Region VI – Western Visayas

SCHOOLS DIVISION OFFICE OF LA CARLOTA CITY

DOÑA HORTENCIA SALAS BENEDICTO NATIONAL HIGH SCHOOL
SPECIAL PROGRAM IN THE ARTS
La Carlota City
School ID: 302751
Content Topic:
 Analyzes the changes of the forms through various historical periods.
 Describes the changes of forms and world view per period.

Content Standard: Demonstrates understanding on the Image of Filipino and Philippine Society in
Local theatre.

WEEK 4 - 6

I. ACTIVITY:
DIRECTIONS: Recall the history of the Philippine Theater from the previous quarter and
give a brief description for each of the periods.

Pre- Spanish
colonial Regime
Time

American Japanese
Colonization Occupation

II. DISCOVER: Historical Periods in Theater

1. The Indigenous Theater

The rituals, dances, and customs which are still

performed with urgency and vitality by the different
cultural communities that comprise about five percent
of the country’s population are held or performed,
together or separately, on the occasions of a person’s
birth, baptism, circumcision, initial menstruation,
courtship, wedding, sickness, and death; or for the celebration of tribal activities, like hunting,
fishing, rice planting and harvesting, and going to war. In most rituals, a native priest/priestess,
 Region VI – Western Visayas
SCHOOLS DIVISION OFFICE OF LA CARLOTA CITY
DOÑA HORTENCIA SALAS BENEDICTO NATIONAL HIGH SCHOOL
SPECIAL PROGRAM IN THE ARTS
La Carlota City
School ID: 302751
variously called mandadawak, catalonan,bayok, or babalyan, goes into a trance as the
spirit he/she is calling upon possesses him/her. While entranced, the shaman partakes of the
sacrificial offering, which may be a chicken, a pig, a carabao (depending on the gravity of the spirit’s
anger) or simply rice uncooked or in cakes, rice wine, and betel nut. This act, which represents the
death of the supplicant at the hands of the spirit, adapts itself to the occasion for which the ritual is
held.

Among the Tagbanua of Palawan in southern Philippines, the ritual of the diwata, which crowns a
series of activities addressed to the spirits of ancestors, is held after the rice harvest on the last
three days of the last moon, to ask the supreme deity Mangindusa, the other gods, and the spirits
of ancestors for a bountiful harvest and for the well-being of the supplicants.

2. The Spanish Colonial Regime

In the three centuries of Spanish rule from 1565 to 1898, the Spanish colonizers,
specifically the friars, showed a keen awareness of the power of theater both as a tool for the
Christianization of the natives and as a magnet to attract the latter to the pueblo or town which
constituted the foundation of Spain’s empire in the archipelago. Consequently, the Spanish
regime gave rise to and popularized the various types of secular and religious plays, the former
usually staged to celebrate town fiestas, and the latter, to highlight important Catholic liturgical
feasts or seasons like Christmas, Lent, or Easter. Many of these plays and playlets continue to
be popular among the Christianized folk who live in the rural areas and compose the majority of
the total population. Of the plays, the most important is the komedya, also known as moro-moro,
linambay, arakyo, which is a play in verse introduced into the country from Spain in the 16th
century and institutionalized in the 19th century.

It has two principal types: the secular, which concentrates on epic stories of love and
vengeance; and the religious, which narrates the lives of patron saints. Elaborate marches,
lengthy choreographed fighting between individuals and/or armies, and magical artifices
wrought by heaven to save saints or Christians in distress ensure the popularity of the komedya
as principal entertainment during town fiestas.

Linambay - Cebuano moro-moro (or

linambay, as it is called in Cebu), dealing
with its history, its socio-cultural context, and
the various coordinates that define the work:
namely, the artist, audience, world-view, and
the play itself.

Arakyo - A komedya is a colorful dramatic

presentation either religious or secular
inspired by the Medieval period in European
history.  Introduced by the Spaniards in the
 Region VI – Western Visayas
SCHOOLS DIVISION OFFICE OF LA CARLOTA CITY
DOÑA HORTENCIA SALAS BENEDICTO NATIONAL HIGH SCHOOL
SPECIAL PROGRAM IN THE ARTS
La Carlota City
School ID: 302751

3. The American Colonial and Contemporary Traditions

From 1901 to 1946, the American colonial regime affected Filipino theater. On November
4, 1901 the Sedition Act was enacted in the Philippines. With this law it was prohibited for any
type of media or speech to go against the United States.

During the 1930s Filipinos were exposed to western theater and western classics. During this
time, Filipinos adapted to American culture and to American theatrical standards. One influence
from the occupation is the development of the performance form called bodabil which is the
vernacular equivalent of "vaudeville." Bodabil is more of a mixture of songs and other type of
performances that were popular in the United States.

The American tradition entered the Philippine stage principally through the educational system
established in 1901, and since then has continued, developing with fresh inputs, merging with or
transforming traditional theatre, siring translations and adaptations, sparking the emergence of
new playwrights, new trends, new theaters, and on the whole contributing ideas and energy to
Philippine theatre.

Bodabil - Bodabil is an indigenized form of vaudeville,

introduced in the Philippines around the turn of the
20th century. It featured a hodgepodge of musical
numbers, short-form comedy and dramatic skits, and
even magic acts, often staged inside the theaters of
Manila. Bodabil proved the vehicle for the
popularization of musical trends and musicians,
performance genres and performers.
 Region VI – Western Visayas
SCHOOLS DIVISION OFFICE OF LA CARLOTA CITY
DOÑA HORTENCIA SALAS BENEDICTO NATIONAL HIGH SCHOOL
SPECIAL PROGRAM IN THE ARTS
La Carlota City
School ID: 302751
III. TEST
DIRECTIONS: Read the questions carefully and write INDIGENOUS if the statement is from the
Indigenous period in theatre. SPANISH if it’s from the Spanish Regime and American if it’s from the
American colonial. Write your answers on a clean sheet of paper.

______________1. Cebuano moro-moro dealing with its history, its socio-cultural context.
______________ 2. The rituals, dances, and customs which are still performed with urgency and
vitality by the different cultural communities.
______________ 3. The American tradition entered the Philippine stage principally through the
educational system established in 1901.
______________ 4. A colorful dramatic presentation either religious or secular inspired by the
medieval period in European history. 
______________ 5. The ritual of the diwata, which crowns a series of activities addressed to the
spirits of ancestors, is held after the rice harvest on the last three days of the last moon.

IV. Performance Task

Directions: Watch the video about the History of Philippine Theater with the link provided and
answer the questions below. Write your answers legibly on a piece of paper.

YouTube link: https://www.youtube.com/watch?v=6rpJ5pydc7g

1. What have you learned about the Philippine theatre in the video that you have watched?
2. What are considered as an early form of theatre in the Philippines?
3. What are the famous form of theatre in the Spanish regime?
4. How the Americans did influenced us with their culture in theater?

V. REFLECTION
DIRECTIONS: Read and analyse the questions carefully. Write your answers legibly on a clean
sheet of paper. (Minimum of 3 sentences)

1. What changes have you noticed in the Evolution of Philippine theatre in each period? (10 pts.)
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________

2. How did theatre affect the lives of the people living in that era? (5 pts.)
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
3. What have learned in the lesson about the evolution of Philippine Theater? (5 pts.)
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
Content Topic:
 Region VI – Western Visayas
SCHOOLS DIVISION OFFICE OF LA CARLOTA CITY
DOÑA HORTENCIA SALAS BENEDICTO NATIONAL HIGH SCHOOL
SPECIAL PROGRAM IN THE ARTS
La Carlota City
School ID: 302751
 Conducts a research on national/ local theatre icons, life works, practices,
and organization and their contribution to Philippine theater.
Content Standard: Demonstrates understanding on the Image of Filipino and Philippine Society in
Local theatre.

WEEK 7 – 8

I. ACTIVITY
DIRECTIONS: Observe carefully and study each of the images below. Give your perception about
the pictures about the evolution of Theater Arts in the Philippines. Write your answers legibly on a
clean sheet of paper.
 Region VI – Western Visayas
SCHOOLS DIVISION OFFICE OF LA CARLOTA CITY
DOÑA HORTENCIA SALAS BENEDICTO NATIONAL HIGH SCHOOL
SPECIAL PROGRAM IN THE ARTS
La Carlota City
School ID: 302751
Explanation:
_______________________________________________________________________________
_______________________________________________________________________________
_______________________________________________________________________________

II. Discover: Theater Artists their Life and Works

1. Neile Adams

Actress-singer-dancer Neile Adams (Ruby Salvador in real life) is better known as

the first wife of actor Steve McQueen, one of the hottest Hollywood stars in the
early ‘60s. She, however, had her own career, which started in musical theater
as a dancer. Born on July 10, 1932, Ruby spent her growing-up years in Manila
until World War II. She and her family were incarcerated by the Japanese for 18
months, and after the War, she was whisked away to the U.S. After being noticed
for her dancing skills, the pert and pretty Neile, as she now called herself, was
cast in shows and musicals. One of her early appearances on Broadway includes
the original musical comedy Pajama Game (1954) opposite John Raitt and Julie
Wilson. The next year, she was a featured dancer in Kismet, where she later
understudied for the role of the Princess of Ababu. Adams married financial consultant Alvin Toffel and has
recently done a series of one-woman cabaret shows.

2. Cely Carrilllo

Cely Carillo (born on February 18 1934) was a musical prodigy, often performing
with the UP Dramatic Club. She moved to the U.S. after winning a six-year
scholarship at the famed Juilliard School of Music. She went on auditions and got
minor roles on TV, then eventually answered a casting call for the Broadway
musical, Flower Drum Song. It opened in New York at the St. James Theatre on
December 1, 1958 with Miyoshi Umeki as Mei-Li. Carrillo also was part of the
original cast recording of the successful musical. After over a year, Umeki left and
it was Carrillo who was chosen to replace her in 1960.
 Region VI – Western Visayas
SCHOOLS DIVISION OFFICE OF LA CARLOTA CITY
DOÑA HORTENCIA SALAS BENEDICTO NATIONAL HIGH SCHOOL
SPECIAL PROGRAM IN THE ARTS
La Carlota City
School ID: 302751

3. Maureen Tiongco

A native of Sta. Rosa, Laguna, Maureen Tiongco (born on September 27, 1935)
was trained in ballet and dance in the Philippines and New York. Her hard work
paid off when she was offered the role of Mei-Li, one of the lead roles in Flower
Drum Song, after being part of the Dancing Ensemble since the show started in
1958. Her biggest break was playing the lead in The World of Suzie Wong,
which toured Canada and the U.S. for six months. Other credits include The
King and I (as Tuptim), Teahouse of the August Moon (as Lotus
Blossom), South Pacific (as Liat, Polynesian daughter of Bloody Mary),
and Uncle Tom’s Ballet (as Eliza). Returning to the Philippines in 1966, Tiongco
mounted the Flower Drum Song to raise funds for the proposed Cultural Center
of the Philippines.

4. Barbara Luna

Barbara Luna was trained in Broadway, where she, in fact, grew up. In
high school, she was tapped by Rodgers and Hammerstein in 1949 to
play Ngana, the daughter of Ezio Pinza in the original Broadway
production of South Pacific. Her next role was in The King and I, followed
by a stint in Teahouse of the August Moon. Other credits include West
Side Story (as Anita) and A Chorus Line. In 1958, Barbara made her
screen debut in the Korean war drama, Tank Battalion. She also made a
name for herself in TV in the '60s, starring in an episode of Star Trek.

5. Patrick Adiarte
Manila-born Patrick Adiarte is best known for portraying Prince
Chulalongkorn in the 1956 movie version of the Rodgers and
 Region VI – Western Visayas
SCHOOLS DIVISION OFFICE OF LA CARLOTA CITY
DOÑA HORTENCIA SALAS BENEDICTO NATIONAL HIGH SCHOOL
SPECIAL PROGRAM IN THE ARTS
La Carlota City
School ID: 302751
Hammerstein musical, The King and I. The 13-year-old held his own against co-actor Yul Brynner (who
would win an Oscar for his role as the Siamese king) and veteran actress Deborah Kerr. Patrick was
with fellow Filipino Cely Carrillo in the Broadway musical, Flower Drum Song. He appeared on the hit
TV series M*A*S*H (as Ho-Jon in seven episodes), Bonanza (1971), Hawaii Five-O (1972), Kojak, The
Chinatown Murders (1974), and The Brady Bunch (1972).
6. Cynthia Onrubia

New York-born Cynthia Carrillo Onrubia had an impeccable artistic

pedigree. Her mother was the legendary Cely Carrillo who captivated
Broadway in the Flower Drum Song in 1960. She attracted attention at 15
years old when she was cast in the musical, A Chorus Line—the
youngest dancer in the megahit production that premiered in New York's
Shubert Theater in 1977. She stayed with the musical until 1985, playing
a variety of characters. She soon appeared in other hit musicals,
namely Cats, Song and Dance, The Goodbye Girl, among others. Her
most recent assignment was as an associate choreographer for the
musical revival Cabaret, from 2014 to 2015.

7. Pugo and Togo

Pugo and Togo were a popular Filipino comedy tandem in Philippine movies
during the 1940s up to 1960s. Mariano Contreras starred as the bald headed
Pugo who was partnered with Togo. During the Japanese Occupation, the
tandem was renamed Tuguing and Puguing. This was because Togo sounded
too similar to Tojo, the name of the Prime Minister of Japan during the early
1940s.
Their brand of humor consisted of short skits, slapstick, and funny dialogues
presented in Manila's theaters, most particularly Clover Theater and Avenue
Theater.

8. Bayani Casimiro
 Region VI – Western Visayas
SCHOOLS DIVISION OFFICE OF LA CARLOTA CITY
DOÑA HORTENCIA SALAS BENEDICTO NATIONAL HIGH SCHOOL
SPECIAL PROGRAM IN THE ARTS
La Carlota City
School ID: 302751
Bayani Casimiro Sr. was a Filipino dancer who was among the leading stars of bodabil in the
1930s and 1940s. He also appeared in musical films and later in life, in comedic roles. A tap
dancer, he was frequently dubbed as the "Fred Astaire of the Philippines".

III. TEST: IDENTIFICATION

Directions: Read the questions carefully and write your answers legibly on a clean sheet of paper.

1. Her mother was the legendary Cely Carrillo who captivated Broadway in the Flower Drum
Song in 1960. ______________
2. Was trained in Broadway, where she grew up. In high school, she was tapped by Rodgers and
Hammerstein in 1949 to play Ngana. ______________
3. Were a popular Filipino comedy tandem in Philippine movies during the 1940s up to
1960s._______________
4. Trained in ballet and dance in the Philippines and New York. Her hard work paid off when she
was offered the role of Mei-Li, one of the lead roles in Flower Drum Song. ______________
5. Actress-singer-dancer is better known as the first wife of actor Steve McQueen. ____________
6. A Filipino dancer who was among the leading stars of bodabil in the 1930s and
1940s.____________
7. She moved to the U.S. after winning a six-year scholarship at the famed Juilliard School of
Music. _____________
8. is best known for portraying Prince Chulalongkorn in the 1956 movie version of the Rodgers and
Hammerstein musical, The King and I.______________

IV. Performance Task

Directions: Do a research on one local/international theatre icon. Follow the format for your
research below. Put your research on a one whole sheet of paper/short bond paper.

1. Local Theater Icon (Name)

2. Life Works
3. Practices/Expertise
4. Organization (What theatre organization they belong to)
5. Contribution to Philippine Theater

Rubrics:
CRITERIA EXCELLENT GOOD AVERAGE POOR TOTAL
Content and Content is very Content is very Content is not Content us not
Details informative. informative and always related relevant or
Report has mostly to the topic. accurate. No
(20) many details accurate. Many details.
 Region VI – Western Visayas
SCHOOLS DIVISION OFFICE OF LA CARLOTA CITY
DOÑA HORTENCIA SALAS BENEDICTO NATIONAL HIGH SCHOOL
SPECIAL PROGRAM IN THE ARTS
La Carlota City
School ID: 302751
and is very Report has inaccuracies.
interesting to many adequate Few supporting
read. details. details.

(20 points) (15 points) (10 points)

(5points)
Organization Report has few Report shows Report is poorly Report has no
or no errors in adequate. organized and organization.
(15) spelling, confusing at
punctuation, times. (7 points)
and/or
grammar. (12 points)
Report is easy
to read. (10 points)

(15 points)
Writing Report has few A report has a A report has Report is
mechanics and or no errors in few to several many errors in unreadable.
readability spelling, errors in spelling,
punctuation, spelling, punctuation,
(10) and/or punctuation, and/or
grammar. and/or grammar. (2 points)
Report is easy grammar. Report is
to read. Report is difficult to read.
readable.
(10 points) (5 points)
(7 points)

V. REFLECTION

DIRECTIONS: Read the questions carefully and write your answers legibly on a clean sheet of
paper. (Minimum of 3 sentences)

1. Why is it important for us to learn about the local and international theatre icons? (10 points)

____________________________________________________________________________
____________________________________________________________________________
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