ORIGINAL PERFORMANCE WITH

THE USE OF MEDIA

Group IV
 THEATER

• Theater is one of the major art WHAT CONTRIBUTES TO

form that brings together all THE VIVID THEATER
the other art forms – from EXPERIENCE?
painting and sculpture, to the stage sets and props
installation art, to music, to
dance, to literature, even to the lighting
computer arts – in a single the background music and
production. sound effects
the costumes and accessories
PHILIPPINE THEATER AND
PERFORMING GROUPS
 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.
At the same time, local theater groups staged the 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 to Filipino.
 PETA AND TANGHALANG PILIPINO

• At the forefront of these are 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 production 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.
PETA AND TANGHALANG PILIPINO

1. Himala – Tanghalang Pilipino, 2004

2. Caredivas – PETA, 2011
3. Haring Lear – PETA, 2012
4. Pamana – PETA, 2013
• Meanwhile, other Philippine theater groups are also staging
original and adapted plays and musical productions in
English. Best known among these are:
Repertory Philippines
Trumpets
New Voice Company
Theater Down South
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, Amado established Repertory Philippines.
• A company that not only staged English-language plays
and musicals year-round but trained actors and actresses as
well.
 REPERTORY PHILIPPINES

• Multi-awarded theater actress and singer, Lea Salonga, in

fact, began her career as a child lead in productions of
Repertory Philippines.
• 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

• 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.
 REPERTORY PHILIPPINES

1. A Portrait of the Artist as Filipino (2009)

2. Little Women (2010)
3. Alice in Wonderland (2013)
4. The Producers (2013)
 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.
• The intention of the Trumpets is to provide wholesome
theater experiences for Filipino youth while also building
up the Philippine theater going public.
 TRUMPETS

1. Joseph the Dreamer

2. First Name
3. The Lion, The Witch, and the Wardrobe
4. Little Mermaid
5. Honk
6. N.O.A.H.
7. The Bluebird of Happiness
 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 a reputation for staging thought-provoking
productions on “controversial” and profound topics.
 NEW VOICE COMPANY

1. Aspects of Love (2006)

2. The Male Voice (2009)
3. My Name is Rachel Corrie (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.
 PHILIPPINE OPERA COMPANY

1. Harana (2009)
2. Master Class (2010)
3. The Mikado (2013)
 THEATER DOWN SOUTH

• In 2007, Theater Down South was founded, with Philippine

theater mainstay Michael Williams as artistic director.
• The vision of the company was to widen the reach of stage
productions beyond the traditional centers in Metro Manila,
and therefore develop a broader audience base.
 THEATER DOWN SOUTH

1. A Midsummer Night’s Dream (2007)

2. The Princess and The Red Carp (2010)
3. A Funny Thing Happened on the Way to the Forum
(2010)
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.
 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.
 PRODUCER

• 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.
 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 play’s script 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.
 DIRECTOR

• 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 the portray their characters on stage.
• The director also coordinates loosely 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 the
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.
 PLAYWRIGHT

• 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.
 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 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 ambience on stage
that the director and the playwright intend.
 LIGHTING DESIGNER

• Coordinating closely with the set designer is the lighting

designer.
• Lighting designer 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.
 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.
 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.
• The sound designer works with all these to support the
action and interaction taking place on stage.
 PRODUCTION MANAGER

• Coordinating all the complex behind-the-scenes details of

staging a plat 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.
 TECHNICAL DIRECTOR

• The technical director shadows the play’s director

throughout the entire production process.
• By the time of the final technical rehearsal (sometimes
called the dress rehearsal), the director focuses on assessing
the total effect of the performance in full costume and how
it might still be improved. It is then the technical director
who takes over to monitor the individual details closely,
and again ensure that these work together seamlessly in the
actual performance.
 CHOREOGRAPHER

• Incases 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.
 MAKEUP DESIGNER

• 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 the characters’ age and personality, and the time
and place of the story.