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MUSIC AND ARTS

Quarter 4 – Module
Week 1-4

20th and 21st

Multimedia Forms
(Opera, Ballet,
and Musical Play)

MUSIC 10

ARTS 10
Philippine
Theater and
Performing
Group

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Music and Arts 10
Alternative Delivery Mode
Quarter 4 – Module : 20th and 21st MULTIMEDIA FORMS
(Opera, Ballet and Musical Play)
Philippine Theater and Performing Group
First Edition, 2020

Republic Act 8293, section 176 states that: No copyright shall subsist in any work of
the Government of the Philippines. However, prior approval of the government agency or office
wherein the work is created shall be necessary for exploitation of such work for profit. Such
agency or office may, among other things, impose as a condition the payment of royalties.

Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names,
trademarks, etc.) included in this book are owned by their respective copyright holders. Every
effort has been exerted to locate and seek permission to use these materials from their
respective copyright owners. The publisher and authors do not represent nor claim ownership
over them.

Published by the Department of Education

Secretary:
Undersecretary:
Assistant Secretary:

Development Team of the Module

Authors: Grace A. Adoyogan, Evelyn C. Salvador, Rowena G. Medorial, Ana liza P. Canaleta,
Melchor B. Colangoy, Jayvee L. Saguid, Belinda M. Villanueva, Dave Renath R. Baguio
Editor: Jaypee T. Cafe
Reviewers: Dr. Fatima T. Yusingbo, Noe Morgado, Raldy De Dios
Illustrator:
Layout Artist:
Management Team: MAPEH Department

Printed in the Philippines by

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Office Address: 309 Diego Cera Ave., Pu;ang Lupa I, Las Piñas, 1742
Metro Manila
Telefax: 822-3840; 835-9030 loc. 102
E-mail Address: depedlaspinas@gmail.com

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 10

MUSIC 10
Quarter 4 – Module 4:
20th and 21st MULTIMEDIA
FORMS (Opera, Ballet and
Musical Play)

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Introductory Message
This module is created to explore and broaden knowledge of the learners on
different art forms in the modern culture as this provides entertainment and
experiences for people in all walks of life.

In the new normal we are experiencing this type of art form that can be one of
the ways the student entertains themselves, exploring to watch musical such as El
Filibusterismo, Noli Me Tangere, La Loba Negra, Atang: Dulang may Musika and Katy!
The Musical!

The performing arts can encourage learners to tap their artistic side in terms of
singing, acting, dancing, scriptwriting, directing, props and costume making. Staging
a play might be challenging but possible in this modern times. And to know that
learners are very much into applications that can help them create their own short
stories and film it, just like vlogging.

This quarter enables Grade 10 learners to explore, develop, and broaden their
knowledge and skills that will help them bring out their creativity in many ways
through performing arts.

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 What I Need to Know

This module was designed and written for Grade 10 students to help them
explore and broaden knowledge and skills in performing arts such as Opera, Ballet
and Musical Play

The module is divided into 2 lessons, namely:

• Lesson 1 – Opera in the Philippines
• Lesson 2 – Musical Play

After going through this module, the learners are expected to:
1. describes how an idea or story in a musical play is presented by watching
a live performance or video excerpt set goals based on assessment
results;
2. explains how theatrical elements in a selected part of a musical play are
combined with music and media to achieve certain effects;
3. creates appropriate sounds, music, gestures, movements, and costume
using media and technology for a selected part of a musical play;
4. performs an excerpt from a 20th or 21st century Philippine musical and
highlight its similarities and differences to other western musical play.

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 Lesson

1 Opera in the Philippines

Opera is essential for the Western Classical music structure and custom. It began in
Italy toward the finish of the sixteenth century and before long spread all through the
remainder of Europe. While English, French and Italian dramas were being
introduced, it was the Italian Opera that caught the inventive creative mind of
arrangers, librettists and artists the same.

The opera is an art and musical form in which singers and musicians perform a
dramatic work combining text (called libretto) and a musical score usually in an
elaborate theatrical setting.

What’s In

OPERA IN THE PHILIPPINES

The development of the Filipino opera began to come to fruition during the center
piece of the nineteenth century. Unfamiliar entertainers, including instrumental
virtuosi, just as show vocalists and Spanish zarzuela entertainers went to the nation
to perform for crowds.

MANILA GRAND OPERA HOUSE

The Manila Grand Opera House (Filipino: Marangal na Bahay-Opera ng Maynila,

abbreviated MGOH) was a theater and opera house located in the district of Santa
Cruz in Manila on the intersection of Rizal Avenue and Doroteo Jose Street. It was the
Philippines' premiere entertainment venue during the Spanish and American colonial
periods and the most popular theater in the 1900s. It was also the site of historically
significant political meetings. It could entertain crowds of more than 200 people.
As local people were being presented to Western craftsmanship and music, they
were additionally understanding their inward gifts and energy for OPERA. The subjects
were ready for voicing their own assumptions about affection for country and aching
for freedom from provincial standard.

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 What’s New

Activity 1: FIND ME: Look for words and concept that you can associate with 20th & 21st
multimedia forms.

G R A C E S A C T O R J H E T
T H E A T E R P E B E U T L R
M F K R S P E C G A M L P I O
S P A C E Z N X A L R I I T T
O G L Q T E I F Y L O O R O C
V H M P I Y O L O E F S C M E
C I N D U X U A C T R E S S R
N J U O V W B C O V E I D S I
S A V I S U A L A S P E C T D

What is It

The component of misfortune, radiating from the famous subjects of sentiment,

misleading, murder, feud, and different components of human slightness, turned into
a most loved story example of the Filipino opera. Some operatic works depended on
past abstract manifestations, like Rizal's Noli Me Tangere and El Filibusterismo. The
awful endings and uncertain struggles settled on them amazing decisions for an
operatic creation. Local Theaters and Early Philippine Operas
Zorrilla Theater, 1817-1893
Principe Alfonso Theater, 1862-1876
Variedades Theater, 1847
Quiapo Theater
Tondo Theater, 1841
Manila Grand Opera House, mid-19th
Metropolitan Theater, 1931

Nearby theaters, including the Zorilla, Principe Alfonso, Variedades, Quiapo and
Tondo Theaters, were the decision settings for the fundamentally Italian shows that
went to the country, for example, Lucia di Lammermoor, La Boheme, La Traviata,
and Aida. Afterward, other show settings were set up, drove by the Manila Grand
Opera House and the Metropolitan Theater (Met).

The first Filipino opera is said to be to Sandugong Panaginip by Pedro Paterno, a

poet, novelist, musician, and government official. This was first presented at the
Zorilla Theater on August 2, 1902. It was later translated by the Englishman M.W.
Loving with the title The Dreamed Alliance.

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 Zorilla Theater Metropolitan Theater (Met)

Following this notable turn of events, other unmistakable figures and groups
contributed fundamentally in the advancement of show. They were writer Bonifacio
Abdon as the first Filipino opera conductor, Dr. Ramon Javier as the first Filipino
opera impresario who elevated nearby gifts to take part in unfamiliar creations. The
Orchestra Molina was known for their interpretation of operatic works as well as other
classical compositions.

“SANDUGONG PANAGINIP”

• Composed by LADISLAO BONUS, “Father of Philippine Opera)

• Said to be the FIRST FILIPINO OPERA by PEDRO PATERNO, a poet, novelist,
musician, and government official. (La Alianza Soñada)
• This was first presented at the Zorilla Theater on August 2, 1902
• It was later translated by the Englishman M.W. Loving with the title “The
Dreamed Alliance”
OPERA
• Is an art and music form in which singers and musicians perform a dramatic
work combining text (called a libretto) and a musical score. –
• It is accompanied by an orchestra or smaller musical ensemble. –
• The dialogue is entirely sung and not spoken

FAMOUS FILIPINO OPERA

“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. He was
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 Lamberto Avellana as director. In 1985 direction was by Peque
Gallaga and Jorge V. Ledesma, production design by Don Escudero, costume design
by National Artist Salvador Bernal, lighting design by Dennis Marasigan, and
choreography by Rene C. Hinojales.

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 NOLI ME TANGERE and EL FILIBUSTERISMO
Operas based on Rizal’s two novels Noli Me Tangere and El Filibusterismo were
composed by National Artist Felipe Padilla de Leon. These were presented at the CCP
Main Theater in 1970 and 1975, respectively. Noli Me Tangere and El Filibusterismo
were later restaged also at CCP as musical plays with new music composed by Ryan
Cayabyab and new creative team.

Cultural Center of the Philippines

Established by then First Lady Imelda Romualdez-Marcos in 1969 paved the

way for other Filipino operas to be staged at a legitimate venue of international
standard.

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.
EL FILIBUSTERISMO, THE OPERA
The opera El Filibusterismo was composed by National Artist Felipe Padilla De
Leon in 1970, with libretto by Anthony Morli. It was in three acts and written in
Tagalog. The casts included Fides Cuyugan Asensio as Paulita, Constancio Bernardo
as Simoun, Irma Potenciano as Juli. It was stageds at the Cultural Center of the
Philippines.

What’s More

Arts in the Philippines refer to all the various forms of the arts that have
developed and accumulated in the Philippines from the beginning of civilization in the
country up to the present era. They reflect the range of artistic influences on the
country's culture, including indigenous forms of the arts, and how these influences
have honed the country's arts.

Before we can truly evaluate those elements in different theatrical forms, let us first go
back to those elements of theater and how those elements were used in the following
performances.

ELEMENTS OF THEATER:

“There are certain elements common to all theater. These are present whenever
a theater takes place; without them, an event ceases to be theater and becomes a
different art form and different experience” “Theater, The Lively Art”

Performers

• People onstage presenting characters in dramatic action.

• When the actor/actress is on stage, they must be believable as the character
they are portraying.

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Audience

• The essence of theater is the interaction between the performer and audience.
• Theater needs to be experienced live. There is a "call and response" atmosphere
that cannot be witnessed in a movie theater.
• In a movie, there is no connection between the actors and audience, only
reactions from the audience.
Director

• The director makes certain that the performers understand the text and deliver
the script excitingly and appropriately.
• The director also makes sure the blocking, costume designs, set designs and
other aspects of the show blend together to make a production that works
together.
• All the aspects of theater should complement each other, and the director
oversees all these things.
Space

• Another necessary element of theater is the space in which performers or

audiences come together.
• It is essential to have a stage, or some equivalent area, where actors and
actresses can perform.
• It is also essential to have a place for audience members to sit or stand.
Visual Aspect

• Visual Aspects - costumes, lighting, and some form of scenic background

Nonvisual Aspect - sound and background music
Script

• A final element essential to theater is the text that is performed, and it must
be present for theater to occur. Another name for the text is script.
• The characters should have a goal to reach, but to reach that goal they must
go through a series of conflicts.

BALLET IN THE PHILIPPINES

The medium of dance and ballet to interpret novels, folktales, and stories
provides visual excitement as the characters come alive not in spoken dialogue but in
body movements. Much of the communication is relayed in pantomime. It is a
performance in which a story is told without words by using body movements and
facial expressions. The lack of spoken words or sung lyrics is more than made up for
by the creative steps and arm gestures of the dancers. Their facial expressions and
body movements add more meaning to the story being revealed. The performance is
further enhanced by colorful costumes, elaborate sets, visually suggestive music, and
synchronized choreography.

Together, the dance or ballet production makes for a complete drama by itself
without a single word being spoken.

Filipino ballets vividly present folktales based on local fables for example, Lola
Basyang as well as epics from neighboring regions, such as India’s Ramayana. Highly
communicative movements and steps dramatize the actions in the respective stories.

The colorful sets and costumes add to the glitter and attraction of the
productions. Although not as extensively explored as the other performing genres for

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local adaptation, Filipino ballet productions have evoked wide enthusiasm from people
of all ages. They have been added to the repertory of Philippine dance companies to
supplement the Western classical ballets, such as Nutcracker Suite, Swan Lake,
Giselle, and Sleeping Beauty.

“LOLA BASYANG”
• 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.

Tatlong Kuwento ni Lola Basyang featured the following stories:

1. Ang Kapatid ng Tatlong Marya

2. Ang Mahiwagang Biyulin

3. Ang Prinsipe ng Mga Ibon

“RAMA HARI”

Rama Hari, translated as King Rama, is the Philippine adaptation of the Indian
epic Ramayana set to music, dance, and drama. Originally presented on February 8 to
17, 1980, the creative team consisted of Ryan Cayabyab (Music), National Artist Alice
Reyes (Choreography), National Artist Bienvenido Lumbera (Literature), and National
Artist Salvador Bernal (Theater Design), with the CCP Philharmonic Orchestra
conducted by Cayabyab.

What I Have Learned

1. “LA LOBA NEGRA”
• The Black She-Wolf
• A Three-act Filipino Opera
• The music was composed by Francisco Feliciano with libretto by soprano
Fides Cuyugan Asensio
2. “NOLI ME TANGERE”
The three-act opera composed by National Artist Felipe Padilla de.
3. “EL FILIBUSTERISMO”
• It was written four years after the Noli Me Tangere
• It was in three acts and written in Tagalog (with Libretto by Anthony Morli)
• It tells of the continuing struggle of Filipinos to achieve freedom and
emancipation from Spanish Colonial rule.
4. The Filipino ballets vividly present folktales based on local fables (example, Lola
Basyang) and epics from neighboring regions (example, India’s Ramayana). Highly
communicative movements and steps dramatize the actions in the respectivestories.
The colorful sets and costumes add to the luster and attraction of the productions.
Although not as extensively explored as the other performing genres for local
adaptation, Filipino ballets have evoked wide enthusiasm from people of allages.

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5. 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.
6. Rama Hari, translated as King Rama, is the Philippine adaptation of the Indian
epic Ramayana set to music, dance, and drama.

Lesson

2 Musical Play

What’s In

MUSICAL PLAY

The musical play is a popular and generally lighter form of musical drama than
the opera. The themes are usually more contemporary, and the musical melodies more
manageable by the average singer. The acting is less intense and dramatic. The
choreography and dance sequences provide visual breaks from the ongoing plots.

Musical plays have been associated with the Broadway plays of New York City
and West End Productions in London, including My Fair Lady, South Pacific, Camelot,
West Side Story, Les Miserables, Phantom of the Opera, Lion King, Beauty and the
Beast, Wicked, Mama Mia, Cats, and Miss Saigon.

BROADWAY MUSICALS
Broadway musicals are family entertainment with themes and texts which are
generally light and easy to understand. These may include the problems of everyday
life, such as love and romance, social acceptance, jealousy and intrigue, and
adventure. The singing is usually amplified, unlike the operatic quality of classically
trained voices.

What’s New

Activity 1: Matching Type: Match the following Musical Play Title with the name of
characters found in Column B. Write the letter of the correct answer on the provided space.

A B
1. Miss Saigon A. Belle
2. Les Miserables B. Christine
3. Flower Drum Song C. Eponine
4. Phantom of the Opera D. Kim
5. Beauty and the Beast E. Mei – Li in
F. Javert
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 What is It

Lea Salonga on Broadway

Following Miss Saigon, Salonga was the first Asian to play the role of
Eponine in the musical Les Misérables, based on the novel of the same title
written in 1862 by the French author Victor Hugo. She also played the role of
Mei-Li in Flower Drum Song.

The Phantom of the Opera

The Phantom of the Opera is a broadway musical by Andrew Lloyd Webber and
Richard Stilgoe, with lyrics by Charles Hart and music by Lloyd Webber. It is based on
the novel The Phantom of the Opera by Gaston Leroux.

The story focuses on a beautiful singer Christine Daaé as she is seduced by a

mysterious disfigured musical genius known as The Phantom of the Opera. The
Phantom lives beneath the Paris

Les Misérables

Les Misérables, known as “Les Mis,” is a musical composed in 1980 by French

composer Claude-Michel Schönberg with libretto by Alain Boublil. It is based on the
novel Les Miserables by Victor Hugo. It is perhaps the most famous of all French
musicals and one of the most famous musicals performed worldwide.

Les Mis tells the story of paroled convict Jean Valjean who, failing attempts to
find work as an honest man, breaks his chains and conceals his identity in order to
live his life again. Other characters in the musical include the police inspector Javert,
who becomes obsessed with finding Valjean; Fantine, the single mother of Cosette, who
is forced to become a prostitute to support her daughter; Marius, a French student
who falls in love with Valjean’s adopted daughter, Cosette; Eponine, the young
daughter of the Thénardiers who falls in love with Marius; the Thénardiers, who own
an inn; and Enjolras and other students, who are working toward freeing the oppressed
lower class of France.

What’s More

The Philippine musical drama, expressive dance and melodic plays reflect life in
the twentieth century on the grounds that the scenes, the topic and even the primary
subject of most plays, artful dance and musical drama speaks such a great amount
about the life of the Filipinos.

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 It shows a certified interpretation of what's going on in the Philippines in the
midst of the 20th century which hopes to draw in or to enlighten the gatherings of
spectators.
Life in 20th century reflected in the different Philippine operas, ballets, and musical
plays have sequel showing how the Philippines became totally westernized.
MUSICAL PLAYS IN THE PHILIPPINES
In the Philippines, the musical play is a more recent development than its
broadway and West End counterparts, relying mostly on adaptations of novels, literary
works or biographical sketches of famous artist.

ANDRES BONIFACIO, ANG DAKILANG ANAK-PAWIS, THE MUSICAL

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 Peñalosa, Bituin Escalante and the
Dulaang UP Ensemble.
Honorata dela Rama – Hernandez was more popularly known as Atang de la Rama.
She was a singer, bodabil performer, and the first Filipina film actress. She was born
in Tondo, Manila on January 11, 1902 and died on July 11, 1991. By the age of 7, she
was already performing in a number of Spanish zarzuelas including Mascota, Sueño
de un Vals, and Marina. Later, at the age of 15, she became popular with the song
“Nabasag ang Banga” in the Filipino zarzuela Dalagang Bukid.
Atang, The Musical

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 (Atang’s 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 Dalagang Bukid),
and Masayang Dalaga (from the zarzuela Ang Kiri).

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 She also sang duets with her husband Ka Amado such as Kitang Dalawa and
Pilipinas Kong Mahal. But what elicited enthusiastic audience response were the duets
with Katy de la Cruz, Magkano ang Bibingka Mo? and Mamang Gusting. The play also
featured the two men in Atang’s life – General Artemio Ricarte and her husband,
National Artist for Literature Amado Hernandez. Kitang Dalawa was originally a poem
by Hernandez dedicated to his wife, which Von de Guzman brought to life with his
music.

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.

“Katy”
• Born:February 13, 1907
• Died: November 10, 2004
• “Queen of Filipino Jazz” and “Queen of Bodabil”
• Highest paid Filipino entertainer
• Appeared in Jazz venues, theaters and Bodabil

Her career spanned eight decades, during which time she became the highest
paid Filipino entertainer. She appeared in films, jazz venues, theaters and bodabil, the
Filipino counterpart of the American vaudeville. Bodabil contained songs and dances,
slapstick comedy routines, and magic acts, with chorus girls providing musical and
dance support. It became popular in the Philippines from 1910 to the mid 1960’s, and
was often used to fill in gaps between short Spanish zarzuelas or between acts of longer
ones.
Among the leading bodabil performers during its heyday were Bayani Casimiro
(referred to as “the Fred Astaire of the Philippines”), Eddie Mesa (“Elvis Presley of the
Philippines”), Diomedes Maturan (“Perry Como of the Philippines”), and Nora Aunor.
Katy’s formal schooling ended when she was just in the third grade. In its place, she
became active in show business. She started at the age of seven when she was hired
by a Manila film theater to sing to the movie audience in between movie screenings.

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. This was in
celebration of the 200th birth anniversary of the author Francisco Balagtas-Baltazar.
The musical was selected as the official Philippine entry to the first ASEAN Theater
Festival in August 1988.

The music and musical arrangements were done by Nonong Buencamino, based on
the book and lyrics of Tony Perez. Directed by Nonon Padilla, the production team
included National Artist Salvador Bernal for set and costume design, Bobby Roces for
lighting design, and Christine Blando for choreography.

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DARAGANG MAGAYON

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

The myth on the origin of Mount Mayon

BICOL: Daraga = Dalaga and Magayon – Maganda

The music was composed by National Artist Ramon P. Santos with

choreography by Hazel Sabas, set and lighting design by Katsch SJ Catoy, and costume
design by Julie Lluch Dalena. The readers were Dindo Angeles and Dessa Quesada,
the vocalist was Johanna Cabili, while the musicians were Josefino “Chino” Toledo,
Verne de la Peña,
Mauricia Borromeo, and Leticia del Valle. It also featured dancers Wendy Panganiban
and Brando Miranda assisted by Ballet Philippines and the New Zealand Ballet.

NOLI ME TANGERE, THE MUSICAL

Music: Ryan Cayabyab

Libretto:Bienvenido Lumbera
Noli Me Tangere: Paalam Na Pag-ibig

The musical play Noli Me Tangere was 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. There
are slight differences in the partitioning of the story into the different acts, in the
dramatization of the ending, as well as in the music and libretto which are entirely
exclusive between opera and musical play.

EL FILIBUSTERISMO, THE MUSICAL

Music: Ryan Cayabyab
Libretto: Jovy Miroy

The musical play El Filibusterismo is a two-act play that was staged at the CCP
Main Theater from August 8 to 10, 1997 as a production of Tanghalang Pilipino. The
creative team was composed of Ryan Cayabyab for music, Jovy Miroy for the libretto,
Edna Vida for the choreography, National Artist Salvador Bernal for the set and
costume design, and Nonon Padilla for stage direction.

The role of Simoun/Crisostomo Ibarra was alternately played by John Arcilla

and Bernardo Bernardo. Josephine Roces was Maria Clara, Emmy P. Cayabyab and
Melani Mabilangan alternated as Paulita Gomez, Miguel Vera was Isagani, and Ariel
Dayanghirang was Basilio. They were complemented by a large chorus.

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 The musical play closely follows the Rizal novel, whose major character
Crisostomo Ibarra disguised as Simoun.

MAGSIMULA KA, THE MUSICAL

The musical play Magsimula 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 underwenta 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

life’s realities. They are part of the graduating class filled with hope but end up
compromising their idealism for their own survival. Miguel is a young composer whose
father forces him to forego his music in favor of a business career. Monina wants to be
a social worker to help the less privileged but is discouraged by the problems that go
with the profession. Mandy has a beautiful voice but circumstances lead him instead
to singing in a cheap beer garden for lack of support. Mario is a talented scriptwriter
whose creativity is directed to writing “sex advice” columns in a tabloid.

What I Have Learned

1. MUSICAL PLAY
• Popular and Lighter form of musical drama than the opera
Elements:
• Set Designs
• Elaborate Costumes
• Computer-generated visual
• Sound Effects
2. THEMES : More contemporary and the musical melodies are more manageable by
the average.
3. ACTING : Less Intense and Dramatic
• Broadway musicals are popular entertainment with themes and texts which
are generally light and easy to understand
• Include problems of everyday life such as love and romance, social acceptance,
jealousy, intrigue and adventure.
Broadway and West end musicals
Musical plays are most widely associated with Broadway plays of New York City and
West End production ages in London.
OTHER THEMES OF MUSICAL PLAYS
• The King and I (Siamese Royalty)
• My Fair lady (English Aristocracy
• Camelot (English Tragedy)
WEST SIDE STORY: Interracial Gang rivalry and romance
MUSICALS WITH ADAPTATION FROM CLASSICAL OPERAS
• Miss Saigon
• Aida

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THEATER TECHNOLOGY AND MODERN PRODUCTIONS INCLUDE:
• The Phantom of the Opera
• Les Miserables
MISS SAIGON
• Musical by Claude-Michel Schonberg and Alain Boubil
• Lyricist: Richard Malytyby Jr.
PHANTOM OF THE OPERA - longest running broadway musical of all time
Les Miserables - Most famous of all French musicals and one of the most well-
loved musicals performed worldwide
ANDRES BONIFACIO: ANG DAKILANG ANAK-PAWIS
• It is a five-act work commissioned by Alfonso Puyat in 1979, depicting the life of
revolutionary hero Andres Bonifacio.
• Music was by Jerry Dadap.
ATANG - DULANG MAY MUSIKA
• It is a musical based on the life of the first superstar of the Philippines, ATANG
DELA RAMA.
• Written by Floy Quintos and directed by Alexander Cortes, was shown at UP
Diliman in 2008 as part of the Zarzuela Festival organized by the UP College
of Arts and Letters.
• Music by Von de Guzman
KATY!
• is about the life of bodabil star Katy de la Cruz.
• Musical about the life of bodabil star Catalina de la Cruz a.k.a. the “Queen of
Filipino Jazz”
• The play commissioned Ryan Cayabyab for the music, Jose Javier Reyes for
the lyrics, and starred Mitch Valdes in the title role
FLORANTE AT LAURA
• It was presented in celebration of the 200th birth anniversary of the author
Francisco Balagtas- Baltazar.
DARAGANG MAGAYON
• It was produced by the CCP Women’s Desk and the Coordinating Center for
Dance to celebrate Women’s Month.
Music by Ramon P. Santos
MAGSIMULA KA
• It is the story of young dreamers whose ambitions begin to fade in life’s
realities. They are part of the graduating class filled with hope but end
up compromising their idealism for their own survival.
• by Gines Tan, staged at the CCP Main Theater from April 7 to 24, 1988.

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Reference:
https://en.wikipedia.org/wiki/Manila_Grand_Opera_House

richardrrr.blogspot.com

K-12 Materials @depedtambayan

youtube.com
HORIZONS (Music and Arts Appreciation for Young Filipinos) pp. 146-150
MAPEH Fourth Year St. Augustine Publishing pp. 147-149
https://www.solaireresort.com/article/the-evolution-of-philippine-theatre

https://www.slideshare.net/KennyAnnGraceBatianc/philippine-theatre
https://www.scribd.com/presentation/401346449/The-Phil-Theatrical-Forms

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 ARTS 10
Fourth Quarter – Module
Philippine Theater and Performing Group

Department of Education ● Republic of the Philippines

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 Lesson

1
Philippine Theater and Performing Group

What’s In

Explain how an idea or theme is communicated in a selected performance through the integration
of musical sounds, songs, dialogue, and dance. A10EL-IVb-4

Analyzes examples of plays based on a theatrical forms and elements of and applied to
performance. A10EL-IVa-2

What’s New

Philippine theater and performing groups.

The Philippines has a rich and thriving theater industry that you may be interested to venture into
in the future. Productions range from musical plays with Philippine themes and settings, to
renowned theater classics from past centuries to contemporary musicals from Broadway or
London’s west end.

What is It

Philippine Theater and Performing Groups

A. PETA and Tanghalang Pilipino

In the past few decades, modern theater groups have continued to express the distinctly
Philippine interpretation of both originally written plays as well as adaptation of foreign works
translated in Filipino. At the forefront of these are the Philippine Educational Theater
Association (PETA) Founded in 1967 by Cecile-Guidote Alvarez, and Tanghalang Pilipino the
resident theater company of the cultural center of the Philippines founded in 1987.
B. Repertory Philippines
Theater director Zenaida Amador together with Actress Baby Barredo established
Repertory Philippines, a company that not only staged English-language plays and musicals
year-round but trained actors and actresses as well. The company continues with this vision to
this day.

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Also, among Repertory’s many notable achievements was the 1993 staging of the international
hit musical Les Miserables in manila with an all-filipino cast and production team.

C. Trumpets

The Philippine theater group Trumpets also began in 1990’s mounting grand productions
of originally written musical with a slant towards a good value for children and the whole family.

PETA – Philippine Educational Theater Association founded in 1967 by Cecile –

Guidote Alvarez.
TANGHALANG PILIPINO – The resident theater company of the Philippines
founded in 1987.
REPERTORY PHILIPPINES – A company that’s not only staged English language
plays and musical year-round but trained actors and actresses founded by Zenaida
Amador and Baby Barredo.
TRUMPETS – A Philippine theater group began mounting grand production values
for children and the whole family in the 1990’s.

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 Lesson
The Mastermind of the Philippine
2 Theatrical.

What’s In

Illustrates how the different elements are used to communicate the

meaning. A10EL-IVc-3

Explains the uniqueness of each original performance. A10PL-IVh-1

What’s New

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, localtheater groups
staged original Philippine zarzuelas which were plays performed in song, similar to the
European opera.

What is It

Philippine theater and performing groups showcase the talent and creativity that a Filipino
have. It gives an overview of the background and different stories in the country. It also introduces
a group as well as the mastermind of the theatrical piece.

New Voice Company

Also making its own distinct contribution to the Philippine theater scene is New Voice
Company, established in 1994 by Monique Wilson—also a Repertory Philippines’ protégée who
went on to star on the international stage. New Voice has earned a reputation for staging thought-
provoking productions on daring and deep topics.

23
Philippine Opera Company
The Philippine Opera Company (POC) was founded in 1999 by a group of dedicated
classically trained singers, led by soprano Karla Gutierrez as artistic directress. The POC seeks
to develop performers as well as audiences for classical music performances, both foreign and
Filipino.

Theater Down South

In 2007, Theater Down South was founded, with Philippine theater mainstay Michael
Williams as artistic director. The vision of the company is to widen the reach of stage productions
beyond the traditional centers within Metro Manila, and therefore develop a broader audience
base.

What I Have Learned

New Voice Company- established in 1994 by Monique Wilson—also a Repertory Philippines’

protégée who went on to star on the international stage.
Philippine Opera Company (POC)- was founded in 1999 by a group of dedicated classically
trained singers, led by soprano Karla Gutierrez as artistic directress.
Theater Down South- Theater Down South was founded, with Philippine theater mainstay
Michael Williams as artistic director.

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Lesson

3
Roles in a Stage Production

What’s In

Designs a group school play with visual components (stage design, costume,props,etc)
(A10PR-IVe-1)
Assumes the role of a character as an actor/performance, or production staff
[director, choreography, light designer, stage manager] (A10PR-IVh-2)

What’s New

Meanwhile, other Philippine theater groups are also staging original and
adapted plays and musical productions, primarily in English. Best known among these
are Repertory Philippines, Trumpets , and New Voice Company. More recently,
Theater Down South has been added to their roster. And championing the cause of
the more classical form of musical performances is the Philippine Opera Company.

What is It

Roles in a Stage Production

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

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PRODUCER

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

DIRECTOR
The director is the overall artistic coordinator of the entire production. Like a
conductor of an orchestra, he or she has a version of the desired total effect and impact
of the performance.

With the play’s script serving as a “musical score” the director ensures that each one in
the production “hits all the right notes “to create a cohesive, seamless performance that
will engage the audience.
Throughout the play’s rehearsals, the director instruct 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 ,lightning, sound costume /makeup designers and
the choreographer[if the play involves dance]to create the envisioned total effect.

PLAYWRIGHT

For a script intended for stage performance, the writer of the script is more
specifically called playwright. The initial concept or plot may be original and then
developed into a play script. Or it may be based on an existing story or another play which
the playwright will then adapt to present in a new way. The script forms the basis of the
entire production. It contains the exact lines of dialogue that each character will memorize
and deliver on stage, often with notes and tones of voice facial expression and even
Movement or blocking. It also provides a clear description of the set, props, and lightning
to be used in each scene. In some cases, the director may collaborate with the playwright
on making some script adjustments in the rehearsals to better achieve the desired effect.

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 What I Have Learned

1. PRODUCER - the person who takes the play from a mere concept to an actual
finishedpresentation.
2. DIRECTOR - is the overall artistic coordinator of the entire production.
3. PLAYWRIGHT - the writer of the script.

Reference:
Grade 10 Arts LM 4.pdf
HORIZONS Grade 10 Learner’s Materials Music and Arts Appreciation for Young Filipinos Raul M.
Sunico, Ph.D. Evelyn F. Cabanban Melissa Y. Moran
https://drive.google.com/file/d/0B41NpxO8pu79bTJaVUh4a09Vd3c/view
https://drive.google.com/file/d/1VLYqda37wdhe6fQMHsHpFiwnFX3YUzX6/view
https://www.slideshare.net/jhunejed/music-arts-gr10-lm-qtr-1-to-4-complete-49760451
cbn.com/life/04/18/18/from-ccp-to-juilliard-pinay-stage-manager-cristina-sison-inspires
https://www.google.com/search?q=image+of+director&sxsrf=ALeKk03XvK1zmSaFE9_XI c_PXIow2t
mHg:1617785357199&tbm=isch&source=iu&ictx=1&fir=9zuLfvne6E9s1M%252C
Mpblbsq3q_O3vM%252C_&vet=1&usg=AI4_-kQU7q3DC2hYqVXMTQ9pQN5hBtlOhA&sa=X&

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 Lesson
Teams and their Responsibilities in a Stage

4 Production

What’s In

Analyzes the uniqueness of the group that was given recognition for its
performance and explain what component contributed to its selection. (A10PR-
IVh-3).

Contributes to the conceptualization of an original performance. (A10PR-IVd-4)

What’s New

Most visible on stage in a theater production are the actors and actresses playing their
roles. Behind the scenes is an entire team whose work begins months in advance of the
actual performance. One of those is the Producer, Director, Playwright who support the
actors and enable them to truly bring the play to life.

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 What is It

A lot of work goes into creating a theatre performance. It takes the work of many different
specialized teams to complete all the tasks required before the actors can even step foot
on stage. Producer, Director and Playwright are not enough to complete all the tasks
needed in creating a theater.
In addition to the producer, director, and playwright, there are other people who must be
considered to complete all of the tasks required before the actors can even step foot on
stage. Below are the basic roles that most plays require:

Teams and their Roles in a Stage Production

A. Stage Manager – is in total control of the visual aspects of the performance. An

architect of the performing arts. And known to cover the kind of lighting, music, and
sound effects that the director wants for all the scenes in the production.

Responsibilities of Stage Manager

1. Set Designer – The concept and creation of the physical stage setup is the
task of the set designer.

What does a Set Designer do?

a. He or she builds the set (sets) that will stimulate the world that the play’s
characters are supposed to live in.
b. A set designer will typically read a script many times over, both to get a feel for the
style and tone of the script and to make a detailed list of requirements for scenery,
furnishings, and props. 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.

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c. 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.

2. Costume Designer - The actors and actresses must look believable in their roles, and
muchof this is owed to the costume designer. He or she studies the general setting (time
and place) that the play is meant to take place in, as well as each character in the script.
He or she then decides what attire will not only give the audience a clear sense of the
setting but will also express each character’s personality and distinct qualities. The
costume designer may also collaborate with hair stylist, wig master, or makeup artist. The
costume designer works alongside the director, scenic, lighting designer, sound designer,
and other creative personnel.

B. Lighting Designer – Coordinating closely with the set designer is the lighting
designer. Lighting is critical in creating the mood of each scene in the play, highlighting a
dramatic moment, signaling the entrance of a character, focusing attention on a specific
spot-on stage, or even providing the blanket of darkness for set and prop changes.
Colored lights or filters may be used, as well as special effects such as gradual dimming
or brightening, a speckled effect like sunlight through leaves, or flickering lights. The
lighting designer plans all these and adds detailed notes on the script for the lighting crew
to follow during rehearsals and the actual performance.
C. Sound Designer – Similar to the lighting designer, the sound designer serves
a vital role in creating and enhancing the atmosphere of the performance. Sound, in this
case, includes music both on stage and as background, which the sound designer may
need to source to suit the general time and place of the play, as well as scenes. Also
involved are special sound effects like thunder, birds chirping, rushing water, gunfire,
passing cars, approaching footsteps, and the like. The sound designer works with all
these to support the action and interaction taking place on stage. He or she adds detailed
notes to the script to serve as a guide for the sound crew during rehearsals and the actual
performance.

What I Have Learned

The Basic Roles That Most Plays Require:

1. Stage manager – is in total control of the visual aspects of the performance. An architect of
the performing arts.

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2. Set Designer – oversees designing and creating sets for films, television, and theatre
(sets are the
physical surroundings in which all the action will take place during the production). The
set designer’s main goal is to figure out everything that may be needed based on the
dialogue in thescript.
3. Lighting Designer – is responsible for the design, installation, and operation of the
lighting and special electrical effects used in the production.
4. Costume Designer – is the individual in charge of designing the clothing elements
worn by actors in a film or stage production.
5. Sound Designer – is responsible for obtaining all sound effects, whether recorded
or live for a specific production.

Lesson

5
People Behind the Scenes

What’s In

Choreographs the movements and gestures needed in the effective delivery of an original
performance with the use of media. A10PR-IVf-g-5

Improvises accompanying sound and rhythm needed in the effective delivery of an original
performance with the use of different media. A10PR-IVf-g-6

What’s New

A lot of work goes into creating a theatre performance. It takes the work of many different
specialized teams to complete all the tasks required before the actors can even step foot on
stage. Producer, Director and Playwright are not enough to complete all the tasks needed in
creating a theater.

What is It

There are other people who must be considered to complete all the tasks required before the
actors can even step foot on stage. 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. Here are some important people who plays an important role needed in effective delivery
of performance with the use of different media.
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Production manager – Coordinating all the complex behind-the-scenes details of staging a playis
the production manager. He or she is tasked with overseeing the crews for the sets and music,the
lighting, and the costumes. This includes ensuring that all the needed elements, facilities, and
equipment are not only available, but are in good working order, properly catalogued and labelled,
and safely stored from one rehearsal to the next, up until the time of the performance.
Technical director – The technical director shadows the play’s director throughout the entire
production process. From the time the director presents his or her vision for the play and issues
instructions at every rehearsal, the technical director carefully notes how each actor, and every
member of the stage, sound, lighting, and costume crews need to be coordinated to bring the
director’s vision to life—ensuring that every instruction is properly executed. By the time of the
final technical rehearsal (sometimes called the dress rehearsal, since it is performed in full
costume and makeup), the director focuses on assessing the total effect of the performance and
how it might still be improved. It is then the technical director who takes over to closely monitor
the individual details, and again ensure that these works together seamlessly in the actual
performance.
Choreographer – In cases where a play involves dance in certain scenes, a choreographer is
included in the production team. He or she not only plans out all the dance steps to suit the music,
but also rehearses the actors until they are able to perform the dance skillfully—while remaining
“in character” on stage. Should the play happen to involve fight scenes, the choreographer will
likewise program the moves of the opposing sides so these can be executed not only believably,
but safely as well.
Makeup designer – As the costume designer deliberates on the characters’ main attire, the
makeup designer is brought in to plan the hairstyles and makeup to complement the costumes.
The work of the makeup designer may be as simple as making the actors look natural for their
respective roles—based on their characters’ age and personality, and the time and place of the
story. But it may also be far more challenging, such as transforming the actors into mythical
creatures, animals, a different nationality, or futuristic beings.
Thus, the makeup designer works his or her magic through the wonders of makeup, face and
body painting, and hair coloring. Other accessories may be employed, like masks, wigs and hair
extensions, headdresses, and even prosthetics to alter certain facial features or body parts.

What I Have Learned

Production manager – Coordinating all the complex behind-the-scenes details of staging a play
is the production manager.
Makeup designer – As the costume designer deliberates on the characters’ main attire, the
makeup designer is brought in to plan the hairstyles and makeup to complement the costumes.
Technical director – The technical director shadows the play’s director throughout the entire
production process.
Choreographer – In cases where a play involves dance in certain scenes, a choreographer is
included in the production team.

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