Apprenticeship and Exploration in the Arts

-Theatre

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 eCO QAH + MELC LW

Course Outline & Quality HANDOUT No. 1

Assured Handouts paired with Apprenticeship and Exploration in the Performing Arts
MELC- Based Learner’s Theater Arts
Worksheet

MELC:
The learner describes the various theories explaining the emergence of drama as a distinct art form.
Semester: 1ST Week No. 1 Day: 1-4
LESSON: Origins and Elements of Drama

TOPIC 1: The Origin of Theatre

Theatre appears to exist and have existed in all societies in some form.

Some things have theatrical elements (parades, gameshows, sports, dances, religious services, political campaigns),
but they are different from theatre, the art form.

THEORIES EXPLAINING THE EMERGENCE OF DRAMA

No clear evidence, so all theories are conjecture.

Attic relief (4th century BCE) depicting an aulos player and his family standing before Dionysos and a female
consort, with theatrical masks displayed above

Aristotle suggested that mimesis (imitation) is innate in humans; theatre probably came from the dithyramb, a
hymn sung or chanted before religious rituals in honor of Dionysus, the god of wine, rebirth, and fertility. The word
"tragedy' seems to have come from the Greek words for "goat" and "song"--so tragedy was a goat-song (whether
sung to, by, or for the goat is anyone's guess).

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1. Storytelling Theory – it is believed that drama and theatre evolved from storytelling which was used as a
past time, share knowledge or give moral lessons. Storytelling is pleasurable and natural, a narrator
elaborates by impersonating. It has been long been part of the human existence.

2. Movement / Dance Theory -- Dance is a performing art form consisting of sequences of movement, either
improvised or purposefully selected. This movement has aesthetic and often symbolic value. It is imitating
physical behavior of animals and humans, donning skins as garments -- eventually talking was added. It is
believed that drama sparked the emergence of drama

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3. Judicial System Theory -- necessity to speak in court required expansion, desire to perform and see
performances. It is sought that the drama emerged from the judicial system.

4. Supreme act of an unidentified artist Theory (Perhaps Thespis, perhaps Aeschylus) -- a revolutionary
discovery -- to synthesize many other already existing elements. According to certain Ancient Greek
sources and especially Aristotle, Thepsis was the first person ever to appear on stage as an actor playing a
character in a play (instead of speaking as themselves). In other sources, he is said to have introduced the
first principal actor in addition to the chorus. He is often called the "Inventor of Tragedy". Thus the
emergence of Drama and Theatre.

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 5. Ritual Theory --This is the most pervasive and accepted of theories, but much questioned. Ritual is one
source of theatre, but not all societies develop the same way. Theatre and ritual both employ similar means:
music, dance, spectacle, masks, costumes, speech, performers, audience, stage, makeup, etc.

--From primitive religious rituals usually connected with spring and the seasonal cycle, drama evolved--

--Few say that theatre came directly from ritual, but that ritual influenced theatrical forms--

--Sir James Frazer's theory (late 19th century) -- primitive cultures with no written language performed rituals to
win the favor of natural forces, then it is formalized, then stories grew up to explain the rituals -- people were
impersonating gods, beings, or forces-- and there resulted a developing dramatic sense--

--Eventually, rituals were abandoned or modified, but myths / stories remain as oral tradition. A big step toward
drama occurs when these are acted out in simple drama.

--Aesthetic gradually overtakes the religious or utilitarian aims of ritual.

Against ritual theory -- functionalists -- 1915 --

--Suggest the possibility that cultures develop differently from one society to another-- they argue against the
"cultural Darwinism" which holds that all human institutions have developed similarly-- and suggest that perhaps
that not the case.

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 REFERENCES

Archer, S., Gendrich, C. M., & Hood, W. B. (2017). Theatre: Its Art and Craft (Seventh ed.). Lanham, Md.:
Rowman & Littlefield Publishers.

Arnold, S. (2014). The Creative Spirit: An Introduction to Theatre (Sixth ed.). New York, N.Y.: McGraw-Hill.

Campbell, D. (2016). Technical Theater for Nontechnical People (Third ed.). New York, N.Y.: Allworth Press.

Donahue, T., & Patterson, J. (2012). Theater Careers: A Realistic Guide. Columbia, SC: University of South
Carolina Press.

Gainor, J. E., Garner, A. B., & Puchner, M. (2017). The Norton Anthology of Drama (Third ed.). New York, N.Y.:
W. W. Norton & Co., Inc.

Gillette, J. M. (2012). Theatrical Design and Production: An Introduction to Scene Design and Construction
(Seventh ed.). New York, N.Y.: McGraw-Hill Higher Education.

Hischak, T. S. (2016). Theatre as Human Action: An Introduction to Theatre Arts (Second ed.). Lanham, Md.:
Rowman & Littlefield Publishers.

Hodge, F., & McLain, M. (2016). Play Directing: Analysis, Communication, and Style (Seventh ed.). New York:
N.Y.: Routledge.

Johnstone, J. (2015). Impro: Improvisation and the Theatre. New York: N.Y.: Routledge.

Patterson, J. (2017). Theatre in the Classroom, Grades 6-12: Methods and Strategies for the Beginning Teacher
(Second ed.). Long Grove, Ill.: Waveland Press, Inc.

Philippines, Cultural Center of the. (1994). CCP Encyclopedia of Philippine Art: Philippine Theater (Vol. 7). (N.
G. Tiongson, & B. Joi, Eds.) Pasay City: Cultural Center of the Philippines.

Santos, C. L., & Pascual, C. J. (2016). Puring. In V. M. Tañada, Filipino sa Piling Larangan: Sining at Disenyo
(pp. 60-62). Pasig City, Philippines 1600: Department of Education - Bureau of Learning Resources
(DepEd-BLR).

Scott, J. M. (2014, May). Improvisation in the Theatre: An Intersection Between History, Practice, and Chaos
Theory . A Dissertation in Fine Arts. Texas: Texas Tech University.

Thomas, J. M. (2014). Script Analysis for Actors, Directors, and Designers (Fifth ed.). Burlington, Mass.: Focal
Press.

Wilson, E., & Goldfarb, A. (2017). Living Theatre: A History of Theater ( Seventh ed.). New York, N.Y.: W. W.
Norton & Co., Inc

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 CO QAH + MELC LW
LEARNING WORKSHEET No.1
Course Outline & Quality Assured
Apprenticeship and Exploration in the Performing
Handouts paired with MELC- Based
Arts
Learning Worksheet
Theater Arts

Name: _________________________________ Grade & Section: _________________________

Teacher: _______________________________ Date Submitted: __________________________

MELC:
The learner describes the various theories explaining the emergence of drama as a distinct art form.
Objectives/Subtasks:

Topic: Origins and Elements of Drama

Semester: _______ Week No. _______ Day: _______

THE ORIGIN OF THEATRE

Direction: Identify and describe the various theories explaining the emergence of drama as a distinct art form by
completing the table below.

Theories Description
1.

2.

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3.

4.

5.

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 CO QAH + MELC LW

Course Outline & Quality HANDOUT No. 2

Assured Handouts paired with Apprenticeship and Exploration in the Performing Arts
MELC- Based Learner’s Theater Arts
Worksheet

MELC:
The learner identifies basic elements of theater and describes their use in a variety of theatrical
performances.

Semester: 1ST Week No. 2 Day: 1-4

LESSON: Elements of Theater

TOPIC 1: 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".)

1. Performers
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.

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2. 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 cannot 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.

3. Directors
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.

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4. Performance
Drama is used for plays that are acted on stage or screen. These plays are different from musical performances
because they must tell stories which are acted out by actors and actresses. You remember what we studied last
semester about imitation or re-enactment and impersonation. These actors and actresses must be playing roles
by imitating other characters. It means, therefore, that they must assume other people’s personalities by bearing
different names, ages, occupation, nationalities, etc. Finally, they must be conscious of themselves as actors by
trying hard to pretend that they are the characters they are representing.

5. 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
plac
e for
audi
ence
me
mbe
rs to
sit
or
stan
d.

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6. Design – Design is what you can see, hear or feel in the production. Design has basically 2 parts the Visual
Aspect and the Nonvisual Aspect.

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

Nonvisual Aspect - sound.

When staging a performance there are a couple of questions that need to be answered. And here are those
questions;
1) How has lighting changed over time?
2) What did performers do before the light bulb?
3) What would costumes be like in the time of Greek Dramas? Elizabethan Theater? Modern Times?
4) Does the Theater Space "dictate" what the scenery will look like?
5) Does a budget (how much money the company has) dictate what the scenery, costumes, and other aspects of
design will be like?
6) How has sound changed with technology? What did performers do before the microphone and recording
devices?

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7. 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. When writing your script, how can you make your story more interesting.

REFERENCES
Archer, S., Gendrich, C. M., & Hood, W. B. (2017). Theatre: Its Art and Craft (Seventh ed.). Lanham, Md.:
Rowman & Littlefield Publishers.
Gainor, J. E., Garner, A. B., & Puchner, M. (2017). The Norton Anthology of Drama (Third ed.). New York, N.Y.:
W. W. Norton & Co., Inc.
Hischak, T. S. (2016). Theatre as Human Action: An Introduction to Theatre Arts (Second ed.). Lanham, Md.:
Rowman & Littlefield Publishers.
Hodge, F., & McLain, M. (2016). Play Directing: Analysis, Communication, and Style (Seventh ed.). New York:
13
 N.Y.: Routledge.
Johnstone, J. (2015). Impro: Improvisation and the Theatre. New York: N.Y.: Routledge.
Santos, C. L., & Pascual, C. J. (2016). Puring. In V. M. Tañada, Filipino sa Piling Larangan: Sining at Disenyo
(pp. 60-62). Pasig City, Philippines 1600: Department of Education - Bureau of Learning Resources
(DepEd-BLR).
Scott, J. M. (2014, May). Improvisation in the Theatre: An Intersection Between History, Practice, and Chaos
Theory . A Dissertation in Fine Arts. Texas: Texas Tech University.
Wilson, E., & Goldfarb, A. (2017). Living Theatre: A History of Theat ( Seventh ed.). New York, N.Y.: W. W.
Norton & Co., Inc.

CO QAH + MELC LW
LEARNING WORKSHEET No.2
Course Outline & Quality Assured
Apprenticeship and Exploration in the Performing
Handouts paired with MELC- Based
Arts
Learning Worksheet
Theater Arts

Name: _________________________________ Grade & Section: _________________________

Teacher: _______________________________ Date Submitted: __________________________

MELC:
The learner identifies basic elements of theater and describes their use in a variety of theatrical performances.
Topic: Origins and Elements of Drama
Semester: _______ Week No. _______ Day: _______

ACTIVITY ONE: 1-MINUTE ACT

Directions: Create a 1 to 2-minute act with beginning, middle and end about the cause and/or effects of Pandemic
COVID2019. The story may tackle a story of a person which could be a victim, a front-liner, a government official,
teacher, student, commuters or a common citizen. Perform and record your act using your cellphone, tablet or any
video recording gadgets/ instruments for evaluation and future viewing. Post your video in the facebook group
“ARTS AND MUSIC CADSEV” using this format:

Week 2- Activity 1
Title:___________________

VIDEO PERFORMANCE

(Short Description about the performance)

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ACTIVITY TWO: MY ELEMENTS
Directions: Identify the basic elements of theatre and describe how you used them in your performance.
ELEMENTS OF DESCRIPTION
THEATRE
1.

2.

3.

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4.

5.

6.

7.

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RUBRIC FOR ACTIVITY 1

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 CO QAH + MELC LW

Course Outline & Quality HANDOUT No. 3

Assured Handouts paired with Apprenticeship and Exploration in the Performing Arts
MELC- Based Learner’s Theater Arts
Worksheet

MELC:
The learner integrates the different theories and elements of theater in an improvised performance.
Semester: 1ST Week No. 2 Day: 1-4
LESSON: Improvised Performance

TOPIC 1: Improvised Performance

 Creative drama is an improvisational form of theatre

in which participants are guided by a leader to
imagine, enact, and reflect on human experiences.
Creative drama differs from formal drama in that the
process of acting out is more important than the end
result. That is, how the participants develop the
activity is more important than the final product of the
activity.

 Formal drama focuses on a performance in front of

an audience as the important final product.

 The acting would be improvisational - imaginative

and spontaneous. Improvisation is key to creative
drama. And since the process is not a performance,
creative drama does not require an audience.

 In creative drama, you hear a story or get an idea and

then plan how to act out the dramatic action.
Following careful planning, the scene is then played,
either in parts or from beginning to end.

 Replaying is acting out the story or activity again

using the changes discussed. It enables participants to
expand
on their ideas. Replaying can occur immediately or Leah Salonga on Miss Saigon it can be
saved for another time.

 . In side-coaching, the leader (often your teacher) talks you through an activity by making suggestions or
giving you more ideas. Side-coaching may also provide an internal monologue—the thoughts of a
character. Often, this informal prompting helps participants incorporate important actions or meaningful
concepts that might otherwise be missed.

 Improvisation gives actors the opportunity to work together in an informal way developing and creating
characters—personalities different from one’s own— before beginning scene work. It is also an excellent
way to develop concentration, exercise imagination, and become more self-confident while at the same time
learning some acting fundamentals.

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 A monologue is a Mini-play. It tells a story - either of an event that happened or an emotional development -
told by one character. The character tells a story about him/herself similar to the way a short story is structured.
The story has a point. It is like letting the audience into the character's head to listen to the character's
innermost thoughts. Monologues are addressed to the audience and are meant to be heard and seen by the
audience. It is important for a monologue to have a Curtain Line. It's the Climax or Curtain Line of the
monologue that leaves us wanting to know about the character or the character's situation.

REFERENCES

Archer, S., Gendrich, C. M., & Hood, W. B. (2017). Theatre: Its Art and Craft (Seventh ed.). Lanham, Md.:
Rowman & Littlefield Publishers.

Gainor, J. E., Garner, A. B., & Puchner, M. (2017). The Norton Anthology of Drama (Third ed.). New York, N.Y.:
W. W. Norton & Co., Inc.

Hischak, T. S. (2016). Theatre as Human Action: An Introduction to Theatre Arts (Second ed.). Lanham, Md.:
Rowman & Littlefield Publishers.

Hodge, F., & McLain, M. (2016). Play Directing: Analysis, Communication, and Style (Seventh ed.). New York:
N.Y.: Routledge.

Johnstone, J. (2015). Impro: Improvisation and the Theatre. New York: N.Y.: Routledge.

Santos, C. L., & Pascual, C. J. (2016). Puring. In V. M. Tañada, Filipino sa Piling Larangan: Sining at Disenyo
(pp. 60-62). Pasig City, Philippines 1600: Department of Education - Bureau of Learning Resources
(DepEd-BLR).

Scott, J. M. (2014, May). Improvisation in the Theatre: An Intersection Between History, Practice, and Chaos
Theory . A Dissertation in Fine Arts. Texas: Texas Tech University.

Wilson, E., & Goldfarb, A. (2017). Living Theatre: A History of Theat ( Seventh ed.). New York, N.Y.: W. W.
Norton & Co., Inc.

19
 CO QAH + MELC LW
LEARNING WORKSHEET No.3
Course Outline & Quality Assured
Apprenticeship and Exploration in the Performing
Handouts paired with MELC- Based
Arts
Learning Worksheet
Theater Arts

Name: _________________________________ Grade & Section: _________________________

Teacher: _______________________________ Date Submitted: __________________________

MELC:
The learner integrates the different theories and elements of theater in an improvised performance.
Topic: Improvised Performance
Semester: _______ Week No. _______ Day: _______

ACTIVITY ONE: 1-MINUTE ACT

Create a 1 to 3-minute improvised performance integrating the theories and elements of theatre. The story may
tackle a story of a person which could be a victim, a front-liner, a government official, teacher, student, commuters
or a common citizen. Perform and record your act using your cellphone, tablet or any video recording gadgets/
instruments for evaluation and future viewing. Post a video on the facebook group “ARTS AND MUSIC
CADSEV” using this format.

Title:_____________________

VIDEO OF IMPROVISED PERFORMANCE

(Short Description of the performance)

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 RUBRIC

NAME: __________________________________________ SECTION: ___________

TITLE OF MONOLOGUE: _________________________________________________

Points
4 3 2 1
Earned
The monologue is The monologue is The monologue is not The monologue lacks
complete. It shows complete. It shows complete. It is lacking impact. The monologue is
evidence of some evidence of in organization. There incomplete. It lacks
organization and organization. is little evidence of organization. There is no
understanding of the Understanding of the understanding of the clear character
character. The character is present. The character. development in the
monologue has an monologue has some monologue
emotional impact on impact on the audience.
the audience.
Clear enunciation and Consideration is given to There may be some Individual vocal
good projection help vocal variety, accent inconsistencies in vocal characteristics of the
the audience and/or dynamics. variety, accent and/or character are not evident.
understand the Enunciation and dynamics. Some Enunciation is not clear.
character. projection are generally problems with There is no attempt at
good. enunciation and projection. The character
projection. does not possess unique
vocal characteristics.
Physical gestures and Some physical gestures Minimal movement or No movement or gestures
movement contribute and movements are gestures are shown. are present.
to the development of present but may appear Movement is
the character. There is unmotivated. unmotivated.
clear motivation for
movement.
Props and costumes Props and costumes are Props or costumes are No props or costumes
are appropriate for the used and are appropriate present in the used
character and serve to for the character. Some presentation of the
enhance the effort is made to monologue. Little or
performance. The incorporate the props no use of props or
character makes and/or costumes into the costumes is made in the
effective use of the character's monologue. monologue.
props and costumes.
Fully memorized. Fairly well memorized, Partially memorized. No memorization evident.
minimal use of prompts Use of prompts or cue
or cue cards. cards distracts from the
presentation.
Total

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 CO QAH + MELC LW

Course Outline & Quality HANDOUT No. 4

Assured Handouts paired with Apprenticeship and Exploration in the Performing Arts
MELC- Based Learner’s Theater Arts
Worksheet

MELC:
The learner Analyzes the structural components of plays and performances from a variety of
local/Asian/Western/commercial theatrical traditions.
Semester: 1ST Week No. 4 Day: 1-4
LESSON: The Structural Components of Plays and Performances

TOPIC 1: The Structural Components of Plays and Performances

The dramatic structure of a play dates back to 335 B.C., when Aristotle described the six basic parts, or elements, of
a play. In still others, song might be the most important feature. Today, many teachers refer to the six basic parts of
dramatic structure as plot, character, theme, language, music, and spectacle.

 Plot. Aristotle tells us that there is the arrangement of the incidents that take place in a play. A plot has
three basic parts: the beginning, middle, and end. The beginning introduces the audience to who, what,
where, when, and why through revealing information called. The middle is composed of a series of
complications or conflicts, which result in a, or turning point. In the final part of the plot, the conflict is
resolved and the story ends.

 Character. The plot of the play is carried out through the action
and
dialogue of personalities or figures called characters. It is through
these
characters that the playwright reveals his or her message. The
princi-
pal character, who represents the main thought of the play, is called
the protagonist. Standing in the protagonist’s way and opposing the
protagonist is a character known as the . All other impor-
tant characters in the play will side with one of these two characters.

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 Thought/Theme. Playwrights have an overall meaning, or basic idea, that they wish to get across through
the play. This idea, known as the thought or, ties the characters and events together and gives the play
purpose. The theme of a play is usually suggested, or implied, rather than directly stated.

 Diction/Language. The playwright tells the story of the play through words, or language. Careful selection
of language gives the audience a better understanding of the type of play, the characters, and the plot. The
lines of the play and even the stage directions are all considered the language of a play.

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 REFERENCES

Archer, S., Gendrich, C. M., & Hood, W. B. (2017). Theatre: Its Art and Craft (Seventh ed.). Lanham, Md.:
Rowman & Littlefield Publishers.

Arnold, S. (2014). The Creative Spirit: An Introduction to Theatre (Sixth ed.). New York, N.Y.: McGraw-Hill.

Campbell, D. (2016). Technical Theater for Nontechnical People (Third ed.). New York, N.Y.: Allworth Press.

Donahue, T., & Patterson, J. (2012). Theater Careers: A Realistic Guide. Columbia, SC: University of South
Carolina Press.

Gainor, J. E., Garner, A. B., & Puchner, M. (2017). The Norton Anthology of Drama (Third ed.). New York, N.Y.:
W. W. Norton & Co., Inc.

24
 CO QAH + MELC LW
LEARNING WORKSHEET No.4
Course Outline & Quality Assured
Apprenticeship and Exploration in the Performing
Handouts paired with MELC- Based
Arts
Learning Worksheet
Theater Arts

Name: _________________________________ Grade & Section: _________________________

25
Teacher: _______________________________ Date Submitted: __________________________

MELC:
The learner Analyzes the structural components of plays and performances from a variety of
local/Asian/Western/commercial theatrical traditions.
Objectives/Subtasks:

Topic: The Structural Components of Plays and Performances

Semester: _______ Week No. _______ Day: _______

Activity 1:
Direction: Watch the play entitled “Rated:PG” with the link https://www.youtube.com/watch?v=mG0OptDrchE
and Analyze the structural components of the play and performance from a variety of local/Asian and commercial
theatrical traditions. The space is provided for your analysis;

CO QAH + MELC LW

Course Outline & Quality HANDOUT No. 5

Assured Handouts paired with Apprenticeship and Exploration in the Performing Arts
MELC- Based Learner’s Theater Arts
Worksheet

26
MELC:
The learner differentiates theatrical forms by describing elements and conventions of staging and performance
Semester: 1ST Week No. 5 Day: 1-4
LESSON: Theatrical forms

TOPIC 1: Theatrical forms

A form is the method you select to tell your story and explore themes when presenting your work. For example, you
may choose to present a piece of work in the form of a mime, where the actors don’t speak, or as Physical theatre,
where abstract movements symbolise relationships.

Remember, form is the thing itself and the style is the way you present it. In the case of a ‘comical mime’ the
dramatic form used is mime and comical is the style in which it’s done.

THEATRICAL FORMS

Charles Spencer Chaplin became a worldwide icon through his screen persona as a mime

Mime/mute- Miming involves acting out a story through body motions, without the use of speech. In earlier times,
in English, such a performer would typically be referred to as a mummer. Miming is distinguished from silent
comedy, in which the artist is a character in a film or skit without sound.

27
 The ‘choric dithyrambs’ (choral songs) were
originally about death and resurrection of
Choral work- Choral Drama (meaning more than one voice) Dionysus (god of wine and fertility).
was born out of Greek Theatre. Greek theatre evolved from
ritual and dance with a strong choral focus. The choral parts in Greek theatre were used to emphasize the dramatic
action.

Performance of Pool (No Water) by

Frantic Assembly at Sydney Opera
House

Physical theatre- Physical theatre is a genre of theatrical performance that pursues storytelling through primarily
physical means. Several performance traditions all describe themselves as “physical theatre”, but the unifying
aspect is a reliance on physical motion of the performers rather than or combined with text to convey the story. In
basic sense, you talk through hand gestures, body language, thought track and many more physical features.

Ang Huling El Bimbo the Musical

Featuring the songs of the most

iconic 90s Pinoy Band

Musical theatre- is a form of theatrical performance that combines songs, spoken dialogue, acting and dance. The

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story and emotional content of a musical – humor, pathos, love, anger – are communicated through words, music,
movement and technical aspects of the entertainment as an integrated whole. The dramatic production combining
acting, singing, and dancing tell a story. We tend to call these productions musicals, or sometimes Broadway
musicals based on their preeminent venue. You'll laugh, you'll cry, you'll cheer, you'll sing; it's an artistic
experience unlike any other.

Ang Babae sa Septic Tank

chronicles- film by Marlon Rivera

Farce- is a type of comedy that uses absurd and highly improbable events in the plot. Situations are humorous
because of their ludicrous and often ridiculous nature. The choice of setting is a key factor in farce, as the
protagonist is sometimes at odds with the environment. Often the central character in a farce does not (or should
not) belong in the place of the action. The audience will only accept the situation if they follow the conventions
previously established. But characters in a farce can also quite logically belong in the setting they are placed in.

Lysistrata ng Bakwit
-Tanghalang Ateneo

Satire - a genre of the drama usually in the form of fiction and less frequently non-fiction, in which vices, follies,
abuses, and shortcomings are held up to ridicule, with the intent of shaming individuals, corporations, government,
or society itself into improvement. Although satire is usually meant to be humorous, its greater purpose is often
constructive social criticism, using wit to draw attention to both particular and wider issues in society.

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 COMIC DELL’ARTE Dell’Arte
International School of Physical Theatre
first year students.

Commedia dell'arte-form of popular theatre that emphasized ensemble acting; its improvisations were set in a firm
framework of masks and stock situations, and its plots were frequently borrowed from the classical literary tradition
of the commedia erudita, or literary drama. Professional players who specialized in one role developed an
unmatched comic acting technique, which contributed to the popularity of the itinerant commedia troupes that
traveled throughout Europe. Despite contemporary depictions of scenarios and masks and descriptions of particular
presentations, impressions today of what the commedia dell’arte was like are secondhand. The art is a lost one, its
mood and style irrecoverable.

West Side Story to Open in Manila

-Koji Arsua

Dance- Theatrical dance is usually performed in a theater or another public venue, and examples include ballet,
jazz, tap, musical theatre, and more. People who participate in theatrical dance go to classes and practice with the
ultimate goal of performing on stage.

REFERENCES

Johnstone, K., & Irving, W. (1992). Impro: Improvisation and the Theatre. New York, 10017: Routledge.

Pattison, S. (2005). Designing A Character: A Drama Unit for Drama 20. Stewart Resource Center.

Prince, N. a. (2005). Exploring Theatre. Columbus, Ohio: McGraw-Hill Companies, Inc.

30
Scott, J. M. (2014, May). Improvisation in the Theatre: An Intersection Between History, Practice, and Chaos
Theory . A Dissertation in Fine Arts. Texas: Texas Tech University.

CO QAH + MELC LW
LEARNING WORKSHEET No.5
Course Outline & Quality Assured
Apprenticeship and Exploration in the Performing
Handouts paired with MELC- Based
Arts
Learning Worksheet
Theater Arts

Name: _________________________________ Grade & Section: _________________________

Teacher: _______________________________ Date Submitted: __________________________

MELC:
The learner differentiates theatrical forms by describing elements and conventions of staging and performance
Objectives/Subtasks:

Topic: Types and Forms of Theaters

Semester: _______ Week No. _______ Day: _______

Direction: Differentiate theatrical forms by describing elements and conventions of staging and performance by
completing the table below.

Theatrical forms Description and its elements Conventions of Staging and

Performance
1.

31
2.

3.

4.

5.

6.

32
 7.

CO QAH + MELC LW

Course Outline & Quality HANDOUT No. 6

Assured Handouts paired with Apprenticeship and Exploration in the Performing Arts
MELC- Based Learner’s Theater Arts
Worksheet

MELC:
The learner performs a readers’ theater that will illustrate various characteristics of representative plays across
history and cultures.
Semester: 1ST Week No. 6 Day: 1-4
LESSON: Reader’s Theater

33
 TOPIC 1: Reader’s Theater

Readers theatre, a style of theatre in which two or more

interpreters appear to be reading from a script, is not new
although it has gained in popularity in recent times. Throughout
the years, similar styles of theatre have been known by such
titles as chamber theatre, platform theatre, staged reading,
interpreter’s theatre, and choral reading. Readers theatre seems
to be the most suitable title, since the participants interpret the
literary selection by reading rather than acting out.
Today’s popular style of readers theatre has its origin in
primitive ritual chants. These chants may be considered the first
oral group performances. Other early examples of group
reading, or readers theatre, were the chanting chorus from the
Greek theatre and the recitation of Homer’s poetry. Homer, the
earliest known European poet, had his students read his poems
aloud as they memorized them in unison. Throughout the
history of religion, we find other examples of group reading. In
many religious ceremonies today, we find the “call and
response” as part of the worship service.

In the 1930s and 1940s, choral reading was a common activity in speech and drama festivals and contests. This
event in public speaking is thought to be the forerunner of readers theatre as we know it today. Because readers
theatre teaches students to interpret literary selections and read aloud with fluency, it is as popular in today’s
classrooms as it is on the stage.
Readers theatre is an exciting way to interpret literature. This theatrical style combines the oral interpretation of
literature with the performance of conventional theatre. One difference noticed immediately is that the performers
appear to be reading from a script. Another difference is that the actors do not have to dress in costume or act out
the character. In readers theatre, the performers merely suggest the characters, settings, props, events, and actions
while interpreting the selection for the audience.
Readers theatre becomes participatory theatre for the audience as they actively listen and visualize their
interpretation of the selection.

Benefits of Readers Theatre

 Engaging students in the act of reading.

 Increasing students’ motivation to read.
 Increasing students’ level of comprehension.
 Developing students’ fluency through repeated use of and exposure to text.
 Providing students with an authentic purpose for reading.
 Integrating reading, writing, listening, and speaking into an authentic context for students.

34
Characteristics of an Effective Readers Theater Reader

 Reads with expression, enunciating clearly, using his/her voice to convey meaning.
 Is familiar with the part and can read it fluently.
 Demonstrates poise and self-confidence.

Selecting Material for Readers Theatre

Many commercially prepared scripts are available for readers theatre, but your group might like to prepare your
own material. Selections for readers theatre can come from almost any printed material. Plays, poetry, novels, and
short stories are ideal sources. However, readers theatre material can also come from letters, diaries, journals, and
even your history book.

Look for selections that will “turn on” the audience’s imagination, actively involving the listeners in the
presentation. A selection should move the audience to respond in some way. Another aspect to consider is
characterization. Choose selections with interesting, easily identifiable characters. Conflict and action are also
important. A selection with numerous conflicts offers more action for the actors and is more interesting to the
audience.

Consider the language of the selection. You will want to choose a literary selection filled with imagery. Listen to
the words of the selection. Do you like the way they sound? Do they paint pictures in your mind? Do you smile or
laugh at some of the phrases and become sad when you hear others? Do some of the thoughts linger in your mind
after you have finished reading the selection? If you can answer yes to those questions, then your selection will pass

35
the language test.

If you plan to perform published material outside of your classroom, you will need to secure permission from the
publishing company. It is against the law to copy or perform material without the permission of the copyright
holder, usually the writer or publisher. Copyright is a writer’s protection against someone stealing or copying his or
her original material. Some companies require a fee to perform their materials. This fee is called a royalty. It is
against the law to avoid payment of a royalty. Your teacher will advise you of your school’s procedure for paying a
royalty.

Adapting the Material

Novels or short stories will have to be shortened to meet the time requirement for your assignment or presentation.
Changing or cutting a selection is called adapting the material. Read the material several times before you decide
on the parts or scenes to cut, or leave out. Descriptions of characters, actions, and settings can be provided by one or
more narrators. This narration is often referred to as a narrative bridge. Narrative bridges help the audience clarify
the scene changes and connect the parts.

Your literary selection will need to be divided into parts for each reader. Don’t worry about having more characters
than participants. Readers can easily play more than one character by changing vocal inflection and shifting posture.
A poetry selection should be
characterized, which means divided into characters. Assign lines to individual characters, and use narrators when
needed.
.
.

REFERENCES

Johnstone, K., & Irving, W. (1992). Impro: Improvisation and the Theatre. New York, 10017: Routledge.

Pattison, S. (2005). Designing A Character: A Drama Unit for Drama 20. Stewart Resource Center.

Prince, N. a. (2005). Exploring Theatre. Columbus, Ohio: McGraw-Hill Companies, Inc.

36
Scott, J. M. (2014, May). Improvisation in the Theatre: An Intersection Between History, Practice, and Chaos
Theory . A Dissertation in Fine Arts. Texas: Texas Tech University.

CO QAH + MELC LW
LEARNING WORKSHEET No.6
Course Outline & Quality Assured
Apprenticeship and Exploration in the Performing
Handouts paired with MELC- Based
Arts
Learning Worksheet
Theater Arts

Name: _________________________________ Grade & Section: _________________________

37
Teacher: _______________________________ Date Submitted: __________________________

MELC:
The learner performs a readers’ theater that will illustrate various characteristics of representative plays across
history and cultures.
Objectives/Subtasks:

Topic: Types and Forms of Theaters

Semester: _______ Week No. _______ Day: _______

ACTIVITY ONE

Compile a class list of favorite poems, short stories, novels, and plays to be considered as readers theatre material.
Select one of the compiled readers materian and create a video performance on it illustrating various characteristics
of representative plays.
Submit your compilation to your teacher and post the video performance on the Facebook group “ARTS AND
MUSIC CADSEV” using this format:

Title:_________________

Video Performance

(Short Description)

ACO QAH + MELC LW

HANDOUT No. 7
Course Outline & Quality
Apprenticeship and Exploration in the Performing Arts
Assured Handouts paired with
Theater Arts
MELC- Based Learner’s
Worksheet

38
MELC:
The learner performs a readers’ theater that will illustrate various characteristics of representative plays across
history and cultures.
Semester: 1ST Week No. 7 Day: 1-4
LESSON: Performing Reader’s Theater

TOPIC 1: Performing Reader’s Theater

Readers theatre, a style of theatre in which two or more interpreters appear to be reading from a script, is not new
although it has gained in popularity in recent times. Throughout the years, similar styles of theatre have been known
by such titles as chamber theatre, platform theatre, staged reading, interpreter’s theatre, and choral reading. Readers
theatre seems to be the most suitable title, since the participants interpret the literary selection by reading rather than
acting out.

POINTS TO REMEMBER IN READING THE SCRIPT:

1. Always number your pages.

2. Use at least 12-point (Arial font) type so you can
see it clearly.
3. Avoid dividing a reader’s part from one page to
the next.
4. Type all stage directions in italics and place in
parentheses.
5. Make additional changes to stage directions in
pencil. You might have to change them again.
6. Use a stiff manuscript cover or binder for your
script. Black is the traditional color for a readers
theatre script cover.
7. Underline or highlight your part. Only highlight
the words that will be spoken, so that you don’t
read the stage directions aloud when you are
ne
rv
ou
s.
8. Each Sam’s Kitchen
mem Sample Script
ber
of your group should use a different color to highlight his or
her script in case the scripts get mixed up.
9. To show scene changes in your script, center several symbols
(* * * * ) where the change occurs.
10. Put your name on the inside of your script.

REHEARSING
Each performer should read the script several times before rehearsals
begin. During the first few rehearsals, readers should spend time
39
reading the script aloud, in parts or in round-robin style. Both the text and the characters should be analyzed. These
first rehearsals offer readers time to understand the material and prepare the script, making any necessary changes
in dialogue or characterization. Once the parts are assigned, each reader should highlight or underline his or her
speaking lines.

Early rehearsals are also the time to mark the script for emphasis and phrasing. In each line or group of words, there
will be some words you will want to stress. Adverbs and verbs are usually more important than nouns and
adjectives. Putting emphasis on these words helps make the meaning clearer for your audience. Your teacher may
have a special way to mark scripts, or you may use the same marks you used in oral interpretation. Most readers
mark or underline the words they want to stress, using different
PETA Rehearsals colors to indicate the amount of stress. Thus, a word marked with two
lines in red would be emphasized differently from a word marked
with one squiggly green line.

Phrasing is extremely important in readers theatre. Phrasing means grouping words to create a specific meaning.
Notice two different ways to phrase the following dialogue:

“Oh no! I forgot my lunch.” (phrased as if the person is upset at having forgotten his or her lunch)

“Oh! No, I forgot my lunch.” (phrased as if the person forgot his or her lunch but isn’t too concerned)

Which phrasing is correct? Well, it all depends on the meaning you are trying to get across to your audience.
Phrasing should be planned early in rehearsal. Work with your director and group members to determine the best
way to phrase all the lines.

Most readers mark their scripts with a “signpost” to signal a pause or break in reading. Use one post (/), or mark, for
a short pause; two posts (//) for a longer pause or complete stop. Your acting company or group might create your
own signals. Just be sure to remember what they mean.

Staging
Readers theatre is simple to stage. Since the
traditional stage, props, costumes, and sets are not
required, readers theatre is an ideal style of theatre
for classroom presentation.

Performers should be grouped in a visually

pleasing manner using chairs, stools, ladders, step
units, or cubes. Steps, ramps, and platforms add
levels and variety. Using different levels allows all
cast members to be visible to the audience. Try
experimenting: Use rows, angles, even semicircles
to find the ideal grouping for a particular selection.
Empty space can be used to show relationships
between characters or between the characters and
the narrator.

40
Some time should be spent rehearsing the entrance if the group is to walk onstage or into the performance space.
How your group enters depends on the performance space as well as on the blocking. Often in readers theatre, the
actors walk in, holding their scripts in their upstage hands. The first or last person to enter, often the narrator, gives
a silent signal, such as a slight nod, and all the readers raise their scripts to reading level. Script folders or binders
are supported by one hand from underneath, freeing one hand for gesturing. When the free hand is not in use, it
rests on top of the script.

A character enters a scene by stepping forward to speak or by standing. A scene exit is accomplished by stepping
back or sitting down. Other exit methods are turning the back, lowering the head, and “freezing” in place. If
available, spotlights can also be used to begin and end a scene or to highlight individual entrances and exits.

Focus in readers theatre is one way of achieving action and believability. Focus refers to where the actors look or to
whom they address their lines when speaking. Three basic types of focus are used in readers theatre. In onstage
focus, the characters focus on each other, as in traditional theatre. In audience focus, the characters focus on the
audience. In offstage focus, the characters do not look at each other but look above the heads of the audience into
an imaginary mirror, focusing on the reflected image of the person to whom they are speaking.

In traditional readers theatre, the performers most often use audience or offstage focus. In more informal readers
theatre, the characters often use onstage focus, while the narrators use offstage or audience focus. Work with your
group, under your director’s guidance, to determine the appropriate type of focus for your selection.

When the performance concludes, all readers close their folders at the same time and exit in a prearranged fashion.
Remember to rehearse your entrances and exits.

THE PRESENTATION

If you have used your rehearsal time wisely, you are ready to share with an audience. You have worked long and
hard. You know your material. Now it’s time for the fun. Remember to use all the good presentation techniques you
have learned:
 Use appropriate focus.
 Speak out with confidence.
 Follow your marked script.
 Stand or sit tall to avoid slumping.
 Refrain from crossing your legs.
 Enjoy the pleasure that comes from a job well done.

41
 TOPIC 2: Characteristics of Representative Plays Across History and Cultures.

A League of their Own -Philippine Stagers Foundation

The All-Encompassing Plot

Plot is communicated through the telling of the story and is made up of every action in the play. Plot encompasses
all the problems that characters face, whether internal or external. The playwright organizes events to create
suspension and tension, to tease the audience and keep them interested. For example, the plot of "The Miracle
Worker" is that teacher Anne Sullivan must teach Helen Keller, who is deaf, dumb and blind, how to communicate
and function in the world.

Character Development

Characters are those who act out the plot and deal with the problems and conflict of the plot. This is one of the most
easily recognized aspects of drama because they are the people who populate the stage. For example, the characters
in Tennessee Williams' "The Glass Menagerie" are Amanda Wingfield, Tom Wingfield, Laura Wingfield and Jim
O'Connor. Characters need to be compelling, people that audiences are interested in learning more about. Good
characters are likable or have charisma -- even if they are villains -- and do great things.

The Theme's the Thing

The theme is what the play is actually about, the abstract idea or metaphor of the play. It is the issue that the plot
and characters examine. A good play might have multiple themes, but it will have one overriding idea that
dominates the story. For example, the overriding theme in Shakespeare's "Othello" is jealousy, but it also deals with
manipulation, racism, sexism, revenge and violence.

42
 The Quest for the Adarna- Ballet Manila

Dramatic Language

Aristotle insisted that drama is told with heightened language. This can take such forms as Shakespeare's iambic
pentameter or David Mamet's clipped, interrupted speech patterns. Heightened language is a theatrical convention,
and it often makes use of symbolism, exaggerated speech or poetry.

Sound and Music

There is a melody and rhythm to a play that speaks to how the story is told. Music is how the play sounds, and it
can be either how the dialogue is delivered or the more literal meaning of song and music such as found in musical
theater. It also encompasses sound effects, the voices of the actors or instrumental music played as a score.

Spectacle Brings a Play to Life

Spectacle is what separates a play from a novel or short story. Plays are not meant to be read, but to be seen and
heard. They come to life with actors, costumes, sets, lights and sound. A playwright includes stage directions, notes
about props and even descriptions of costumes when they are important. Some productions, such as "Phantom of
the Opera," rely more on spectacle than such a show as "Waiting for Godot."

43
 REFERENCES

Johnstone, K., & Irving, W. (1992). Impro: Improvisation and the Theatre. New York, 10017: Routledge.

Pattison, S. (2005). Designing A Character: A Drama Unit for Drama 20. Stewart Resource Center.

Prince, N. a. (2005). Exploring Theatre. Columbus, Ohio: McGraw-Hill Companies, Inc.

Scott, J. M. (2014, May). Improvisation in the Theatre: An Intersection Between History, Practice, and Chaos
Theory . A Dissertation in Fine Arts. Texas: Texas Tech University.

44
 CO QAH + MELC LW
LEARNING WORKSHEET No.7
Course Outline & Quality Assured
Apprenticeship and Exploration in the Performing
Handouts paired with MELC- Based
Arts
Learning Worksheet
Theater Arts

Name: _________________________________ Grade & Section: _________________________

Teacher: _______________________________ Date Submitted: __________________________

MELC:
The learner performs a readers’ theater that will illustrate various characteristics of representative plays across
history and cultures.
Objectives/Subtasks:

Topic: Performing Reader’s Theater

Semester: _______ Week No. _______ Day: _______

ACTIVITY ONE. Theatre In Your Life.

 Get the compilation of your favorite poems, short stories, novels, and plays from last lesson.
 Select a readers theatre material suited for you.
 Create your readers theater script.
 Rehearse and be ready for a performance.

ACTIVITY TWO. Readers Theatre Performance.

Share your SOLO readers theatre performance to the class video presentation. Upload it to facebook group “ARTS
AND MUSIC CADSEV” using this format:

Title:_________________

Video Performance

(Short Description)

45
 RUBRIC

Your
4 pts 3 pts 2 pts 1 pt
Score
Speech is
Most speech is Speech is often
sometimes
All speech is clearly unclear, too
unclear, soft,
clearly enunciated, enunciated, soft, and/or too
Clarity, Pace, and/or too fast,
spoken slowly and spoken slowly fast, so most of
and Volume so some of the
loudly enough to and loudly the character’s
character’s lines
be heard. enough to be lines are not
are not clearly
heard. clearly heard.
heard.
Quality and variety
of expression and Quality and Minimal
Reading has
tone makes the variety of expression
pleasant, but
Expression reading interesting, expression and and tone
largely
and appealing, and tone makes the makes the
unchanging,
Presentation effectively conveys reading reading
expression and
the character and interesting and difficult to
tone.
message of the appealing. focus on.
text.
Excellent gestures
Good gestures Few gestures
and eye contact No gestures or
Gestures, Eye and eye contact and little eye
with the audience. eye contact.
Contact, and with the contact. Props
Props are effective Props are non-
Props audience. Props are not used
and add to the existent.
are effective. appropriately.
performance.
Presentation is
generally Occasional
Presentation runs Frequent stops,
smooth with pauses and
smoothly without corrections, and
few prompts during
interruptions or prompts during
Preparation interruptions or presentation
prompts suggesting presentation
prompts suggest more
excellent suggest a lack
suggesting preparation is
preparation. of preparation.
adequate needed.
preparation.

46
 ANSWERS KEY

Worksheet 1

Answers may vary

Worksheet 2
Answers may vary

Worksheet 3

Answers may vary

Worksheet 4
Answers may vary

Worksheet 5

Answers may vary

Worksheet 6
Answers may vary

Worksheet 7

Answers may vary

47
Prepared by:

GENESIS S. FORTALEZA
Teacher’s Name and Signature

Inspected by:

RINALYN C. BESO PhD. DR. JAIME E. SAGAYAP

Content Editor Content Editor

LANGIE BOY C. ENRIQUEZ NICOLAS B. TARRAYO

Content Editor Content Editor

CORIE B. SENOLOS ADHNA P. TIMAGOS

Language Editor Content Editor

Noted:

MERCIDITA S. GARCIA
EPS-1 MAPEH

48