ROLE 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 plays 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 plays 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.

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 plays
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,
signalling 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.

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
skillfullywhile 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.
Actor

A person who behaves in the manner of a character, usually by reciting scripted

dialogue, in order to entertain an audience, especially in a play, movie, or television
show.

Stage Manager

Stage managers typically provide practical and organizational support to the director,
actors, designers, stage crew and technicians throughout the production process. They
also are the director's representative during performances, making sure that the
production runs smoothly.

The role of the stage manager is especially important to the director in

rehearsals. Here the director and the stage manager work side by side, with the stage
manager recording the director's decisions about blocking and notes for the actors,
keeping track of logistical and scheduling details and communicating what goes on in
rehearsals to the rest of the team. This enables the director to concentrate his or her full
attention on directing.
NOLI ME TANGERE, THE OPERA

The three-act opera Noli Me Tangere was composed by National Artist Felipe
Padilla de Leon, with libretto by National Artist Guillermo Tolentino. It premiered in 1957
at the FEU Auditorium. The cast included Juanita Javier Torres as Maria Clara, Don
David as Ibarra, Fides Cuyugan Asensio as Sisa, Milo Cristobal as Padre (Father/priest)
Damaso, and Morli Daram as the director. There were other several productions that
followed the premiere production. The performance in 1987 was held at the CCP Main
Theater from September 18 to 20, 1987 in cooperation with Music Theatre Foundation
of the Philippines. Oscar C. Yatco conducted the Philippine Philharmonic Orchestra.
The opera was directed by Jonas Sebastian. The production staff also included National
Artist Salvador Bernal for Set and Costume Design, Dennis Marasigan for Lighting, and
Sylvia Garcia-Nera for Overall Production. The cast of major characters included Nolyn
Cabahug and Sal Myneo (Sal) Malaki alternating as Ibarra, Andion Fernandez/Nanette
Moscardon-Maigue as Maria Clara, Fides Cuyugan-Asensio/Luz Morete as Sisa, Elmo
Makil/Nomer Son as Elias, and Nomer Son/Jonathan Velasco as Padre Damaso. Jonas
Sebastian as the director.
 The novel of national hero Dr. Jose Rizal, Noli Me Tangere, has been a source of
many artistic productions and endeavors. From a silent film adaptation in 1915, it was
the subject of a movie in 1961 directed by Gerardo de Leon. It won the 10th FAMAS
Award for Best Film. It was first presented as an opera by National Artist for Music
Felipe Padilla de Leon in 1957 and in 1987. It was later adapted in 1992 by National
Artist for Film Eddie Romero in a 13-episode series for television. The novel also
became the subject of musical plays and revivals. The opera had its US production
premiered as Noli Me Tangere: The Opera at Harris Theater in Chicago on May 28,
2012. It was also staged at The Kaye Playhouse, Hunter College, New York City, USA
last October 2013, and at the Resorts World in Manila in September 2014.
EL FILIBUSTERISMO

El Filibusterismo (The Filibuster) was a novel by Dr. Jose Rizal, a sequel to the
earlier Noli Me Tangere. It tells of the continuing struggle of the Filipino people to
achieve freedom and emancipation from colonial rule. Through the major characters
involved, it reflects the prevailing state of Philippine government and society that has
become corrupt and immoral. For which, a revolution was being seen as the only
solution for change. It was also perceived as a warning from Rizal, an intellectual of the
highest order. Although he favored a peaceful way of instituting reforms, the seemingly
hopeless situation to achieve this method points closer and closer to armed rebellion in
order to gain independence.
LA LOBA NEGRA

La Loba Negra (The Black She-Wolf) is a three-act Filipino opera. Acts I and II
are based on history. Act III is based on a legend attributed to Fr. Jose Burgos, one of
the three martyred priests Gomez, Burgos, and Zamora who were executed in
Bagumbayan (now Luneta) in 1872. The music was composed by National Artist
Francisco Feliciano, with libretto by soprano Fides Cuyugan Asensio. The premiere was
held in 1984 with National Artist for Theater and Film Lamberto Avellana as director.
LOLA BASYANG

Lola Basyang is a ballet adaptation of Severino Reyes folktales Mga Kuwento

ni Lola Basyang. It was meant to instill and rekindle the interest of the Filipino youth in
the beauty, richness, and heritage of Philippine literature.
RAMA HARI

Rama Hari, translated as King Rama, is the Philippine adaptation of the Indian
epic Ramayana set to music, dance, and drama.
ANDRES BONIFACIO, ANG DAKILANGANAK-PAWIS

The musical play Andres Bonifacio: Ang Dakilang Anak-Pawis is a five-act

work commissioned by Alfonso Puyat in 1979, depicting the life of revolutionary hero
Andres Bonifacio. It was co-produced by the Cultural Center of the Philippines and the
Andres Bonifacio Music Foundation, Inc., and was staged again at the CCP Main
Theater on August 20 and 21, 1994 with Jerry Dadap as composer-conductor and the
late Elmo Makil as Bonifacio. In 2014, the UP College of Music and Andres Bonifacio
Concert Choir presented their own version of the musical play in celebration of the
150th birth anniversary
of Bonifacio.
 ATANG - DULANG MAY MUSIKA

Atang - Dulang May Musika is a musical based on the life of the first superstar of
the Philippines, Atang de la Rama. It starred Ayen Munji-Laurel, Shamaine Centenera
Buencamino, Frances Makil-Ignacio, Kalila Aguilos, Teroy Guzman, Greg de Leon,
Mitoy Sta. Ana, Ricky Ibe, Meynard Pealosa, Bituin Escalante and the Dulaang UP
Ensemble.

The musical play Atang, written by Floy Quintos, directed by Alexander Cortes,
and with music by Von de Guzman, was shown at the Guerrero Theater, Palma Hall in
UP Diliman in 2008 as part of the Zarzuela Festival organized by the UP College of Arts
and Letters. Playing the title role were Ayen Munji-Laurel, Sharmaine Centerera-
Buencamino, Frances Makil-Ignacio, and Anna Migallos, supported by Bituin Escalante
as Katy de la Cruz, Teroy Guzman as Ka Amado (Atangs husband), and Frances Makil
as the old Atang. The songs rendered by Ms. Laurel (Atang) included notable kundiman
favorites Nasaan Ka Irog, Pakiusap, Madaling Araw, Nabasag ang Banga (from the
zarzuela Dalaging Bukid), and Masayang Dalaga (from the zarzuela Ang Kiri).
 KATY! THE MUSICAL

The musical Katy! is about the life of bodabil (vaudeville) star Katy de la Cruz. It
was initially presented by Actors Studio East Production in 1988. The play
commissioned Ryan Cayabyab for the music and Jose Javier Reyes for the lyrics. It
starred Mitch Valdes in the title role.

The opening scene of the musical Katy! starts with a visit by Katy, already in her
old age, to the theater where she used to perform during her glorious past. Learning
that it would soon be closing down, Katy reminisces on her past. The musical unfolds as
a retrospect of her performances.

Other roles were portrayed by Tenten Muoz as the young Katy, Celeste Legaspi
as Olivia, Bernardo Bernardo as Tatay, Marco Sison as Peping, Robert Sea as Dolphy,
Pinky Marquez as Hanna, Arlene Borja as Patsy, and Gigi Posadas as Mary. In January
2013, the revival of the musical was held at the Cultural Center of the Philippines Main
Theater, co-produced with the Spotlight Artists Centre. It was presented again at the
Meralco Theater from July to August of the same year. Portraying the title role was Isay
Alvarez Sea, supported by Aicelle Santos as Teen Katy, Yedda Lambujon/Leana
Tabunar as the young Katy, Dulce as Olivia, Tirso Cruz III as Tatay, Gian Magdangal as
Peping, Epi Quizon as Dolphy, Tricia Jimenez as Hanna, Celine Fabie as Patsy, and CJ
Mangahis as Mary. Some songs in the musical included Minsan Ang Minahal Ay Ako;
Saging; Luha sa Kinalimutang Lupa; Aba, ba, ba; Boogie; and Tingnan Mo Nga Naman.
 FLORANTE AT LAURA, THE MUSICAL

The musical Florante at Laura was presented by Tanghalang Pilipino at the CCP
Little Theater (Tanghalang Aurelio Tolentino) from July 7 to 24, 1988 in celebration of the
200th birth anniversary of the author Francisco Balagtas-Baltazar. It was selected as the
official Philippine entry to the first ASEAN Theater Festival in August 1988.
 DARAGANG MAGAYON

The musical play Daragang Magayon, a production for poetry and mixed media
for male and female narrators, female voice, two percussionists, two pianists, and two
dancers, is based on a poem by Merlinda C. Bobis. It was first presented at the Cultural
Center of the Philippines Loading Dock on March 1 and 2, 1991. It was produced by the
CCP Womens Desk and the Coordinating Center for Dance to celebrate Womens
Month.
 NOLI ME TANGERE

The musical play onNoli Me Tangerewas staged at the CCP Little Theater from
February 1 to 4, 1996 as a production of Tanghalang Pilipino. The creative team
included Ryan Cayabyab as Composer and Musical Director, National Artist Bienvenido
Lumbera as Librettist, Edna Vida as Choreographer, National Artist Salvador Bernal as
Set and Costume Designer, Masaaki Sano as Lighting Designer, Gerry Fernandez as
Associate Lighting Designer, and Nonon Padilla as Stage Director. The musical play
closely follows the storyline of the original novel and the opera. The musical play
assumes a more contemporary approach in the musical compositions owing to
Cayabyabs chromatic and rhythmically innovative style.
 EL FILIBUSTERISMO

The musical play on El Filibusterismo was staged at the CCP Main Theater
from August 8 to 10, 1997 as a production of Tanghalang Pilipino. The creative team
was composed o f R y a n C a y a b y a b f o r M u s i c , J o v y M i r o y f o r t h e
Libretto, Edna Vida for the Choreography, National Artist Salvador Bernal for the Set
and Costume Design, and Nonon Padilla for Stage Direction. The musical play closely
follows the Rizal novel, whose major character Crisostomo Ibarra disguised as Simoun.
 MAGSIMULA KA

The musical playMagsimula Ka by Gines Tan was staged at the CCP Main
Theater from April 7 to 24, 1988. As the winner of the CCP Playwriting Contest in 1983,
it became one of the longest running musicals at the CCP. Later, it underwent a series
of revivals in the ensuing years while some of its initial lead performers eventually
became stars in their own right. Magsimula Ka is the story of young dreamers whose
ambitions begin to fade in lifes realities. They are part of the graduating class filled with
hope but end up compromising their idealism for their own survival. The play responds
to the young peoples lingering question of whether there is hope for them in this cruel
world. A major factor in realizing this hope is to start and uphold ones talent or ambition
despite all odds.
PETA

Philippine Educational Theater Association (PETA), founded in 1967 by Cecile .

Guidote-Alvarez.
 Fish - Structure and Function

Fish are vertebrate animals, that is, they all have a vertebral column or spine. There are two
main groups of fish, bony fish (Teleosts) and cartilaginous fish (Elasmobranchs). As the
common names imply, the skeletons of teleosts are made of bone while the elasmobranchs
have cartilaginous skeletons. The elasmobranchs comprise sharks, rays and dogfish which
differ from teleosts in many respects. The teleosts are far more numerous, with a greater
diversity of species than the elasmobranchs.

All fish are aquatic and breathe by absorbing dissolved oxygen in the water using their
gills. The bodies of both teleosts and elasmobranchs are covered with scales but those
of elasmobranchs are spiky and project through the skin. This makes the skin feel very
rough, like coarse sandpaper. The scales of the teleosts have a flattened, discoid shape
and are covered by a thin layer of skin and mucus which probably reduces friction
between the body and the surrounding water and makes them very slippery.

Fish are commonly described as cold-blooded but this is misleading. Their temperature
varies with the temperature of their surroundings. Fish living in warm seas will have
correspondingly warm blood
External features
Nostrils. The nostrils of fish do not open into the back of the mouth as do those of
mammals, and are not, therefore, for breathing. They lead into organs of smell which
are as a rule, very sensitive, so that a fish can detect the presence of food in the water
at considerable distances.

Eyes. The eyes of a fish have large round pupils which do not vary in size.

Hearing. Although fish have no ears visible externally they can hear by transmission of
vibrations through the body to sensitive regions of the inner ear.

Mouth. The mouth serves for taking in food; also for the breathing current of water.
Some fish have a wide gape, and filter microscopic plants and animals out of the
surface waters as they swim along, trapping them in gill rakers before the water is
expelled from the operculum.

The operculum is a bony structure covering and protecting the gills in teleosts; it plays
an important part in the breathing mechanism. Elasmobranchs do not have an
operculum but there are separate gill slits for each gill.

The lateral line is a jelly-filled tube or canal just below the skin. It opens to the water
outside by a series of tiny pores. Its function is to detect movements in the water. A
disturbance set up, for example, by a person's hand moving in the water, will cause the
jelly in the tube to vibrate. The canal is lined with nerve endings which are stimulated by
vibrations and send impulses to the brain. In this way the fish is made aware of the
direction and intensity of water movements. The sensitivity of this system makes even a
blind fish very difficult to catch by hand.

Fins give stability, and control the direction of movement during swimming, as explained
later.

Swimming
The vertebral column consists of a series of vertebrae held together by ligaments, but
not so tightly as to prevent slight sideways movement between each pair of vertebrae.
The whole spine is, therefore, flexible. The muscles on each side of the spine contract
in a series from head to tail and down each side alternately, causing a wave-like
movement to pass down the body. Such a movement may be very pronounced in fish
such as eels, and hardly perceptible in others, e.g. mackerel. The frequency of the
waves varies from about 50 /min in the dogfish to 170 /min in the mackerel.
The sideways and backward thrust of the head and body against the water results in the
resistance of the water pushing the fish sideways and forwards in a direction opposed to
the thrust. When the corresponding set of muscles on the other side contracts, the fish
experiences a similar force from the water on that side. The two sideways forces are
equal and opposite, unless the fish is making a turn, so they cancel out, leaving the sum
of the two forward forces.

The swimming speed of fish is not so fast as one would expect from watching their rapid
movements in aquaria or ponds. Tuna seem to be the fastest at 44 mph, trout are
recorded as doing 23 mph, pike 20 mph for short bursts and roach about 10 mph, while
the majority of small fish probably do not exceed 2 or 3 mph.

Function of the fins in swimming

It must be emphasized that the swimming movements are produced by the whole of the
muscular body, and in only a few fish do the fins contribute any propulsive force. Their
main function is to control the stability and direction of the fish.

The tail fin, in its final lash, may contribute as much as 40 per cent of the forward thrust.

The median fins, that is, the dorsal, anal and ventral fins, control the rolling and yawing
movements of the fish by increasing the vertical surface area presented to the water.

The paired fins, pectoral and pelvic, act as hydroplanes and control the pitch of the fish,
causing it to swim downwards or upwards according to the angle to the water at which
they are held by their muscles. The pectoral fins lie in front of the centre of gravity and,
being readily mobile, are chiefly responsible for sending the fish up or down. The paired
fins are also the means by which the fish slows down and stops.

Swim bladder
Teleosts have in their body-cavity a long air-filled bladder running just beneath the
spinal column. The swim bladder makes a fish buoyant so that, unlike the shark or
dogfish, it does not sink when it stops swimming. When the fish swims to a different
depth the pressure needs to be regulated.

In some fish the bladder opens into the gut and the air pressure in it may be increased
or decreased by gulping or releasing air through the mouth. In others, the bladder has
no such opening, and the blood vessels surrounding it secrete or absorb air and so
control the pressure in it.
Breathing
Oxygen dissolved in the water is absorbed by the gills. The movements of the mouth
floor and operculum are co-ordinated to produce a stream of water, in through the
mouth, over the gills and out of the operculum.

There are usually four gills on each side consisting of a curved bony gill-bar bearing
many fine filaments. Through the gill-bar run blood vessels which send branches into
the gill filaments. The filaments bear smaller filaments down their length which, in turn,
divide into smaller branches. So great a number of minute branches provides a very
large surface area when the gills are immersed in water. The walls of the gill filaments
are very thin, enabling the oxygen to diffuse rapidly into the blood. A convenient way of
visualizing the gills is as an orderly system of blood capillaries exposed to the water in
such a way as to absorb oxygen.

The mechanism for pumping water over the gills seems to vary in detail according to the
type of fish but, in general, the pressure in the mouth cavity is reduced by the floor of
the mouth being lowered. Sometimes the bony operculum is moved outwards as well,
assisting the increase in volume. In either case the free edge of the operculum acts as a
valve, being pressed against the body wall by the higher outside pressure and so
preventing water from entering through the opercular opening.

Thus, water enters through the mouth to equalize the pressure. Next, the volume of the
mouth cavity is reduced and the pressure increased by raising the floor of the mouth. A
valve inside the mouth, formed by an inturned fold of skin, prevents water from leaving
the mouth. The increased pressure forces open the operculum and expels the water
through the opercular opening, causing it to pass between the gill filaments as it leaves.

Although there is more oxygen in air than in water, a fish will suffocate in air. This is
probably because the muscular system of mouth and operculum which can work in
water will not function in air. In other words, the valve system which is water-tight is not
air-tight. Another important reason is that when a fish is out of water, the surface tension
of the water-film covering the gill filaments sticks them together so that the total surface
exposed is very much reduced.
 PRINCIPLES OF ART
rhythm
a principle of art that indicates movement by repetition of elements
movement
a principle of art used to create the look and feeling of action & to guide
viewer's eyes throughout the work
balance
a principle of art, concerned with equalizing visual forces/elements in a
work of art
proportion
a principle of art, concerned w/ size relationships of one part to another
variety
a principle of art, concerned with difference or contrast
emphasis
a principle of art, makes one part of a work dominant over the other parts
harmony
a principle of art, creates unity by stressing similarities of separate but
related parts
unity
a principle of art, the quality of wholeness or oneness achieved through
effective use of elements and principles of art.