Original Performance With the Use of Media

th
· of the final tcchntcal rehcar,al hl>rncurncs called the dre\s rehear-;al, since it is
l:iy . e ,_,time
[)crforn
• lcu 1n tull costume anu makeup). the u1rector focuses on as<,es 1ng the total effect of the
1fk1rlorrnnnce and hm, 11 1111eht still be impro\eu It ts then the technical director who take\ over

1t1le m"\oCnl lloI r the indi, idual de ta1ls close!). and again ensure that these work together seamlessly in
' ua l)Crfom1ance

Chor oura h .
llll.1ud Cd" II P 1h 1er In ca. e, ,, here a play involves dance in cenain scenes. a choreographer ,.,
e pro<lucuon team He or she not only plans out all the dance step-. to '>Uit the
rnc lml ha 1l•n 1 bn ug111
t .a.lso
1 rchear,cs the actors until they are able 10 perform the dance\klflfully- while
c 1arae1d· on stage Should the pla) happen lo mvolve fight scenes. the
I
c 1oreooraph •1i 1 1, . .
e- er " '"c"I\C program the move!> of the opposing '1des so these can be executed
not onf) bel,c,abfy. but ,aldy as \\ell

Makeupdesigner \s the costume designer deliberates on the characters' main attire, the
makeup de,1gner" brought 10 10 plan the hairstyles and makeup 10 complement theC0!>tume!>.
The work of the makeup de\lgner may be as simple as makmg the actors look natural for their
rc,pecuve roles based on their characters· age and personalrty. and the time and place of the
,tory. But II may also be far more challengmg. such as transforming the actors into mythical
creature,. an,mab, a d1fferen1 na11onalit). or fu1uris11c bemg .

Thus. 1he 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. wig and hair
extensions. headdressel-.. and even pros1heucs to alter cenain facial features or body parts.

WHAT TO KNOW

A. Philippine Theater Groups

I. What are the active theater groups in the Philippmes specializing in original plays
wnuen m Filipino? . . . .
2_ Name two perfonning groups that present adaptauons of foreign play . pnmanl) m
English. f d h .
Which theater company bas produced a numbe\ o actors an actresse \\ o ua\e
3. gone on to become stars on ihe intematronaJ stage. 'th h h ': I t?
. h ompan) tends to present producuom, \\1 t oug 1-provo,..ng con en .
4 . W h ic hth e ate r
5 . Na m e t e p r uclion group that focuses on family-oriented and \alue,-nch

6 Wp e rhf iocnhn apn er f c oe sn n a n e e company arms to develop both perfonners and audience, for
· . - • f music theater·> . . . ·
dWahssaitcdao yo·u n,ote as. two of_ the main objective that Ph1hppme theater group, hJ\
Cm
7. common? fa.plam these bnefl).

315
0
,■
ARTS • Quarter IV

L·ight·ing des·igner Coord 1na1·1ng closely w·ith the set des·igner I) 1I 1e11·g1111·11e1-1 th.:·si1,1,.1.1c1. Lighting
·1s cn·u·cal ·m creat·ing It1e o1· eacI 1 scene ·111 t11e p1ay. 11·1gI111·' •1 dramaticmoment ·
mood gI1t111g
signalling
· ·
the entrance of a character. focusmg attention on a \pcc1 l 1c ,pot<
>n or .even
,t· 1°c
· ' •

providing the blanket of darkness for set and prop changes. Colored lights or f ilt. rs 11 l c u ed,•?
as well as special effects such as gradual dimming or brigh1ening. a speckled cl fed Ilk sunlight
through leaves. or l11ckering lights. The lighting designer plans all 1hese and add\ detailed
notes on the scnpt for the lighting ere\\ to follow dunng rchearsab and the actual performance.

Costume designer The ac1ors and actresses must look believable 111 their roles. andmuch of
this is owed to the costume designer. He or she studies the general setting (lime and place) _that
the play is meant to 1ake place in. as well as each character in the script. He or she then decides
what attire wiU 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 1hey may
simply be assembled from available clothes and accessories, with some additional touches
created as needed. For a modern or avam-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 perfonnance. Sound, in this case, includes music
both on stage and as background. which the sound designer may need to source to !>Uit 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 perforn1ance.

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 staoina a play
1s the production m_anager. He or she is tasked with over e ing the crews for the setms d props.
the sound and music, the lighting, and the costumes. This mcludes ensuring that all theneeded
elements. facilities. and equipment are not only available. but are in good work.mgorder.
roperly catalogued and labeled. and safely stored from one rehearsal to the next. up untilthe
lime of the performance.

Technical director The technical director shadows the play's director throughouttheentire
product'.onprocess. From the time the director presents his or her vision for theplayand issues
mstrucuons at every rehearsal. the technical director carefully notes how eachactor and ever
th
member, _of e stag , sound. lighting. and costume_cre_ws need to be coordmated lo brin
directors vision to life-ensuring that every mstrucuon 1s properly executed. g
th;
314
 Original Performance With the Use of Media

ihet11their functions. and .

. ovc1sees th • .
decides
011
j
rna·or _c _castmg lk or she also
different
of the actors and actresses for the roles.
tht: production schedule and .J ogist1cal matters like when and where the play will be staged
• in most · '
the funds needed. cases e ither finances all the production costs or else sources

\f(ltt': /11 a school or cta o 1 pl h

mocleraror, the classroom · '· 111 .
av t e ,.0 I e producer
f .·
teac: e () ,s normally fulfilled by the Drama Club
1
ie, · or bv rhe school itself.

Director The director is the . . . . . .

·onductor of an archest h overall art1st1c coordinator of the entire production. Like a
rformance. With th rt' e, or_sheha ·a vision of the desired total effect and impact of the
pee
on. innoaoe
the production e"ph.aty sl scnpt _servmg
I s a l the nght t as
" a "musical score," the director ensures that each
thea d' no es to create a coh es1· ve, seamless performance that
11'111e "' "' u Lenee.

Th rou ghout the play's rehearsals th d' · · ·

. . . • e trector instructs and gui des the actors as to the del tvery
of their lt es of dialogue; their positions and movements on stage (called "blocking"); the
thoughts orfeelings they are to convey through tone of voice, facial expression, and gestures.
By the time
of theactual 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
\pecifically 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 exist\ng story or another play which the playwright
11ill then actapt to present in a new way.

The script forms the basic:; of the entire production. It contait'.s the e!'act lines of dia!ogue t at
each character will memorize and deliver on stage, often with notes on tone of voice, fac1aJ
express·ion. even movement or blocking· It also provides a c. lear description of the set,.props,
and
. · b sed · 1 1 e1 ach scene In some cases, the director may collaborate with the
and 11g11tmg to e u · . .
• · ak' me script adJ·ustments m the course of the rehearsals to better achieve
p aywnght on m mg so
Ithe desired effect.

ndcreation of the physical stage setup is the task of the set

Set designer - The oncepta t ( r sets) that will simulate the world that the play's characters
. 1builds
· Thethese
set m
designer. He to
are supposed or lshe
ive 11· h aoysetting
be realistic
with a and
few filled
pieces with authentic
of furniture details:
or props andoraits ·may I
1 m pbee
.
I
minimalist, merely sugge5t1ng de . ner ensures that the set will enable the actors to move about
backdrop ln either case, the set . esigl believable and will truly provide the ambience on stage
· 111
ake their ro es '
easily and naturally to la vright intend.
that the director and the P yv

313
 -
ARTS • Quarter IV

Theater Down South

In 2007. Theater Down South was founded. w1.1h Phil.ippi.ne theater Michael dWilli.ams
mo·rns·La
a.., arti..,tic i.Jirector. The v1· s·1on o f t11c company was 10 w'1d en LI 1c ,rec1c·h 'sta.ge prob uc1ions
ol
beyond 1he traditwnal centers in Metro Manila. and 1hcreforc develop a broader audience ase.

A Midsummer Night's
Dream The Princess and the Red Carp
Theater Down Soulh, 2007 Theater Down South, 2010

A Funny Thing Happened on the Way to the Forum

Theater Down South, 2010

Roles in a Stage Production

M ost visible on tage in a theater prod ction are the actors andctresses pl?ying their roles.
However. beh111d lhe scenes is an enure team whose work begins months 111 advance of
the actual performance. hi\ they who supporl the actors and enable them LO lruly bringthe
playto life.While the members of this team may vary depending on how complex orsimplethe
produc11on i . below arc lhe basic roles that most play:,,require:

Producer Ina profoss1onal stage prodm:tion. this i:,, the person who taJ...c:,,theplay froma mere
concept to an actual fini..,hed prcsenlation. He or she choose all the leam membersandassigns
312
 -
ARTS • Quartor IV
.. ,., -·,..

l'\\ \ Oll'l' Cornpan)

\l,l, m.1k111g 1h o\\ 11 d1,1111l t u111111h1111011 1<1 thl' 1'hil1ppt11l· 1lll',lll't sn'lll' 1, C\\ \ okc
Compau.)l•,1,1hl1,hl'd 111 11>•14 h, l\lo111q11l' \\ 1ho11 ,11,t1,1 RL·1w11,11) Philtpptnl's· pnitl'gi:i: ,,ho
\\l'III 011111 ,tarnn thl' itl1Llll,tl11m,il ,t,ll,'l'. Nl'\\ \n1n· ha,,·a111l'd ,t tl'Plll:tltllll llH st,ll!tllgthought
p10H1k111g produd1011, on "u111t,,)\ 1 1.il'" ,md p1,1ti,1111d 1op1c-.

Aspects of Love
New Vo,ce Company 2006

The Male Voice

New Voice Company. 2009 My Name Is Rachel Corrie
New Vo1c€' Company 20,o
310
 Orl(llnnl Pn,1orrnoni:o With tho l/110 ofModlo

In 1h1' I ll<l(I\, lh,• l'l11h11i1 I l I \ l'ill\'i •I 1111

I' .1-111,dh \111111·1111111,111
111 1, ti I 1'
1 1111111t•I i1l,11 lll'p1111111n11111111p 1•1111HI1n·od111•11o1J, ,,/

l ,1111111)' 1lw11 1 l
1 ii\, II 1 \I
h, 111, 11.,
' \I ,I '1111hlll 111d, )!lllhl v,!1111·, lrn I llild1,·11110d 1111• 1111 11y
wllol1·1: /) .
\\<1l1/t,1/ir, I 111/, \/, 1111,
l \ II ./1111 /ll, //, ln/11/1'/ I II\/ N11111,•. /!,,, l.11111, !ht• Witrh, ,t !hi'
1I II ,
I
'
I
1n1111pl'l, 1, Ill p111, 11k II 11
I t11 I 'II 1 ' \ () \ II I ' 111 of
,
I .Ill'
l/,111111111•11 11111•11tlon
l'\lll\ll' llit•It 11• ,1111 //,,· 11/iwhml
· n/
•
111,· l'hil1pp111,· 11t,•,1t1•1l'ullw 111111111, ,1p,·111•1111•, 1111 l•ll1p1110 yrnllllwll1k ;11\0 l>111J<1,np tip

'

T/Jo Lion, Tllo Witch, and Tllo N.O.A.H.

Wordrobo Trumpols, 2009
Trumpols, 1997

(H Pp/noss
Th• B/uob/rdO II
Trumpets 2013
309
\ I'- 20tN ''-'·l'l'll. Rt' ' h,n .11.lct 'd .1· '"'ll' l'h ,K111 End1 h to It'- prodl.ll'Lion -A Porrrair of
, \•·11, ,:, ,-., ··•u111. t,! \,\ll\)r\,1 \ ,1 1 \ u,Jc,3qum - J,Hc. Jt ('Ontinue, to offer am\ of
\ Jt11.·t1011-.. r.rnfillf frt,m hterar! ('};1:,.-.1<':- 10 con1empor.1 ,,11 "t',. <'omed1e,. and mu,1l"_.I,

A Portrait of the Artist as Filipino Little Women

Repertory Philippines. 2009 Repertory Philippines. 2010

Alice In Wonderland The Producers

Repertory Ph ,ppmes. 2013 Repertory Pt, pp nes 2013

308
,TS • Quarter IV

Jbalong
Tanghalang P1hpmo 2012

Noli
Tanghalang Pillp1no, 2011

William
Tanghalang Pd1p no 2011

306
 Original Performance With tho Us
8
o1Media
\l till' lorclront o( th
. ' . \ . c c arc th, f> • • .
n1eal1ci S!.Octation (PET c hihppme Educational Ciu1uotc. \l,ari!,. and TanA). loundcd in 1967 byCecile 1hc:,1tl.'r lOmpany o

Himala
caredivas Tanghalang PH1pino. 2004
PETA. 2011

The productions of these groups span the range from daring new presentations of classical works, lo the spectacle of Philippine m

Haring Lear
PETA. 2012

Pamana
PETA. 2013

305
 Quarter IV: Original Performance
with the Use of Media
INTRODUCTION

T•
heater is the one maJor an formthatb .
and sculpture toinstallat·
·
smgle production A t
'
.
. ' mg toge therall the other art forms from painting
io,nlrt. to m usic to d a n c ,
• · c ,o
t 1· .
1te iature, even to computer arts
.
· s Of\ ma ts acted out on sta ( I1

the characters. bringino ;hemt n, · gcrot crperformance area) by actors portraying

sometimesthrouoh "' d/ o t e anddevelopmg the plot through dialogue and actions. and
,,. song an or dance.

Contributing to the vivid th • at e ·

. c , r experi ence arc the stage sets and props, the lighting the
bac kground music an d sound cff' e ·t th ·
. , c - c costumes and ac:c:csson cs. In recent decadei,,
'
comp uter-
generatedv1 ual effects and mechanized sets have been incorporated aswell.

th
All0: esecomponents draw from the varioui, art forms and call upon the artistic skills and
te lmiques thaty u have been exposed to over the last three quarters. In this fourth quartery,
ou "illget to_experience the complex and exciting proces!>of mounting an original
performance together '' 1th your classmates---combining most, if not all, of these skills and
techniques.

Philippine Theater and Performing Groups

T he Philippines has a rich and thriving theater industry that you may be interested to venture
into in the future. Productions range from original plays with Philippine themes and settings.
to renowned theater classics from past centuries, to contemporary musicals from Broadway or
London's We t End. Below is an overview of some of the more prominent theater and
performing groups in the country and their major productions.

PETA and Tanghalang Pilipino

With the American presence in the Philippines for the first half of the 20th century. it was
inevitable that many U.S. and European theater forms and scripts found their way here. Among
them were the classics, such as the plays of William Shakespeare, as well as the works of great
American playwrights. At the same time, local theater groups staged original Philippine
::.ar::.uelas which were plays performed in song, similar to the European opera.

1n the past few decades, modem theater groups have continued to express the distinctly
Philippine interpretation of both originally written plays as well as adaptations of foreign works
translated into Filipino.

304