Southern Masbate Roosevelt College, Inc.

(SMRC) WHAT YOU NEED TO KNOW ABOUT THIS MODULE

Avenido St., Katipunan, Placer, Masbate, Phils. 5408 Schl.ID. 403785
College of Teacher Education Speech and theater arts attempts to combine in one book the basic knowledge and skills in English
oral communication in a Philippine context. The activities and exercise give the students adequate practice
in applying the principles and aim to develop self-confidence along with the right attitudes and skills. It is
hoped that this will not only serve you well in school life but will also give you much personal satisfaction
Dr. Victor V. Lepiten Victor Elliot S. Lepiten, III
FOUNDER PRESIDENT and a decided advantage in your career.
PART 1 focuses on developing effective speech habits and skills through improving voice
qualities, mastering the English rhythm and intonation and learning correct pronunciation.
PART 2 discusses techniques in public speaking in various situations.
PART 3 focuses on introduction to theater arts. Because of its visual, emotional, and intellectual
appeal, drama is a natural extension of your speech activities. Although it recognizes the value of other
SEMI-FINAL—FINAL MODULE aspects of play production, it focuses more attention on the actor’s skills.
Be ready to discover the actor and actress that is inherent within you!
Find practical applications in every learning you get. Happy learning and performing! 

GENERAL INSTRUCTIONS:

 All activities enclosed should be carefully read and performed accordingly.

 In cases of printed and written activities, all tasks should be printed in a short bond paper following
the given format:
 Name
 Year Level, Subject, Time/Day
 Address
 Contact Info
 Printed activities should be in font size 11 and Font style “ Candara.”
 Use cursive writing for every written task.
 Leave a great storage on your phones for video projects from time to time since your subject
cannot see your live performances. In every video project, do not forget to introduce yourself .
Name your file to your Last name and first name initial+ Name of the activity (Ex: ALBURO,
G.-- CREDO by E. Christian Buckner)
 Deadline is deadline. Late submissions will no longer be catered.
 Failure to follow the instructions would mean deductions on your submitted tasks.

Stay safe at home God bless!

NAME:__________________________________ GERALYN P. ALBURO - Your Subject Instructor
CONTACT INFO.:__________________________ INSTRUCTOR
09975395664
ADDRESS:_______________________________ geralynalburogwapa@gmail.com
Geralyn Pepito Alburo/
YR. & COURSE:___________________________ Geralyn Pelayo Alburo

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Southern Masbate Roosevelt College, Inc. School ID# 403785. Printed and reproduced for school use only. Unauthorized reproduction will be penalized.

SPECIFIC SPEECH TYPES
AND SITUATIONS
LESSON 1
SPEECHES FOR SPECIAL OCCASIONS
Speech of Introduction
A speech of introduction is usually given by the chairman; at times, by another person who is well
acquainted with the featured speaker. Its purpose id to create a desire to hear the speaker and to create a
bond between him and the audience. Everything else should be subordinate to this aim. Do not bore the
audience with a long recital of the speaker’s biography or with a series of anecdotes detailing your
acquaintance with him. Above all, do not air your own views on his subject. Your job is to sell him to the
audience. Try to arouse their curiosity about the speaker or his subject. It will then be easier for him to
capture attention. Lastly, try to motivate the audience to like and respect him so that they will tend to believe
what he says or do what he asks.
Usually, the better known the speaker, the shorter the introduction. For an instance, introducing the
President of the Philippines. He is most impressively known as the man who needs no introduction since he
is known by everyone. The worst possible instance is to present the speaker as a person who “needs to
introduction” and then proceed to introduce him anyway.
Some guidelines:
1. Be brief. To say too much is worse than saying nothing at all.
2. Do not talk about yourself, about the subject, or about your own experiences as a speaker.
3. Talk about the speaker. Who is he? What is his position especially in the field related to his topic?
Point out his outstanding qualities and achievements. Do not praise his ability as a speaker; let him
demonstrate this for himself.
4. Give the exact title of the speech.
5. Emphasize the importance of the speaker’s subject – Point out the importance of the subject to be
discussed. For example, in introducing a speaker who is going to talk about the oil industry, you
may say: “All of us ride or drive cars or other mobile vehicles which use products made from
petroleum. A knowledge of the way these products are manufactured and marketed is, therefore,
certain to be valuable to our understanding and perhaps to our pocketbooks,
6. Stress the appropriateness of the subject or of the speaker – If your organization or club is marking
an anniversary, it is appropriate that the founder should be one of the speakers.
7. Use humor if it suits the occasion – nothing serves better to put an audience at ease and to create a
friendly feeling than a good laugh. Take care, however, that the humor is in good taste and does
not offend the speaker. Do not detract from his prestige or risk offending him.
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8. Avoid flights of oratorical fancy.
9. Avoid cliches like , “ It is a privilege.” “It is an honor.”
10. State the name of the speaker clearly. Pause slightly before you give his name. be sure that you are
facing the audience as you announce the name. only then should you turn to the person you have
introduced.
LESSON 2
SPEECHES OF COURTESY: WELCOME, RESPONSE, ACCEPTANCE
1. Welcoming Visitors-when a distinguished guest is present, someone usually the presiding officer,
should extend him a public greeting.
2. Responding to a Welcome or a greeting – an individual so welcomed must express his
appreciation.
3. Accepting awards – When an individual is presented an award for some special accomplishment,
he is obligated to acknowledge this honor. Sometimes the award is made to an organization rather
than to an individual, in which case is spokesman is selected to respond for the group.
Purpose of the Speech of Courtesy
The speech of courtesy not only attempts to express a sentiment of gratitude or hospitality, but also
to create an aura of good feeling in the audience. Usually, the success of such a speech depends upon
satisfying one’s listeners that the appropriate thing has been said. Just as courtesies of private life put people
at ease, so do public acts of courtesy create goodwill in the recipient and the audience.
Observe these principles in formulating the content of your speech of courtesy:
1. Indicate for whom you are speaking. When you are acting as a spokesman for a group, make clear
that the greeting or acknowledgment comes from everyone and not from you alone.
2. Present complimentary facts about the person or persons to whom you are extending the courtesy.
Review briefly the accomplishments or qualities of the person or group you are greeting or whose
gift or welcome you are acknowledging.
3. Illustrate, do not argue. Present incidents and facts that make clear the importance of the occasion,
but do not be contentious or raise points for arguments. That is, do not use the speech of courtesy
as an opportunity to air your own views about controversial subjects or policies. Remember, you
are giving a speech of courtesy. Stick to the purpose of such a speech.
Guidelines for the speech of acceptance:
1. The speech of acceptance should be short, even shorter than the speech of presentation.
2. Thank the group giving the award with warmth and sincerity.
3. Give credit to those who have helped you – your friends, family and other associates.
4. Express how much the award or gift means to you. If it is wrapped, open and show it to the
audience. Say how you mean to use it.
5. End by REPEATING YOUR THANKS.
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 A speech of tribute is designed to create in those who hear it a sense of appreciation for the traits or
ACT IT OUT! accomplishments of the person or group to whose tribute is paid. If you cause your listeners to realize this,
you will have succeeded. You may go further by making your listeners emulate the person(s) honored by
ACTIVITY 1: making them want to develop the same traits, accomplishments or virtues or to demonstrate a like devotion.

In a video record, ASSUME THE ROLE OF a spokesman of your class Principles to remember in formulating the content of a speech of Tribute:
as a recipient of the Class of the Year Award. Prepare a speech suitable for one of 1. Stress dominant traits. Select a few aspects of the person’s personality which are praise-worthy and tell
the following occasions: incidents from his life or work which illustrate these dominant traits.
1. accepting an award for athletic or scholastic achievement 2. Mention only outstanding achievements. Pick out only a few of the person’s or group’s most
2. accepting an office to which you have been elected outstanding achievements. Tell them in detail to show how important they were.
3. responding to a speech welcoming your group or delegation to a 3. Give special emphasis to the influence of the person or group. Many times, the importance of people’s
neighboring campus. lives can be demonstrated not so much by any traits or material accomplishments as in the influence
they effect among others.
Submit your output via gmail provided on the cover page. 4. Be sincere.
5. Be guided by moderation in your citations as well as in relating details or incidents.
6. DO NOT overburden your listeners by too long incidents or complicated reflections.
7. Remember your purpose in such a speech.
8. Express the friendly sentiments of the awarding group towards the awardee or to his family if the
LESSON 3 awardee is deceased.
SPEECHES OF TRIBUTE: MEMORIAL, DEDICATION, FAREWELL AND 9. Be brief.
PRESENTATION
LESSON 4
Typical Situations: ACTING AS A CHAIRMAN
1. Memorial Services – services to pay public honor to the dead usually include a speech of tribute or
eulogy. Ceremonies of this kind may honor a famous person and be held years after his death – Whether the occasion is a public lecture, a planned entertainment for a dinner meeting of a
witness the many speeches on heroes or others who belong to the Hall of Fame. On other business or professional group, or a series of speeches at a conference, presenting a class program,
occasions, the honor is given to someone personally known to the audience and recently deceased. convocation or any occasion, its success is often largely determined by the effectiveness with which the
2. Dedications –Buildings, monuments, parks, etc., frequently are constructed to honor a worthy chairman or the toastmaster presides. A good chairman does not parade his personality, yet his presence is
cause or to commemorate a person or group of persons. At the dedication, it is appropriate to say felt. His obvious control of the situation is seen through the efficiency and smooth flowing quality of the
something about the purpose to be served and the persons commemorated. presentation. Sincerity, energy and decisiveness are the personal qualities which mark his behavior and the
3. Farewells – when a person retires or leaves a company to enter another field or when anyone audience senses this.
generally admired leaves the community where he lived or the office he has held, public
appreciation of his fellowship and his accomplishments may be expressed in a speech befitting the Important Obligations of a Chairman:
occasion. a.) To make the audience feel that all is going well. People like to see that things are smoothly
4. Presentation of Awards – Usually, awards are presented to groups or to individuals for outstanding organized and running efficiently and to know that someone is in control. He should be the
achievements or meritorious service. Their presentation calls for an appropriate response. boss without being bossy.
b.) To keep the program moving. To avoid making the audience inattentive or disorderly, he
Purpose of Speech of Tribute should not allow the occasion to drag.

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 c.) To discourage unwarranted opposition. him/ the group ejected by the ushers or the school guards. It is much better to go through with his
Some persons may come to meetings or gatherings for the purpose of creating trouble or unpleasantness than to lose command of the situation entirely. After such an incident has occurred,
opposing the plans to be presented. A presiding officer should be in command of such a however, say something which will quicky and forcibly call the attention of the audience back to
situation by seeing to it that no unnecessary or awkward delays should occur, thus preventing the program, and make no further reference of the disturbance.
such persons from causing disruption.
LESSON 5
Basic responsibilities of the chairman:
If you are to command the situation, you must prepare yourself in advance. Do not rely on the spur
THE CHAIRMAN OF MEETING
of the moment merely because you are not the principal speaker. As part of your preparation, take the
following steps: Guidelines for Presiding over a Meeting
1. Determine the purpose of the meeting or program. Is it to entertain or inform the audience, or are
specific proposals or themes and plans to be acted upon? Besides fulfilling the obligations and responsibilities previously mentioned, you must insure a productive,
2. Acquaint yourself with the program. Know who and how many are going to speak, sing or play. smoothly-run meeting. As an effective guide and leader, you have to direct, elicit, develop, sustain, expand
Know the title of each speaker’s talk and the name of each artist’s selection. Understand the or repress as needed. In exercising your leadership, use the following guidelines:
function of each part of the program in advancing the purpose of the whole. 1. State your ideas positively.
3. Make a time schedule. Determine how long the occasion should last. Apportion the time among the 2. Use vivid words to make your ideas more interesting.
various persons who are scheduled to participate and before the meeting or program begins, tell 3. Allow only one person to speak at a time. If smaller discussion groups are starting to form, ask
each one tactfully exactly how much time he will have at his disposal. them to share their ideas with the whole group.
4. Carefully prepare your own remarks. You may modify them later but you should always be ready 4. Listen attentively to each speaker and avoid interrupting.
with something. 5. Call attention to opposing points of view.
5. Start and stop the meeting promptly. Be on time yourself and make sure that the other program a. Try to resolve differences by stressing cooperation.
participants are too; then keep things moving as nearly on schedule as possible. b. Remain as impartial as possible.
c. Restate disruptive contributions to avoid unnecessary emotional disturbance.
Incidental duties of the chairman as master of ceremonies: d. Use humor to relieve tension.
1. Setting the keynote. At the beginning of a program, it is sometimes difficult to get people settled 6. Clarify issues by:
down and ready to listen. If this is the case, then, it is your duty to establish order and direct the a. encouraging members to ask questions.
attention of the audience to the stage or platform. Then, with a few carefully chosen words, you b. asking questions about points which may need further explanation.
may proceed to set the proper mood or atmosphere for the situation. Experience will make you c. asking members to elaborate on significant points.
better able to judge the sort of remarks that are called for. But from the first, common sense d. defining terms that are ambiguous.
combined with alertness to what is happening will provide a reasonably sure guide. e. rephrasing unclear statements in simple, everyday terms.
2. Performing duties of courtesy as in the speech of courtesy , a presiding officer is frequently 7. Make frequent 30-second summaries to help the group keep track of the discussion.
expected to perform acts of courtesy for the group he represents. Express a sincere welcome or 8. Effectively conclude the meeting by:
honest appreciation in simple language. a. restating decisions reached.
3. Preserving order. b. mentioning differences
Disorder is more often the result of restlessness than bad intentions. Therefore, if you notice a c. stating future action
disturbance in the audience, do not immediately bark at the offenders; instead, increase the tempo 9. Follow up by issuing a written confirmation of decisions and future actions.
of the program. In most cases, commotion will cease. On rare occasions, a chairman will have to 10. Inform interested parties who were not involved in the meeting.
administer a reprimand to the entire audience or to someone or a group in it. Do this only as a last
resort; but if you have to, do not be half-hearted about it. In no certain terms, let the person or Steps in Discussing a Problem at a Meeting
group know the disturbance being caused by his or their action. Then if he/the group persists, have 1. State and limit its scope.
2. Clarify terms.
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 3. Give some background. 5. Discuss your ideas simply and clearly.
4. Accept as many causes as possible. 6. If you have an apt story, use it ONLY IF:
5. Elicit possible solutions expressed in specific, concrete terms. a. It is not overly familiar.
6. Weigh the arguments. b. It is short. A long story might overwhelm your talk.
7. Vote. c. Its relevance to the topic is obvious. If you have to explain, skip it.
8. State the action to be taken. d. You are a GOOD STORYTELLER. Few people are.
7. When you have said your piece, shut up and sit down.
LESSON 6
Some Don’ts:
THE IMPROMPTU SPEECH 1. Don’t apologize about your lack of preparation. Hopefully, you will surprise them, and even
yourself, by giving a really good talk!
What is an impromptu speech? It is one that is given with little or no warning, the impromptu 2. Don’t try to dazzle them with your “brilliant wit” unless this comes to you naturally.
speaker being generally regarded as one who has the ability to “think on his feet.” Actually, however, behind 3. Don’t use canned or stale jokes.
the impromptu speech lies considerable thought on the subject and very likely, much practice in writing 4. Don’t attempt to “scale the heights of oratorical fancy.”
speeches. As pointed out by Henry G. Roberts (“Thinking on Your Feet”), only the occasion is impromptu, 5. Shun anything in bad taste – off-color jokes, jokes that demean any person, group or race.
not the thought. 6. Don’t go on indefinitely “saying nothing, but saying it with a vengeance.”
The impromptu speech, as wittingly described by Mark Twain, “had been carefully prepared in Whatever you do, don’t panic. Relax. After all, what is public speaking but “enlarged
private and tried on a plaster cast, or on an empty chair, or any other appreciative object that will keep quiet conversation?” Remember, nobody expects you to deliver an oratorical masterpiece nor a brilliant discourse
until the speaker ahs got his matter and his delivery limbered up so that it will seem impromptu to the on a world-shaking issue. Just share your thoughts on your subject, which will surely be one familiar to you.
audience.” The impromptu speech may also be called extemporaneous. “Impromptu” often refers to the
Here are some simple techniques to help you: informal talk; “extemporaneous,” to the “on-the-spot” speech in a contest. Expectedly, the extemporaneous
1. If there is no assigned topic, choose a specific subject. Even if the topic is given, you can still speech, taken in this context, focuses on relatively vital and current topics.
limit it to “bite size.”
2. What can you say about your topic? By simply answering the 5W’s, you will have your
subject well covered.
3. Your next step is selection. Choose only one or two main ideas.
4. Decide on your own approach and organize your ideas accordingly. Roberts suggests these
simple and familiar speech plans:
a. Past, present and future. Every organization, big or small, has a past, present and future.
EXPLAIN IT!
So do situations, problems, outlooks and practically all subjects. Roberts cites the famous
Gettysburg address as an outstanding example of this approach. Activity 2:
b. Political, social, economic. Most issues being reducible to these partitions, you will find
these aspects quite familiar and commonly used in debatable topics. Explain: “Only the occasion should be impromptu, not the thought.’
c. Mental, moral, physical. You might choose this approach for your inspirational talk or in
promotional campaign.
d. Selfish, unselfish. Most worthwhile projects may be seen from two viewpoints – the
altruistic and the personal interest. “ If I join this group (or activity or drive), what
LESSON 7
activity can I make to the group, my school, my community, to the country? What do I
get in return? This is not as selfish as it sounds. Your personal benefit will probably be BUILDING THE EXTEMPORANEOUS SPEECH
more emotional or spiritual rather than material. 1. Preparation.

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 Two stages of preparation: 1. Aim to complete your speech before the timekeeper cuts you off. To be cut off spoils the
a. General Preparation – takes place weeks and months before the contest unified effect of your speech.
b. Specific Preparation – takes place at the time of the event 2. Use your best points clearly in your speech. Don’t save the best for the last for you may never
The preparation which counts the most is reading, thinking and observation long before the time of be able to give your choice points before the time keeper cuts you off. Make a good
the contest. It is important that you build a reservoir of knowledge and information in advance. Read impression upon the judges early in your speech. Do this and you have a psychological
extensively in the subject areas from which the specific topics may be drawn. Make written and mental notes advantage. If you start off making a poor impression during the first half of your allotted time,
of the more vital and controversial matters and discuss them with your teachers and other students. Develop it is doubtful if you can do much to pull the speech out of the fire and save the situation during
original ideas about current developments concerning national domestic affairs. Insight into your subject is the latter half.
the key to the whole event. It will help you speak to the point; it will hep you in organizing your materials; 3. When possible, use the compartment or catalog method in arranging and listing your points, in
and it will be a fundamental source of your self-assurance. There is no substitute for adequate background the one-two-three manner. Never use more than four points – two or three would be better.
and information. 4. When delivering your speech, make what you say sound important. Avoid the casual,
2. Developing your chosen topic. indifferent, I-don’t-care attitude.
After you have your topic, your first step is to settle upon your central purpose. Fix your target 5. Make your ending decisive short and crisp. Never close your speech as though you were
clearly in your mind. This will guide you in planning and arranging your ideas in a sequence that makes stringing it out just to fill in the time you have left. Close with a definite, positive punch/
sense. The topics from which you may choose usually permit you to make one of two general approaches: 6. Remember, this is not a popularity contest; therefore, don’t try to throw your weight around to
(a) an analytical discussion in which there are elements of information, exploration and interpretation; (b) impress the judges with your humor or your cleverness or what a jolly good fellow you are.
straight, direct argumentation in which you take a definite stand for or against a proposal, winding up your
speech with a recommendation and a forceful appeal for some form of action. In the first approach, you deal LESSON 8
with value judgements and insights which help your listener to understand more clearly what you are talking
about, while in the second approach, you deal directly with a question of policy involving some form of INTERVIEW
action.
3. The following steps may be useful in planning and organizing your talk: The word interview usually refers to a pre-arranged verbal interchange between two persons (or one person
a. Formulate in your mind the point of view you wish to stress in your speech. Get your central facing a group) for a predetermined, specific purpose. It differs from the unstructured social conversation
purpose and idea clearly before you figure out roughly just how you wish to state your central which aims mostly for congeniality and enjoyment.
thesis. You have probably undergone or conducted some kind of interviews. The most common purposes are :
b. Quickly get to work and block out the main points or headings you want to use in support for selection or application (for a job, a scholarship, acceptance in a school), or information-seeking.
the central thesis; then work in facts, reasons, examples, authorities for supporting and
developing the main points. This is the heart of your speech and should use about two thirds to Preparation
three fourth of your speaking time.
In preparing for the interview, you should have the following in mind:
c. Make your application, conclusion, or plan of action. In other words, capitalize on the picture
1. Purpose of the interview
you have created.
2. Main points to be covered and why
d. Turn your thoughts to the introduction and opening remarks. Don’t let this final step throw
3. Choice of the interviewee and reason for such choice
you off balance. You build your house before you design and build the porch. Don’t be too
4. Appointment: date, time and place
concerned about the use of spectacular attention-grabbing devices., but be more concerned
5. Outline of the planned interview
about creating an impression on the importance of your subject and preparing the minds of
the judges for a clear understanding of what you plan to say.
Conducting the Interview:
e. Having finished your fourth and final step, quickly scan the key points of your entire speech to
1. See that the interviewee is at ease. A few pleasant remarks may help to break the ice.
get a clear, unified thought picture in mind. If you have time, go over your speech in your own
2. Be calm, patient and considerate.
mind or say in rapidly in an undertone from beginning to end before going to the platform.
3. Keep to your purpose.
4. Additional Suggestions.
4. Ask open-ended questions and encourage the interviewee to elaborate.
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ACTIVITY 3:
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Choose one of the elocution pieces (to be sent on your GC). Memorize and deliver it in front of
 5. End the interview when its purpose is to met and within the allowed time.
6. Don’t use the interview to air your views.

On Being Interviewed
1. Show interest by looking alert and by asking relevant questions. Prepare by learning about the
company and the position.
2. Be courteous.
3. Be honest and sincere.
4. Be yourself.
5. Be a good listener.
6. Avoid negative attitudes and actions. Don’t downgrade others.
7. Express your ideas correctly and clearly.
8. Be appropriately and neatly dressed.

LESSON 9
ELOCUTION

Many school hold various speech contests on a regular basis as part of their co-curricular
Part 3
programs. Such activities give their students the opportunity and the incentive to practice improving their
oral communication skills. However, because of most students’ limitations in writing oratorical pieces that AN INTRODUCTION TO THE
will be adequate in emotional and intellectual appeal, schools opt for elocution, rather than oratorical,
contests. THEATER ARTS
In real oratorical contest, the participants should deliver an original piece; in the elocution, not At the end of this chapter, you are expected to:
originality, but delivery, voice production and enunciation are the points that count.  appreciate the values brought out in the presentation more effectively than if he were to read, hear
or talk about it
Not all entries in elocution contest are speeches, nor are they all prose selections. Some popular  understand people through understanding characters of the play
ones are in verse excerpts from plays in blank verse, dramatic monologues, narrative poetry and even lyric  acquire and develop specific skills related to his part in the play
poetry.  foster the spirit of cooperation and a feeling of oneness among the group
Review the guidelines you learned from the lessons on oral reading, body language and delivering  appreciate drama as an excellent means to develop the student’s entire personality and his aesthetic
a speech. You will note that most of these guidelines apply just as well to elocution. In choosing a piece for sense
the contest, you will of course prefer that which will suit your personality and strengths. As a rule, the more

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intense the piece, the better chance you have.
Occasionally, we come across a skilled performer who can deliver a humorous piece with flying
colors. If you have what it takes, go for it!
A BRIEF BACKGROUND ON THE DEVELOPMENT OF THE
THEATER

The Playhouse
ACT IT OUT!
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 Not too many schools and communities have auditoriums with elaborate stages and sophisticated The Theater of Modern Realism is a product of the play’s development that began in Italy during the latter
equipment. This should not discourage any group that is interested in a dramatic presentation. The only party of the Renaissance. Its characteristics are:
requirement of a playhouse (also called a theater) is a place for the actors to perform and for the audience to 1. A covered auditorium
see and hear a play. 2. Seats for the entire audience
3. A stage entirely recessed into the back wall
From this simple, basic requirement have arisen different types of playhouses with different 4. Front page or stage framed by a proscenium arch
structures and varying degrees of complexity and sophistication in equipment. Strictly speaking, the earliest 5. Perspective scenery in the back of the arch
places of dramatic performances were not playhouses: the Greek religious festival site, the Medieval 6. A real room with appropriate furnishings without the fourth wall.
European churches, the Market places and guilds’ wagons and in England, the various town squares and 7. Realistic acting
innyards. However, they have from the very beginning the rudiments of theater (“the seeing place”): 8. Historically accurate costumes
1. a place for the actors to enact their story, which we call the stage 9. Life – like make-up
2. a place for the spectators to stand or sit while watching, now called the auditorium, and
3. the mechanism – some kind of device to make the action more visible and more plausible, or more The Panoramic Playhouse is similar in concept to the medieval theater in that it affords unlimited
dramatic like torches to light the scene, swords in fighting scenes or smoke screens to accompany the changes in setting and free movement in time ad place. It also allows multiple action. On the continent, the
appearance or disappearance of some supernatural beings. “playhouse” consists of a long, narrow stage in the public square.
Later on, permanent theater buildings were constructed, the first in London in 1576. It was, based on some
surviving records, either circular or octagonal. The main audience area was a pit, an earthen floor Types of Drama:
surrounded on three sides by the stage. The company preferred an outdoor “auditorium” because a larger 1. Allegory – a work in which abstract qualities and values are represented as characters and a
audience could be accommodated. definite item of thought is dramatized.
2. Burlesque – a satiric treatment of some well-known play or style of play, in which themes and
The Athenian Theater had 3 parts: conventions are ridiculed.
1. an auditorium –made of wood or stone cut into a hillside in a semicircle. 3. Comedy – a light-hearted play that ends happily. It depicts mainly the brighter side of life.
2. Orchestra – located at the bottom of the semicircle and within its semicircle. 4. Fantasy – treats the unreal, the fantastic, or the supernatural.
3. Stage -- is a round space where the chorus sang and danced. 5. Farce – a ludicrous exaggeration of comic actions and highly improbable situations. It is closely
related to the parody and the burlesque.
The Medieval Theater of the 11th and 12th centuries in Europe began with liturgical plays depicting the birth 6. Melodrama – a play characterized by an excess of pathetic situations and thinness of
and the resurrection of Christ at the appropriate time in order to instruct the laity. A common feature of thus characterization.
theater was the use of “mansions” or small houses, places around the edge of the “stage” (church aisles, a 7. Mime – a “dumb show.” The story is acted out without words.
chapel, the elevated platform of a pageant wagon, a street or an open field). These “mansions” were actually 8. Naturalistic Play – presents the dark side of life.
small booths, either plain or decorated to resemble the places they represented, such as a temple, Heaven or 9. Problem play – a thesis play, a propaganda play, a play with a message, a social drama. It attempts
mouth of the Hell. Every character had his particular mansion, which suggested his condition of being. The to set up some specific contemporary problem and provide explicitly or implicitly, a solution by
open area between and in front of the mansion was a neutral background. recommending a course of action.
10. Realistic play – presents an image of what we ordinarily see and hear.
The Elizabethan Theater was ornate and richly decorated, large enough to accommodate between 11. Romantic play – presents images with enlarged outlines, magnifying their importance.
one to three thousand. On one side of the circular or many-sided buildings was a gate through which the 12. Symbolism – objects, actions and characters are not created to give an illusion of reality but to
playgoer passed by paying a penny. This entitled him to stand in a “pit”, an open area in the center of the reflect of define some truth that lies below the surface of things as we see them.
building. Around 3-4 galleries of seats. Entrance to these roofed galleries cost another two pennies. The 13. Tragedy – a serious play about a great individual who is at war with himself, with his society or
platform stage projected out into the pit. It had one or more trapdoors to “hell” below. Above the stage was a with the world around him. Although the play ends in a great loss for the hero—his life, for
cover to protect the actors and their costumes. It was painted underneath with stars and the Zodiac signs. example, his struggles bring about some great good – reformation of his kingdom, freedom of his
people from terror, discovery of some truth about himself or a validation of his own worth.

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 14. Tragic Comedy – a play that mixes features of both the comedy and the tragedy, such as “ The
Skin of Our Teeth” by Thornton Wilder.
15. Travesty – a special kind of satire ridiculing manners, a way of life or old beliefs. 12. Preparation –

13. Theme –
YOU HAVE THE POWER TO UNLOCK IT!

Activity 4:
Definition of Terms Related to Theater

Below are the most commonly used terms in theater. In any way you can, define the terms. Definitions are
not required to be transferred on a piece of bond paper. This will serve as your study reference.
1. Catastrophe – 2 PRODUCING THE PLAY: EQUIPMENT, SKILLS INVOLVED

2. Chorus – The Director

Your job as a director is to bring the inert printed script to life; to turn the playwright’s vision into
reality. Like the playwright, you as the director should be completely familiar with the text; understand how
3. Climax – actors think and feel and know how to draw out their best performance; be skillful in getting them to react to
each other; be familiar with the stage and its equipment; have adequate knowledge of scenery, lights and
4. Company – sounds to be able to give intelligent, clear and reasonable instructions and to make only reasonable demands
on the crew. Finally, you should get all persons involved in the production to work in collaboration with one
another, under your able leadership.
5. Complication – Your role as director plays you in control of everything related to the performance. You approve of
the cast, the scene designs and the costumes. Besides rehearsing the actors, you have to plan the staging of
the play. This planning includes the following functions:
6. Conflict – 1. Blocking – you position the actors on the stage and direct their moves and actions.
2. Stage directions -- keep them few and simple.
3. Slight, necessary alterations, especially in lines that are hard to speak. You usually do this together
7. Convention – with the actor concerned, and, if he is available, with the help of the author, or at least, with his
permission.
4. Stage business – suggest bits of action to the cast. See that their gestures are time- matched to the
8. Crisis – accompanying dialogue. Ill-timed gestures are just as bad as obviously planned ones; they break
the illusion of reality- an “unpardonable crime” in a performance.
9. Curtain –
The amateur-director learns by experience, reading, watching competent directors at work. From
10. Denouement – all possible sources, he works out his methods in terms of his own personality and purpose.

S.M Tucker (Twelve One-Act Plays) offers the following specific suggestions:
11. Exposition –
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 1. Understand thoroughly the meaning of the play, the author’s intent, its dominant mood, its varying
emotions, what each character represents.
2. Read the play to the cast, explaining the items in no. 1.
3. Have the cast read the play aloud according to their assigned roles.
4. Before the first actual rehearsal, determine what effects are to be created; the stage business in
general and for each character. The author may have suggested stage business, but this will have to
be supplemented, or even altered. Unless this is planned ahead, the cast will be at a loss and may
lose confidence in the director.
5. Correct errors in pronunciation, emphasis, pausing, rate of utterance as soon as possible. Faults
might become fixed unless checked early.
6. Begin with the business as soon as actors can read their lines intelligently, not after they have
memorized them.
7. Leave as much as possible to the actors. This is the prime principle of directing. However, insist
that each actor shall understand the character, the actual meaning of each lines and their emotional
value. Then, let him try to get his effects, merely making suggestion. DO NOT act out the part for
him.
8. Have longer rehearsals than more frequent short ones. Rehearse new business over and over until
they are automatic.
9. The dress rehearsal should be as finished as the opening performance, with no vitally weak points.
10. Know your aim and how to reach it without jeopardizing the cast and crew’s other essential
interests and without creating antagonism. For the instructor-director, the cardinal rule is: Preserve
the special interest of your students AND the general interest of the institution.
The Actor
Understanding the Character
The actors are the most visible and identifiable participants in a play. If you have been chosen for a
role, you will be responsible for bringing to life the character that you portray. Study the character as
envisioned by the author. How will you get to know him? Primarily, through the word he says. Character is
revealed chiefly through dialogue – the tone of voice and the choice of words. Read the text over and over
again, silently at first and then aloud. “Soak in” the character.
Although you will naturally concentrate on you own character’s lines, you have to read and study
the whole text, not only to get your cues, but to understand your character better. What others say to him and
about him will give you a better insight. Of course, you have to give allowance for the possibility that they
may be biased or uninformed. Taken from a double perspective, what a person says about another reveals
not only his opinion of the other, but also his own way of thinking.
The Actor’s Voice
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In your speech class and in your exercises in public speaking, you have tried to develop your voice
and to shape it into an effective tool to communicate your thoughts and feelings. Good speech habits,
especially distinct enunciation, give you the basic foundation for acting. As an actor, you will now face a
greater challenge. It is not enough to be true to yourself. You have to be another person—the character. To
do this, you must understand his thoughts and feelings. You have to absorb the words into your
consciousness so that they become your own. Take time to discover the character you are portraying, how he
reacts to situations, how he feels, how he moves. Once you get to know that character, you will be better
able to sound like him. Cicely Beery, a noted voice specialist for actors, advises strongly against “putting on
a voice,” because this will ring false. Rather, your voice must “grow with the character” and be the outward
result of what you have discovered about the person.
There are times, however, when the dialog covers up, rather than reveals the character’s feeling.
You have to be alert and sensitive to such a situation. In this case, look for the underlying motive. You will
discover the feeling as well as the action in the words of the printed text. The rhythm as well as the imagery
will reveal the emotional state of the speaker.
In doing comedy, you have to believe what you are saying. You should not laugh at yourself or at
the situation. Be committed to what your character is saying. Likewise, in a tragedy, don’t put on a tragic air.
Your character is not aware of the tragic situation; he is too busy and too involved in the action.
Still another demand on you is the size of the audience and the auditorium. Your voice has to carry, but at
the same time, you have to maintain he sense of intimacy between the others on the stage and yourself.
Otherwise, the illusion that you have been trying to create will be lost.
Be sensitive to the other actors. At every rehearsal or performance, listen to them as if for the first
time. In fact, the way they hand you their lines will vary, although slightly, with every performance. Only
after you have heard them can you react properly. React; don’t just deliver your lines.
Visual Aspect
Although dialogue is the chief source of character revelation, you reveal your character through
your dress and figure, your apparent physical condition, your poise or lack of it, your movement and gesture.
Your character’s first contact with the audience is visual. Therefore, you should adjust your posture, your
walk, your gestures, your use of the body to the character. If he is a king, be kingly in poise and attitude; if
you are a soldier, a hoodlum, a hobo or a beggar, your whole bearing should be that of a soldier, a hoodlum,
a hobo or a beggar. Your clothes and your props will help project the necessary image, but it will be your
inner conviction that will carry on from these outer trappings. Try to observe either personally or through
film clips some somebody similar to your character. You must have heard of actors staying in jail or an
insane asylum to study the inmates’ movements and behavior as a preparation for their roles. As a young
amateur, you are not expected, nor advised to go that far, but you must study the person you will be on that
stage.
Your face can speak volumes. Try showing various emotions before a mirror.
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 Sometimes, a character shows a marked attachment to a certain place. The nature of such a place
will also reveal something about his feelings and attitude. A marked preference for an isolated spot in a
garden, the woods or a beach could mean a person’s inclination to meditate. If associated with some other
signs, it could also mean loneliness or even the desire to escape from life’s pressures. Such signs or symbols
should be taken in context, and not in isolation.
Posture and movement, including gesture should always be:
1. in relation to the character
2. in relation to each situation and every varying mood. Every movement should signify something.
ACT IT OUT!
Activity 5:
Mime:
Although today’s drama relies very much on the spoken word, it actually began with actions without words.
However, actions as well as other visual stimuli are still important. Act out the following situations in front
of the cam:
1. A nervous student waiting outside the principal’s office.
He has been sent there for unruly behavior.
2. A teen-ager sneaking into the house 3 hours after his parents’ “curfew.”
3. A blind old man crossing a busy intersection.
4. A shy girl entering a room full of older people.
5. A contestant waiting for the results of a contest; he hears that he won first place.
6. A well-dressed woman walking in high heels across a muddy street.
7. A woman cleaning up after a party.
The “Dramatic Impulse”
The actor has to meet exacting demands, but this should not discourage you. You probably have
the basic requirements for an actor – the dramatic impulse. Both psychologists and persons involved in
drama believed that the dramatic impulse appears to be inborn. For instance, babies instinctively imitate
sounds and movements of adults. Even in the way adult behave towards each other, there is some amount of
acting. Our behavior towards a person differs according to our relationship with him, and even changes
according to our feelings at the moment. At the Globe Theatre of Elizabeth England was the sign” “Totus
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mundus facit histrionem” (All the world plays the actor). It is said that acting tends to characterize human
behavior and only when it becomes a hypocritical activity do we disapprove it. The wit, George Bernard
Shaw states it most forcefully; “ The actor is the least hypocritical – he alone admits he is acting.”
Importance of the Minor Characters
Even if you are not the “star” of the play, you still have to pay serious attention to your role. Remember that
the minor character is also important. You will probably serve as commentator, or reflector of the forces at
work within a major figure. For example in “The Merchant of Venice,” a confidant, Nerissa, plays up and
reveals the character of the heroine Portia. Or serve as foil to another, as the calm Horatio to the tortured,
brooding Hamlet.
The Stage Manager
“ I never find, when the prompter signals, ‘Next,’
Scenes change as fast as in the text.
Counterweighs stick; a god who intervenes
Caught in midair cries out on the machines,
A tuft of trees juts out from the ocean’s swill,
And half of heaven remains in the midst of hell.”
--La Fontaine
translated by Lee Simonson
The lines quoted above illustrate some mishaps that may occur in the tasks of the stage manager
and result in his feeling of frustration. At the same time, they show the challenges that he has to face. So, if
you are the stage manager, you should not downgrade your job. You will not be visible to the audience,
except curtain call, but your work will always be an important part of the production. It has its difficulties,
but it has its own special satisfactions.
To qualify as stage manager, you must possess some very special traits. First, you must have an
ordered and disciplined mind. You must know how to put first things first. You must keep your cool and
refuse to panic in an emergency. You must have a keen observation in order to visualize the scene as
suggested in the script; this this must be coupled with technical knowhow to realize the concept. On top of
these, you must have good public relations, because you deal with everyone involved in the production – the
director from whom you get your instructions: the costume designer, the wardrobe mistress, the stage
designer, the master carpenter, the property master, the electrician, the persons in charge of the sound
system, and the sound effects.
To minimize the possibility of hitches, you go about your tasks in an orderly manner. Here are some steps
that you may take:
1. Prepare preliminary lists (called ‘plots’)
a. Characters in order of their appearance
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 b. Acts and scenes Almost the whole stage is behind the proscenium arch except the small area called forestage. The
c. Settings footlights are found in this area. The boards of the stage area run from front to back to make it easier to cut
d. Lighting and install traps which used to be commonly employed for the appearance or disappearance of some divinity
e. Property: 1.) used by actors or the devil.
2.) necessary to the plot The wings are the sides of the stage. Some kind of cover is placed on the wings, such as curtains or
f. effects and furnishings for settings. boards to keep them out of view. The actors stay on the wings while waiting for their entrances.
g. wardrobe – costumes for each character Provisions for lighting and sound are standard equipment for a stage. In addition, some stages have
h. a prompt script these equipments:
2. Attend rehearsals once the director has blocked the scenes. Write down all the directors\’s 1. Hydraulic lifts to raise heavy scenery or even groups of actors
instructions and indicate them later on the script. 2. Fly lofts built above the stage with pulleys and ropes to hoist pieces of scenery and property out of
3. Provide a place for rehearsals if the stage is not available. Get the most possible rehearsal room sight of the audience.
with approximately the same size for the acting area. 3. Full box set with 5 doors and 2 large closets. This maybe used only on a proscenium stage.
4. During the first days of rehearsal, use substitute furnitures and props. Such sophisticated equipment will also need expert hands to handle them. We find them only in
5. Rehearse effects clearly. See that persons in charge memorize their cues. relatively few commercial theaters. Student groups should have no use for such.
6. Time the complete scenes.
7. Keep a record of all copies of the script, taking note of all changes. Stage Geography
8. File a record of the scripts including editing and to whom they were issued. Stage directions for left and right are given from the actor’s point of view as he faces the front of
the stage. Up means toward the back of the stage and down towards the audience. Theater stages used to be
THE STAGE AND ITS EQUIPMENT sloped upwards (raked) away from the audience, hence the actor moving towards the back truly moved up.
The stage is an area in which the play’s action occurs. It is constructed and placed so as to be Although the “raked” stage is no longer in use, the terms have survived.
visible to the audience. At times, a scene may take place in the audience’s area; that portion then becomes If there are several doors, the door which the character will use for each entrance or exit is
part of the stage during that bit of action. indicated in the script. For example: Exit UR(Up Right), Enter UL(Upper Left). An error in following such
According to its structure, the stage may be on of these main types: directions could disorient the other actors on stage.
1. The proscenium stage. This is the most familiar type. It is a raised platform at one end of a building Sets. The scenic design helps to enhance the emotional values of a play and is therefore important to its
called the auditorium, which is longer than it is wide. The audience sits in rows facing the stagem staging.
which can be concealed by a curtain. The opening or arch across which the curtain maybe raised or Lights. If you are in charge of stage lights, you are tasked to creating the right atmosphere for every scene,
lowered (or opened and closed) is called the proscenium. for lighting is vital to the design of the set. You will be concerned with three aspects: color, intensity and
2. The platform stage. It is also a raised platform, but without a proscenium arch or curtain. It may direction.
also be at one end with the audience seated in front or, as in the rectangular theater, the stage is at 1. Use yellow to suggest sunshine and to give a cheerful effect; red for danger or anger, green for
the center of one of the long sides and the audience sits on the other three sides. jealousy. Use green also on sinister, villainous characters.
3. The theatre in the round. This type has the audience seated in all around the stage, which is not 2. Decrease intensity of light to suggest nightfall and to produce a feeling of gloom and impending
very high. It may also be a flat floor with the spectator’s seats raised in tiers. The arena theater is a tragedy.
variation of this type. 3. Use light from above for a normal effect; light from below to give a character a gastly,
The stage represents some definite place such as a temple, a garden or a room. In representational supernatural appearance.
staging, it is fitted with appropriate sets and properties(props). For a change in location, there is need for a 4. Ideally, your lightning system should give you full control of color, intensity and direction of light
curtain drop or blackout to change the sets and props. These changes take time and entail much expense, and on any part of the stage. Otherwise, use your resourcefulness and improvise.
should therefore be kept to a minimum in school and other amateur productions. 5. As with the sets, lighting should not be too obvious. Avoid abrupt changes in color and intensity
within the same scene. If possible, change color between scenes.
Parts of a Stage 6. As a rule, use white light for comedy.
7. Have only a few blackouts or none.

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 In the amateur production, the designer may also function as the wardrobe mistress. The costume
Properties (props). Props are movable articles which are not part of the sets. These includes plates, designer should try to make the clothes and accessories appear authentic. They should suit the times and
tableware, books, tables and chairs. If you are in charge of the props, coordinate with the stage manager, or the place in the story. they should help bring out the condition and personalities of the characters.
if there is none, with the director and the producer. Be modest and realistic in your plans. Choose only a few The wardrobe mistress receives the “dress plot” from the stage manager or from the director. If you
significant ones. Too many will only clutter up the stage and distract the audience. are the wardrobe mistress, this will guide you in getting the costumes ready for the actors when they are
needed. Follow the dress plot which lists the costumes for the characters according to the scene. Be
Your duties as Propman: ready, or instruct somebody else, to assist the actors in changing costumes, especially for quick
changes.
1. Procure the crops.
2. Get them on the stage. BASIC STEPS IN PLAY PRODUCTION
3. See that they get to the actors who will use them. Remember that props have a dramatic function
Selection of the Play. In choosing a play, consider the following factors:
and should be used. They are not merely decorative.
1. A play with artistic and entertainment value.
4. Assemble all “hand props” such as umbrella, eyeglasses, canes, a bag or a basket.
2. Your expected audience’s interest ( The Play should be neither too subtle nor commonplace.)
3. The required facilities and your group’s probable resources.
Some tips to simplify your work and avoid accidents:
4. Your group’s interest in and enthusiasm for the play.
1. Use artificial flowers.
2. Place mirrors on the side of the setting. They might reflect light and spoil the atmosphere.
3. Wire small ornaments to furniture. Auditions. Announce the schedule of auditions and the venue well in advance of the dates. Play it up in
4. Use substitutes for expensive items like china. order to create interest and give a chance to more people. You might discover some surprise talents. Select
5. Make the interior of the house look lived-in such as newspaper that is not too neatly folded, an parts that will bring out and test the aspirant’s dramatic skills and their fitness for the particular roles.
open book or two, magazines.
Rehearsals
Sound Effects. To be a successful sound effects man, start with analyzing and observing the sounds 1. Reading – a series of reading sessions help the actors to understand their characters and become
which you wish to reproduce. familiar with the lines. Pronunciation, phrasing, enunciation defects are noted and corrected. Such
corrections may be made after the first reading has been completed. The director may choose to
Guidelines in Creating Sound Effects make such initial comments on a one-on-one basis; but this is too time consuming for succeeding
1. Use sounds that are easily recognized by your audience; any sound that is strange will cause corrections.
distraction, rather than enhancement. 2. Blocking. The positions and movements on the stage are determined by the director. These are duly
2. Use sounds that can be produced simply and by reliable means. noted by the stage manager and indicated on the scripts.
3. Avoid a rapid series of sound effects, even if you can record or tape them. Recorded sounds are 3. Series of Rehearsals. Stage business is introduced; actors practice delivering their lines from
unreliable; someone might put it in the machine backwards; it might produce a scratchy sound, or memory, get to know their cues, their entrances and exits, and get used to wearing, using or
someone might start it on the wrong part. carrying the needed props. Above all, they become committed to their lines and their persona in the
4. See that your sound effects are on cue. The sound of a telephone ringing when the actor is already play.
talking on it would surely evoke unwelcome laughter. 4. Technical Rehearsal. The sets, props, lighting, sound system and sound effects should be complete
5. Avoid recorded music that drones on or thunders through a play. and in place about half an hour before the rehearsal. The cast is called in about fifteen minutes later
to be given instructions and explanations regarding any technical device that will concern them.
Costumes, the costume designer and the wardrobe mistress 5. Dress Rehearsal. This is the same as the technical rehearsal with the costumes added. The actors
should feel at ease with their costumes by the time of their performance; hence, the need to move
about wearing them during at least one of the rehearsals.

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 6. Word Rehearsal. If mistakes were made during the dress rehearsal, the actors may be called the
following day for a rehearsal of their lines. Otherwise, this day is a rest day in preparation for the After reading the final chapter of this module, undoubtedly, you now have an idea on what it takes to be a
performance. producer, a director, an actor, a floor manager, a propman or even a sound and light operator. Now, believe
that you can assume the highest role to create or produce a short movie of your own! You may also opt to be
The Performance(s) one of the actors of your own movie. Following are the guidelines for your production:
Cast and crew should be ready with their respective equipment, costumed and made up and their posts 1. Create a short, uncomplicated movie suited for the current situation. This means, you should think
before the start of each performance. of a story where you don’t have to take the scenes in public places nor travel for the same purpose,
as they are strictly prohibited. In addition, choose a story where you don’t have to spend your
Curtain Call financial resources at a maximum cost.
After the final curtain, lights are brightened on the stage. The cast come out to take a bow, usually 2. You may choose from any of the following genres:
starting with the minor characters who move to the sides, making room for the other actors. After the leading a. Comedy
actors have taken a bow, the director comes in. he may also call for the stage manager and the crew and b. Tragedy
present them to the audience. When the audience is totally appreciative of an excellent performance, they c. Horror
give the actors concerned a standing ovation. d. Love story (provided that there are no prohibited and nude scenes)
The curtain call is organized by the director together with the stage manager. It is rehearsed after e. Science Fiction
the dress rehearsal. f. Action
g. Inspirational/motivational
OTHER RELATED BUSINESS h. Combination of any of the above-mentioned
3. Casts are limited to: members of the family, neighbors and close relatives. Any cast beyond the
Few school productions designate a single person as producer. Usually, the president of the drama
mentioned is strictly prohibited and will be subject to deduction on the final rating.
guild assumes such a function. He takes charge of all related business outside of the director’s job with the
4. Movie production should not exceed 30 minutes and should not go less than 15 minutes.
assistance of a committee. These are some matters essential to a smooth presentation:
5. If you cannot find enough casts for your production, you can do it by yourself. Research “Dan
1. The Auditorium. Seats have to be arranged. Reserved seats have to be sectioned off and labeled.
Vibes” on facebook and notice or imitate the whole process, not the stories/script.
The line of vision, especially of the extreme right and left seats in the front rows should be
checked. If there are columns, see that they do not block the line of vision of any seat.
2. The Sound System. It has to be installed for at least the last few rehearsals, so that any kinks will
have been worked out before the performance itself.
3. Publicity. Streamers and Posters may be printed commercially or by the students themselves. The
art teacher may become involved to help and advise them. Notices may be published in the school
paper and in the community. Tv and radio announcements are very easy to arrange.
4. Tickets have to be sold and checked at the gate.
5. Invitations have to be prepared and sent to special guests.
6. Refreshments may also be served after some rehearsals and after the performance.
7. Ushers have to be assigned for an orderly reception of the audience.

FINAL ACTIVITY:

YES, YOU CAN!

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