THE DRAMA

Believe to have its origin in the art of dance.

It is found in some form in almost every society (primitive or civilized)
It is a reflection of many phases of life.
We learned that the past, as show on the board of the theater, is not
concerned with kings and great men, but peasants and mechanics, saints,
sinners, and rich and poor as well.

WHAT IS DRAMA?

Oxford Dictionary defines DRAMA as a composition in prose or in verse,

adapted to be acted and is represented wig accompanying gesture, costume,
and scenery, as in real life.
In ancient Greek, DRAMA is meant something that is acted out, or lived
through.

DRAMA DOES NOT HOWEVER,

Need a stage
Need costume
Need props and scenery

DRAMA DOES NEED,

An individual or a group of people who use themselves- their bodies and
minds- through action and offers through speech to tell as story.
ESSENTIAL REQUIREMENT FOR HUMAN IN DRAMA

To Developed such as ability to take the role of the other people.

Heathcote (1984) quoted that dramatic activity is the direct result of the
ability to role-play- to want to know how it feels to be in someone elses
shoes.

THEATRE is direct experience that is shared when people imagine and

behave as if they were other than themselves in some other place at
another time.
A WORLD WIDE SHOW
(A DRAMATIC ENTERTAINMEMNT)
MISS SAIGON

Produced by Cameron Mackintosh of England.

The title Miss Saigon was conceived by Alain-Boublil, a lyrist and ClaudeMichel Shonberg, who wrote the musical score.
They need Asian voices that could sing Western music.

DEVELOPMENT OF DRAMA
Drama originated probably among the savage tribes in the dance of religious
festivals or in mimetic actions for purposes of showing how a certain feat was
accomplished on a given occasion like the hunting exploits of some members of the
tribe.
ANCIENT DRAMA

1. EGYPT (2000 B.C.)

Drama existed in religious ceremonies for the worship of Osiris.

There are some evidence of drama in book of Job and in the song of Solomon,
where occasionally there appear to be parts for two speakers.

2. GREECE

The distinct forms of tragedy and comedy was originated in Greece.

Greek theatre was created to celebrate religious festivals; festivals of the god
Dionysus ((Greek mythology; god of wine and fertility and drama; the Greek
name of Bacchus)
A chorus was used to either sing or chant the script.
The earliest Greek dramatic production on record is the tragedy won by
Thespis of Icaria (534 B.C.,) when he unconsciously separated from the
chorus and made a solo and later followed by the choir.
Masks were used to allow the actors to play more than one character
Thespis was a playwright, an actor or a priest, but he has been credited for
creating the first actor who broke away from the chorus and would speak to
the chorus as an individual character. This is why actors are also known as
Thespians.

The following playwrights contributed to the creation of character:

Aeschylus introduced the idea of using a second actor which allowed for
interaction between characters.
o Aeschylus characters are heroic, superhuman; his style is lofty,
magnificent.
Sophocles a third actor to the leader-chorus drama and continued the
creation of character by using the chorus less, and creating more dialogue
between characters.
o Sophocles characters are idealized but true life, though like furnishes
no such models.
Euripides is an identified with theatrical innovations that have profoundly
influenced drama down to modern times, especially in the representation of
traditional, mythical heroes as ordinary people in extraordinary
circumstances.

MEDIEVAL DRAMA
Plays were moved into the churchyard, then into the streets and marketplace, and
finally came under the control of guilds, elements of humor and realism began to
creep the drama.
THREE KINDS OF MEDIEVAL PLAY

MYSTERY PLAY- based on the Holy Scriptures.

o Miracle play (in France, but not in England)- dealt with the life of a
saint or a miracle of the Virgin.
MORALITY PLAY- the chief characters represented abstract qualities, such as
vice, mankind, or death and the tone was generally philosophical. ( Moralities
contained humor)
SECULAR DRAMA- dealing with everyday characters such as lawyers, the
merchant, the students, the young wife, and the old foolish husband. One of
the first comic character was the devil.

RENAISSANCE DRAMA

Commedia DelArte
In Italy, a unique form of theatre was created for the common people
Commedia delArte.
It required few props and no sets- produced on platforms on the streets.
It was an unwritten impromptu drama.
The actors improvised the dialogue with comedic stunts (called lazzi).
Actors wore half masks which indicated to the audience which character they
were playing (Just like the Greeks).
Elizabethan Theatre
(16th Century)
William Shakespeare is the most notorious playwright in the history of
theatre.
During this time period, there are other notable playwrights including:
Christopher Marlowe and Ben Jonson.
Shakespeare and his contemporaries encouraged a more natural style of
speaking and acting. They also explored the theme of good government.
Shakespeares characters were also more human with both positive and
negative aspects of their characater being explored.
During this time, plays were still presented in open-air theatres or at times,
presented at court.

DRAMA OF THE 17TH, 18TH AND 19TH CENTURIES

1. FRENCH DRAMA (17TH CENTURY)
French drama emerged from its medieval religious influences with classical
tragedies of Pierre Corneille and Jean Racine and the superb comedies of Moliere.
2. 18TH CENTURY
English comedy became maudlin and sentimental, and tragedy became stiff
and dull.
In the middle of 18th century, the theater was briefly revived by the comedy
of manners of Oliver Goldsmith and Richard Sheridan
The 18th century in France was farcical and comedy and in England was the
comedy of manners.
3. 19TH CENTURY
Romantic drama flourished throughout Europe.
Idealized historical or sentimental characters figured in complex plots of
adventure and triumphant love.
Various types of romantic drama, melodrama, the historical play, and the
fantasy play flourished in Italy and in Russia.
MODERN DRAMA

Henrik Ibsen, a Norwegian dramatist should be given the credit for the
development of the modern drama.
There was a revival of Romantic fantasies in France.
Symbolism was carried to great extremes.
Expressionism appeared in Germany after World War I
Comedy was rejuvenated in England and United states.
Poetic drama reached new heights in England, Ireland, France, Spain and US.

ORIENTAL DRAMA
This is a culture or civilization not far from those established by Rome, Greece, or
other countries.
Like Western Drama, the drama of Asia originated as an elaboration of liturgical
practices.
Eastern drama, in general is based on concept of SANGITA, the threefold art of
music, dance, and poetry, fused into single artistic entity.
The emphasis is on the performance rather than on the intellectual significance of
the subject matter.

PHILIPPINE DRAMA
BEFORE SPANISH PERIOD
DUPLO
A poetical debate held by trained men and women in the ninth night, the last
night of the mourning period for the dead. The bellacos (male participants) are
the head of the game.
KARAGATAN
A poetical debate like duplo, but its participants were amateurs. The theme
was all about a ring that fell into the sea.
BOTH DUPLO AND KARAGATAN ARE HELD IN THE HOMES
FIRST RECORDED DRAMA
o
o
o

Staged in Cebu way back 1598.

It was a comedia written by Vicente Puche
It was performed in honor of Msgr. Pedro de Agurto (Cebuss
first bishop.

11 YEARS LATER
In 1609, another stage play portraying the life of Santa Barbara was staged in
Bicol
DURING SPANISH ERA

CENAKULO
MORO-MORO
ZARZUELA
ATI-ATIHAN
MORIONES

CENAKULO or Passion Play

Heavy drama
Show relation to the sacrifices and death of Jesus Christ.
It is a passion play presented and celebrated during the month of march or
April, depending upon the exact date of the Holy Week.

Performed before the villagers in an open space, usually the church patio, at
one end of which a platform has been erected.
The audience provide their own benches and would come nine nights to
complete the serial.
They come for a chance to applaud their favorite biblical characters and boo
the Roman centurion.
They come to witness the crucifixion or the resurrection when Jesus Christ
ascends from the open tomb to be greeted with as much cheering, fireworks
and various playing of a small town band.
The resurrection scene is reenacted complete with the sound of thunder and
lightning and darkening of the scene.

CENAKULO IS DIVIDED INTO SEVERAL PARTS

Each performance lasts from three to four hours.

For instance;
Malibay, Pasay, the entire Cenakulo cycle STARTS with the CREATION and
ENDS with the RESURRECTION.
VERSIONS OF CENAKULO
Tagalog
Ilukano
Kapampangan
Bicol
Bisayan
MORO-MORO
It is a cloak-and-dagger play depicting the ears between the Christians and the
Muslims, with the Christians always on the winning side.
FIRST MORO MORO

Written by Fr. Jeronimo Perez

Staged in Manila in 1637
It is to commemorate Governor General Consueras victory over the Muslims
of Mindanao
Since then, it has become the favorite play of the people, especially during
the town fiesta.

ZARZUELA

It is a melodrama with songs and dances that have a three-in-one-act play.

It is intended to make the mass feeling towards love, fear, grief, sorrow or
any emotional reactions sublime.
It sometimes shows the political and social conditions of our country.
The musical part of the zarzuela has given much opportunity for creativity
and appreciation of the audiences until the revolt in Cavite in the year 1872.
It is played by 25 professional zarzuela artists. ( actor, actress, and extras)

Junto Al Pasig (Beside the Pasig) by Jose Rizal

Staged at the Ateneo de Manila on December 8, 1880

At the time of celebration of the Feast Day of the Immaculate Conception,
patron saint of the college.

TALKIES ( Talking pictures)

o
o

The introduction of Talkies in 1930 marked the eclipse of the Filipino

theater.
Moro-Moro and Zarzuela vanished as a popular theater art because the
people patronized the American movies, but not the Ati-atihan,
Cenakulo and Moriones that are still present up to the present.

Ex. Walang sugat (not wounded) by severino reyes

MORIONES

Moriones Festival is a Lenten ritual that is as colorful as it is unique.

It is celebrated every Holy Week in Marinduque, an island at the Sounther end
of Luzon, particularly in the towns of Boac, Gsan, and Mogpog.
Morion means mask or visor, which is the top part of the Medieval Roman
armor covering the face. It is this mask carved from dapdap wood that is the
focal point of the Moriones celebration.

CLIMAX OF MORION FESTIVAL

The PUGUTAN ceremony held at noon of Easter Sunday.

This part is held on the dried river bed outside Boac.

The local residents chose Longinus, who at the time of Pilate, drove his spear
into the side of Jesus Christ as he hung from the cross.

ATI-ATIHAN

A pagan ritual which has become an annual affair that the natives look
forward with great expectation.
It is the most extravagant fiesta in the Philippines celebrated in Kalibo, Aklan,
every third Sunday of January in the honor of the Infant Jesus.
It derived its name from Atis, the aboriginal Negritos of the area in the
Visayas

HALA BIRA! HALA BIRA!

The resonant cry that fills the air as the people of Kalibo gyrate through the
streets in hypnotized mass of dancing and shaking.
Feet stomping, hands clapping, bongos beating and ears ringing all sound out
the rhythmic beat of Ati-atihan.

JAPANESE DRAMA
In feudal Japan: the Buddhists developed a form of theater to illustrate the central
concepts of their faith.

3 TYPES OF PLAY

Noh
Joruri or Bunraku
Kabuki

NOH play

These is the oldest of the three trasitional forms of Japanese drama.

They are poetic treatments of history, legends, love and war stories,
influenced by Buddhism and Shintoism.
Shorter than Western plays and undramatic. Performed by masked actors.
Noh integrates masks, costumes and various props in a dance-based
performance, requiring highly trained actors and musicians.
Emotions are primarily conveyed by stylized conventional gestures while the
iconic masks represent the roles such as ghosts, women, children, and old
people.

Noh plays can be classified into one or two acts according to the structure,

Dramatic Noh
Dream Noh (Most common)

In two act dream Noh, the main character is the ghost of some dead person. The
ghost who will become the protagonist in the second act, must present himself
disguised as a common villager in the first act. The protagonist, in both parts, is the
same ghost-person, although appearing in different guises in the two acts.
Joruri or Bunraku

Bunraku (?), also known as Ningy jruri (), is a form of

traditional Japanese puppet theatre, founded in Osaka and enjoyed great
popularity between 1650 to 1730.
The drama involves puppet manipulation to higher level involving
complicated skills.
It arose from the collaboration of puppeteers attached to the shrines where
they performed scenes from Buddha and Shinto Legends.
The puppets are each manipulated by as many as three men.
Bunraku puppetry has been a documented traditional activity for Japanese for
hundreds of years.

Three kinds of performers take part in a bunraku performance:

the Ningytsukai or Ningyzukai (puppeteers),

the Tay (chanters)
shamisen musicians, occasionally other instruments such as taiko drums
will be used.
The puppets height range from 2 to 3 feet tall. The mouth, tongue,
eyelids, etc can be manipulated and some can even transform into a
demons face.
The most popular subject for these plays was the lovers double suicide.
Kabuki drama
Kabuki () drama

It is the most popular form of classical Japanes drama.

It originated at the end of the 16th century.

Although it incorporated some of the highly stylized dances and the

stationery unrealistic pose of the Noh theater, Kabuki developed a much
freer, more extravagant type of entertainment.
o The individual kanji, from left to right, means
SING ()
DANCE ()
SKILL ().

The settings and costumes are lavish

Acting is extremely broad and exaggerated.
Heavy make-up is used instead of mask
Kabuki is most famous for its spectacular visual effects, this includes scenic
effects like storms and falling cherry blossoms, ferocious duels and bloody
suicides and the use of mechanical devices such as trap doors.

Plot of Kabuki

Either on historical or legendary events

Scenes from everyday domestic life.

Historical or Legendary Events

The historical or legendary events mostly about the loyalty of the warriors to
their lords, and usually includes duel and suicide scenes.
Domestic plays
the domestic plays are based on the moral and emotional conflicts of
ordinary people and are often about impossible romances that end in coincidences
or suicides.
CHINESE DRAMA
Like most drama, history of Chinese drama goes back to the earliest rituals
connected in sacrifices performed with song and dance by the Wu, and a very
ancient pantomime said to originate from symbolical dance in honor of the victory
of Wu Wang, founder of Chou Dynasty.
Dancing and singing always accompanied celebrations at the harvest and in
connections with war and peace.
Three types of plays

Vun Pan Shi

Sin Pan Shi
Vun Min Shi

VUN PAN SHI

The oldest form of Chinese play, it has patriotism, and filial devotion for its
subjects.
Music and action unite to play upon the emotion of the audiences. focuses on
patriotism and devotion.

VUN MIN SHI

This is also known as the modern play

Colloquial dialects are allowed instead of Mandarin, the dialect of Peking
which is the accepted speech of the stage as well asd of the nation.

SIN PAN SHI

It presents civil and military conditions

The difference between Vun Pan Shi and Sin Pan Shi is not the libretto, but in
the manner of singing certain roles and in the tradition of acting
Libretto means a musical work not intended for the stage.

DRAMATIC GENRES
DRAMATIC GENRES are kinds of drama, each with its own identifying formal
structure and typical themes.
1. TRAGEDY
Serious in nature, usually considered to the concern the fate of individual
hero or the central character, singled out from the community through
circumstances and through his or her own actions, as a result, the heros final
downfall- usually, but not always involving death-seems at once both chosen and
inevitable.

Romeo and Juliet, William Shakespeare

Anthony and Cleopatra by William Shakespeare

2. REVENGE TRAGEDY
the central character takes revenge in return for an injury, offense, or
perceived wrong doing which comes to some sad and disastrous ending.
Ex. Titus Andronicus by William Shakespeare
3. MELODRAMA
The emphasis is on the action rather on the character. Action is a happy
ending.
TYPES OF MELO DRAMA
1. Romantic Comedy light amusing tales of lovers in some dilemma which is
finally solved happily.
Romantic comedy
Much Ado About Nothing by William Shakespeare
2. Farce light humorous play whose emphasis is on the jokes, humorous physical
actions, ludicrous situations and impossible characters.
The Comedy of Errors by William Shakespeare
3. Comedy of Manners drawing room comedy is sophisticated and sometimes
satirical. It uses witty dialogues and characters are usually high society types and
situations are unreal.
Ex. The Homecoming is a two-act play written in 1964 by Nobel laureate Harold
Pinter

4. TRAGICOMEDY
A dramatic composition involving elements of both tragedy and comedy
usually with the tragic predominating.
The Winters Tale by William Shakespeare
5. NEOCLASSICAL DRAMA
A dramatic work characteristic of a revival of an earlier classical style.
FACTS

Space of the stage becomes the place of the drama.

The characters are embodied by specific individuals.
The DRAMA ONSTAGE is bound by the temporal exigencies of the
performance.
The PROCESS OF THE PERFORMANCE is irreversible.
EACH MOMENT becomes significant yet unrecoverable.
A THEATER COMPANY inevitably confronts materials facts of the theater;
specific cast of actors, a given theatrical space, certain amount of money and
necessity to transform the rich possibilities offered by the play into a clear
and meaningful performance.

Staging a play puts it immediately into a dynamic social exchange:

the interaction between dramatic characters

between characters and the actors who play them
between the performers and the audience
between the drama onstage and the drama of life outside the theater.