THEATRE
A building specificallydesigned for the purpose of
presenting dramatic performances before an audience.
However, there are open air theaters that do not
necessarily make use of definite buildings.
ELEMENTS OF THEATRE
Performersare vital to theatre, as acting requires talent,
confidence, and skill in using voice and body to convincingly
portray characters and make audiences believe in their
emotions.
1. Performer
5.
ELEMENTS OF THEATRE
Theessence of a theatre is the interaction between the
performers and the audience. Without the desired
interaction between the actors and the spectators, the
theatre would be a flop.
2. Audience
6.
ELEMENTS OF THEATRE
Thedirector, the pivotal element of theatre rehearses the
actors and coordinates their performances to make
certain that they interpret the text/script appropriately,
and excitingly.
3. Director
7.
A. Traditional director- He stays true to the
playwright’s original vision, aiming to
faithfully reproduce the experience the writer
intended to create.
CLASSIFICATION OF DIRECTORS :
B. Virtuoso Director - He uses the script to
express his own ideas rather than the
playwright’s, adapting and adding to the
author’s work based on what he finds more
suitable or engaging.
PS: playwright - a person who writes play.
8.
ELEMENTS OF THEATRE
Anothernecessary element of a theatre is the
space in which the performers and audience
come together.
4. Theatre Space (set)
9.
a) The setmust provide an environment for acting
— the designer must study the script very carefully
and be familiar with the stage in corroboration
with what the director has in mind.
4. Theatre Space (set)
b) The set must express the proper mood of the
play.
c) The set may make a thematic statement about the
play.
d.) The set should help establish the time and place of the
action.
e.) The set should provide visual impact
10.
Design elements -
includescostume,
make up, properties,
(commonly
abbreviated as
"props"), light and
sounds.
11.
FIVE GENERAL CLASSIFICATIONSOF PROPS:
a) Trim props - are any
decorative objectives,
which hang upon, or are
attached to, the set but
are not really essential
to the action. Examples
are pictures or clothing
hanging around.
12.
FIVE GENERAL CLASSIFICATIONSOF PROPS:
b) Set props - are object
standing about the floor
of the set but not large
enough to be
considered part of the
set. Example is
furniture in a living
room.
13.
FIVE GENERAL CLASSIFICATIONSOF PROPS:
c) Hand props - are any
objects picked and used
by the performers,
whether already in
place on the set when
the curtains goes up or
carried during the
scene. Examples are
swords, umbrellas.
14.
FIVE GENERAL CLASSIFICATIONSOF PROPS:
d) Prop visual effects -
are special effects such
as snowstorm, fire and
smoke.
15.
FIVE GENERAL CLASSIFICATIONSOF PROPS:
e) Props sound effects - are any off-stage
sounds that are created by other than
electrical means
16.
FIVE FUNCTIONS OFCOSTUME:
1. To clothe the performers
2. To help prepare the mood
3. To help project the theme
4. To set the time, place and character
relationships
5. To magnify the visual impact functions of
make-up
17.
FUNCTION OF PROPS:
1.It helps to make the physical, particularly
facial features visible.
2. It adds to the mood, theme, and visual impact
of the production.
3. It helps in the portrayal of the character's
facial features.
4. It helps beautify or disguise the actors.
18.
FUNCTION OF STAGELIGHTING :
1. It provides necessary visibility for actors and
audiences alike.
2. It helps established mood.
3. It can draw and focus audience attention,
especially the spotlight
4. It can heighten realism in the setting and
performance
19.
Sound - Musicis not only the concern of the
soundman, but also the various sounds
effects. When a variety of sound effects are
used, sounds become vitally important in
establishing the mood and style of the play.
20.
ELEMENTS OF THEATRE
5.Text / Script
The final key element of
theatre is the script, which
serves as the foundation
of performance. A well-
written script can enhance
a production, while a poor
one can diminish its
quality.
21.
PRINCIPLES OF THEARETICALBALANCE
Directors vary in the manner they handle their
performers. They apply two techniques in handling
their actors:
• Directors that guide actors in every aspect of
their roles- teaching gestures, voice tones, and
overall performance—while closely supervising
the entire production.
• Directors who let their actors alone - This
allows the actors free rein in the interpretation
of their roles.
22.
AVENUES OF THEATRE
Theatricalart has many ways of reaching
the audience:
• Avenue of the ear (auditory) - sounds,
words.
• Avenue of the eye (visual) actions, facial
expressions.
23.
DRAMA
Drama has onecharacteristic peculiar to itself -
it is created to be performed rather than read.
It presents action through actors on stage
before an audience, creating an immediate and
shared experience. The playwright is confined
to an objective point of view, unable to directly
reveal characters’ thoughts or comment on the
action, though certain techniques can help
overcome this restriction:
24.
DRAMA
1. Soliloquy isa character speaking
directly to the audience),
2. Chorus (a group on stage
commenting on characters and
actions), and
3. A performer commenting on
another characte
25.
ELEMENTS OF DRAMA
1.Plot - the
sequence of events
or incidents of
which the story is
composed.
26.
A. Conflict isa clash of actions, ideas,
desires or wills.
> Person against person.
> Person against environment -
external force, physical nature, society,
or "fate."
> Person against herself/himself-
conflict with some element in her/his
own nature; maybe physical, mental,
emotional, or moral
27.
B. Protagonist andAntagonist - The
protagonist is the main character, while the
antagonists are the opposing forces—people,
circumstances, society, or the character’s own
flaws.
C. Artistic Unity - essentials to a good plot;
nothing irrelevant; good arrangement.
D. Plot Manipulated - A good plot is logical and
clear, without unnecessary twists, false clues,
or misleading details.
28.
ELEMENTS OF DRAMA
2.Character
A. Direct Presentation - The author
directly describes the character
through explanation, analysis, or
another character’s perspective
29.
B. Indirect Presentation- The
author reveals characters through
their actions, thoughts, and dialogue,
allowing readers to infer their traits.
Such characters are consistent,
believable, and realistic.
30.
C. Character types- include flat
characters, defined by limited traits;
round characters, who are complex and
realistic; stock characters, who follow
common stereotypes; static characters,
who remain unchanged; and dynamic
characters, who experience lasting,
believable change that fits their
personality and develops gradually.
31.
3. Theme -the controlling idea or
central insight which can be:
1. A revelation of human character
2. May be started briefly or in great
length
3. A theme is not the "moral" of the
story.
ELEMENTS OF DRAMA
32.
Principles:
A. Statement -Instead of simply stating
"motherhood," the theme should be clearly
expressed as "Motherhood is a theme that must
be conveyed through the work."
B. A theme must be stated as a generalization
about life; names of characters or specific
situation of the plot are not to be used when
stating a theme
33.
C. A thememust not be a generalization
larger than is justified by terms of the
story.
D. A theme is the central and unifying
concepts of the story. It must adhere to the
following requirements:
1. It must account for all the major details of
the story.
2. It must not be contradicted by any detail
of the story.
34.
E. There isno one-way of stating the
theme of the story.
F. Avoid expressing themes as clichés or
common sayings, as they oversimplify the
message.
35.
4. Points ofview
ELEMENTS OF DRAMA
A. Omniscient - An omniscient point
of view uses third person, giving the
author unlimited knowledge and
control over the story.
36.
B. Limited omniscient- a story which the
author associates with a major or minor
character, this character serves as the
author's spokesperson or mouthpiece.
C. First Person - In first-person narration,
the story is told by a character using “I,”
sharing events from their personal
perspective.
37.
D. Objective orDramatic the opposite of
the omniscient; displays authorial
objectivity; compared a roving sound
camera. Very little of the past or the
future is given; the story is set in the
present.
38.
5. Symbols -a literary symbol means more
than what it is. It has layers. meanings.
Whereas an image has one meaning a
symbol has many
A. Names used as symbols.
B. Use of objects as symbols.
C. Use of actions s symbols.
ELEMENTS OF DRAMA
39.
Note: Recognizing andinterpreting
symbols requires literary experience and
sensitivity. Overinterpreting should be
avoided, as not everything is symbolic.
Understanding symbols is key to fully
appreciating literature.
40.
A. The storyshould provide hints—
through emphasis, repetition, or
placement—that certain details are meant
to be understood symbolically.
B. A symbol’s meaning must come from
and be supported by the story’s context,
not from outside interpretations.
41.
C. To becalled a symbol, an item must
suggest a meaning different in kind from
its literal meaning.
D. A symbol has it cluster meaning.
42.
6. Irony -it involves a contrast between
appearance and reality or expectation
and outcome. Unlike sarcasm, it reveals
deeper meaning, adds complexity, and
offers subtle commentary within a story.
ELEMENTS OF DRAMA
43.
A. Verbal Irony- the opposite is said from
what is intended.
Example:
After stepping outside into a heavy
rainstorm, a person says, “What a beautiful
day!”
- The words express praise, but the real
meaning is the opposite — it’s unpleasant
weather.
44.
B. Dramatic Irony- the contrast between
what the character says and what the
reader knows to be true
Example:
A firefighter says, “Don’t worry, my house
could never catch fire,” but the reader
knows his kitchen stove was left on.
45.
C. Irony ofsituation - It’s when events
turn out the opposite of what’s expected.
Example:
A police station gets robbed.
(It’s ironic because you’d expect a police
station to be the safest place from
crime.)
46.
A. Tragedy
KINDS OFDRAMA
Aristotle's definition of tragedy: A tragedy is the
imitation in dramatic form of an action that is
serious and complete, with incidents arousing pity
and fear where it affects a catharsis of such
emotions. The language used is pleasurable and
throughout appropriate to the situation in which it
is used. The chief characters are noble ("better
than ourselves," says Aristotle) and the actions
they perform are noble actions.
47.
Central features ofthe Aristotelian
archetype:
1. The tragic hero is a character of noble
stature and has greatness. If the hero's fall is
to arouse in us the emotions of pity and fear, it
must be a fall from a great height.
2. Though the tragic hero is pre-eminently
great, he/she is not perfect. Tragic flaws,
hubris (excessive pride or passion), and havarti
(some error) lead to the hero's downfall.
48.
3. The hero’sdownfall happens because of
their own choices, not by accident, evil
forces, or fate.
4. The hero’s punishment is too severe for
their mistake, and they are still worthy of
admiration.
49.
5. Tragedy bringsnot just loss but also
the hero’s self-discovery and awareness.
It evokes pity and fear, leading to a
shared emotional release or catharsis
for the audience, rather than
depression
50.
B. Melodrama -uses exaggerated
emotion and clear good-versus-evil
themes, focusing more on plot than
character development.
KINDS OF DRAMA
C. Farce - it creates loud laughter through
exaggerated situations, crude humor, and
rough jokes, offering emotional release
for the audience
51.
- The theatrehistory can be traced to
Egyptian religious drama, which was
essentially ritualistic (3200 BC).
HISTORY OF THEATRE
Egypt
- The earliest theatres began around 600 BC
with Greek choral performances called
dithyrambs, and by 405 BC, Euripides’
"Bacchae" was performed in Athens, featuring
much dancing.
52.
- The ClassicalPeriod (500–
300 BC), known as the
Golden Age of Drama,
featured many
performances of tragedies,
comedies, and satyr plays.
53.
- In WesternEurope, theatre began with the
Church through liturgical dramas around
970 AD. When priests were banned from
acting in 1210 AD, drama became secular
and was taken over by town guilds.
HISTORY OF THEATRE
WESTERN EUROPE
54.
1. Tragedy
Central tothe study of Tragedy is the
analysis of the Tragic Hero. The source of
tragedy spells the difference between
two types of hero:
CLASSIFICATION OF DRAMA
55.
Classic Hero
- InGreek tragedy, a noble hero falls from
greatness because of hubris or a personal flaw.
His arrogance angers the gods, leading to
punishment harsher than he deserves.
CLASSIC HERO AND THE MODERN HERO
Modern Hero
- The modern hero is an ordinary person with a noble
spirit who faces life’s struggles. Though often defeated
by personal flaws or social pressures, he shows dignity
through his courage and determination.
56.
- Catharsis isthe emotional release felt by
the audience as they connect with the
tragic hero’s strengths and weaknesses,
sharing in his pain and renewal.
Catharsis
Two factors, therefore, must be present in the
audience before "catharsis" may be achieved:
• Admiration for the hero; and
• Ability to identify with him.
57.
Comedy began inGreek festivals honoring
Dionysus and was developed by Aristophanes
and Menander, later continued by Terence
and Plautus in Rome, Shakespeare in
England, and Molière in France.
CLASSIFICATION OF DRAMA
2. Comedy
58.
- Comedy combineswit and humor.
- Humor comes from funny situations and
characters.
- Wit comes from quick, clever dialogue or
repartee.
- A good comedy uses both wit and humor.
- Slapstick comedy relies only on humor and is
considered superficial.
- A witty-only comedy may be clever but lacks stage
appeal.
- Effective comedy needs continuous movement and
liveliness on stage.
2. Comedy
59.
There are twoschools of thought regarding
the types of acting:
Types of Acting
1. Subjective School - the actor is able to move the
audience only if he himself is moved. In other words,
there must be self-involvement in the role he is
playing.
2. Objective School - the actor must approach his
role with a cool mind, and must not be "carried
away" by his role.
60.
As the chiefmedium of the director in the
presentation of the play, the essential qualities
required of a good actor are:
The Actor
• Imagination - imaginative or ever creative. o
Fluent Emotional Nature - able to shift from one
emotion to another without much difficulty.
• Mobility of Inner Constitution - means the
ability to distinguish illusion from reality and
change roles easily without psychological confusion
61.
Pre-colonial Filipino theatrebegan with
animistic and religious rituals, later
evolving into entertainment forms such as
duplo, karagatan, carillo, and puteje.
FILIPINO THEATRE-Brief Survey
- According to Eric David, the Duplo and
Karagatan are witty verbal games with
riddles, traditionally performed during
wakes.
62.
- The Carillowas a shadow play using cardboard
puppets moved behind a lit screen, with
narrators voicing the story. It likely originated
from Chinese and Indonesian shadow plays.
- The Puteje was a puppet show popular
among Chinese laborers, featuring doll-like
figures controlled by narrators who performed
the dialogue.
- The Salubongenacts the meeting of
Mary and Jesus on the dawn of his
Resurrection.
- The Cenaculo is a passion play
reenacting the suffering and death of
Jesus Christ.
- The Panuluyan depicts Mary and Joseph’s
search for shelter in Bethlehem, with
performers singing at various houses, facing
rejection, and finally finding refuge in a
designated home or church before
Christmas Day.
65.
Professor Dionisio Salazaradds the
following forms:
- The Pangaluluwa is a tradition on
November 1st where singers visit homes,
asking for alms to help the souls of the
departed.
- Tibag is a play performed in April and
May about Queen Helena’s search for
Christ’s true cross, closely linked to the
Santacruzan, a May procession celebrating
this event.
66.
- The Morionesfestival in
Marinduque, held from Holy
Wednesday to Easter Sunday, reenacts
the story of Longinus, a blind
centurion healed by Jesus’ blood.
67.
- The Moro-Moro,or Comedia, began in 1637 as a mock
battle between Christians and Muslims, inspired by
Padre Juan de Satazar’s play about Sultan Kudarat. It
later evolved to depict conflicts between Christian and
Muslim royalty in imaginary kingdoms. The climax
features a battle where the Christian hero defeats the
Moor, wins the princess’s love, and leads the defeated
leader to convert to Christianity
- Francisco Baltazar (Balagtas) later on wrote plays
in this form, among them ''Almanzor y Rosalina"
(1841).
68.
• Zarzuela –a musical play combining dialogue, songs,
and dances.
• The first Spanish zarzuela, “Jugar Con Fuego,” was
introduced by Dario Cespedes and his troupe.
• Became popular among Filipino playwrights, first written
in Spanish, later in vernacular languages.
Zarzuela
• Severino Reyes wrote 59 zarzuelas, making the form more
popular than the Moro-Moro.
• Zarzuelas were later used for revolutionary propaganda
against Spanish rule.
• Notable Zarzuelistas: Severino Reyes, Manuel Perez y Burgos,
and Celerino Tiongco.
69.
• During theAmerican Period, many patriotic writers used
zarzuelas to express anti-American and nationalistic
themes through symbolism (talinghaga)
• Notable zarzuela writers: Honorio Lopez, Juan Abad,
Patricio Mariano, Aurelio Tolentino, Juan Cruz Matapang,
Pascual Poblete, Pedro A. Paterno, and Hermogenes
Ilagan (known for literary zarzuelas).
American Period
• The popularity of zarzuelas declined with the rise of movies
and modern entertainment.
• Provincial fiestas still sometimes feature zarzuelas, but
vaudeville and celebrity shows now attract larger audiences.
70.
• Nationalistic Playsemerged during the American
Period to protest colonial rule.
• Aurelio Tolentino’s Kahapon, Ngayon at Bukas
attacked American occupation and led to his arrest.
• Other notable anti-American plays:
— Hindi Ako Patay – Juan Matapang Cruz
—Pag-ibig sa Tinubuang Lupa – Pascual Poblete
— Walang Sugat – Severino Reyes
— Tanikalang Ginto – Juan Abad
Nationalistic Plays
71.
• The Thomasitesintroduced plays in English,
mainly for language learning, not theater
development.
• Early Filipino plays in English were unsuitable
for stage performance.
• By the 1930s, plays began focusing on social
issues and inspired the call for a national
theater.
• Despite this, theater and playwriting saw
little improvement during the period.
72.
• Restricted theatreto propaganda films
promoting Japan’s Greater East Asia Co-
Prosperity Sphere.
• Filipinos turned to stage shows for
entertainment during the occupation
• Most stage plays were written and directed
by the directors themselves
Japanese Period (1941-1945)
73.
• Lamberto Avellanapresented stage
shows at the Avenue Theatre with his
troupe.
• Lou Salvador produced costumed stage
plays, including adaptations like Romeo
and Juliet.
• Notable performers included Carmen
Rosales, Leopoldo Salcedo, and Corazon
Noble
74.
• After 1946,there was a rise in
playwrights writing in English such as:
Nick Joaquin, Wilfrido Ma. Guerrero,
Severino Montano, Jose M. Hernandez,
Antonio Bayot, Alberto Florentino, Virginia
Brown, Jesus Peralta, and others.
Post-War Period (1946–Present)
75.
• Tagalog playwrightsincluded Dionisio
Salazar, Lope K. Santos, L.V. Hernandez, and
Fernando Samonte.
• Growth of theater guilds:
— Filipino Players
— Dramatic Philippines
— Barangay Theater Guild
— Arena Theater
— Manila Theater Guild
— Civic Theater
— Various school guilds
76.
• Notable works:
—Nick Joaquin’s Portrait of the Artist as
Filipino
— Wilfrido Ma. Guerrero’s These
Americans, The Way of Life, Sabina, The
Loves of Leonor Rivera, etc.
— Rolando Tinio translated English plays
into Tagalog.
Movies became more popular than live
theater.
77.
•Language barrier: Englishlimited
audience reach — Rolando Tinio proposed
using vernacular languages to expand
theater audiences.
• By the 1960s, Philippine theater became
vernacular, tackling social issues and
using new theatrical techniques.
78.
• The 1960smarked the start of
contemporary Philippine theater.
•Dr. Isagani R. Cruz identified three trends in
modern Philippine theater:
1. Musical theater
2. Art theater
3. National theater
79.
Defined by Espinaet al. (1993) as plays in
Tagalog and English, by Filipino and foreign
playwrights, valued for their artistic quality
regardless of theme or relevance.
Musical Theater
•Major theater organizations and
groups:
— Philippine Educational Theater
Association (PETA) – founded by Cecile
Guidote Alvarez
— Theater Pilipino – organized by
Rolando Tinio and Ella Luansing
80.
— Dramatist Personae– led by Lito
Casaje
— UP Mobile Theater – founded by
Wilfrido Ma. Guerrero
— SRO Philippines and Fringer Theater
— UP Repertory and UP Chair, led by
Tony Mabesa and Behn Cervantes
— Other university-based theater guilds
81.
• Focuses onFilipino themes and concerns that
reflect national identity and culture.
National Theater
• Notable playwrights:
— Jose Ibarra Angeles, Amelia Lapeña-Bonifacio, Paul
Arvisu Dumol, Alberto S. Florentino, Malou Leviste
Jacob, Sol Juvida, Domingo G. Landicho, Angel R.
Makiling, Arlando Nadres, Bienvenido M. Noriega Jr.,
Nonilon V. Queano, Floy Quintos
• Major producing theater groups:
— PETA Kalinangan Ensemble, Tanghalang Pilipino,
Dulaang Sibol, and Dulaang U.P.
82.
• Shortage ofskilled playwrights who
understand theater production.
• Many plays are well-written but hard to
stage.
• Reflects a gap between writing and
performance.
Problems in Philippine Theatre
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