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DRAMATICS & STAGECRAFT
This is a syllabus-in-progress.
Eventually, this syllabus will be expanded to produce a book on community theater practice and theory in the regions, with focus on Mindanao. Essays will be
regularly added and updated. Updating will be a consequence of discussion in class, cyber space, and actual practice. This site also develops links to other
related sites. We hope this effort serves as a forum to enhance our pedagogical approaches to theater and dance in the Philippines. |
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course description
This intensive 50-hour course on the theater teaches the rudiments of stage production: the creative process from
concept, dramatic literature to production. Understanding actual production work involves apprenticeship in such activities as planning, organizing,
performance and evaluation. Basic acting and directing are integral parts of the training.
credits: 3 units
semester offered: 1st
prerequisites: English 1, 2, 3, 4
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objectives
course outline |
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At the end of the course, the student is expected to:
GENERAL OBJECTIVES
1. Understand
the artistic, production and management components of theater productions;
2. Trace briefly the historical development of Western. Asian, and
Philippine theater and explain the historical contexts of these developments;
3. Participate in the production process in these tasks: performance,
stage/production/business management, technical theater, designing, and production administration;
4. Apply these basic knowledge of stage production
as art, science and business (including planning, management, production, and performance) in actual apprenticeship;
5. Demonstrate awareness and
appreciation of the universality of human values and experiences. their own, and those of other cultures.
SPECIFIC OBJECTIVES
1. Define and discuss the basic concepts of the theater;
2. Differentiate the types of staging and their conventions;
3. Distinguish among Western, Asian, and Philippine theater;
4. Understand and apply stage and theater organization as the means for achieving
effective management and the successful mounting of productions;
5. Understand the mediums of expression in the theater and their relationships for the
successful mounting of productions from dramatic literature to performance;
6. Know acting and the basic principles and techniques of the craft;
7.
Explain a director's functions in relation to the play, the personnel, the production, and the audience;
8. Study the basic approaches and techniques
of directing;
9. Know the basic concepts of stage lighting, set and costume designing;
10. Experience the use of body and voice, their developments
towards the creation of character through directed exercises;
11. Apply the basic concepts of directing and spatial and aural composition in guided
exercises;
12. Mount a performance applying the basic knowledge of stagecraft from auditions to post production evaluation;
13. Foster and cultivate
camaraderie, self-reliance, and a cooperative attitude when worki9ng together in a theater production; and,
14. Expose the personal, cultural, and
social meanings of a theatrical art or performance.
ACTIVITY
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TIME ALLOTTED
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I. Lecture
A. Basic
Concepts
Theater: Definition and Qualities
The medium: elements of the theater arts
Staging: presentational vs. representational
B.
Brief surveys: origins in rituals (Review)
Classical to Modern Drama
Philippine Theater
General
Conventions: Japanese, Chinese, Indonesian, etc.
Notes on some theories on the modern theater: Ibsen, Stanislavsky, Artaud,
etc.
C. The Production Process: from idea to performance to post-productionThe play. Interpreting dramatic literaturePre-production: planning conceptualizing to auditionsProduction and performancePost-production
Management:
VMOS and Management by Objectives
Theater and arts organizing
Stage Management
Concept of ATORM (Artist-Trainor-Organizer-Researcher-Manager)
in Philippine Theater
D.
The Medium.
The stage and other spaces
The actor
Concepts and principles of acting (basics introduced)
Directing: concepts and basics
The Director: creator, interpreter, administrator
Director’s medium: stage picture and blocking, movements and
business, dialogue and music (sounds and silences), orchestrating the play
Some approaches: interpreting text
Improvisational theater
Technical theater: lighting, sets and props, costuming and make-up |
2-3 hours
1.5 hours
6 hours
12 hours |
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METHODS & TEACHING STRATEGIES
lectures,
discussions, and demonstrations
workshops
viewing of plays (taped) and live performances
production
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ENRICHMENT ACTIVITIES/CO-CURRICULAR ACTIVITIES
The
students take part (hands-on) in a production and join workshop sessions for a major production to be mounted two weeks before the schedule of final
exams. From planning, production to post-production, the student applies acquired skills in stagecraft for a professional production mounted by the
INTEGRATED PERFORMING ARTS GUILD (IPAG). Each student will be assigned to
areas of production.
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Acting.
Exploring the medium
Recreating a character
Techniques and exercises
Character portrayal: objective, motivation, and sub-text
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Directing.
Creating spatial and aural compositions
Orchestration:
rhythm and beats
Basic designing
Managing the play in progress
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Production.
Artistic Staff: designer, musician, performer, etc.
Stage Management: finance, promotions, marketing, etc.
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8-10 weeks |
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Grading System
1st Prelims and Midterms: 50%
(2 major
exams)
Finals: 50%
(production apprenticeship and showcase)
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References |
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Most of the reference materials and readings will
be produced by the professor. These materials are based on actual community and regional theater practice and theory. An extensive performance experience
and knowledge of theater theory backs up the contents of these essays The professor too has a modest collection of books and reference materials.
contact him: tibo@my.msuiit.edu.ph
the IPAG WEB:
www.msuiit.edu.ph/ipag
SUPPLEMENTARY READINGS:
(as of November 7, updating continuous)
Albright, HD., William P. Halstead, and Lee Mitchell. Principles of Theater Art. Massachucetts: Houghton Mifflin Company
Bentley, Eric, ed. The Theory of the Modern Stage. New York: Penguin Books, Ltd.
Cultural Center of the Philippines, Encyclopedia of Philippine Art. (10 vols.) 1994.
Kernodle, George R. Invitation to the Theater. New York: Penguin Books, Ltd.
INTERNET RESOURCES:
www.ncca.gov.ph
National Commission for Culture and the Arts. This site has essays on general information on Philippine Arts written by specialists.
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copyright statement
Essays and portions of this site are owned by the
author/s. They are to be used for instruction only. Anyone wishing to use this for other purposes should notify the author/s
in writing. Email the author. Opinions expressed in these works are also
those of the author/s and do not reflect that of the Institute or the College.
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