MUSIC Quarter 4-Module 1: 20th and 21st Century Multimedia Forms

Lesson 1: Philippine Opera

Opera is part of Western classical music form and tradition. It started in Italy at the end of the 16th century and soon spread
throughout the rest of Europe. Eventually, English, French, and Italian operas also flourished.
The opera is both a musical and art form wherein singers and musicians perform a dramatic work combining the text
(called a libretto) and the music, usually in an elaborate theatrical setting. It incorporates many of the elements of theater,
such as acting, scenery, costumes, and sometimes, even dance. The performance is typically presented in an opera house,
cultural center, theater, or auditorium. It is accompanied by an orchestra or a chamber ensemble. The dialogues were sung
and not spoken – they are called recitatives.

OPERA IN THE PHILIPPINES

The emergence of the Filipino opera started to take shape during the middle part of the 19th century. Foreign
performers, including instrumental virtuoso, as well as opera singers and Spanish zarzuela which is also known as the drama
simbolico dominated the Philippine theater scene. Performers came to the country to perform for enthusiastic audiences.

As the locals were being exposed to Western art and music, they were also realizing their inner talents and passion for
opera. The themes were ripe for voicing out sentiments about their love for the country and longing for independence from
colonial rule. The element of tragedy, emanating from the popular themes of romance, deceit, murder, vendetta, and other
elements of human frailty, became a favorite narrative of the Filipino opera. Some works were based on previous literary
creations, such as Rizal’s Noli Me Tangere and El Filibusterismo. Tragic endings and unresolved conflicts made for excellent
choices of opera productions.
Local Theaters and Early Philippine Operas

Zorilla Theater, Metropolitan Theater (MET), Cultural Center of the Philippines (CCP)

Local theaters, including the Teatro Zorilla, Vista del Teatro Principe Alfonso XII (located nearby the
modern day Metropolitan Theater), Variedades, Teatro de Tondo, Circo Teatro de Bilibid, Teatro Filipino, and
Teatro Popular were the choice venues for the mainly Italian operas that came into the country, such as Il
Barbiere di Siviglia, Ernani, and La Sonnambula. Later on, other opera venues were established, led by the
Manila Grand Opera House and the Metropolitan Theater (Met).
The first Filipino opera is the Sandugong Panaguinip with libretto in Spanish by Pedro Paterno, a
poet, novelist, musician, and government official, and was translated into Tagalog by Roman Reyes, and
music by Ladislao Bonus. This was first staged at the Zorilla Theater on August 2, 1902 . Sandugong
Panaguinip was produced by Molina-Benito Theater Company which was owned by Juan Molina (father of
soprano and actress Titay Molina and National Artist Antonio Molina). It was later translated by the
Englishman M.W. Loving with the title, The Dreamed Alliance.
Following this historic development, other prominent figures and ensembles contributed significantly to
the promotion of opera. The Orquesta Molina (Molina Orchestra) was known for their interpretation of operas as
well as other classical compositions.
Subsequent Filipino operas followed sporadically, such as Lakangbini by Patricio Mariano that was
staged at the Metropolitan Theater on December 19, 1933. Operatic divas included Nelia Manalo, Mercedes
Matias-Santiago, National Artist Jovita Fuentes, Isang Tapales, the bass-baritone Jose Mossesgeld Santiago,
and later on some of their students including Elmo Makil, Gamaliel Viray, Emmanuel Gregorio, Irma
Potenciano, and Fides Cuyugan. The establishment of the Cultural Center of the Philippines (CCP) by virtue
of Executive Order No. 30 in 1966 paved the way for other Filipino operas to be staged at a legitimate
venue of international standard.
Leandro Locsin designed its architectural structures, Carlos “Botong” Francisco designed the logo, and
Lucrecia Kasilag became the first Theater Director – all three eventually became National Artists. Jaime
Zobel de Ayala and former First Lady Imelda Romualdez-Marcos served as Executive Director and Chairman
respectively alongside its Board of Trustees that include Juan Ponce Enrile, Antonio Quintos, Fr. Horacio
Dela Costa, Ernesto Rufino, and Antonio Madrigal.

ORIGINAL PHILIPPINE OPERAS

LA LOBA NEGRA

La Loba Negra (The Black She-Wolf) is a three-act Filipino opera. Acts I and II are based on
history. Act III is based on a legend attributed to Fr. Jose Burgos, one of the three martyred priests
Gomez, Burgos, and Zamora who were executed in Bagumbayan (now Luneta) in 1872. The music
was composed by National Artist Francisco Feliciano, with libretto by soprano Fides Cuyugan-
Asensio. The premiere was held in 1984 with National Artist for Theater and Film Lamberto Avellana
as director.
SYNOPSIS:

The opera begins with a Prologue depicting the scene of a woman dancing around a priest
tied to a log. She scolds him in a haunting atmosphere of pitch darkness and a howling wolf from the
distance. The scene shifts to the Governor’s Palace Ballroom where a welcome party in honor of the
new Governor-General Bustamante is in progress. Upon the arrival of the Governor, lavish gifts are
offered to him by the various guests. To their surprise and dismay, the Governor downplays their
ostentatious revelry and gift giving as a sign of potential corruption in his song Makinig Kayo. The
entry of Fray (friar/priest) Totanes and his regal posturing further elicits sarcastic remarks from the
Governor. As he and his wife Doñ a Luisa exit the scene, an indio (Spanish term used for a Filipino
native) servant named Macatangay enters with a message to the Governor from his employer,
Auditor General Torralba

NOLI ME TANGERE, THE OPERA

The three-act opera Noli Me Tangere was composed by National Artist Felipe Padilla de Leon, with libretto by
National Artist Guillermo Tolentino. It premiered in 1957 at the FEU Auditorium. The cast included Juanita
Javier Torres as Maria Clara, Don David as Ibarra, Fides Cuyugan Asensio as Sisa, Milo Cristobal as Padre

Damaso, and Morli Daram as the director. There were several other productions that followed the premiere
staging.

EL FILIBUSTERISMO, THE OPERA

The opera El Filibusterismo was composed by National Artist Felipe Padilla de Leon in 1970,
with libretto by Anthony Morli. It is in three Acts and written in Tagalog. It was first staged at the
Cultural center of the Philippines.
The Novel Behind the Opera

El Filibusterismo (The Filibuster) was a novel by Dr. Jose Rizal and a sequel to the earlier Noli Me
Tangere. It tells of the continuous struggle of the Filipino people to achieve freedom and
emancipation from colonial rule. Through the major characters involved, it reflects the prevailing state
of Philippine government and society that has become corrupt and immoral. For which, a revolution
was being seen as the only solution for change. It was also perceived as a warning from Rizal – an
intellectual from the highest order. Although he favored a peaceful way of instituting reforms, the
seemingly hopeless situation points to armed rebellion in aim of independence.

LESSON 2: Philippine Ballet

The dance form known as ballet has been used to interpret stories of all kinds. It is a
performance in which a story is told without words by using body movements and facial expressions.
The lack of spoken words or sung lyrics is more than made up for by the creative movements and
gestures of the dancers. The performance is further enhanced by colorful costumes, elaborate sets,
visually suggestive music, and sophisticated choreography. Original Filipino ballets vividly present
folktales and local fables.

TATLONG KUWENTO NI LOLA BASYANG

Tatlong Kuwento ni Lola Basyang featured the following stories:

Lola Basyang is a ballet adaptation of Severino Reyes’ folktales Mga Kuwento ni Lola Basyang. It was meant to
instill and rekindle the interest of Filipino youth in the beauty, richness, and heritage of Philippine literature. The
typical storytelling scene shows the grandmother (Lola Basyang, the pen name of the author) on a rocking chair
with her grandchildren listening to her fascinating tales.
two of those collections were presented by Ballet Manila, with prima ballerina Lisa Macuja-Elizalde as the company’s
Artistic Director. Entitled Tatlong Kuwento ni Lola Basyang (2009) and Tatlo Pang Kuwento ni Lola Basyang (2013),
the stories were taken from dozens of stories in the collection of Severino Reyes.

Ang Kapatid ng Tatlong Marya This is a fantasy story set to neo-ethnic music in a contemporary style. It is about a
hero’s fantastic journey to different kingdoms in pursuit of his bewitched sisters. The music is written by Joey Ayala, with
choreography by Lisa Macuja-Elizalde.

Ang Mahiwagang Biyulin This is a local version of the Pied Piper tale where the main character mesmerizes his
followers through the music of his violin. The story instills in them the moral lesson that “good triumphs over evil.” The
music is by National Artist Ryan Cayabyab, arranged by Arnold Buena, and choreography is by Tony Fabella.

1. Ang Prinsipe ng Mga Ibon

This is a love story where a princess falls in love with a bird. It was choreographed by Ballet Manila
 danseur (a male ballet dancer) Osias Barroso. The music is taken from selected musical works of National
Artists arranged by Mon Faustino.

The second production, Tatlo Pang Kuwento ni Lola Basyang, included the following stories:

Ang Palasyo ng Mga Dwende This is a romantic adventure wherein the heroine Yani is being maltreated by her envious
stepmother and stepsisters. The cursed bird is changed back into a prince with the help of Yani. It depicts Mindanao and the
ancient Pintados through its neo-ethnic movements. The music and musical arrangements were done by Diwa de
Leon using a hegalong, a native boat shaped lute of the T’boli. Illustration was done by Albert Gamos. The
choreographer was Gerardo Francisco in collaboration with Kris-belle Mamangun, Naomi Jaena, and Romeo
Peralta.
Labindalawang Masasayang Prinsesa Anting-Anting This is a romantic fantasy of the twelve daughters of the king.
Macuja-Elizalde herself danced in the ballet portraying the role of the eldest among the king’s twelve daughters. Her real life
daughter Missy Elizalde played the role of Ate Missy who sat and listened to Lola Basyang’s stories and served as the link from
the storyteller to the fantasy world. Lola Basyang was played by veteran character actress Luz Fernandez – a role that she has
reprised countless times.

Rama Hari, translated as King Rama, is the Philippine adaptation of the Indian epic Ramayana set to music, dance, and
drama. Originally presented on February 8 to 17, 1980, the creative team consisted of Ryan Cayabyab (Music), National Artist
Alice Reyes (Choreography), National Artist Bienvenido Lumbera (Literature), and National Artist Salvador Bernal (Theater Design),
with the CCP Philharmonic Orchestra conducted by Cayabyab. The major roles were performed by Basil Valdez (Rama), Kuh
Ledesma (Sita), and Leo Valdez (Ravana). Their counterpart dancers were composed of Alice Reyes as Robert Medina’s Sita, Nonoy
Froilan and Robert Medina as Rama, Effie Nanas as Nonoy Froilan’s Sita, Ester Rimpos, and Butch Esperanza as Ravana.

Indian Epic Behind the Musical Production The Ramayana is one of the two great Indian epics that talk about Indian life around
1000 BC and how dharma was practiced. Later, it became a model of behavior for the whole Hindu population. Dharma is a type of
behavior said to be in accordance with the order that makes life and the universe possible. According to its meaning, it
explains the expectations in fulfilling duties, respecting rights, observing proper conduct, practicing virtues, and maintaining a
rightful way of living. The epic Ramayana consists of 18 books containing approximately 24,000 verses divided into 500 songs.

Quarter 4 Art- Lesson 1: Themes and Elements of Art Applied to Performance

Philippine-based Theatrical Art Forms
Art elements and processes do not apply only to forms of art like visual art, technology-based art and media-based art, but are also
indispensable to performing arts like theater. The use of musical sounds, songs, dialogue and dance allows how an idea or theme in a
certain performance is conveyed.

Theater arts is a collaborative form of art where live performers act on stage before a group of audience in a specific place carrying out a
story. Live performances like theater plays demand the expertise and collaboration of each member in the production team as well as
the cast to produce a high-quality performance. One of the best examples of theater plays is Miss Saigon, where Lea Salonga was selected
to play the lead role as Kim.
Theatrical Forms
A. Tragedy
It is a dramatic play portraying the struggle of a strong-willed protagonist against fate, as predestined by mysterious, divine, social, or
psychological forces, culminating in disaster and usually caused by a flaw in the protagonist’s character.

B. Comedy
It is a dramatic play of light and humorous character, typically with a cheerful and happy ending.

C. Drama
It is a play that is “for real”. The characters represent realistic and everyday people.

D. Melodrama
It is a dramatic composition characterized by extravagant theatricality and the dominance of plot and physical action over
characterization.

The Elements of Art as Applied to an Original Performance

1. Sound and Music. These two elements set for the audience different moods and emotions. Through the use of different sounds, they
provide different effects to the play that heighten the emotions of the characters and the audience. The sound effects also make the
play more realistic and exciting.

2. Gesture, Movement, and Dance. These are bodily movements or actions that usually express emotions, character, and narrative
actions with accompanying sound or music.

3. Costume, Mask, Makeup, and Accessories. These comprise the visual effects, of which the main function is to enhance visibility and
aesthetic value. They help make the character appear realistic according to the role he/she portrays.

4. Spectacle. This is something exhibited for view as something unusual, notable, or entertaining, especially an eye-catching or dramatic
public display which may be regarded as impressive and breathtaking and on stage if visual, lighting, sound, music, costumes, dance, and
special effects are properly manifested in a play.
Examples of Philippine Plays

Sarswela
It is a type of melodrama in three acts where pieces are both spoken and sung. Aside from being a significant part
of the Philippine history, it was also employed as a tool to fight against colonization.
Epic Poetry
Dating back to the pre-colonial period and commonly presented during festivals and gatherings, it is considered by
scholars to be the highest point of Filipino folk literature.
Duplo
It is a poetic debate presented through song and dance originating from indigenous courtship customs. In this type of
play, poets use proverbs and riddles to present their suit to the woman of their choice.
Moro Moro
It is one of the most popular types of theater that and depicts the conflicts between the Moros and the Christians.
Themes like love, and vengeance, and religion predominate.
Senakulo
It is also known as Passion play. This dramatization of the life and death of Jesus Christ has been a part of the lives
of the Catholics and is celebrated during Holy Week.
Traditional Folkdance
It is one of the oldest forms of theater and thus an important part of our heritage today. These are dances that reflect
the lives of the people in a certain place or region and describe their culture and origin.
Bodabil
It is Vaudeville of American origin that became uniquely Filipino with the localization of the name, Bodabil.

Principles of Art as Applied to an Original Performance

1. Rhythm, Movement. This principle guides the directors and other production staff of the play on the proper use of music and
movement. These elements should contribute in setting the mood and tone of the play and the scenes.
2. Balance. This principle guides the director on how to achieve the proper balance and composition in terms of stage
blockings, props, backdrops, costume and set design/set pieces. This will also guide the production staff in setting the right
perspective of the play.
3. Emphasis. This principle guides the director on which part of the play should be emphasized This will help in communicating to
the audience the theme of the play.
4. Harmony, Unity and Variety. These principles guide the director on how to put the elements of arts like set design, costumes,
spectacle, etc. in harmony. These elements should complement each other and also have variation to create a spectacular visual
impact on the play.
5. Proportion. This principle guides the director as to how to make the play more realistic or stylized through proper use of
space, height, width and sizes of the elements or materials to be used in the play.

Module 1: Components and Steps in Preparing Health Career Plan

A Health Career Plan is an individual action or initiative in making career choice, in growing in chosen career or in making a career
shift which involves a veryimportant discernment.
Self-Assessment. This is the first step in knowing the
health career that suits you. This step requires an honest evaluation of yourself. It is necessary for you to know yourself.
Components of this step are your strengths, weaknesses, interests, hobbies, personal experiences.
Step 2. Career Exploration. Exploring health career options through different ways or methods is an essential stepto choosing a
particular health career path to take. You can do this through reading articles, browsing the net, attending fora, and meetings.
Conducting informational interview, job shadowing, attending internship, and volunteering.
Step 3. Decision Making. Once you have assessed yourself and explored the health career that you are interested to pursue, you
are now ready to make decisions. In this step, you need to consider both current and future goals in life by narrowing down your
choices. Pros and cons, comparing your personal strengths and interests, choosing a specific health career to pursue.
Step 4. Plan of Action. Now that you have chosen a health career, you are now ready to make a career plan. At this point, you will
design your action plan or identify and organize the necessary steps to achieve your desired goals.
Identifying short-term and long-term goals, identifying education and training requirement