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MAPEH – Grade 10
Alternative Delivery Mode
Quarter 4 – Module 4b: Original Performance with the Use of Media
Second Edition, 2022

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represent nor claim ownership over them.

Published by the Department of Education Secretary:

Leonor Magtolis Briones Undersecretary: Diosdado
M. San Antonio

Development Team of the Module

Writer: Sheila M. Ponteros

Editors: Ian John Emmanuel T. Tubio Mary Rose G. Acupanda
Reviewers/Typesetters: Bethel- Anne S. Parco Mayflor Olarte-Abuso
Management Team: Senen Priscillo P. Paulin, CESO V Jenith C. Cabajon
Joelyzq M. Arcilla, EdD Rosela R. Abiera
Marcelo K. Palispis, EdD Maricel S. Rasid
Nilita L. Ragay, EdD. Elmar L. Cabrera
Dan P. Alar, EdD

Printed in the Philippines by ________________________

Department of Education –Region VII Schools Division of Negros Oriental

Office Address: Kagawasan, Ave., Daro, Dumaguete City, Negros Oriental

Tele #: (035) 225 2376 / 541 1117
E-mail Address: negros.oriental@deped.gov
Introductory Message

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 This Self-Learning Module (SLM) is prepared so that you, our dear learners,
can continue your studies and learn while at home. Activities, questions, directions,
exercises, and discussions are carefully stated for you to understand each lesson.
Each SLM is composed of different parts. Each part shall guide you step-by-step
as you discover and understand the lesson prepared for you.
Pre-tests are provided to measure your prior knowledge on lessons in each
SLM. This will tell you if you need to proceed on completing this module or if you
need to ask your facilitator or your teacher’s assistance for better understanding of
the lesson. At the end of each module, you need to answer the post-test to
selfcheck your learning. Answer keys are provided for each activity and test. We
trust that you will be honest in using these.
In addition to the material in the main text, Notes to the Teacher are also
provided to our facilitators and parents for strategies and reminders on how they
can best help you on your home-based learning.
Please use this module with care. Do not put unnecessary marks on any
part of this SLM. Use a separate sheet of paper in answering the exercises and
tests.
And read the instructions carefully before performing each task.
If you have any questions in using this SLM or any difficulty in answering the tasks
in this module, do not hesitate to consult your teacher or facilitator.
Thank you.

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 What I Need to Know
Theatre or theater is a collaborative form of performing art that uses live
performers, usually actors or actresses, to present the experience of a real or
imagined event before a live audience in a specific place, often a stage.

Contributing to the vivid theater experience are the stage sets and props, the
lighting, the background music and sound effects, the costumes, and
accessories. In recent decades, computer-generated visual effects and
mechanized sets have been incorporated as well.

All these components draw from the various art forms and call upon the artistic
skills and techniques that you have been exposed to over the last three
quarters. In this fourth quarter, you will get to experience the complex and
exciting process of mounting an original performance—combining most, if not
all, of these skills and techniques (Cabanban 2015).

What I Know
PRE-ASSESSMENT:
Direction: Read and understand each item carefully. Choose the best answer and
write this in your Arts notebook.

Producer Costume Designer Sound Designer

Playwright Choreographer Makeup Designer
Set Designer Lighting Designer Technical Director

1. A person who is in-charge in a concept and creation of the physical stage

setup.
2. The person who takes play from a mere concept to an actual finished
presentation.
3. He or she not only plans out all the dance steps to suit the music, but also
rehearses the actors until they are able to perform the dance skillfully.
4. The person shadows the play’s director throughout the entire production
process.
5. He or she studies the general setting (time and place) that the play is meant
to take place in, as well as each character in the script.
6. He or she serves a vital role in creating and enhancing the atmosphere of
the performance.
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 7. The person who is brought in to plan the hairstyles and makeup to
complement the costumes.
8. The writer of the script.
9. He or she is critical in creating the mood of each scene in the play,
highlighting a dramatic moment, signaling the entrance of a character,
focusing attention on a specific spot-on stage, or even providing the blanket
of darkness for set and prop changes.
10. He or she builds the set (or sets) that will simulate the world that the play’s
characters are supposed to live in

What’s In
11. Write your answers in your art notebook.

(Pagulong 2017)

(O'Connor-Harding 2019)

What is your impression of the theater industry in the Philippines?

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How do you feel about the Philippine theater performers who have become stars in
both the local and international stage?

What’s New

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

(Quotes Gram n.d.)

Make a dialogue based on the illustration below: Write your answer in your
notebook

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

Harana (Arts and Culture 2009) (Thess 2020) Master Class

(Philippine Opera Company, 2009) (Philippine Opera Company, 2010)

Roles in a Stage Production

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

(Jorge 2013)

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

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

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

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

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

The script forms the basis of the entire production. It contains the exact lines of
dialogue that each character will memorize and deliver on stage, often with notes
on tone of voice, facial expression, and even movement or blocking. It also
provides a clear description of the set, props, and lighting to be used in each
scene. In some cases, the director may collaborate with the playwright on making
some script adjustments in the course of the rehearsals to better achieve the
desired effect.

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Set designer – The concept and creation of the physical stage setup is the task of
the set designer. He or she builds the set (or sets) that will simulate the world that
the play’s characters are supposed to live in. The set may be realistic and filled
with authentic details; or it may be minimalist, merely suggesting the setting with a
few pieces of furniture or props and a simple backdrop. In either case, the set
designer ensures that the set will enable the actors to move about easily and
naturally to make their roles believable, and will truly provide the ambiance on
stage that the director and the playwright intend

Lighting designer – Coordinating closely with the set designer is the lighting
designer. Lighting is critical in creating the mood of each scene in the play,
highlighting a dramatic moment, signaling the entrance of a character, focusing
attention on a specific spot on stage, or even providing the blanket of darkness for
set and prop changes. Colored lights or filters may be used, as well as special
effects such as gradual dimming or brightening, a speckled effect like sunlight
through leaves, or flickering lights. The lighting designer plans all these and adds
detailed notes on the script for the lighting crew to follow during rehearsals and the
actual performance.
Costume designer – The actors and actresses must look believable in their roles,
and much of this is owed to the costume designer. He or she studies the general
setting (time and place) that the play is meant to take place in, as well as each
character in the script. He or she then decides what attire will not only give the
audience a clear sense of the setting, but will also express each character’s
personality and distinct qualities.
The costumes may need to be designed and sewn to meet these requirements. Or
they may simply be assembled from available clothes and accessories, with some
additional touches created as needed. For a modern or avant-garde play, the
actors sometimes wear regular street clothes with a simple prop, a mask, or
headgear to denote the characters they are playing.
Sound designer – Similar to the lighting designer, the sound designer serves a
vital role in creating and enhancing the atmosphere of the performance. Sound, in
this case, includes music both on stage and as background, which the sound
designer may need to source to suit the general time and place of the play, as well
as particular scenes. Also involved are special sound effects like thunder, birds
chirping, rushing water, gunfire, passing cars, approaching footsteps, and the like.
The sound designer works with all these to support the action and interaction
taking place on stage. He or she adds detailed notes to the script to serve as a
guide for the sound crew during rehearsals and the actual performance.
Note: In large scale productions where live musicians or even a full orchestra are
involved, a separate musical director is responsible for coordinating the play’s
music.
Production manager – Coordinating all the complex behind-the-scenes details of
staging a play is the production manager. He or she is tasked with overseeing the

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crews for the sets and props, the sound and music, the lighting, and the costumes.
This includes ensuring that all the needed elements, facilities, and equipment are
not only available, but are in good working order, properly catalogued and labelled,
and safely stored from one rehearsal to the next, up until the time of the
performance.

Technical director – The technical director shadows the play’s director throughout
the entire production process. From the time the director presents his or her vision
for the play and issues instructions at every rehearsal, the technical director
carefully notes how each actor and every member of the stage, sound, lighting,
and costume crews need to be coordinated to bring the director’s vision to life—
ensuring that every instruction is properly executed.
By the time of the final technical rehearsal (sometimes called the dress rehearsal,
since it is performed in full costume and makeup), the director focuses on
assessing the total effect of the performance and how it might still be improved. It
is then the technical director who takes over to closely monitor the individual
details, and again ensure that these work together seamlessly in the actual
performance.
Choreographer – In cases where a play involves dance in certain scenes, a
choreographer is included in the production team. He or she not only plans out all
the dance steps to suit the music, but also rehearses the actors until they are able
to perform the dance skillfully—while remaining “in character” on stage. Should the
play happen to involve fight scenes, the choreographer will likewise program the
moves of the opposing sides so these can be executed not only believably, but
safely as well.

Makeup designer – As the costume designer deliberates on the characters’ main

attire, the makeup designer is brought in to plan the hairstyles and makeup to
complement the costumes. The work of the makeup designer may be as simple as
making the actors look natural for their respective roles—based on their characters’
age and personality, and the time and place of the story. But it may also be far
more challenging, such as transforming the actors into mythical creatures, animals,
a different nationality, or futuristic beings.
Thus, the makeup designer works his or her magic through the wonders of
makeup, face and body painting, and hair coloring. Other accessories may be
employed, like masks, wigs and hair extensions, headdresses, and even
prosthetics to alter certain facial features or body parts (Cabanban 2015).

What’s More

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 How is the director of a play similar to an orchestra conductor? Explain
briefly. Write your response in your notebook.

What I Have Learned

Now that you have finished this module, you can share with your family and
friends your insights by completing the following sentence prompts. Write your
answers in your notebook.

I have learned that

________________________________________________.

I have realized that

________________________________________________.

I will apply
______________________________________ .

What I Can Do

“Experiencing Theater”
1. Watch a recorded performance of a production by any Philippine theater
group.

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 2. Watch the play very attentively. Observe how the plot is developed and
take note of the artistic elements and principles used.
3. Afterwards, write a reaction paper using the following outline:
Title of the play
_______________________________________________________
Scriptwriter
_______________________________________________________
Director
_______________________________________________________
Stage
_______________________________________________________
Designer
_______________________________________________________
Setting
_______________________________________________________
Main characters
_______________________________________________________
_________________________________________________________
_________________________________________________________
Main story line (a 1-paragraph summary)
______Personal reaction
_________________________________________________________
_________________________________________________________

Assessment

Direction: Read each item carefully and choose the letter of the best answer. Write
your answers in your Arts notebook.
1. A person who is in-charge in a concept and creation of the physical stage
setup.
A. Set designer C. Producer
B. Choreographer D. Technical Director
2. The person who takes play from a mere concept to an actual finished
presentation.
A. Set designer C. Producer
B. Choreographer D. Technical Director
3. He or she not only plans out all the dance steps to suit the music, but also
rehearses the actors until they are able to perform the dance skilfully.
A. Choreographer C. Costume Designer
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 B. Technical Director D. Sound Designer
4. The person who shadows the play’s director throughout the entire
production process.
A. Choreographer C. Costume Designer
B. Technical Director D. Sound Designer
5. He or she studies the general setting (time and place) that the play is meant
to take place in, as well as each character in the script.
A. Makeup Designer C. Costume Designer
B. Lighting Designer D. Set Designer
6. He or she serves a vital role in creating and enhancing the atmosphere of
the performance.
A. Choreographer C. Costume Designer
B. Technical Director D. Sound Designer
7. The person who is brought in to plan the hairstyles and makeup to
complement the costumes.
A. Makeup Designer C. Costume Designer
B. Lighting Designer D. Set Designe

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 8. The writer of the script.
A. Makeup Designer C. Costume Designer
B. Lighting Designer D. Playwright
9. He or she is critical in creating the mood of each scene in the play, highlighting
a dramatic moment, signaling the entrance of a character, focusing attention
on a specific spot-on stage, or even providing the blanket of darkness for set
and prop changes.
A. Set Designer C. Costume Designer
B. Lighting Designer D. Sound Designer
10. He or she builds the set (or sets) that will simulate the world that the play’s
characters are supposed to live in.
A. Set Designer C. Costume Designer
B. Lighting Designer D. Sound Designer

Additional Activities

Answer these questions in your Arts notebook:

• Can you envision yourself being involved in the theater arts in some way?
• Would you consider a full time (or part-time) career in this field?

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References

Print:
Cabanban, E. Horizons Music and Arts Appreciation for Young Filipinos Learner’s Material.
pp.262-277, (M. Y. Moran& M. P. Valdez, Eds), 2015
http://s3.freefoto.com/images/13/53/13_53_21_prev.jpg

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Online:
O'Connor-Harding, Guorgia. 2019. Otago Daily Times. August 19. Accessed January 12, 2022.
https://www.odt.co.nz/star-news/star-lifestyle/star-entertainment/filipinostar-stage-
miss-saigon.
Pagulong, Charmie Joy. 2017. Phil Star Global. August 29. Accessed January 12, 2022.
https://www.philstar.com/headlines/2017/08/29/1734131/peta-uses-theaterarts-
force-social-change.

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For inquiries or feedback, please write or call:

Department of Education – Schools Division of Negros Oriental

Kagawasan, Avenue, Daro, Dumaguete City, Negros Oriental

Tel #: (035) 225 2376 / 541 1117

Email Address: negros.oriental@deped.gov.ph
Website: lrmds.depednodis.net

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