Project in CurDev (Ponayo)

Republic of the Philippines
Central Bicol State University of Agriculture-Sipocot

Sipocot, Camarines Sur
Second Semester SY 2019-2020
Subject: CURRICULUM DEVELOPMENT

Instructor: TESSIE RESURRECCION
Name: RONA B. PONAYO BSED3-ENGLISH
Curriculum Development
I. Rationale
Theater is taught as a course of study as well as used as an instructional tool for
other curricular areas. The theater curriculum is a balanced and sequential program
of script writing; acting; designing; directing; researching; comparing dramatic forms,
genres, and styles; analyzing and construction meaning; and understanding context.
A theatre curriculum that facilitates comprehensive, in-depth learning for all
students is well-planned, scaffolded and comprised of diverse and challenging
educational experiences in theatre. Students refine their communication skills and
gain a deeper understanding of the history and practice of theatre as an art form.
The following activities reflect the mission of educational theatre:
 Children and adolescents develop concepts about themselves, human
relationships, and the environment by participating in role-playing.
 Students of dramatic literature sharpen critical thinking skills by exploring the
motivations of characters’ actions, analyzing emotional responses to
situations, and interpreting playwrights’ intents.
 Students who design and construct scenery, props, lighting, and makeup
learn to interpret the ideas of others and to apply their interpretations to new
works.
 Students explore and communicate how a dramatic presentation relates to a
particular time, place, and culture.
 Students become critical consumers of media through careful evaluation of
performances in a variety of media.
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Theatre education provides excellent opportunities for children and young adults
to explore and experience connections to other historical periods and cultures.
II. Program Objectives
a) To develop students’ awareness of body language and vocal inflections in
conveying meaning.
b) To give students a basic theoretical understanding of how theatre works, the
process of creating a show, and some historical practices and reasons for theatre.
c) To develop students’ abilities to view and assess performance.
d) To develop students’ confidence and comfort in public speaking and ensemble
abilities.
e) To develop students’ text analysis skills, including focus on theme, metaphor,
character, and setting.
III. Career Opportunity
If an individual studied performing arts, he might be dreaming of taking to the
stage to perform for a living. However, the skills he has gained during his degree
haven’t just prepared him for roles in theater, film and music. His skills will also be
valuable in a range of other careers, especially if he is able to effectively combine
creative talent with the practical aspects of self-promotion and arts management.
Typical performing arts jobs

Actor
Actors communicate characters and situations to an audience through dialogue,
body language and actions. They typically interpret the work of a writer under the
instruction and support of a director, although some actors might devise a character
themselves or improvise the responses of a character to a situation. The type of
work and media varies immensely, spanning roles on the stage, in film or television
and on the radio.
Acting is unfortunately not the most secure of professions – it is very competitive,
and there are likely to be periods where you might struggle to find work. However, if
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you love acting and have a talent for it, there’s no reason why you can’t pursue this
career. To get started, you’ll need to build up a showreel of experience in a good
variety of roles, as being versatile will make it easier to find work. You might also
consider finding an agent, who may be able to find roles and arrange higher pay for
you, but will take a proportion of your earnings as a fee.
Dancer
Dancers use movement to interpret music, tell stories and express emotion, often
under the guidance of a choreographer. You might dance in front of live audiences
or in recorded performances for TV, film or music videos. Dancers can work and
specialize in a variety of dance forms, and you’ll be more likely to find work if you
can perform in an assortment of styles. You’ll need to have good rhythm and timing,
be able to stay focused, work hard and stay enthusiastic.
If you have a talent for dancing, and the willpower to succeed, this career could
be for you. To increase your chances of finding work, you should build up a network
of contacts and promote yourself, again possibly with the help of an agent. You
could also supplement your income by working as a dance teacher or
choreographer.
Musical theater performer

Musical theater performers are generally ‘triple threats’ – skilled in singing,
dancing and acting. This can be a demanding career, with eight shows a week being
the norm, and competition for roles is fierce. However, as with acting and dancing,
there’s no reason you can’t succeed as a musical theater performer if you’re
determined, talented and passionate about what you do. You should try and gain as
much experience as you can, make connections in the industry, keep challenging
yourself to develop your existing skills, and build your confidence as a strong
performer.
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Dance-, music- or drama- therapist

These performing arts jobs allow you to use your love of the dance, music or
drama to help individuals of all ages overcome personal difficulties. Drama
therapists use activities such as group work or role play to encourage people to
come to terms with their emotions and express themselves, helping them to
overcome or progress on their social or personal difficulties. Similarly, music
therapists use music to help people deal with feelings they can’t put into words.
You’ll use music creatively to establish a shared musical experience and aim for
therapeutic goals. Dance movement therapists use movement and dance within a
therapeutic atmosphere to help people who are facing physical, psychological,
emotional or mental problems.
To gain entry in one of these performing arts jobs, you’ll need a postgraduate
qualification in your sector of choice, as well as paid or unpaid experience in helping
people overcome problems or difficulties.
Theater director
Theater directors bring scripts to life on the stage, working closely with everyone
involved to create a show that connects with the audience. They’re in charge of the
practical and creative interpretation of a dramatic script or musical score and are
involved in the whole process from start to finish. Some theater directors write,
design or act in their own work. To become a theater director, you should try and
make yourself indispensable at your local theater as an assistant, perhaps starting
with an amateur theater group and working your way up, gaining a strong skills and
repute as you go.
Screenwriter
If you have a passion for creating scripts, and a strong interest in digital media,
this career could be for you. You’ll use your imagination to create engaging stories
for a range of formats, from films to television and even computer games. You’ll
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need determination, motivation and the ability to meet strict deadlines. Don’t worry if
you’ve never formally studied writing before – skill is what counts, and you could
develop your skills by joining a writers' organization.
Other performing arts jobs

Arts administrator
Arts administrators organize arts activities and services and ensure they are
successful. They work for various organizations such as theaters or museums. If
you’re passionate about the arts and like managing and organizing, this career could
be for you, enabling you to gain a different perception of art. You will need strong
administration, organization and IT skills for this role.
Theater stage manager

Another performing arts career in which you’ll need good organization skills is
that of a theater stage manager, in charge of making sure shows run smoothly.
You’ll also need great people skills to manage and network with everyone else
involved in the show, including front-of-house staff and the director. This role can be
demanding, but offers opportunities for both personal and group achievement. To
gain entry to this role, you’ll need to have practical experience in theater work.
Broadcasting presenter
Broadcasting presenters are the public face or voice of programs presented on
television, radio and the internet. They entertain and inform their audiences by
presenting information or entertainment in an open and attractive way, generally
interacting with the audience and perhaps interviewing guests. This is another
competitive area so you’ll need to be driven and enthusiastic, with a strong interest
in television/radio. You’ll also need to build up as much relevant paid or voluntary
work experience as possible, probably working your way up from an assistant role,
and gaining the prerequisite skills as you go.
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Teacher/higher education lecturer

If you want to use your love of the performing arts to motivate and inspire young
people and encourage budding talents, a career in teaching could be very
rewarding. You could specialize in a particular form of performing arts, and perhaps
run a drama club to encourage even more interaction with the performing arts
outside of teaching hours.
To gain entry, you’ll need a qualification in teaching (and a PhD if you would like
to become a higher education lecturer), as an expert understanding of the subject is
essential. You should also have lots of self-confidence and presentation skills in
order to efficiently communicate with a large group of students (particularly in a
lecture hall as a university lecturer).
IV. Program Development
V. Title of the Program or Curriculum
Implementing the BARTOLO Theatre is an impetus to rethink course offerings,
instructional strategies, assessment, and professional development. This may
involve a shift from thinking of educational theatre as strictly a performance- or
production oriented curricular area for talented students to a process-centered
discipline that teaches thinking and problem solving to all students. Another issue to
rethink with the implementation of the BARTOLO Theatre is the role of competition
in the high school program.
Theatre in Kindergarten through Grade 5

Young children learn to walk and speak primarily through imitation. They learn
about their personal histories and group identities through stories their families tell. They
integrate this information with data from other sources in their environments, forming
their own self-identities through activities such as dramatic play. Imagine a four-year-old
who doesn’t play “Let’s Pretend.” These natural processes of child development form
the basis of theatre education in the early grades.
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The focus of elementary theatre is creative drama, a form of theatre in which

teachers guide learners through processes of imagination, enactment, and reflection.
A form of play-acting based on improvised dramatization, creative drama uses stories
drawn from literature, history, and current events to inspire children’s original thought.
The success of creative drama depends on the choice of relevant, appropriate resource
materials. In kindergarten through grade 5, teachers and students use these printed
materials solely as a resource to stimulate their imaginations. The skills and knowledge
of creative drama are carefully structured throughout the elementary curriculum. Young
children build perceptual skills by participating in experiences in which they:
· Imitate and re-create the world around them
· Develop body awareness and sensory and emotional perception
· Explore the environment
· Play with sound.
As they get older, children engage in warm-ups and theatre games to help them
move from dramatizations with simple plots to ones with more complex plots,
characters, and ideas. Pantomime (non-verbal movement) develops from early stages
of spontaneity and imitation to structured movement that communicates specific
emotions and ideas.
Instruction in beginning theatre techniques builds a foundation for creative
expression in the middle childhood years. Unison play, side coaching, and pair playing
are described below.
 In unison play, the teacher provides a stimulus as each child plays the same
role simultaneously, yet independently, of the other children.
 Side coaching, a skill used throughout the process of developing and refining
acting skills, begins with the teacher suggesting actions and ideas from the
sidelines.
 In pair playing, the basis for dramatic plot, students work in small groups,
deciding among themselves how a scene will be staged.
Theatre in Grades 6–8
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In middle school, students begin moving from creative drama to formal theatre.
Though the sixth-grade emphasis remains on creative drama, curriculum in seventh
and eighth grades begins to focus on interpretation and performance as students
gain more in-depth understanding of theatrical elements, principles, and
conventions and develop their acting skills. Activities that utilize dramatic subtext
begin to develop more complex characterizations. Nurturing the seeds that were
planted in elementary school creative drama, improvisation skills are applied to
unscripted prompts. Seventh and eighth graders begin to examine scripts, learn
basic acting techniques, and explore aspects of technical theatre. Reading scripted
materials, students analyze characters, study dialogue, and design stage
movements to solve theatrical problems. Through research, creative thinking,
problem solving, and improvisation, middle schoolers acquire not only the
knowledge and skills to be successful in theatre, but also begin to develop the self-
discipline required to accomplish long- and short-term goals.
Theatre in High School
As in the earlier grades, the four strands provide structure for the BARTOLO.
High school theatre courses provide students with the knowledge and skills
necessary to continue studies at the college level, pursue theatre as an avocation,
and/or become educated audience members. High school theatre curricula focus
on:
· Enhancing perception, interpretation, and performance
· Understanding heritage and tradition
· Understanding influences of theatre, film, television, and technology
· Reflecting and evaluating personal work and the work of others.
The theatre courses listed in the BARTOLO include:
· Theatre Arts I-IV
· Technical Theatre II-IV
· Theatre Production I-IV.
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Beginning with Theatre Arts I, each theatre class builds on the foundation of the
preceding level. Theatre Arts I is a survey course that establishes the base for all
subsequent theatre courses. As a prerequisite for other courses, Theatre Arts I
encompasses:
· Theatrical vocabulary, elements, conventions, and basic concepts
· Historical and cultural backgrounds
· Experiences that develop a broad-based body of knowledge and technical skills
· Strategies for evaluating theatre experiences.
Theatre Arts II, Technical Theatre I, Theatre Production I, and subsequent
courses focus and expand the knowledge base and continually refine techniques
and skills in their specific domains. Due to the rigor of each course, the scope of the
four strands, and increased expectations for student achievement, all theatre
courses, except Theatre Production, should be given one credit, upon completion of
two semesters. Theatre Production can receive either .5 or 1 credit.
VI. Subject Description by Category
Theatre, Kindergarten
Strand Content/Processes
Overview Students begin with what they know from
their environment and personal
experiences, and, through imitation and
recreation, progress from dramatic play
to creative drama.
Perception Teachers nurture listening and
observation skills through guided
practice in activities, such as arranging
illustrations from a story in the correct
sequence. In spontaneous play,
kindergartners use movement to imitate
objects and actions from their
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environment. Imitating sounds, such as

leaves falling from trees, a dripping
faucet, and wind on a stormy evening,
enables children to identify and describe
critical attributes that differentiate
individual sounds.
Creative Expression/ When young children, stimulated by
Performance personal experience, imagine situations
or fictional short stories and add sounds
and movement to a story sequence,
creative drama is born. Children
rearrange play space and use simple
materials to create a “set” and simple
costumes out of materials at hand.
Historical/Cultural Listening to and re-creating tales derived
Heritage from other cultures, students become
more aware of other group identities as
well as their own.
Response/ Watching and performing creative
Evaluation dramas, children learn the
responsibilities of being an audience
member.
Theatre, Grade 1
Perception First graders use spontaneous
movement and sound in response to
stories, poems, and songs in limited-
action dramatic play. First graders
incorporate rhythmic movements into
dramatic play.
Creative Expression/ Using simple materials, children begin to
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Performance replicate authentic settings when

enacting stories individually and with
peers.
Historical/Cultural Students re-create tales and stories that
Heritage represent diverse cultures and historical
periods and identify characteristics
unique to the culture or time period.
Response/ In first grade, children become aware of
Evaluation the use of music, creative movement,
and visual effects in live and recorded
theatrical presentations. Children discuss
informal and formal theatre experiences.
By listening and responding to others’
ideas, thoughts, and feelings, first
graders begin to develop skills in
response and evaluation.
Theatre, Grade 2
Perception Second graders are introduced to role-
play in which at least two characters
create spontaneous dialogue from
events in an action sequence. In order to
participate in the role-play, children must
listen, process the intent of the first
speaker, respond with coherent
thoughts, and maintain the
predetermined story line. Other students
in the class may use the same scenario
and present the creative drama in a
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totally different way with very different

dialogue. Then students may compare
and contrast the different presentations.
Creative Expression/ Puppetry is a new medium for second
Performance graders. Students begin performing in
this medium after making a simple
puppet, such as a paper sack or sock
puppet. Students apply their knowledge
and skills in puppetry as they initiate
dialogue and the action of a story line
using the puppets. Second graders can
design simple sets for puppet stages as
puppet productions become more
elaborate.
Historical/Cultural Puppet presentations may represent
Heritage various cultures or use puppets from
various cultural origins.
Response/ By discussing ways to solve theatrical
Evaluation problems, students develop critical and
creative thinking skills, form judgments,
and provide rationales for their opinions.
Theatre, Grade 3
Perception Based on personal experiences and
resources in their environments, third
graders add new dimensions to written,
aural, and visual prompts. Children
create expressive movements and
dialogue while adding external elements,
such as music and other sounds, to
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communicate mood in a creative drama.

Creative Expression/ Third graders use many story clues to re-
Performance create stories in rich detail, using music,
movement, props, and costumes.
Students express and portray characters
in multiple ways, demonstrating problem
solving and critical and creative thinking.
Shadow play and shadow puppetry are
new media for creative thought and
action. Shadow play consists of
projected shadow images which are
often made with the hands in front of a
screen. Shadow puppets are flat and
two-dimensional and cast a shadow or
form a silhouette against a white screen.
Third graders begin to recognize
elements of technical theatre.
Historical/Cultural Learners increase historical and cultural
Heritage awareness as they view live and
recorded theatrical performances and
compare dramatizations based on
historical events to the actual event.
Response/ Third graders discuss the people and
Evaluation jobs necessary to produce a stage play,
identifying some theatrical jobs.
Theatre, Grade 4
Perception Continuing to work with creative drama
processes rather than theatre
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performance and production, fourth

graders use examples of dramas derived
from real-life experiences.
Creative Expression/ Fourth graders assume specific roles,
Performance analyze story lines, and study
characters’ relationships to one another
and to their environments. Plot, setting,
and character are brought together in the
fourth grade as learners now determine
how to portray a specific character by
choosing characteristic actions and
creating dialogue. Using simple props,
costumes, and visual elements, students
consistently demonstrate safe practices
that have been taught and modeled.
Historical/Cultural Students begin to understand the
Heritage relationships between theatre and life in
a particular time, place, and culture.
Response/ Students discuss aspects of American
Evaluation society influenced by theatrical
productions, films, and television.
Theatre, Grade 5
Perception Fifth graders continue to create
dramatizations with more than two
characters and show relationships
between main and supporting
characters. Students’ analyses of
connections between characters, plot,
and environment provide them with
important clues to use as they develop
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roles in class dramatizations.

Creative Expression/ Fifth graders analyze story and plot prior
Performance to creating costumes and props. Working
in small groups, learners apply their
complex understandings of theatre to a
specific medium. Groups of students use
simple sets and costumes improvised
from boxes, blocks, and swatches of
fabric to depict characters, plot, and
setting.
Historical/Cultural Fifth graders compare and contrast
Heritage different presentations from the same
time period or cultural context.
Response/ Fifth graders develop criteria to evaluate
Evaluation the effectiveness of their costuming and
set design in relation to the intent of the
drama. As learners view live and
recorded performances, they also begin
to evaluate movement, plot, playwright
intent, and the credibility of the
characters. Students offer and validate
critical statements with informed
rationales.
Theatre, Grade 6
Perception Creative drama is still the focus for sixth
graders who use pantomime to expand
body awareness and sensory
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perceptions. Students incorporate their

life experiences into dramatic play by
creating environments, analyzing
characters, and inventing actions to
depict chosen life experiences.
Creative Expression/ Sixth graders work collaboratively to plan
Performance a dramatization, take part in its
production, and discuss the results. They
use basic sets, visual elements, simple
costumes, and props. They project
movement and improvise dialogue in
creative dramas.
Historical/Cultural In addition to personal experiences, sixth
Heritage graders draw from culture, literature, and
history to create drama and
improvisations and assume roles within
dramatizations.
Response/ Viewing both live and recorded theatrical
Evaluation production increases personal
experiences in creative dramatics and
provides opportunities to compare and
contrast ideas and feelings depicted in
dramatic productions. These
experiences then become resources for
enhancing classroom dramatizations.
Additionally, in sixth grade, learners
study vocations in theatre, comparing job
requirements and responsibilities of
selected theatre-based occupations.
Theatre, Grade 7
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Perception Building on their knowledge of spatial
and sensory awareness, movement, and
other techniques, seventh-grade
teachers establish theatre preparation
and warm-up techniques, including
strategies for safe and correct use of the
voice.
Creative Expression/ The study of characterization expands
Performance the definition of characters. Seventh
graders become aware of increasingly
intricate plots by following complex story
lines and advance to creating original
story lines. Students learn that theatre
plots have a specific structure. Students
individually and collaboratively improvise
dramatizations that include plot,
characterization, and setting. The role of
student director is introduced and is
defined and practiced in student
dramatizations. Seventh graders also
become familiar with aspects of technical
theatre, such as lighting and makeup.
Historical/Cultural As learners study selected theatrical
Heritage material, they identify historical/ cultural
heritages and theatrical conventions.
Response/ In viewing both live and recorded
Evaluation performances, seventh graders practice
theatre etiquette and reflect on the
performances of others. Students also
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compare theatrical careers to theatrical a

vocational opportunities available in their
communities.
Theatre, Grade 8
Perception Eighth graders design warm-up
techniques for specific purposes, teach
them to other students, and develop
criteria to assess the effectiveness of the
warm-up in relation to its purpose. These
techniques, other expressive
movements, and pantomime help eighth
graders refine definitions of both space
and character. Also, eighth graders
advance their development of proper
diction and effective, safe vocal delivery.
Creative Expression/ Students identify elements that create
Performance tensions and suspense and add them to
original creations. Characterization
results from careful analysis of roles and
incorporates appropriate vocal delivery,
movement, costuming, and makeup.
Dramatizations are recorded and can be
replicated by the same group or other
groups. The director has responsibility
for unifying a production, solving
theatrical problems, and interpreting
intent.
Historical/Cultural Directors ensure that historical and
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Heritage cultural components, theatrical traditions

and conventions, and technical aspects
of production are consistent with the
intent of the playwright.
Response/ Based on critical and creative thinking,
Evaluation eighth graders develop and apply criteria
for evaluating works in progress and
completed works. As eighth graders
participate in and view theatrical events,
they participate in formal evaluations,
assessing such aspects of the
production as intent, structure, total
effect, and quality.
Course Title: Theatre Arts I

Course Sequence: General Survey
Credit: 1
Perception Learners study principles of acting and
begin to understand theatrical
conventions dealing with time and
setting. Through informal class
presentations, students begin to see the
interdependence of all theatrical
elements. Theatre Arts I students learn
essential skills, techniques, and a
process of script analysis to create
believable characters. Then they add
techniques in diction and body
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movements to develop characterizations

further.
Creative Expression/ In introductory play writing, the student
Performance improvises, writes, and rewrites
monologues, scenes, and vignettes to
convey predetermined intent and
meaning. Student directors are
accountable for small group
presentations of a scene or vignette. The
director is responsible for incorporating
all aspects of a production into a unified
whole.
Historical/Cultural Students explore dramatizations and
Heritage scenes from a variety of historical
periods and cultures. Specific examples
of theatrical productions stimulate
understanding of the impact of society on
theatre, and theatre’s impact on society.
Response/ Viewing live and recorded performances
Evaluation and short classroom presentations,
students analyze the impact of technical
theatre in communicating meaning to an
audience. By articulating and applying
predetermined criteria and using
theatrical terminology, students reflect on
and make judgments about the
effectiveness of personal work and the
work of others. Further, students develop
research techniques as they discover
career opportunities in theatre and
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determine the training, skills, self-

discipline, and artistic expertise
necessary to achieve success.
Course Title: Theatre Arts II
Course Sequence: Follows Theatre Arts I
Credit: 1
Perception Students use warm-up exercises to
develop automatic responses and stage
movements.
Creative Expression/ Using prompts from poetry, abstract
Performance ideas, and other sources, students
individually and in small groups develop
their abilities to use interpretive and
expressive movements to create
coherent sequences in compositions.
Analyzing all text and subtext in a script,
students reveal physical, emotional,
intellectual, and social dimensions of
characters from various genres to
sustain believable characters in
dramatizations. Analyzing the
relationships between characters yields
another powerful dramatic tool—
motivation. In small groups, students
select scripts, make casting decisions,
present short selections to the class, and
direct.
Historical/Cultural Using live and recorded resources from
Heritage diverse periods in different genres,
students identify theatrical conventions,
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compare and contrast treatments, and

analyze the effectiveness of each in the
designated time period.
Response/ Student’s research vocational and a
Evaluation vocational opportunities using a variety
of resources, such as personal
interviews.
Course Title: Theatre Arts III

Course Sequence: Follows Theatre Arts II
Credit: 1
Perception In addition to developing control of
movement, voice, and timing acuity,
Theatre Arts III students create
believable characters, maintaining the
uniqueness of the individual characters
while demonstrating the effects of
circumstances and relationships with
other characters and the environment.
Creative Expression/ Theatre Arts III students create scenes,
Performance vignettes, and other works that contain
dialogues that reveal motivation, plot,
and theme. Characterization skills help
actors interpret intent to a third party,
such as the audience or another cast
member. The actor must learn to think
and communicate to the third party only
that which has been revealed at a
specific point in the play. The remainder
of the play, although known to the actor,
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remains unknown to the audience.

Historical/Cultural Level III focuses on American theatre—
Heritage its impact on society and society’s
impact on theatre. Using live and
recorded performances of theatrical
presentations, students compare theatre
to other media, looking for the range of
possibilities within a given medium to
communicate intent to an audience.
Response/ Continuous evaluations tie original intent
Evaluation to the final product, assess the quality
and effectiveness of communicating to a
third person, and encourage rewrites that
establish foundations for future theatrical
endeavors.
Course Title: Theatre Arts IV
Course Sequence: Follows Theatre Arts III
Credit: 1
Perception Students continue to use warm-up
techniques and refine their use of stage
movement, pantomime, voice, and
diction.
Creative Expression/ Students learn advanced acting
Performance techniques that address the subtleties of
characterization. Using costume,
makeup, and research, actors strive to
make their characters “ring true” for the
audience. The audience must see the
character grow over the course of the
play, so each part is portrayed with
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expressive creativity within the plot

structure. Research continues to be a
major part of each new play undertaken
and provides direction for creating
characterizations and guidance for
solving technical challenges.
Historical/Cultural Students continue to experience a
Heritage diverse theatre repertoire. Learners
examine parallels in the related fields of
musical theatre, film, and television to
advance their technical expertise.
Response/ Reflection and attention to critique help
Evaluation actors continue to grow.
Course Title: Technical Theatre I

Credit: 1
Perception Students are exposed to basic principles
of theatrical design, such as unity,
balance, proportion, and color. Students
explore their understanding by building
3- dimensional models of sets and
scenery; drafting floor plans; and
drawing set elevations.
Creative Expression/ Students are involved with
Performance production/performance tasks such as
basic crew assignments and front of
house responsibilities—i.e. ushering,
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passing out programs, and taking tickets

for school productions.
Historical/Cultural Students explore the historical and
Heritage aesthetic evolution of scenic design and
technical theatre by studying the works
of significant artists.
Response/ Student work—i.e. all projects and crew
Evaluation assignments/responsibilities, are
evaluated in terms of consistency and
level of mastery.
Course Title: Technical Theatre II

Course Sequence: Follows Technical Theatre I
Credit: 1
Overview Students in Technical Theatre II focus on
the construction and design of sets and
scenery.
Perception Students apply principles of theatrical
design, such as unity, balance,
proportion, and color with “hands-on”
applications in both class and production
work. They implement light and sound
specifications for a set or scenery, taking
into consideration factors such as safety,
expense, mobility, and versatility.
Creative Expression/ Students participate in introductory units
Performance in costume design, makeup, and period
hair styling after intensive study of scripts
to determine the playwright’s intent.
Students are responsible for set
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changes, maintaining visual lines for the

audience, blocking, and meeting the
director’s specifications.
Historical/Cultural Theatrical conventions of specific
Heritage periods, styles, and genres of theatrical
literature inform student decisions.
Response/ Students learn the job responsibilities of
Evaluation traditional crews and support staff;
demonstrate accountability for their
assignments; and practice continual self-
evaluation in addition to receiving
evaluations from crew leaders, peers,
and their teacher.
Course Title: Technical Theatre III

Course Sequence: Follows Technical Theatre II
Credit: 1
Overview Students concentrate on integrating all
facets of theatrical productions to ensure
the successful production of a theatrical
event and begin to change their focus
from operation and construction to
design.
Perception Surveying and reviewing live and
recorded performances in a variety of
theatrical media illustrates the
possibilities available for technical
theatre now and in the future.
Creative Expression/ Students develop problem-solving and
Performance critical thinking skills and use creative
Page 26 of 34
initiative in projecting and evaluating

unique approaches to a specific task.
Students know the stress and strain
capabilities of materials used in sets,
safety factors in using stage equipment,
and the safe use of light and sound
boards. Students focus on an area of
special interest within technical theatre,
such as costume design or makeup.
Historical/Cultural Students in each specialty area apply
Heritage knowledge of historical and cultural
influences on their work. They study the
theatrical conventions used in original
productions.
Response/ Students describe and research
Evaluation vocational careers in technical theatre,
locating training and apprenticeships.
Experts from the professional world of
technical theatre are excellent resources
for developing practical knowledge and
applications.
Course Title: Technical Theatre IV

Course Sequence: Follows Technical Theatre III
Credit: 1
Overview Students are involved in all aspects of
production. Throughout the year, each
student assumes a variety of leadership
positions in such areas as costume
Page 27 of 34
design, wardrobe, makeup, sound,

lighting, set design, or stage
management.
Perception Students establish the conventions of
time, history, style, and genre in a
designated production and apply their
understanding of previous technical
interpretations to their own work.
Creative Expression/ Students interpret the intent of the
Performance playwright that is to be communicated to
the audience, read the director’s
specifications, and correlate research
and study to present a theatrical
production.
Historical/Cultural The details, specifications, and
Heritage effectiveness of student work within the
context of production and assignments
demonstrate comprehension of historical
and cultural influences and knowledge of
theatrical traditions.
Response/ Students develop self-discipline in
Evaluation learning all aspects of technical theatre.
Course Title: Theatre Production I

Credit: .5–1
Perception Students participate in critique, listening
and commenting to others, and keeping
journals or production notebooks.
Page 28 of 34
Creative Expression/ Students are involved with a specific

Performance aspect of the production, such as cast,
technical crew, stage manager, stage
crew, costume designer, wardrobe
mistress, props, set designer, publicity,
or support staff. Each student completes
assigned tasks, demonstrating individual
accountability and necessary skills and
techniques. Determining the intent of the
playwright and communicating intent to
an audience is considered in every
production decision that is made.
Students learn that all facets of a
theatrical production work together to
achieve a common goal. Participants
demonstrate personal commitment by
preparing for each rehearsal. Students
learn the importance of stage production
etiquette.
Historical/Cultural Students establish historical, cultural,
Heritage and societal influences in each
production.
Response/ Students analyze personal growth in
Evaluation their techniques and skills and begin to
establish a profile of their theatrical
accomplishments.
Course Title: Theatre Production II

Course Sequence: Follows Theatre Production I
Credit: .5–1
Page 29 of 34
Perception Students know and understand the type,
style, and genre of selections slated for
production.
Creative Expression/ Students complete assigned tasks,
Performance demonstrating individual responsibility
and accountability in relation to the
assignment and provide support for
others in the same production area.
Historical/Cultural Students understand the historical,
Heritage cultural, and societal influences on
selections designated for production.
Response/ Each student keeps a journal or
Evaluation production book, compiles a portfolio that
represents all high school theatrical
experiences, and begins to gather
materials that can be used in a resumé.
Students meet with teachers to discuss
their observations and reflections.
Course Title: Theatre Production III

Course Sequence: Follows Theatre Production II
Credit: .5–1
Overview Level III students assume leadership
roles and serve as role models for other
students.
Perception Students describe the interrelationships
of at least two areas of production and
use personal experiences, script study,
and previous theatrical experiences to
Page 30 of 34
contribute to a final production.

Creative Expression/ Within the context of student
Performance assignments, each individual analyzes
the impact of physical, intellectual,
emotional, and social dimensions of a
production, and illustrates their points
with specific examples and rationales.
Historical/Cultural Students use historical and cultural
Heritage information, such as the time period,
genre, cultural and sociological
implications, theatrical conventions, and
characterizations, to inform productions.
Response/ Students make written observations
Evaluation about effective strategies and support
recommendations and constructive
comments with rationales and citations
from the script. Students record and use
commentaries, critiques, suggestions,
and insights in journals or production
books. Students continue to accumulate
data for a resumé of high school theatre,
and teachers provide guidance in
preparing resumés and portfolios.
Course Title: Theatre Production IV

Course Sequence: Follows Theatre Production III
Credit: .5–1
Overview Theatre Production IV students take
leadership roles in aspects of play
production that extend beyond the realm
Page 31 of 34
of assigned responsibility.
Perception Students demonstrate collaboration skills
by participating in mixed production
teams. They understand the role that
each technical aspect (e.g., wardrobe,
costume, set design) contributes to the
production as a whole.
Creative Expression/ Each student’s technical work
Performance contributes to the authenticity of
productions. Students use scripts,
production notes, and research findings
to support their technical production
decisions.
Historical/Cultural Students examine historical, cultural, and
Heritage social influences on theatre; theatrical
conventions of each genre; and the
importance of these factors in
understanding and communicating
playwrights’ intents.
Response/ Production books and journals record
Evaluation observations, personal reflections,
critiques, and other information pertinent
to a production. The personal resource
files begun in Theatre Production I
contribute to student resumés and
portfolios. Students develop personal
criteria for evaluating each of their
production assignments.
VII. Program Implementation Scheme
Page 32 of 34
VIII. Admission and Section Policies

IX. Retention Policies
X. CMO/ DepEd Memo/ Resolution and TESDA Training Regulation
XI. List of School Administrators
XII. List of Faculty
XIII. List of Academic and Non-Teaching Personnel
XIV. List of Book Holding
XV. List of the Physical Facilities
a. Picture of the Physical Facilities
 Clear space. A large carpeted classroom without desks that provides flexible
space for unrestricted student movement and for the use and storage of
modular scenic units, lighting equipment, sound and video equipment,
costume pieces, and props.
 Standard classroom. A classroom with moveable desks or tables that can
be used for instruction and rehearsals
 Flexible theatre space (i.e., a theatre room or a black box theatre). A large
room with a high ceiling that can be used for rehearsals, laboratory scenes,
and small-scale productions. This setting provides intimacy between
performers and the audience, a limited need for scenery, and flexibility to
arrange platforms and lighting instruments in various stage configurations.
 Complete theatre facility. Theatre seating for 500 is preferable to a
multipurpose auditorium that seats 1,000 or more. The most common
configuration is the proscenium stage, though other configurations include the
thrust, arena, and open stages. Flexible theatrical lighting and sound
equipment, a box office and lobby, scenery and properties shop, a costume
shop, makeup and dressing rooms, and storage areas are essential parts of
the theatre facility.

XVI. Appendices
Page 33 of 34
a. References
b. Communication
Page 34 of 34

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Republic of the Philippines

Central Bicol State University of Agriculture-Sipocot

Subject: CURRICULUM DEVELOPMENT

Typical performing arts jobs

Musical theater performer

Dance-, music- or drama- therapist

Other performing arts jobs

Theater stage manager

Teacher/higher education lecturer

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performance and production, fourth

roles in class dramatizations.

perceptions. Students incorporate their

compare theatrical careers to theatrical a

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Course Title: Theatre Arts I

movements to develop characterizations

determine the training, skills, self-

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expressive creativity within the plot

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passing out programs, and taking tickets

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initiative in projecting and evaluating

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Course Title: Theatre Production I

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contribute to a final production.

Course Title: Theatre Production IV

VII. Program Implementation Scheme

VIII. Admission and Section Policies

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