Quarter 4:

CHINESE PEKING OPERA

ARTS
MELCs:
 Identifies selected festivals and theatrical forms celebrated all over the
Asian region
 Researches on the history of the festival and theatrical forms and its
evolution, and describe how the community participates and
contributes to the event

►EXPLORE

Directions: Read the questions carefully and choose the correct answer by
encircling the letter.
1. The Peking opera costume is called ___________________.
a. Balinese Costumes c. Saya and barong Tagalog
b. Kimono and Obi d. Xingtou
2. The performance element that includes both acrobatics and fighting with all
manner of weaponry in Peking opera is _______________.
a. Combat c. Speech
b. Dance-acting d. Song
3. ___________ is the main male role in Peking opera.
a. Dan c. Jing
b. Chou d. Sheng
4. Red color on makeup in Peking opera means _______________.
a. Suspicious and craftiness
b. Roughness and fierceness
c. Courage, bravery and uprightness
d. Fierceness, ambition and cool-headedness
5. These are the props always seen or stage in Peking opera.
a. Bed and pillows c. Drums and cymbals
b. Chairs and tables d. Wood blocks and sticks

►LEARN
CHINESE PEKING OPERA

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China is known for their traditional theater art form, the Peking
opera or Beijing opera which combines music, vocal performance,
pantomime, dance and acrobatics.

Roles and Characters

 Sheng - is the main male role in Peking opera.
 Dan - refers to any female role in Peking opera.
 Jing - is a painted face male role who plays either the primary
or secondary roles. This role entails a forceful character
meaning the Jing actor must have a strong voice and able to
exaggerate gestures. Red denotes loyalty and goodness while
white denotes evil and black denotes integrity.
 Chou - is a male clown role. It usually plays secondary roles
whose name also means “ugly”. It reflects the traditional belief
that the clown’s combination of ugliness and laughter could
drive away evil spirits.
Visual Performance Elements
Peking opera performers utilize four main skills such as the
following:
1. Song
2. Speech
3. Dance-acting (includes pure dance, pantomime, and all other
types of dance)
4. Combat (includes both acrobatics and fighting with all manner
of weaponry)
Meaning of the colors used in masks and makeup in Peking Opera:
 Red – devotion, courage, bravery, uprightness and loyalty
 Black – roughness and fierceness
 Yellow – fierceness, ambition and cool-headedness
 Purple – uprightness, sophistication and cool-headedness
 Reddish purple – just and noble character
 Blue – loyalty, fierceness and sharpness
 White – dangerousness, suspiciousness and craftiness
 Green - impulsive, violent and stubbornness
 Xiaohualian (the petty painted face) – is a small patch of chalk
on and around the nose. Clowns of traditional drama who
wear this special makeup show a mean and secretive
character.

Costumes and Props

 COSTUME: Xingtou, popularly known as Xifu, in Chinese

origins of Peking Opera. Oblong wings (chizi) attached to a
gauze hat indicate a loyal official while in contrast a corrupt
official is made to wear a gauze with rhomboidal wing.

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  PROPS: utilizes very few props, will almost have a table and at
least one chair, which can be turned through convention into
such diverse objects as a city wall, a mountain, or a bed. A
whip is used to indicate a horse, and an oar symbolizes a
boat.

►ENGAGE

Direction: Write your answer on the space provided.

1.Give the meaning of each colors used in Peking Opera masks and makeup
Red
Black
Yellow
Purple
Reddish purple
Blue
White
Green
2.Identify each roles and characters played in Peking Opera.
Sheng
Dan
Chou
Jing

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►ASSESSMENT

Directions: Encircle 10 words that are connected to Peking Opera and write the
answer on the space provided below.

S P E K I N G O P E R A R R D

H U B F A N I A P P L I E T A

E B C U E T S N C P N X Y S N

N E C F M O T C H I F L M V H

G N U X Y B I T O E G L O V E

T S A N I E N R U T B R A E L

U R O M A N L I K A U F J L A

R A D V P B G L N A L I S A N

E P N A R S A T O E S R F Z G

F H D A V I D R O W F T Q Q E

D A R N S I O W O U E J R U L

G E M B R A N D T E U U I E O

N L I V E E N C E E U Z L L A

I A C E R S A U I P I E S B B

J O N A T E L L O S O N G B C

1. Peking Opera 6. Makeup

2.China, Music
7.Drama,
3.Singing
8.Actors
4.Dancing
9.Stage.
5.Costumes
10.mask

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 Quarter 4: ARTS
FESTIVAL AND
THEATER ARTS OF JAPAN
MELCs:
 Identifies selected festivals and theatrical forms celebrated all over the Asian
region
 Researches on the history of the festival and theatrical forms and its
evolution, and describe how the community participates and contributes to the
event
►EXPLORE
Directions: Read the question carefully. Choose the letter of the correct answer.
Write your answer before the number.
_____1. It is the Japanese traditional drama.
a.Kabuki Theater b. Nang Shadow c. Peking Opera d. Wayang
______2. A Japanese terminology which means male roles in Kabuki theater.
a.Aragoto b. Hanamichi c. Onna-gata d. Suppon
______3. In Kabuki Theater, fan as props symbolizes ________.
a.bird b. insects c. rain d. wind
______ 4. A platform that raises the performers from below the stage in Kabuki
theater.
a.Hanamichi b. Kogakudo c. Okuni d. Suppon
______5. A Japanese terminology which means female roles in Kabuki theater.
a. Aragoto b. Mie c. Onna-gata d. Yago

►LEARN

FESTIVAL AND THEATER ARTS OF JAPAN

KABUKI THEATER
 is a form of traditional Japanese drama with highly stylized song, mime
and dance, now performed only by male actors.
 it is known for the stylization of its drama and for the elaborate make up
worn by some of its performers.
 is believed to derive from the verb kabuku, meaning "to lean" or "to be
out of ordinary, " kabuki can be "bizarre" theater.

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 The Kabuki Stage Features

1. Hanamichi- a flower path, a walkway which extends into audience via which
dramatic entrances and exits are made.
2. Kogakudo- kabuki theaters that have stages both in front of the audience and
along the sides help create a bond between the actors and viewers.
3. Mawaro butal- the interior of the theater contains a revolving stage.
4. Suppon- a platform that rises from below the stage.
5. Hanamicho- a walkway that cuts through the audience seating area to connect the
stage with the back of the theater.

The Three Main Categories of the Kabuki Play

1. Jidaimono- or history plays, were set within the context of major events in
Japanese history.
2. Sewamono- focused primarily upon commoners ( townspeople and peasants).
3. Shosagoto- dance pieces.
Elements of Kabuki

• Mie- actor holds a picturesque pose to establish his character and his house name
yago.
• Yago- sometimes heard in a loud shout.
• Kakegoe-an expert audience member, serving both to express and enhance the
audience’s appreciation of the actor’s achievement.
• Kesho- the name of the actors father.

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 Actors are separated into two main categories:
1. Onna-gata- refer to the female roles.
2. Aragoto- refer to the male roles.
Kabuki “ Hero” Characters

Onna-gata Role Aragoto Role

Kabuki Make up
Make up is also one of the most iconic parts of Kabuki. Actors apply their own make
up by painting their faces and necks white, then adding stylized lines in red, black or blue. The
colors and lines that are used tells what kind of character is being performed. Red and blue are
usually aragoto roles, onna-gata playing young women have very little paint.
Kabuki Make up, provides an element of style easily recognizable even by those
unfamiliar with the art form. Rice powder is used to create the white oshiroi base for the
characteristic stage makeup. Kumadori enhances or exaggerates facial lines to produce
dramatic animal or supernatural character.
The color of the kumadori is an expression of the character’s nature:
* Red lines- used to
indicate
passion,heroism,
righteousness and
other positive traits
* Pink- for youthful
joy
* Light blue- for an
even temper
* Pale green- for
peacefulness
* Blue or black- for villainly, jealousy, and other negative traits
* Green- for the supernatural
* Purple- for nobility
Kabuki Occupies Five Acts:
1. Jo- an auspicious and slow opening which introduces the audience to the characters
and the plot.
2. Ha- speeding events up,
3. Culminating almost always in a great moment of drama or tragedy
4. Battle in the fourth acts
5. Kyu- is almost always, short, providing a quick and satisfying conclusion.

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 Kabuki Props:

1. Flowing water- is usually represented by fluttering rolls of linen; or creatures like

insects and foxes.
2. Fans- are used to symbolize wind, a sword, a tobacco pipe, waves or food.

Kabuki Costumes
1. Black hooded robesso - they are invisible to the audience.
2. Kimono and obi- the female characters generally wear this elaborate costume.
3. Pleated hakuma trousers-are worn by characters of sexes.
Costume changing is considered as an art. There are special teams that take care of
complete and partial costume changes and are done as part of the performances. Wigs are
important accessories, with each costume having its own type. Specialized craftsmen shape
the wigs to the head. Wigs are made of human hair, horse hair, bear fur, or yak-tail hair
imported from Tibet.

►ENGAGE
Directions: Give at least one significant lesson learned from Kabuki theater. Write your answer on
the space provided.

Kabuki Stage ____________________________________________________________________

Kabuki Character _________________________________________________________________
Kabuki Makeup __________________________________________________________________
Kabuki Costume _________________________________________________________________
Kabuki Props ____________________________________________________________________

►ASSESSMENT
Directions: Read the question carefully. Choose the letter of the correct answer.
Write your answer before the number.
____1. What is the color of kumadori that indicates peacefulness ?
a. blue b. pale green c. pink d. red
____2. Kabuki costume wear by the female character.
a. Baro at Saya b. Camiso China c. Kimono & Obid. Xingtou
____3. Categories of Kabuki play that focused primarily upon commoners.
a. Mie b. Jidaimono c. Sewamono d. Yago
____4. It is a form of traditional Japanese drama with highly stylized song, mime and
dance, now performed only by male actors.

a. Kabuki b. Nang shadow c. Peking operad. Wayang

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____5. Kabuki props that is usually represented by fluttering rolls of linen.
a. costume b. flowing water c. makeup d. wigs

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 Quarter 4: ARTS
SHADOW PUPPETRY
MELCs:
 designs the visual elements and components of the selected festival or
theatrical form through costumes, props, etc. (A8PR-IVd-1)
 analyzes the uniqueness of each group’s performance of their selected
festival or theatrical form (A8PR-IVh-2)
►EXPLORE
Directions: Choose the letter of the correct answer. Write your
answer n the blank before each number.
_____ 1. The shadow puppets in Thailand are _________
a. Leather Monkey Show c. Togalu Gombeyaata
b. Nang d. Wayang Kulit
_____ 2. It is played with leather puppets, each representing a
separate character and usually possesses a movable, jointed arm
controlled by a string.
a. Nang Talung c. Wayang Golek
b. Nang Yai d. Wayang Kulit
_____ 3. It is the teacher and presenter of Nang Talung.
a. Nai Nang c. Ramayana
b. Nang Yai d. Sida
_____ 4. The performances of shadow puppet theaters are
accompanied by the music of _______.
a. Gamelan c. piano
b. Guitar d. rondalla
_____ 5. Indonesian puppet theaters are performed with shadows
that cast on a _____________.
a. Cotton screen and oil lamp c.Tarpaulin and spotlight
b. Japanese paper and lamp d. transparent plastic and
flashlight

►LEARN

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 SHADOW PUPPETRY

Nang Shadow Puppets

Shadow puppets (Thai:Nang)
was once form of public
entertainment in the south of
Thailand. It is usually
performed during the country’s
dry season. (February to
August). It is still very popular
at village festivals, temple fairs,
and celebrations such as
marriages. Its characters are
made from intricately shapes of
leather. They are delicately
colored but this does not show
during a performance. They are manipulated with rods that control
movements of the arms and legs.

Performances
The puppet shows have a religious theme or have an episode from the
Ramayana epic which contains dozens of individual stories. They may also
be specially written to include up-to-the minute reflections, songs, and
poems about local events and matters of current interest in the district or
country.
There are hundreds of different characters, each with a distinctive shadow,
but the show will almost always include a clown, funny old man, scatter-
brained old woman, or rather stupid yokel, who are all great favorites with
the fun loving audiences.
Mr. Suchart Sapsin, is a man of many talents. He is not only an expert in
the craft of making the puppets but he is also an award-winning writer and
poet. He is a narrator, speaking or singing all the parts using different
voices, and he is a superb mimic.
Nang recites tales of the gods and contemporary people through stories of
love, current events, and tradition. The shadow puppets used in the Nang
represent the norms and mores of Thai society. Themes commonly seen in
Nang performances include family conflict, fantastic adventures of a
wandering hero, star-crossed lovers and romantic tales, hermits teaching
magic to their apprentices, and abandoned children seeking lost loved ones.
The Nai Nang are the teachers and presenters of Nang Talung. There are
over 300 Nai Nang in the southern regions of Thailand. They perform using
the puppets on a backlighted white screen, and hide themselves in small
wood and bamboo shelters. These performances run from dusk to dawn and
incorporate narration, songs, prose, and the performer’s improvised
dialogue. The rhythm and fluidity of each performance is essential in
maintaining audience interest, thus the Nai Nang must vary their technique
s and story lines.

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Characters are the gods and goddesses, kings and queens, magical figures,
and comedians. It is the Nai Nangs responsibility to act as an intermediary
between the community and the gods, thus the Nang and its producers are
highly respected and greatly entwined into Thailand’s cultural fibers.

Two Types of Nang

Nang Talung Nang Yai

 Made with leather - Made of cowhide

 Each characters are - May have decorated
separated scenes
 Ha movable, jointed arm - Doesn’t have jointed
arms
 50 centimeters high - 2 meters high

WAYANG KULIT OF INDONESIA

Wayang Kulit performance
consists of shadows cast on a
cotton screen and an oil
lamp. In Java, a halogen
electric light is most often
used as a light source.
Wayang sandosa has
employed spotlights, colored
lights, and other innovations.
In a performance of Wayang Kulit, the dalang sits behind a screen (kelir)
made of white cotton streteched on a wooden frame. Hanging from beams
fixed to the top of the screen, above his head is the lamp (blencong), which
projects the shadows onto the screen. Before the dalang is a stage (debog),
typically made from a banana tree trunk, into which the puppets sharpened
control rods can be forced to hold them in place during the show. The
puppet chest (kotak) is on his left, and the lid of the puppet chest is on his
right, on which the puppets sit ready for use. Besides shifting the puppets
and speaking their lines, it is also the dalang who is responsible for sending
the Gamelan signals. This is achieved primarily by playing the kepyak, a
metal plate or set of plate played with his foot, or by raping on the puppet’s
chest (kotak) with a wooden mallet placed in the hand.

Puppetry in the Philippines

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 Puppetry in the Philippines
started since the time of Dr.
Jose Rizal, our national
hero, when he staged the
play entitled ‘CARILLO’ or
shadow puppetry. Rizal
used a carton and a stick
and he placed this at the
back of a white cloth. Then
he used a candlelight at the
back of the puppets.
In the town of Angono, the
giant puppets are well
known. These are made of
paper mache and bamboo
sticks. They are using these in
celebrating the feast of St.
Clementine every last Sunday
of November. Aside from the
traditional puppetry, there
were puppet groups formed
since 1972 up to present.
These groups were inspired by
the different puppetry art in
other countries and those children programs seen on movies and television.

►ENGAGE
Directions: Read each statement below carefully. Write TRUE before the
number if the statement is correct. Write the correct answer if the
statement is FALSE.
________ 1. Nang Talung do not have jointed arms, but the themes and
styles remain the same.
________ 2. The puppetry in Thailand uses carton and a stick and placed
this at the back of a white cloth.
________ 3. Shadow puppet in Thailand is usually performed during the
country’s rainy season.
________ 4. The stories of Wayang Kulit are usually drawn from the
Hindu epics: Ramayana and Mahabharata.
_____ 5. The puppeteer of Wayang Kulit is the Dalang.

►APPLY/ASSESSMENT
Make your own Wayang Kulit
Directions: Now that you have understood how puppetry works, you will
make your own version and write something about your wayang kulit.

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Materials:
Wayang Kulit Template
Pen
Pencil
Sticks
Scissors
Sequence/glitters (For design)

All About my Artwork

Name and Signature of the Student

Note: The Teacher and the Parent/Guardian should leave their score and comment
for the artwork of the student. For rating, follow the rubric below.
EXCELLENT GOOD FAIR POOR
CATEGORY
5PTS 4PTS 3PTS 2PTS
Followed the Followed
Followed
FOLLOWING direction most Did not follow
some of the
DIRECTIONS correctly. of the the direction.
direction.
direction.

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 Student’s Student’s Student’s Student’s
CREATIVITY
output is very output is output is fair output
AND
creative and good and and has few is dull with
WORKMANSHIP
tidy. tidy. errors. lots of errors.
Wayang Kulit Wayang Kulit Wayang Kulit There is no
pattern is well- pattern is pattern is visible
defined and visible but somewhat pattern of
PATTERN
used not clearly visible but not Wayang Kulit
from beginning defined. continuous. pattern
to end.
RUBRIC:

►ADDITIONAL ACTIVITY (Performance Task)

DESIGN YOUR OWN MASK
DIRECTIONS: Design your own mask using the colors in masks and
makeup of Peking opera. Use the mask frame as your guide. Once
done, write at the space provided a short explanation of your design.

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Materials:
 Cartoon
 Scissor
 Any coloring materials
 Stick (optional)

AllAboutmy Artwork

Name and Signature of the Student

Note: The Teacher and the Parent/Guardian should leave their score and comment for the
artwork of the student. For rating, follow the rubric below.

RUBRIC:
EXCELLENT GOOD FAIR 3PTS POOR 2PTS
CATEGORY 5PTS 4PTS
Followed the
FOLLOWING direction correctly. Followed most Followed some of Did not follow the
DIRECTIONS of the direction. the direction. direction.

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 CREATIVITY Student’s output is Student’s output is Student’s output
Student’s output
AND very creative and fair and has few is dull with lots of
is good and tidy.
WORKMANSHIP tidy. errors. errors.
Colors of masks Colors of masks Colors of masks There is no
and makeup in and makeup in and makeup in visible pattern of
Peking opera is Peking opera is Peking opera is colors of masks
PATTERN well-defined and visible but not somewhat visible and makeup in
used from clearly defined. but not continuous. Peking opera
beginning to end.

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