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 REPORTER;

HERCHELLE NOVALES
2.1 The Theatrical
Processes
 2.1 The Theatrical Process

1. The Drama Test (Audition): To introduce holistic, theatre centred

improvisational exercises as a way to test and access students' readiness,
willingness and ability to fully engage in the process of growth through theatre-
making.

2. The Storyteller and Playwright: To introduce the basic structure and process
of story-making and playwriting (i.e. plot, character and style) as well as the role
and responsibility of the storyteller and playwright.

3. The Director, Stage Manager and Performer: To introduce and apply the
concept, process and skills involved in translating a play from words on paper to
action on stage for a live audience.
 2.1 The Theatrical Process

4. The Technical Rehearsal: To integrate acting, stage management, lighting

and sound effects into a unified, coherent and fluent experience.

5. The Dress Rehearsal: To preview the show in front of an internal audience

(I.e. classmates) and learn to work with the audience's response.

6. The Final Performance: To execute what has been learned and practiced in
front of a live public audience

7. The Final Evaluation: To maintain accurate records of the work and the
process.
2.2 Audience and
Criticism
 2.2 Audience and Criticism

1. The Audience is an Essential Part of Theatrical Performance

a. Audience perception of staged events completes the creative

process.
b. Audiences invariably form their own interpretations of the
staged events and their significance.
c. The artists who make the performance typically work to evoke a
desired audience response.
 2.2 Audience and Criticism

II. Watching a Performance

A. Attending a play differs in several ways from going to a film

B. Although there are no rules about how to experience a theatrical
performance, the experience is generally more interesting if;

1. The audience is willing to pay attention, concentrate and engage

their imagination.
 2.2 Audience and Criticism

III. Who is the Audience?

A. Theatre audiences vary widely.

B. Attracting new audiences is not easy and sometimes alienates
existing patrons.
C. Some theatres challenge the audience to appreciate unfamiliar
forms of theatre.
D. How can theatres attract young audiences and those groups
who normally don’t go to the theatre?
 REPORTER;

ANDREA PHYLLIS JAPSON

IV. THE AUDIENCE AND CRITICAL
PERSPECTIVE

A. Do we need a critical perspective to enjoy theatre?

B. A simple three-step process may allow us to better
articulate our response to a theatrical event.
C. The professional critic needs:
D. Usually, the critic has a particular audience and
purpose in mind.
E. Some critics see themselves as consumer guides.
F. The best criticism requires attention to both
excellence and shortcomings.
 V. THE BASIC PROBLEMS OF CRITICISM
A. The critic is concerned with three basic problems:
1. Understanding-What were the playwright, director and other theatre.
artists trying to do?
2. Effectiveness - How well did they do it?
3. Ultimate worth-How valuable was the experience?

B. Critics may follow several paths to answer questions relating to

"understanding" goals.
C. To answer questions related to "effectiveness some critics may focus
on the play's intention or the director's interpretation.
D. Any response to "ultimate worth assumes some standard against
which worth can be measured.
 V. THE BASIC PROBLEMS OF CRITICISM

E. We should define for ourselves what makes a production

satisfying or not.
F. Developing a critical response.
1. Ask the 3 major questions of critical assessment
2. Elaborate with other major questions:
VI. QUALITIES NEEDED BY THE CRITIC
A. A critic should strive to be:

1. Sensitive to feelings, images and ideas.

2. As well acquainted as possible with the theatre
of all periods and of all types.
3. Willing to explore plays and their production
processes.
4. Tolerant of innovation.
5. Aware of his or her own prejudices and values.
6. Articulate and clear in expressing judgments
and their bases
7. Courteous.
2.3 Theater Space
and Design
 2.3 Theater Space and Design
1. Design a functioning Auditorium according to the type of
performance and the number of the audience.
It is the part of the theater accommodating the audience during
the performance, sometimes known as the "house".

2. Keep the standard distance for a comfortable audience seating.

The aisle is the space for walking with rows of seats on both sides
or with rows of seats on one side and a wall on the other.
There are usually two types of aisle arrangements:
a. The multiple-aisie
arrangement - It consists of 14-
16 chairs per row with access to
an aisle way at both ends.
b. The continental seating plan -
If planned carefully, the
continental aisle arrangement
can accommodate more seating
within the same space. Usually, it
requires an average of 7,5 square
feet (2,3 square meters) per
person including the seating area
and the space for aisle-ways.
3. The stage is important: choose wisely

The stage is the designated space where actors and other artists
perform and the focal point for the audience. As an architectural
feature, the stage may consist of a platform (often raised) or series of
platforms. There are several types of stages that vary as to the usage
and the relation of the audience to them:
 REPORTER;

ALYSSA PESIGAN
TYPES OF STAGE;

a. Thrust theatre
- A Stage surrounded by
audience on three sides.
b. End Stage
A Thrust stage extended wall to
wall, like a thrust stage with
audience on just one side, i.e. the
front. "Backstage" is behind the
background wall.
c. Arena Theatre
A central stage surrounded by
audience on all sides. The stage.
area is often raised to improve
sightlines.
d. The Proscenium Stage or End
Stage
It is the most common type of
stage and it is also called a
picture frame stage. Its primary
feature is a large opening, the
proscenium arch through which
the audience views the
performance.
e. Flexible theatre
Sometimes called a "Black
Box" theater, these stages are
often big empty boxes painted
black inside. Stage and seating
not fixed.
f. Profile Theatres
Often used in "found space
theaters, ie. theaters made by
converted from other spaces.
The Audience is often placed on
risers to either side of the playing
space, with little or no audience
on either end of the "stage".
g. Sports Arenas
Sports arenas often serve as
venues for Music Concerts. In
form they resemble very large
arena stage (more accurately the
arena stage resembles a sports
arena), but with a retangular
floorplan.
 REPORTER;

BABY RUTH SALAZAR

4. Keep the scenery low for better visibility

In the Theater in the round or the Arena Stage Theater, the

stage is located in the center of the audience, with the audience
members facing it from all sides. The audience is placed close to the
action, which provides a feeling of intimacy and involvement.
5. For greater Intimacy with the audience, go with the Thrust Stage

A thrust stage is one that extends into the audience on three

sides and is connected to the backstage area by its upstage end. A
thrust has the benefit of greater Intimacy between the audience and
performers than a proscenium while retaining the utility of a
backstage area.
6. Keep your theater flexible

Flexible stage theaters are those that do not establish a fixed

relationship between the stage and the house. They can be put into
any of the standard theater forms or any of the variations of those.
Usually, there is no physical distinction between the stage and the
auditorium and the audience is either standing.
 REPORTER;

CLARENCE JAY C. MAALA

7. Sound quality is as important as visibility
Although theater performances are a visual medium, poor sound
quality will ruin even the better plays. The sound is an area often
overlooked but, just as you need good sightlines, you also need good
sound-lines. Apart from the obvious comfort and size considerations,
it is imperative that the auditoria are designed with the following in
mind:

a. External sound insulation (how many times have you heard traffic
noise, trains or building works over the soundtrack of the film you are
watching?)
b. Internal sound insulation - this is particularly important with
multiple screens where a loud soundtrack can leak into the adjoining
auditorium
c. Services and equipment noise control - noises such as air
conditioning, lifts, toilets and projection equipment need to be
controlled
d. Acoustics - acoustic design in theaters should be considered from
feasibility stage location, auditorium planning etc. through to final
commissioning.
2.4 Playwriting and
Dramaturgy
 PLAYWRIGHT
Playwriting is an exciting and accessible
performing arts scriptwriting discipline. Anyone
can write a play, round up some friends as
actors, and gather an audience to present
original theatre at its most fundamental level.

A. Speaking Like a Playwright

When you're ready to develop your idea for
a play, you need to express it in terms that
other playwrights and theatre people
understand. Here are some of the more
common playwriting terms;
a. Protagonist: The main character of your story:
the character with a mission.
b. Antagonist: A character or thing that stands in
your protagonist's way.
c. Conflict: The opposing objectives of your
protagonist and antagonist.
d. Arc, spine, or through-line: The story line;
what the audience is waiting to find out
e. Stakes: What the characters stand to gain or
lose if they succeed or fall.
f. Inciting incident: The event that launches the
protagonist and gets the plot going.
g. Backstory: Events that have taken place in the
past.
h. Exposition: The motivated revelation of the
backstory through dialogue.
i. Actions: Things said or done by the characters
to achieve their objectives.
J. Rising action: The protagonist's uphill journey,
alternating gains and setbacks
k. Climax: The final confrontation between the
protagonist and the antagonist.
l.Resolution: The aftermath of the climax; how
the dust settles.
 REPORTER;

ERIKA LOIS MERCADO

B. Putting Lifelike Characters on Stage

The characters in your play must be fully

developed, as close to real people as you can
make them. The keys to creating believable
characters are details and specificity
a. Gender. Men and women react to life's events
in very different ways.
b. Parents: Parents, even absent ones, have a
profound influence on their kids.
c. Siblings: Relationships later in life can be
influenced by experiences with siblings.
d. Schooling: Education, or the lack of it, can
influence a person's daily life.
e. Work: People often measure themselves by
their work and earnings.
f. Relationships: People who are married or in
committed relationships usually behave and think
differently than single folks.
g. Religion: People's choices and behaviors can
be powerfully influenced by religion.
h. Race/ethnicity: People of different
backgrounds make different choices in similar
situations.
i. Politics: Political beliefs can strongly affect
what that person chooses to do.
C. Making Character Dialogue Sound Natural

Dialogue is the primary and most important

component in playwriting. The principal
purpose of dialogue is to advance the action of
the play. Though dialogue sounds like natural
conversation, every word of dialogue you write
for a character whether it reveals his
aspirations, frustrations, motivations, or
intentions.
D. How to Start the Play You're Writing

The opening of your play needs to grab

the audience; otherwise the battle is lost
before it begins. Following are some of the
elements of a strong start:
E. Scriptwriting: How to End Your Play

One of your responsibilities as

playwright is to deliver a satisfying end to
the play. You don't necessarily have to
write a happy ending or even an ending
audiences would have wanted.
 DRAMATURGY

Dramaturgy is an exploration of the world of the play

both the text itself and how the text engages with the
world in which we live.

A dramaturg is a dedicated person on the creative

team whose primary task is to support the play's
development by asking key questions, starting
conversations, researching, providing context, and
helping the artists as they work together to tell the
Intended story.
 REPORTER;

MARK LESTER RAZON

2.5 Scenic Design
Scenic Design

Scenic design (also known as scenography, stage design, set

design, or production design) is the creation of theatrical, as
well as film or television scenery.

Scenic designers design sets and scenery that aim to

support the overall artistic goals of the production.
2.6 Theater Acting
Elements of Acting

a. Facial expression - help the audience read

the characters emotions.

b. Body language/stance - How the actor is

standing and the body language used can show
the audience the characters feelings or thoughts.
Elements of Acting

c. Body shape - Each actor was hired to play

a role based on the ideal body shape
needed to portray that particular character

d. Voice/accent- How an actor uses their

voice can give us the audience a quick insight
into their character background and culture .
3 Basic Ingredients of the
Actor

1. native ability (talent)

2. training (including general

education)

3. practice.
 Training and Means.

a. voice and body - must learn control

voice and body to express to audience.
b. Imagination and Observation -
Observe and imagine people in various
relationships.
c. Control and discipline - Actors must
learn how to develop their powers of
concentration.
 REPORTER;

CHARLES WENDELL REYES

THE ACTING PROCESS
 The Acting Process

A. Analyze the Role.

B. Psychological and Emotional
Preparation.
C. Movement and Gesture
 The Acting Process

1. Stage business - obvious and detailed physical

movement of performers to reveal character, ald
action, or establish mood.
2. Delsarte - focused on physical characteristics and
body language
3. Blocking - the arrangement and movements of
performers relative to each other as well as to
furniture and to the places where they enter and
leave the stage where actors move, how, and facing
which directions.
 The Acting Process

4. Gesture - to help express character

5. Cheating opening out/ up - making sure as
much of the front of your face and body can be
seen by the audience as possible, while still
retaining the illusion of normal conversation.
6. Crossing and counter -crossing moving from
one part of the stage to another, sometimes
"countering" another's movements to make the
stage picture more balanced.
 The Acting Process

D. Vocal characteristics
Actors are armed with a variety of exercises to
improve their vocal quality.
E. Learning Lines (Memorization) and line
readings
Learning lines suggests more than just
memorization.
 The Acting Process

F. "Ensemble" playing - a sense of wholeness.

Everyone working together, working together as a
unit toward a common goal, like a well-oiled
machine.

G. Conservation and build - Actors learn that

usually "less is more." They develop a sense of
economy, using their ability to conserve energy
and action to build to ever stronger actions.
 REPORTER;

RAFAELLA TENORIO
 2. 7 Directing and
Producing a Stage Play
Directing a Play

The DIRECTOR, is the one most responsible for the

artistic elements. He has the final say on the design
elements, the cast, and how the script is to be interpreted.
In creating the stage picture, the director must
emphasize significant elements and subordinate
unimportant ones:
a. bodily positions of the actors - the actor facing the
audience is the most dominant,
b. height - the tallest actor is the most dominant
(sitting, kneeling lower height);
c. use of specific stage areas - down and right most
dominant;
d. focus - having actors all look at same person;
e. spatial relationships - if a lot of actors on one side &
a single one on other side, attention on single actor,
f. contrast - all actors except one facing one way,
attention will be on one that is different.
g. other ways of gaining attention are costuming:
h. lighting - contrasting colors or spotlight to
emphasize,
I. set - a doorway or piece of furniture may frame
and emphasize actor, and
J. the stage picture should be balanced with
consideration for composition - it should be
balanced in terms of line, mass, and proportion, and
should create a harmonious effect
 PRODUCING THE PLAY

- If a play is to be performed, the playwright

must find a producer. If a producer is interested,
he takes an option on it. This gives the producer
the exclusive right to perform the play in return
for a sum of money paid to the playwright.
Also, the producer is mainly concerned with the
financial aspects of the play.