire will not only give the audience a clear sense of the setting, but will also express each
character’s personality and distinct qualities.

The costumes may need to be designed and sewn to meet these requirements. Or they may simply
be assembled from available clothes and accessories, with some additional touches created as
needed. For a modern or avant-garde play, the actors sometimes wear regular street clothes with
a simple prop, a mask, or headgear to denote the characters they are playing.

Sound designer – Similar to the lighting designer, the sound designer serves a vital role in
creating and enhancing the atmosphere of the performance. Sound, in this case, includes music
both on stage and as background, which the sound designer may need to source to suit the general
time and place of the play, as well as particular scenes. Also involved are special sound effects like
thunder, birds chirping, rushing water, gunfire, passing cars, approaching footsteps, and the like.
The sound designer works with all these to support the action and interaction taking place on
stage. He or she adds detailed notes to the script to serve as a guide for the sound crew during
rehearsals and the actual performance.

Note: In large scale productions where live musicians or even a full orchestra are involved, a
separate musical director is responsible for coordinating the play’s music.

Production manager – Coordinating all the complex behind-the-scenes details of staging a play
is the production manager. He or she is tasked with overseeing the crews for the sets and props,
the sound and music, the lighting, and the costumes. This includes ensuring that all the needed
elements, facilities, and equipment are not only available, but are in good working order, properly
catalogued and labelled, and safely stored from one rehearsal to the next, up until the time of the
performance.
Technical director – The technical director shadows the play’s director throughout the entire
production process. From the time the director presents his or her vision for the play and issues
instructions at every rehearsal, the technical director carefully notes how each actor and every
member of the stage, sound, lighting, and costume crews need to be coordinated to bring the
director’s vision to life—ensuring that every instruction is properly executed.
By the time of the final technical rehearsal (sometimes called the dress rehearsal, since it is
performed in full costume and makeup), the director focuses on assessing the total effect of the
performance and how it might still be improved. It is then the technical director who takes over
to closely monitor the individual details, and again ensure that these work together seamlessly in
the actual performance.

Choreographer – In cases where a play involves dance in certain scenes, a choreographer is

included in the production team. He or she not only plans out all the dance steps to suit the music,
but also rehearses the actors until they are able to perform the dance skillfully—while remaining
“in character” on stage. Should the play happen to involve fight scenes, the choreographer will
likewise program the moves of the opposing sides so these can be executed not only believably,
but safely as well.

Makeup designer – As the costume designer deliberates on the characters’ main attire, the
makeup designer is brought in to plan the hairstyles and makeup to complement the costumes.
The work of the makeup designer may be as simple as making the actors look natural for their
respective roles—based on their characters’ age and personality, and the time and place of the
story. But it may also be far more challenging, such as transforming the actors into mythical
creatures, animals, a different nationality, or futuristic beings.

Thus, the makeup designer works his or her magic through the wonders of makeup, face and body
painting, and hair coloring. Other accessories may be employed, like masks, wigs and

LET US PRACTICE

ACTIVITY 1. Thinking What You Learned

Describe the following Performing Group in the Philippine Theater

1. PETA
2. Repertory Philippines
3. Trumpets
4. New Voice Company
5. Philippine Opera Company
6. Theater Down South
 LET US REMEMBER

ACTIVITY 2. Remembering What You Learned

Enumerate the 10 Roles in Stage Production.

1. 6.

2. 7.

3. 8.

4. 9.

5. 10.

LET US APPRECIATE

ACTIVITY NO. 3: What Makes Them Unique

Match the pictures on their corresponding Performing group.

1.

2.

3.
4.

5.

LET US PRACTICE MORE

PERFORMANCE-BASED ASSESSMENT “SOLO ROLE PLAYING”

G Invite a family member to video record your solo role playing.

Goal

R Choose any character/role in your chosen movie clip.

Role

A Family member (acting as cameraman)

Audience

S In the comfort of your home or bedroom

Situation

P Video of the Learners’ Solo Performance

Product /
Performance

Rubric for “Solo Role Playing”

Criteria 10 8 5
S Organization Presentation Presentation has Presentation was
Standards of presentation was organized few unorganized unorganized.
and Criteria very well. part.
for Success
Appropriate No apparent Few Lots of
facial inappropriate inappropriate inappropriate
expression facial facial expression. facial expression.
 (gestures, expression.
voice quality)
Appropriate No apparent Few Lots of
costumes inappropriate inappropriate inappropriate
costumes of costumes of the costumes of the
the character. character. character.

Message Message of the Few interesting Message of their

role play strike message of their role play is not
most of the role play was interesting at all
audience catched.

Evaluation

Multiple Choice: Choose the correct answer.

1. The theater director of Repertory Philippines.

a. Baby Barredo b. Lea Salonga c. Zenaida Amador d. Claude Michel
2. A performing group that earned a reputation for staging thought-provoking productions on daring
and deep topics.
a. Trumpets b. PETA c. New Voice Company d. Theater Down South
3. It is the resident theater company of the Cultural Center of the Philippines.
a. Trumpets b. PETA c. Tanghalang Pilipino d. New Voice Company
4. One of the role in stage production that coordinates all the complex behind the scenes details of
staging a play.
a. Technical Director b. Director c. Production Manager d. Sound Designer
5. One of the role in stage production that plans out all the dance steps to suit the music.
a. Director b. Costume Designer c. Choreographer d. Production Manager

Prepared by:

GEMMALYN D. ISIP
Teacher I
Marcelo H. del Pilar National High School