·Quarter 4·

Arts 10
• Guided Learning Activity Sheet
MUSIC · ARTS · PHYSICAL EDUCATION · HEALTH
MAPEH 10

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 Republic Act 8293, Section 176 states that no copyright shall subsist in any
work of the Government of the Philippines. However, prior approval of the government
agency or office wherein the work is created shall be necessary for exploitation of such
work for profit. Such agency or office may, among other things, impose as a condition
the payment of royalties.

Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names,
trademarks, etc.) included in this module are owned by their respective copyright
holders. Every effort has been exerted to locate and seek permission to use these
materials from their respective copyright owners. The publisher and authors do not
represent nor claim ownership over them.

FOR THE LEARNERS

This Guided Learning Activity was designed to provide you with fun and meaningful
opportunities for guided and independent learnings at your own pace and time. You will be
enabled to process the contents of the learning material while being an active learner. This will
help you attain the prescribed grade-level knowledge, skills, attitude, and values at your own
pace outside the normal classroom setting.

The guided learning activity sheet is composed of different types of activities that are
arranged according to graduated levels of difficulty—from simple to complex. You are expected
to:
a) answer all activities on separate sheets of paper/bond paper;
b) submit the outputs to your respective teachers on the time and date agreed upon.

ARTS 10

At the end of this GLAS, the students are expected to:

ü Explains how an idea or theme is communicated in a selected performance through

the integration of musical sounds, songs, dialogue and dance (A10EL-IVb-4);
ü Analyzes examples of plays based on theatrical forms, and elements of art as applied
to performance (A10EL-IVa-2);
ü Illustrates how the different elements are used to communicate the meaning
(A10EL-IVc-3);
ü Explains the uniqueness of each original performance (A10PL-IVh-1);

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 ü Designs with a group the visual components of a school play (stage design, costume,
props, etc.) (A10PR-IVe-1);
ü Assumes the role of a character as an actor/performer, or production staff (director,
choreography, light designer, stage manager) (A10PR-IVh-2);
ü Analyzes the uniqueness of the group that was given recognition for its performance
and explain what component contributed to its selection (A10PR-IVh-3); and
ü Contributes to the conceptualization of an original performance (A10PR-IVd-4)

Lesson 1: Original Performance with the Use of

Media

WHAT I NEED TO KNOW

Specific objectives:

• Explain how the idea or theme is communicated in the Philippine theater and
performing groups.
• Illustrate how the artistic elements and principles are used to communicate the
intended meaning of the performance.
• Assume the role of a character as an actor / performer, or production staff

WHAT IS IT

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.

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 PHILIPPINE THEATER AND PERFORMING GROUPS

Ø PETA and Tanghalang Pilipino

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.

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.

Ø 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
lead in productions of Repertory Philippines. From there, she went on to become an international
stage superstar in the lead role of Kim in Miss Saigon— putting the Philippines on the world
map in terms of theater talent.

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.
In its 2009 season, Repertory added a Filipino classic in English to its productions—A Portrait
of the 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.

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 Ø 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. Triumphant People's Evangelistic
Theater Society (Trumpets) was founded by Audie Gemora.

Ø 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.

Ø 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.

Ø 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.

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 WHAT I CAN DO:

PERFORMANCE TASK #1:

Directions: Copy the table below and complete the necessary data/information needed. Do
this in a short bond paper.

THEATER
NAME OF THE
YEAR SPECIALTY/
THEATER & FOUNDER/
ESTABLISHED/ PRODUCTION
PERFORMING CREATOR
FOUNDED OBJECTIVE OR
GROUP
PURPOSE

Philippine
Educational Theater
Association (PETA)

Repertory Philippines

Trumpets

New Voice Company

Philippine Opera
Company

Theater Down South

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 Lesson 2: Original Performance with the Use of
Media

WHAT I NEED TO KNOW

Specific objectives:

• Identify appropriate costumes, props, set accessories, improvised lighting, and

other décor for Philippine plays.
• Appreciate original performance inspired by local Philippine stories, myths, and
events relevant to current issues.

WHAT IS IT

Theater is an art form that brings together an entire range of art forms—along with their
corresponding elements and principles.

ROLES IN A STAGE PRODUCTION

Most 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 the
production is, below are the basic roles that most plays require

A. 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.

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 B. Director – The director is the overall artistic coordinator of the entire production. Like a
conductor 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.

C. 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 achieve the desired effect.

D. 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.

E. 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, signaling 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.

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 F. 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.

G. 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.

H. 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.

I. 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.

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 J. 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.

K. 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 hair extensions, headdresses, and even prosthetics to alter certain facial features
or body parts.

WHAT I CAN DO:

PERFORMANCE TASK #2: “Experiencing Theater”

Directions:
1. Watch a recorded performance of a production by any Philippine theater group.
• Aspects of Love (https://www.youtube.com/watch?v=wzXHLJq1_5Y)
• Stars and a Sun (https://www.youtube.com/watch?v=mrLoAMtYy28)
• Alice in Wonderland (https://www.youtube.com/watch?v=aW17OA1rtY8)
• Blue Bird (https://www.youtube.com/watch?v=M2a14NjN8DE)
2. Watch the play very attentively. Observe how the plot is developed and take note of the
artistic elements and principles used.
3. Afterwards, write a reaction paper using the following outline:
4. Use short bondpaper for this activity.

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 1. Title of the play: _______________________________________________________
2. Scriptwriter: _______________________________________________________
3. Director: _______________________________________________________
4. Stage Designer: _______________________________________________________
5. Setting: _______________________________________________________
6. Main Characters: _______________________________________________________
_______________________________________________________
_______________________________________________________
_______________________________________________________

7. Main story line (a 1-paragraph summary)

_______________________________________________________
_______________________________________________________
_______________________________________________________

8. Personal Reaction: _______________________________________________________

_______________________________________________________
_______________________________________________________
_______________________________________________________

COMPILED AND EDITED BY:

TEACHERS FROILAN C. BAHENA SCHOOL YEAR 2023-2024

SCHOOL TOLEDO NATIONAL VOCATIONAL SCHOOL

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