Theater Arts

Curriculum Guide
Grades 7-10
 SPA THEATER ARTS CURRICULUM
CONCEPTUAL FRAMEWORK
Since the onset of the ancient civilization and indigenous cultures, theater is said to be mother of the Art. Its holistic and
integrated nature of cultural expression has fused a spectrum of different artistic manifestations. Whether in Bali, in
Bulgaria, in the Andes, in Kenya, in Mindanao or in Cordillera, indigenous people perform enact rituals and narratives in a
mode that utilizes the simultaneous use of words or narratives, singing, miming and dancing. In many instances, they
design and fabricate their own ritual wear, accessories, musical instruments, and tools. The artistic process is at once
literary, visual, musical, and physical, and because the performative act serves a significant function in the life of a
community, it acquires a dramatic mode which stimulates an emotional experience. Theater, like the multi-limbed
Sarawasti, opens up its different arms to create an experience that is both total and diverse.

Theater is a meeting ground and convergence of various artistic disciplines. The disciplines of literature music, dance,
visual arts, architecture, and even modern media like film or computer generated graphics, assert their unique and distinct
presence to endow dramatic act of the actors with a brilliance of layers causing an impact of luminosity and depth. The
converging power of theater provides a prism of various artistic languages made whole by a unifying vision of man and
society. It is a space where the individual artist, whether he is a musician, dancer, poet or designer, he can give full rein to
his specific artistic bent.

Theater is both personal and communal. It is one art form that welcomes collaboration and artistic cooperation. It is an
avenue for minds and sensibilities to interact, to engage, to differ, and to harmonize, allowing the maximum multiplicity of
viewpoints to merge, to balance, and to share a level playing arena for consciousness to grow. It respects both
individuality and collectivity the person becomes a culturally creative amidst a group or community; the group release
synergy, power and dynamism unleashed by individual creative. A theater group in class, in school, in a community, in an
institution, is a reflection of the larger society working for mutual and reciprocal growth and development.

The art of drama resides in the very core of theater. The heart of the dramatic experience is the art of the actor. The
actor, whether in presentational or representational theater, provides both empathy and distance, giving the spectator that
rare opportunity to see reality unravel before his or her eyes, offering possibilities of insight or inquiry. The theater process
allows the student actor to develop his sensitiveness, his intelligence, his esprit de corps, and his sense of the imagination
and verisimilitude to deliver a characterization that brims with emotional truth.

Theater is incomplete without the spectators: the audience, the electricity of live theater and drama is stirred by that
palpable line of communion engendered by creator and reactor. One feeds into the other. The audience provides the
theatrical act context, energy, stimulus, and unction to make the dramatic performance living and relevant. The actor
provides the audience substance by which it informs itself with the necessary pool of emotions and ideas to guide its life.

SPA THEATER ARTS CURRICULUM

PHILOSOPHY AND RATIONALE FOR THEATER EDUCATION

The Special Program in the Arts was first conceived in 2000, with seventeen (17) pilot schools across the regions. The
Bureau of Secondary Education has conducted National Trainings and Workshops, which catered to public school
teachers. The SPA has designed a curriculum framework which was utilized in the first four years of implementation.

SPA schools conducted benchmarking in the different art schools, specifically the Iloilo National high School (the first SPA
School) and the Philippine High School for the Arts in making to adopt best practices in the curriculum development.

With the increase in the number of schools offering the program and to formalize the curricular offerings of each art
specialization, the National Commission for Culture and the Arts with its partnership with the Department of Education
“SanayGuro” (Workshop for Arts teacher) was designed. This has led to the crafting of the SPA Theater Arts Curriculum
drawing from standards and curriculum exits of the K-12 Enhanced Basic Education Program.

The Special Program in the Arts has been in operation for almost two decades and has reared hundreds of theater artists
who have already made a name in the theater profession and its related careers, whether in the educational field or in the
professional entertainment and communication industries. And just any human and institutional life cycle, especially in the
context of the newly crafted K to 12 Basic Education revolutions, its curricula and learning processes must meet the
challenges of a constantly changing world.

After two years of programmatic assessment of the SPA theater curriculum, and emboldened by the newly formed
partnership between the Department of Education (the rightful mother educational institution of the program) and the
National Commission for Culture and the Arts (the government agency tasked with the development of arts and culture),
the SPA Theater Arts Course is all the more readier to engender a movement of curricular reform. It will harness the
potentials of the theater and drama as a medium for the expression of the soul, cultivation of cultural identity, creating an
impetus for other artistic activities, promotion of a personality to self-realization, an anchor for historical and cultural
understanding, for transformational values, and promotion of human rights. The SPA theater student is envisioned to
immerse in an educationally liberating process that will provide him a creative anchor of inestimable value for developing
a distinguished profession grounded in the various sub-disciplines of the theatrical art. Whether they turns out to become
an actor, director, playwright, choreographer, composer, lights and sound technician, manager or teacher in the dramatic
profession, they shall be properly tooled to steer themselves to an empowered future.

The six years of SPA training in theater shall lay the foundation for developing the consciousness, knowledge, skill, and
attitudes of the growing theater artist to a life steeped in an appreciation of heritage, charged with skills for artistic
excellence, and stimulated with a spirit for fermenting sustainable development of self, community, and the nation.

Special Program in the Arts will effectively nurture and refine the learners’ artistic expression and cultural literacy, and
celebrate their national heritage, while it instills, within every individual learner, pride in his own cultural identity.
LEARNING AREA STANDARD:

The learner demonstrates an appreciation and understanding of the concepts and principles of Theater Arts Creation,
Aesthetics, and History within the context of Philippine cultural and historical realities, resulting in theatrical opus imbued
with artistic creativity, sense of community, and pride of place, sensitive interaction with Filipino indigenous heritage, and
values of human and social development, mobilizing skills for a career in the arts.

GRADE GRADE LEVEL STANDARDS

LEVEL
Grade 7 The learner demonstrates appreciation and understanding of the basic language of the creative arts,
focusing on theater arts as an INTEGRATED LANGUAGE of personal, group, and cultural
expression and creativity in stories, ritual, myth, and cultural enactments for the release of
creativity, and awareness of self and cultural identity, and sense of social responsibility.

Grade 8 The learner demonstrates understanding of the basic concepts, principles, and skills of THEATER
relevant to creating seminal works on Community Realities and Life Sources for the awareness and
exploration of creativity, sense of self and cultural identity, and social responsibility

Grade 9 The learner demonstrates understanding of the basic concepts, principles, skills of THEATER
relevant to creating processes and works reflecting History and Heritage for the exploration of
creativity, sense of self and cultural identity, and social responsibility.

Grade 10 The learner demonstrates understanding of the basic concepts and principles of THEATER
interacting with other disciplines relevant to the creation of major works reflecting Contemporary
Realities for the proficiency in artistic creativity, leading to a sense of self, cultural identity, and social
responsibility.
KEY STAGE STANDARD
GRADES 7-10
The learner demonstrates an appreciation and understanding of the concepts and principles of Theater Arts Creation,
Aesthetics and History within the context of Philippine cultural and historical realities. The course ends with theatrical
performances imbued with artistic creativity, sense of community and pride of place. Each performance incorporates
sensitive interaction with Filipino indigenous heritage, values of human and social development, and mobilization of skills
for a career in the arts.

GRADE LEVEL STANDARDS FRAME WORK

GRADE Theater Arts Creation Theme/ Image of the Human and Society
Theater Aesthetics
LEVEL
Improvisations and  The role of culture and the arts in
deviance of sketches human and societal development
drawn from and  Modes of indigenous cultural  Culture and the arts as vessels and
focusing on: expression: Rituals epics and expressions of Genius of Place
festivals  The integratedness of artistic and
 Indigenous cultural  Elements of Artistic Expression cultural modes in Philippine
practices  Principles of Artistic Indigenous cultures as a holistic
 Exploration of self- Organization expression
creativity  The Integrated Arts Approach  The diversity of Filipino cultural
 Collaborative  Introduction to Different Arts performance and traditions as
creativity Disciplines indicators of local creativity and
 Reduction of inhibition  Elements of Drama ingenuity
 Exploration of self-  Elements of Theater
creativity Performance
 Collection of  Improvisation and Devising
improvisation and Techniques
deviance

Grade 8  Analysis and  Elements and principles of  The Image of Man and Society in
production of drama in realistic plays with Ecological and Cultural Heritage
established, original various styles and treatments  Drama conveying realities in life and
 and realistic plays on community as awhile
environment and  Drama conveying themes and values
heritage of environment and cultural heritage
Grade 9  Creation and  Performance styles in the  Philippine theater as cultural heritage:
productions in various various periods and genres of moments of emergence
genres of Philippine Philippine theater  Image of the Filipino and Philippine
theater  Complimentary theater society in indigenous, traditional and
disciplines – directing/design historical theater, including adaptations
technical theater/playwriting  Image of the human person and
society in non-Philippine theater
practices (like Asian, African,
European, American Theater)
 Creation and productions of various
genres in Philippine theater
Grade  Production of Full  Full Length Plays  THEATER IN THE CONTEMPORARY
10 Length Plays  Production Methods – WORLD
 Various Processes Production Management,  1st quarter theater and its applications
of Theater Stage management, in the contemporary world
(EDUCATION, HEALING,
Production Marketing and Promotions
ENTERPRISE, DEVELOPMENT)
 2nd quarter-pre-production processes
of a select theater production
(concepts, script and treatment
development, casting, management)
 3rd quarter production rehearsals and
performance management of select
theater production (including mobile
runs)
 4th quarter post production
management and evaluation with
audience feedback
 Grade 7 -First Quarter
THE LANGUAGE OF ARTISTIC EXPRESION : Our Life Stories as Spring Board for Creative Expression Through Release
and Exploration Process
CONTENT PERFORMANCE LEARNING
CONTENT CODE
STANDARD STANDARD COMPETENCIES
The learner is taught… The learner… The learner… The learner ….
THE LANGUAGE OF ARTISTIC
EXPRESSION IN ALL THE ART
FORMS
A. The Creative Self
 Exploration of life demonstrates performs creative 1. translates his SPA_TAAE7-Ia-b-1
stories understanding of the pieces using body personal
B. Elements of Artistic language of artistic movements and experiences to
Expression: expression in all the vocal creative expression.
1. Space art forms and improvisations in 2. evaluates the level SPA_TAAE7-Ic-2
2. Line principles of artistic the integrated arts of meanings
3. Shape organization common process that exhibit inherent in shared
4. Texture in the arts. understanding of stories.
5. Color the different 3. utilizes the body SPA_TAAE7-Id-f-3
6. Movement elements of artistic and the voice as
7. Rhythm expressions and tools for exploring
C. Principles of Artistic principles of the principles of
Organization common in organization. artistic
the arts: organization.
1. Focus 4. utilizes the SPA_TAAE7-Ig-i-4
2. Emphasis elements of artistic
3. Balance expression and the
4. Variations principles of artistic
5. Contrast organization
6. Development common to all the
7. Structure arts through
creative release and
 exploration
exercises.
5. gives importance to SPA_TAAE7-Ij-5
one’s
background/orienta
tion in the creative
expression.
GRADE 7 - SECOND QUARTER
THE LANGUAGE OF CREATIVE EXPRESSION IN PHILIPPINE CULTURE
PERFORMANE LEARNING
CONTENT CONTENT STANDARD CODE
STANDARD COMPETENCIES
The learner is taught… The learner … The learner… The learner…
THE LANGUAGE OF CREATIVE
EXPRESSION IN PHILIPPINE
CULTURE (FOLKLORE, RITUALS 1. enumerates local SPA_TACE7-IIa-1
AND FESTIVALS) forms of cultural
A. Cultural Performance: demonstrates produces creative performance from
1. Origins understanding of the outputs using the family and
2. Manifestations language of creative integrated process community.
3. Functions expression in involving elements 2. describes cultural SPA_TACE7-IIb-2
B. Aesthetics of Cultural Philippine culture from different art performances in
Performance (Folklore, Rituals and forms and drawing their localities.
C. Contextual and Festivals). from cultural 3. relates the links SPA_TACE7-IIc-d-3
Contemporary Interpretation performances and between the
and Depiction traditions in his/her performance
locality. practice and their
life stories.
4. executes the SPA_TACE7-IIe-g-4
various artistic
expressions present
in the re-
 enactments and
establishes their
functions.
5. mounts re- SPA_TACE7-IIh-j-5
enactments of
cultural
performances
demonstrating the
use of the different
modes of
expressions or art
forms.
Grade 7- THIRD QUARTER
THE ART OF THE THEATER AND DRAMA
CONTENT PERFORMANCE LEARNING
CONTENT CODE
STANDARD STANDARD COMPETENCIES
The learner is taught… The learner… The learner… The learner…
THE ART OF THE THEATER AND
DRAMA: Philippine Drama
A. NATURE AND ELEMENTS OF
THEATER demonstrates evaluates the 1. analyses the SPA_TACE7-IIIa-b-1
1. Interaction between understanding of elements of theater elements of
Actors and Audience the elements of and drama in short dramatic arts in
2. Liveness and Ephemerality theater and drama plays from theater production.
3. Conventions of Time, using examples Philippine theater. 2. selects scenes from SPA_TACE7-IIIc-d-2
Space, and Action from Philippine Philippine
4. The Art of Theater and theater. traditional and
Drama and other Art contemporary
Forms drama in creative
B. ELEMENTS OF DRAMATIC ART performance.
(Philippine Traditional and 3. describes the SPA_TACE7-IIIe-f-3
 Contemporary) playwriting and
1. Theme/Premise directing principles
2. Character present in the play.
3. Conflict/Plot Structure 4. conducts scene SPA_TACE7-IIIg-j-4
4. Dialogue studies from the
5. Spectacle selected plays.
C. ELEMENTS AND PROCESSES OF
THEATER PRODUCTION
1. Playwriting and Analysis
2. Basic Directing
3. Scenography or
Production Design
a. Properties
b. Sets
c. Costumes
d. Make-up
e. Lighting
f. Sound
g. Multi-media

GRADE 7 – FOURTH QUARTER

BASIC IMPROVISATION AND DEVISED THEATER

CONTENT PERFORMANCE LEARNING
CONTENT CODE
STANDARD STANDARD COMPETENCIES
The learner is taught… The learner … The learner… The learner...

BASIC IMPROVISATIONAL AND demonstrates produces 1. demonstrates an SPA_TAIDT7-IVa-b-

DEVISED THEATER understanding of collaborative short awareness of the 1
A. Actor Tools and Implements the Basic plays applying basic capacities and
a.1 Body Improvisational and improvisation and / limits of the actor’s
 a.2 Voice Devised Theater or devising tools.
SPA_TAIDT7-IVc-d-
a.3. Imagination Techniques, using techniques based 2. identifies the
2
B. Basic Improvisation and the actor’s tools, on individual various theater
Devising Techniques implements and experiences and stage craft and
b.1 Autobiographical stage craft. community their contributions
performance exposures. to theater
b.2 Community production. SPA_TAIDT7-IVe-g-
narratives 3. improvises scenes 3
b.3 Adapting fictional using devising
stories techniques based
b.4 Using objects and on community
texts as stimuli narratives.
SPA_TAIDT7-IVh-4
b.5 Making performance 4. appraises the
space specific creative
C. Stage Craft/ Creating the contributions of
World of the Play individual’s shared
c.1 Theater Architecture experiences in a
and Methods of collective scene
Staging making.
c.2 Design Elements and
Principles
c.3 Techniques of
Scenography
 GRADE 8 – FIRST QUARTER
ANALYSIS and PRODUCTION OF REALISTIC PLAYS ON ENVIRONMENT AND HERITAGE
CONTENT PERFORMANCE LEARNING
CONTENT CODE
STANDARD STANDARD COMPETENCIES
The learner… The learner… The learner…
ANALYSIS AND PRODUCTION OF
REALISTIC PLAYS ON
ENVIRONMENT AND HERITAGE
A. Issue Analysis demonstrates applies the 1. shares personal life SPA_TAAP8-Ia-1
1. Community stories on understanding of techniques of stories as primary
the natural assets of the Analysis and realism in creative sources of creative
the region Production of outputs that expression.
2. Regional stories on the realistic plays on respond to local 2. analyzes the SPA_TAAP8-Ib-c-2
tangible and environment and issues on the significant features
intangible heritage of heritage. environment and of environmental
their environment cultural heritage. issues and the
3. Local issues and importance of
problems of their cultural heritage.
environment and 3. uses one’s shared SPA_TAAP8-Id-g-3
cultural heritage experiences to
B. Play Analysis create mini
1. Models of realistic showcases
plays. highlighting
2. Characteristics of environment and
realistic play cultural heritage.
4. analyzes key texts SPA_TAAP8-Ih-j-4
in world drama in
relation to
aesthetic
characteristics of
realistic play.
 GRADE 8 – SECOND QUARTER
ANALYSIS and PRODUCTION OF REALISTIC PLAYS ON ENVIRONMENT AND HERITAGE
CONTENT PERFORMANCE LEARNING
CONTENT CODE
STANDARD STANDARD COMPETENCIES
The learner is taught… The learner… The learner… The learner…

ANALYSIS AND PRODUCTION OF demonstrates produces creative 1. acts a role/s from SPA_TAAP8-IIa-1
REALISTIC PLAYS ON ENVIRONMENT understanding of outputs following selected plays
AND HERITAGE analysis and the styles of acting, (monologues and
THEATER PRODUCTION ELEMENTS production of directing, and dialogues)
AND PRINCIPLES IN REALISTIC PLAYS realistic plays on designing in the 2. directs scenes from SPA_TAAP8-IIb-c-2
A. Conventions in the theater of environment and mode of realism. selected plays.
realism heritage. 3. designs scenery, SPA_TAAP8-IId-3
B. Acting for realism costume and
1. Konstantin Stanislavski and makeup for a
the method of physical selected play.
action 4. builds a scale SPA_TAAP8-IIe-g-4
2. Truth, belief, and the “magic model for a
if” selected plays.
3. Through line of action and 5. utilizes foreign SPA_TAAP8-IIh-j-5
the Character’s Super materials ( stories,
objective issues, and physical
4. Units and Objectives resources) to suit
5. Analysis of the text through the pieces in the
action local context.
6. Imagination
7. Subtext
8. Motivation
9. Concentration
10. Relaxation
11. Communion
 12. Adaptation
13. Tempo-Rhythm
14. Emotion memory
15. Building character
16. Movement
17. Voice and speech
C. Directing for Realism
1. The director’s role
2. Directorial concept
3. Communicating the
concept/artistic vision
4. The ground plan
5. Casting
6. Techniques of Composition
and Picturization
7. Rehearsals
8. Designing for Realism
9. Turning vision into reality:
the ground plan
10. The box set
11. Set properties
12. Costume and make-up
13. Lighting
14. Sound
 GRADE 8 – THIRD QUARTER
THEATER PRODUCTION: REALISM I
CONTENT PERFORMANCE LEARNING
CONTENT CODE
STANDARD STANDARD COMPETENCIES
The learner is taught… The learner… The learner... The learner...

WRITING A REALISTIC PLAY demonstrates writes a short 1. explains the SPA_TATPRI8-IIIa-1

A. Desirable characteristics of a
realistic play
1. Clear portrayal of a
human situation
2. Believable character and
dialogue
3. Appropriate setting
4. Solid dramatic structure
5. Clear plot and conflicts
B. Elements of Drama
C. Process of Playwriting
1. Exploration of starting
points/germinal idea
2. Three ‘doors’ to
playwriting: theme,
character, plot
3. Writing the storyline
4. Writing the scenario/
sequence treatment
5. Writing the dialogue
6. Revision
D. Polishing and curing the scripts
understanding of realistic play, qualities of a good
playwriting in the individually or in a realistic play.
mode of realism. group, based on 2. enumerates the SPA_TATPRI8-IIIb-2
personal stories steps in playwriting.
and community 3. writes scenes for SPA_TATPRI8-IIIc-
narratives on the short play on f-3
environment and life sources and
cultural heritage. cultural heritage
with solid and clear
use of characters,
dramaturgy, and
dialogue.
4. determines the SPA_TATPRI8-IIIg-
importance of h-4
other people’s
opinion in
improving the skill
in playwriting.
 GRADE 8 – FOURTH QUARTER
THEATER PRODUCTION: REALISM II
CONTENT PERFORMANCE LEARNING
CONTENT CODE
STANDARD STANDARD COMPETENCIES
The learner is taught… The learner… The learner... The learner...

1. evaluates the SPA_TATPRII8-IVa-

STAGING A REALISTIC PLAY demonstrates showcases a short dramatic texts. 1
Staging Concepts and approaches understanding of realistic play based 2. analyzes characters SPA_TATPRII8-IVb-
A. Production planning staging a realistic on individual and their 2
B. Casting play. experiences and motivations.
C. Rehearsals and the Rehearsal issues that relate 3. plots the dramatic SPA_TATPRII8-IVc-
Process and Systems with environment action of the piece. d-3
D. Performance showcase and cultural 4. creates a short SPA_TATPRII8-IVe-
E. Post-production heritage. realistic play using g-4
the process of
playwriting and the
elements of play
production.
5. presents a one-act SPA_TATPRII8-IVh-
play and discuss the 5
process with an
audience in the
school.
 Grade 9 – FIRST QUARTER
CONTEXTS AND FORMS OF PHILIPPINE THEATER
CONTENT PERFORMANCE LEARNING
CONTENT CODE
STANDARD STANDARD COMPETENCIES
The learner is taught… The learner… The learner… The learner…

PHILIPPINE THEATER AS CULTURAL

HERITAGE:
Image of the Filipino and Philippine
Society in Indigenous, Traditional
and Historical Theater, including
adaptations
A. Contexts and Forms of
Philippine Theater –
1. Rituals, games, and other
cultural performances
2. Komedya
3. Sarswela
4. Senakulo
5. Drama Simboliko
6. Bodabil
7. Social realistic plays
8. Street theater
9. Regional Theater
forms(Bayok, Linambay
etc…)
10. Musical
11. English Language theater
12. Local Language theater
13. Site-specific theater
14. Performance art
demonstrates presents a research 1. describes specific SPA_TACFPT9-Ia-b-
understanding on paper on the Philippine theater 1
the significance of circumstances of the forms, its qualities,
Philippine Theater emergence and sources, and
as part of cultural development of a influences in a
heritage. theater practice, historical timeline.
worldviews, changes 2. enumerates local SPA_TACFPT9-Ic-d-
in the manner of theater icons , 2
production and their biographies,
audience reception works and
over a period of time. significance to the
community.
3. describes the SPA_TACFPT9-Ie-f-
world view on 3
Filipino image
based on the
forms of the
Philippine theater
in different periods
4. explains the SPA_TACFPT9-Ig-h-
factors which 4
establish theater
 15. Various forms of as a cultural
experimental theater process and
16. Adaptations product.
5. reports the SPA_TACFPT9-Ii-j-5
significance of the
local theater assets
of his community
following the
standards of basic
NCCA Cultural
Mapping principles
and mechanics.
GRADE 9-SECOND QUARTER
MAPPING LOCAL THEATER
PERFORMANCE LEARNING
CONTENT CODE
CONTENT STANDARD STANDARD COMPETENCIES
The learner is taught... The learner … The learner... The learner…:

A. National and Local Theater demonstrates performs an 1. utilizes various SPA_TAMLT9-IIa-c-

Icons
B. Genres and Theater Artists,
Life Works
C. Mapping of Local Theater
Practices and Organizations
understanding on the impersonation of modes of research 1
Image of Filipino and a chosen in studying
Philippine Society in national/local assigned Philippine
Local theater. icon based on theater forms.
study conducted. 2. enumerates the SPA_TAMLT9-IId-2
basic themes and
conventions of the
forms.
3. analyzes the SPA_TAMLT9-IIe-f-
changes of the 3
forms through
various historical
 periods.
4. describes the SPA_TAMLT9-IIg-4
changes of forms
and world view per
period.
5. conducts a SPA_TAMLT9-IIh-i-
research on 5
national/ local
theater icons, life
works, practices,
and organization
and their
contribution to
Philippine theater .
6. presents the result SPA_TAMLT9-IIj-6
of creative
research reports
on the icons,
practices, and
organizations.

GRADE 9-THIRD QUARTER

INTRODUCTION TO NON-PHILIPPINE THEATER
PERFORMANCE LEARNING
CONTENT CONTENT STANDARD CODE
STANDARD COMPETENCIES
The learner is taught... The learner … The learner… The learner…
IMAGE OF THE PERSON AND demonstrates mounts creative 1. Identifies the SPA_TANPT9-IIIa-b-
SOCIETY IN NON-PHILIPPINE understanding of the Image showcase characteristics of 1
THEATER PRACTICE (Asian, of Individual and Society in inspired by different
African, European, American Non- Philippine Theater various non- performance
Theater) Practice (Asian, European, Philippine theater practices.
Oral, ritual, and shamanic American Theater) practices. 2. analyzes some of SPA_TANPT9-IIIc-2
performance the performance
 Yoruba ritual practices in non-
 Korean shamanism Philippine theater.
3. compares the SPA_TANPT9-IIId-e-
Religious and civic festivals different non- 3
 Classical Greek Theater Philippine theater
 Ta’ziyeh of Iran performance
practices.
Theater in court, temple, and 4. designs a plan for SPA_TANPT9-IIIf-h-
marketplace a creative 4
 Roman comedy: Plautus showcase of the
 Commedia dell’Arte various theater
 Kathakali or Wayang practices.
 Noh or Beijing Opera

Popular Entertainments
 Circus, revues, and variety
theater
 Musical theater

Theaters of the avant-garde

Symbolism
 German expressionism
 Meyerhold and constructivism
 Surrealism
 Performance art

Modernism in Drama and

Theater
 Modern realism: Ibsen and
Chekhov
 Theater of the Absurd
 Brecht and Epic theater
 Psychological realism in the
United States

Theaters of Resistance and

Revolution
 Postcolonial African theater
 Radical theater in the West
after 1968
 Nuevo Teatro Popular

Postmodern Theater
 Antonin Artaud’s “Theater of
Cruelty”
 Jerzy Godowsky’s “Poor
Theater”
 Suzuki Tadashi
 Theater of Images: Robert
Wilson
 Peter Brook’s “Shakespeare
and Mahabharata”

CONTENT
The learner is taught...
PRODUCTION OF ONE SELECT
GENRE FROM PHILIPPINE
THEATER
A. PRE PRODUCTION WORK
a.1 Research and
Analysis of specific
genre
a.2 Dramaturgical
Reinterpretation
a.3 Production work
B. PRODUCTION MOUNTING
1. Rehearsals
2. Critique runs
3. Shows
4. Evaluation
5. Production Book
Compilation
GRADE 9 - FOURTH QUARTER
PHILIPPINE THEATER PRODUCTION
PERFORMANCE LEARNING
CODE
CONTENT STANDARD STANDARD COMPETENCIES
The learner ... The learner... The learner...
demonstrates presents a 1. produces SPA_TAPTP9-IVa-g-
understanding of producing production of a appropriate 1
a chosen genre from chosen genre/ production
Philippine theater. style from elements for the
Philippine selected play
theater. genre drawn from
the original
aesthetics of the
Philippine theater
form.
2. conducts a post- SPA_TAPTP9-IVh-2
performance
discussion on the
merits of their
production with
clarity, respect,
and confidence.
 GRADE 10-FIRST QUARTER
THEATER FOR SOCIAL TRANFORMATION

CONTENT CONTENT STANDARD PERFORMANCE LEARNING CODE

STANDARD COMPETENCIES
The learner is taught... The learner ... The learner The learner

THEATER AND ITS demonstrates produces a play 1. explains what is the SPA_TATST10-Ia-1
APPLICATIONS IN THE understanding of theater using applications role of theater in
CONTEMPORARY WORLD FOR and its application in the of theater and sustainable
SOCIAL TRANSFORMATION contemporary world for drama for development .
 Environment social transformation different 2. presents theatrical SPA_TATST10-Ib-i-
 Climate Change through the principles of developmental examples and 2
 Education play directing. goals in society illustrations on
 Healing and with emphasis on theater for various
Rehabilitation the role of the developmental
 Promotion of Human director and messages.
Rights different artistic 3. articulates SPA_TATST10-Ij-3
 Creative Industries tasks in a reflection and
 International production. synthesis
Understanding generated from
 Gender and theatrical
Development presentations on
 development and
social
transformation.

GRADE 10-SECOND QUARTER

THESIS PRODUCTION: CONCEPTUALIZATION AND PREPARATION
PERFORMANCE LEARNING
CONTENT CONTENT STANDARD CODE
STANDARD COMPETENCIES
The learner is taught... The learner ... The learner... The learner...

THESIS PRODUCTION: demonstrates performs tasks 1. maps possible SPA_TATPCP10-IIa-

PRE-PRODUCTION VALUES AND understanding of the and activities in content and 1
CONTENT/COMPONENTS essential elements and the pre- forms as sources
principles of acting, production phase for full length
playwriting, design, and based on the production.
direction as applied in the criteria set. 2. analyzes selected SPA_TATPCP10-IIb-
pre-production. pieces for c-d-2
production using
playwriting tools
and
dramaturgical
approaches.
3. generates a SPA_TATPCP10-IIe-
production 3
concept
articulated
through a
production
scenario board,
 treatment notes
and a Marquette.
4. finalizes the SPA_TATPCP10-IIf-
production h-4
concept and
generates the
following :
 Play Analysis
 Directorial Notes
 Actors Notes
 Design Sketches
and Marquette’s
 Music Score
Samples
 Movement Lab
Samples
 Lights Design
Notes
 Sound Design
Notes
5. describes the
SPA_TATPCP10-IIi-
various tasks of j-5
the:
 Producer
 Production
Manager
 Stage manager
 House Manager
 Stage Crew
 Marketing and
Promotions
 GRADE 10-THIRD QUARTER
THESIS PRODUCTION: REHEARSAL AND PERFORMANCE
PERFORMANCE LEARNING
CONTENT CONTENT STANDARD CODE
STANDARD COMPETENCIES
The learner is taught... The learner ... The learner... The learner...

THESIS PRODUCTION: demonstrates produces a full length 1. performs tasks SPA_TATPRP10-

REHEARSAL PROCESS, understanding of the play on during rehearsals: IIIa-f-1
PRODUCTION RUNS, and principles and processes developmental (actor, director,
PRODUCTION AND TOUR of play production. messages as thesis artistic or
MANAGEMENT production with management
emphasis on the key staff).
behavior of a 2. executes the SPA_TATPRP10-
member of a well- tasks of the IIIg-h-2
knit ensemble of various roles
performers. related to thesis
production:
a.Stage
Management
b. Technical
c. Production
Management
d. Managing the
Performance
Event
e.Mobile Theater
Management

GRADE 10-FOURTH QUARTER

THEATER AS A CREATIVE INDUSTRY
 PERFORMANCE LEARNING
CONTENT CONTENT STANDARD CODE
STANDARD COMPETENCIES
The learner is taught… The learner… The learner … The learner...

THESIS PRODUCTION: demonstrates produces the final 1. explains the SPA_TATCI10-IVa-1

1. POST PRODUCTION understanding of the production book importance of
MANAGEMENT process of evaluating that may serve as a consolidating
production projects, resource for future materials from the
1. EVALUATION audience feedback endeavors. play production
book.
2. AUDIENCE FEEDBACK 2. assesses the SPA_TATCI10-IVb-
production c-2
process.
3. explains the SPA_TATCI10-IVd-
importance of e-3
audience
feedback.
SCANNING THE PRESENT demonstrates appraises various 4. conducts research
SPA_TATCI10-IVf-
THEATER INDUSTRY FOR understanding of theater applications on the various g-4
CAREER OPPORTUNITIES possible career in different creative Philippine
opportunities in theater professions/career creative
industry. paths. industries that
integrate aspects
of the theatrical
arts.
5. analyzes SPA_TATCI10-IVh-5
strengths
weaknesses
threats and
opportunities of
possible career
paths available in
the creative
professions.
Technique Classes

 Runs parallel to the whole program

 One day in a week
 From Grade 7 to Grade 9
 Suggested focus (for each year)
o Quarter 1: Performance Techniques
o Quarter 2: Playwriting and Directing Techniques
o Quarter 3: Technical Theater
o Quarter 4: Theater/Production Management
 Professionals may be invited to handle the sessions

Footnotes

A. Dramas on Developmental Messages

1. Drama in Education
2. Climate Change Awareness and Drama for Healing and Disaster Preparedness
3. Drama for Human and Social Rights (Child, Youth, Women, Basic Sectors)
4. Drama for Creative Industries and International Understanding
B. Components of a Production Book
1. various script versions
2. staging notes
3. various notes on design concepts and studies
4. design and technical run sheets
5. rehearsal reports
6. production directory
7. marketing collaterals
8. marketing reports
 9. photo and video documentations
10. cast and staff evaluation
11. financial report.

Sources:
AGUNG NCCA Newsletter February, 2013
Amelia Lapeña Bonifacio’s The Seditious Playwrights
by ARTIST Inc/Edward Perez
Carlson, Marvin. 2004. Performance: a critical introduction. London and New York: Routledge.
Dean and Carra’s Fundamentals of Play Directing
Doreen Fernandez Palabas
Edgardo de la Cruz’s Directing
GAMES FOR ACTORS AND NON-ACTORS by Agosto Boal
IMPROVIZATIONS FOR THE THEATER by Viola Spolin
Isagani Cruz’ Short History of Philippine Theater
LIKHANDULA
NCCA Theater INFACE Theater and Theater Aesthetics Assessment Papers
Nicanor Tiongson’s Komedya
Nicanor Tiongson’s Sinakulo
PETA BITAW MANUAL
PETA History Book
Resil Mojares Theater and Society
Schechner, Richard, and Sara Brady (media ed.). 2013. Performance Studies: An Introduction. Third ed. New York and London:
Routledge.
The HERO WITH A THOUSAND FACES and THE POWER OF MYTH by Joseph Campbell
THE MYTHS: Philippine Folk Literature Series Vol. II Edited by Damiana Eugenio
The SOUL BOOK by Fr. Francisco Demetrio S.J., Gilda Cordero Fernando and Fernando Zialcita
Zarrilli, Phillip, Bruce MacConachie, Gary Jay Williams, and Carol Fisher Sorgenfrei, eds. 2006. Theatre Histories: An Introduction.
London and New York: Routledge.
Chua, Apolonio Bayani. “The Theater in the Philippines.” In Contemporary Phillippine Culture: Selected Papers on Arts and
 Education. Manila: The Japan Foundation, 1998.
Tiongson, Nicanor G. Dulaan: An Essay on Phiippine Theater. Manila: Cultural Center of the Philippines, 1989.
CCP Encyclopedia of Philippine Arts. Volume VII: Philippine Theater. Manila: Cultural Center of the Philippines

Glossary of Terms

“magic if”- an acting technique developed by Viola Spolin that makes use of “if” circumstances to help the actor reach the
about the feeling that life is absurd
and focusing of lighting, design and procurement of costumes, make-up, procurement of props, stage management and
recording and mixing of sound
Baal (1922, translated in 1964) features a materialistic and promiscuous poet. Brecht’s narrative style which he called “epic
theater” was directed against the illusion created by traditional theater of witnessing a slice of life
bayok – a debate in chant form
Bodabil - also known as vodavil, vaudeville or the stage show, refers to a stage presentation consisting of a variety of musical and
comedy acts, skits and monologues, novelty and acrobatic numbers, solos and chorus lines
Commedia dell Árte – a form of theater originally from Italy that had an enormous influence on all European theater. Commedia
depiction of architectural painting on ceiling or walls
Drama Simboliko – refers to allegorical drama, especially that which, was called “seditious” by the American Insular Government
English translation. Stanislavski’s system focuses on the development of artistic truth on stage by teaching actors “live the
part” during performance
entertainment. It features acrobatic, operatic singing, dancing, and dialogue.
ephemerality – the state of lasting one day; short lived
Eugen Berthold Friedrich Brecht – born in Angsburg, Bavaria and raised in a comfortable middle class home, his first major play
exactly as they act or appear in life
ground plan- a plan of a floor of a building drawn as if scene from overhead
implements – any article used in some activity, specially an instrument or tool
improvisation – impromptu creation of an acting scene or story without written dialogue or plot preplanned in any detail
in the first decade because according to them, their “unmistakable tendency” was to “inculcate a spirit of hatred and enmity
against the American people and the Government of the United States in the Philippines”
Komedya – a verse play on the lives of saints or European royalty with marches, magic, and choreographed fighting
Konstantin Stanislavski – established the first studio as school for young actors and wrote several works: those available in
marquee – a roof-like projection over an entrance; as to a theater
mime – always physical even acrobatic performance, but need not necessarily be done without words
Noh Theater – dates from the 14th century and has its roots in Buddhist and Shinto religious rituals. Noh is always performed on a
obligations of the scene
Peking/ Beijing Opera – a Chinese theater form that began in 19th century as a mixture of classical and popular forms of
playwright – a person who writes plays; dramatist
realism – in art and literature, is an attempt to describe human behavior and surroundings or to represent figures and objects
Sarswela – a play in prose with song and dance usually about Filipino themes and characters
scenery – the environment or the locale of the play created on stage
scenography – the study and practice of design for performance. Antonio Caimi on 1862 describes a category of artists practicing
Sinakulo – a play in verse/ prose with songs and dances usually about Filipino themes and characters
spectacle – a remarkable sight; a large public show
stage craft – the technical aspect of theatrical, film, and video production. It includes constructing and rigging scenery, hanging,
stage. Actors wear sumptuous costumes and asks and used ritualized stances and gestures in Noh theater.
Theater of the Absurd – expresses the bleak sense of loss as described by French Philosopher Jean-Paul Sartre when he wrote
troupes were wandering players who improvised witty plays around a basic storyline.

MARILYN S. API-IT and RANDY R. MARIANO

WRITERS

Consultants:
Gardy Labad, Tina Manipis-de Guzman, Felimon Blanco, Jazz Llana, Bong Billones,
Ricky Abad