Grade 7 -First Quarter

THE LANGUAGE OF ARTISTIC EXPRESION : Our Life Stories as Spring Board for Creative Expression Through Release and Exploration Process
CONTENT PERFORMANCE LEARNING TOPIC OBJECTIVES LEARNING ASSESSMENT CODE
STANDARD STANDARD COMPETENCIES STRATEGIES
The learner… The learner… The learner …. The learner is taught… SPA_TAAE
demonstrates performs creative 1.translates his THE LANGUAGE OF 7-Ia-b-1
understandin pieces using body personal ARTISTIC EXPRESSION
g of the movements and experiences to IN ALL THE ART FORMS
language of vocal improvisations creative expression. A. The Creative Self
artistic in the integrated  Exploration of life
expression in arts process that 2.evaluates the level stories
all the art exhibit of meanings
SPA_TAAE
forms and understanding of inherent in shared B. Elements of Artistic
7-Ic-2
principles of the different stories. Expression:
artistic elements of artistic 1. Space
organization expressions and 3.utilizes the body and 2. Line
common in principles of the voice as tools for 3. Shape
the arts. organization. exploring the 4. Texture SPA_TAAE
principles of artistic 5. Color 7-Id-f-3
organization. 6. Movement
7. Rhythm
4. utilizes the
elements of artistic C. Principles of Artistic
expression and the Organization common
principles of artistic in the arts: SPA_TAAE
organization 1. Focus 7-Ig-i-4
common to all the 2. Emphasis
arts through creative 3. Balance
release and 4. Variations
exploration 5. Contrast
exercises. 6. Development
7. Structure
 5.gives importance to
one’s SPA_TAAE
background/orientati 7-Ij-5
on in the creative
expression.

GRADE 7 - SECOND QUARTER

THE LANGUAGE OF CREATIVE EXPRESSION IN PHILIPPINE CULTURE
CONTENT PERFORMANCE LEARNING TOPIC OBJECTIVES LEARNING ASSESSMENT CODE
STANDARD STANDARD COMPETENCIES STRATEGIES
The learner The learner… The learner… The learner is taught… SPA_TACE
… produces creative 1. enumerates local THE LANGUAGE OF 7-IIa-1
demonstrates outputs using the forms of cultural CREATIVE SPA_TACE
understanding integrated process performance from EXPRESSION IN 7-IIb-2
of the involving elements family and community. PHILIPPINE SPA_TACE
language of from different art 2. describes cultural CULTURE 7-IIc-d-3
creative forms and drawing performances in their (FOLKLORE, SPA_TACE
expression in from cultural localities. RITUALS AND 7-IIe-g-4
Philippine performances and 3. relates the links FESTIVALS) SPA_TACE
culture traditions in his/her between the A. Cultural 7-IIh-j-5
(Folklore, locality. performance practice Performance:
Rituals and and their life stories. 1. Origins
Festivals). 4. executes the various 2. Manifestations
artistic expressions 3. Functions
present in the re- B. Aesthetics of Cultural
Performance
enactments and C. Contextual and
establishes their Contemporary
functions. Interpretation and
5. mounts re- Depiction
enactments of cultural
performances
 demonstrating the use
of the different modes
of expressions or art
forms.

Grade 7- THIRD QUARTER

THE ART OF THE THEATER AND DRAMA
CONTENT PERFORMANCE LEARNING TOPIC OBJECTIVES LEARNING ASSESSMENT CODE
STANDARD STANDARD COMPETENCIES STRATEGIES
The learner… The learner… The learner… The learner is taught… SPA_TACE
demonstrates evaluates the 1. analyses the THE ART OF THE 7-IIIa-b-1
understanding elements of theater elements of dramatic THEATER AND SPA_TACE
of the and drama in short arts in theater DRAMA: Philippine 7-IIIc-d-2
elements of plays from production. Drama SPA_TACE
theater and Philippine theater. 2. selects scenes from A. NATURE AND 7-IIIe-f-3
drama using Philippine traditional ELEMENTS OF SPA_TACE
examples and contemporary THEATER 7-IIIg-j-4
from drama in creative 1. Interaction between
Philippine performance. Actors and Audience
theater. 3. describes the 2. Liveness and
Ephemerality
playwriting and 3. Conventions of Time,
directing principles Space, and Action
present in the play. 4. The Art of Theater
4. conducts scene and Drama and other
studies from the Art Forms
selected plays. B. ELEMENTS OF
DRAMATIC ART
(Philippine Traditional
and

Contemporary)
 1. Theme/Premise
2. Character
3. Conflict/Plot
Structure
4. Dialogue
5. Spectacle
C. ELEMENTS AND
PROCESSES OF
THEATER
PRODUCTION
1. Playwriting and
Analysis
2. Basic Directing
3. Scenography or
Production Design
a. Properties
b. Sets
c. Costumes
d. Make-up
e. Lighting
f. Sound
g. Multi-media

GRADE 7 – FOURTH QUARTER

BASIC IMPROVISATION AND DEVISED THEATER
CONTENT PERFORMANCE LEARNING TOPIC OBJECTIVES LEARNING ASSESSMENT CODE
STANDARD STANDARD COMPETENCIES STRATEGIES
The learner The learner… The learner is taught… SPA_TAIDT
… produces The learner... BASIC 7-IVa-b-1
demonstrates collaborative short 1. demonstrates an IMPROVISATIONAL SPA_TAIDT
understanding plays applying basic awareness of the AND DEVISED 7-IVc-d-2
of the Basic improvisation and / capacities and limits of THEATER SPA_TAIDT
Improvisation or devising the actor’s A. Actor Tools and 7-IVe-g-3
 al and techniques based on Implements SPA_TAIDT
Devised individual tools. 7-IVh-4
Theater experiences and 2. identifies the various a.1 Body
Techniques, community theater stage craft and a.2 Voice
using the exposures. their contributions to a.3. Imagination
actor’s tools, theater production. B. Basic Improvisation
implements 3. improvises scenes and Devising
and stage using devising Techniques
craft. techniques based on
community narratives. b.1 Autobiographical
4. appraises the specific performance
creative contributions b.2 Community
of individual’s shared narratives
experiences in a b.3 Adapting fictional
collective scene stories
making. b.4 Using objects and
texts as stimuli
b.5 Making performance
space
C. Stage Craft/ Creating
the World of the Play

c.1 Theater Architecture

and Methods of Staging
c.2 Design Elements and
Principles
c.3 Techniques of
Scenography
SPA THEATER ARTS CURRICULUM
CONCEPTUAL FRAMEWORK
Since the onset of the ancient civilization and indigenous cultures, theater is said to be mother of the Art. Its holistic and integrated nature
of cultural expression has fused a spectrum of different artistic manifestations. Whether in Bali, in Bulgaria, in the Andes, in Kenya, in
Mindanao or in Cordillera, indigenous people perform enact rituals and narratives in a mode that utilizes the simultaneous use of words
or narratives, singing, miming and dancing. In many instances, they design and fabricate their own ritual wear, accessories, musical
instruments, and tools. The artistic process is at once literary, visual, musical, and physical, and because the performative act serves a
significant function in the life of a community, it acquires a dramatic mode which stimulates an emotional experience. Theater, like the
multi-limbed Sarawasti, opens up its different arms to create an experience that is both total and diverse.
Theater is a meeting ground and convergence of various artistic disciplines. The disciplines of literature music, dance, visual arts,
architecture, and even modern media like film or computer generated graphics, assert their unique and distinct presence to endow
dramatic act of the actors with a brilliance of layers causing an impact of luminosity and depth. The converging power of theater provides
a prism of various artistic languages made whole by a unifying vision of man and society. It is a space where the individual artist, whether
he is a musician, dancer, poet or designer, he can give full rein to his specific artistic bent.
Theater is both personal and communal. It is one art form that welcomes collaboration and artistic cooperation. It is an avenue for minds
and sensibilities to interact, to engage, to differ, and to harmonize, allowing the maximum multiplicity of viewpoints to merge, to balance,
and to share a level playing arena for consciousness to grow. It respects both individuality and collectivity the person becomes a
culturally creative amidst a group or community; the group release synergy, power and dynamism unleashed by individual creative. A
theater group in class, in school, in a community, in an institution, is a reflection of the larger society working for mutual and reciprocal
growth and development.
The art of drama resides in the very core of theater. The heart of the dramatic experience is the art of the actor. The actor, whether in
presentational or representational theater, provides both empathy and distance, giving the spectator that rare opportunity to see reality
unravel before his or her eyes, offering possibilities of insight or inquiry. The theater process allows the student actor to develop his
sensitiveness, his intelligence, his esprit de corps, and his sense of the imagination and verisimilitude to deliver a characterization that
brims with emotional truth.
Theater is incomplete without the spectators: the audience, the electricity of live theater and drama is stirred by that palpable line of
communion engendered by creator and reactor. One feeds into the other. The audience provides the theatrical act context, energy,
stimulus, and unction to make the dramatic performance living and relevant. The actor provides the audience substance by which it
informs itself with the necessary pool of emotions and ideas to guide its life.
SPA THEATER ARTS CURRICULUM
PHILOSOPHY AND RATIONALE FOR THEATER EDUCATION
The Special Program in the Arts was first conceived in 2000, with seventeen (17) pilot schools across the regions. The Bureau of
Secondary Education has conducted National Trainings and Workshops, which catered to public school teachers. The SPA has designed
a curriculum framework which was utilized in the first four years of implementation.
SPA schools conducted benchmarking in the different art schools, specifically the Iloilo National high School (the first SPA School) and
the Philippine High School for the Arts in making to adopt best practices in the curriculum development.
With the increase in the number of schools offering the program and to formalize the curricular offerings of each art specialization, the
National Commission for Culture and the Arts with its partnership with the Department of Education “SanayGuro” (Workshop for Arts
teacher) was designed. This has led to the crafting of the SPA Theater Arts Curriculum drawing from standards and curriculum exits of
the K-12 Enhanced Basic Education Program.
The Special Program in the Arts has been in operation for almost two decades and has reared hundreds of theater artists who have
already made a name in the theater profession and its related careers, whether in the educational field or in the professional
entertainment and communication industries. And just any human and institutional life cycle, especially in the context of the newly crafted
K to 12 Basic Education revolutions, its curricula and learning processes must meet the challenges of a constantly changing world.
After two years of programmatic assessment of the SPA theater curriculum, and emboldened by the newly formed partnership between
the Department of Education (the rightful mother educational institution of the program) and the National Commission for Culture and the
Arts (the government agency tasked with the development of arts and culture), the SPA Theater Arts Course is all the more readier to
engender a movement of curricular reform. It will harness the potentials of the theater and drama as a medium for the expression of the
soul, cultivation of cultural identity, creating an impetus for other artistic activities, promotion of a personality to self-realization, an anchor
for historical and cultural understanding, for transformational values, and promotion of human rights. The SPA theater student is
envisioned to immerse in an educationally liberating process that will provide him a creative anchor of inestimable value for developing a
distinguished profession grounded in the various sub-disciplines of the theatrical art. Whether they turns out to become an actor, director,
playwright, choreographer, composer, lights and sound technician, manager or teacher in the dramatic profession, they shall be properly
tooled to steer themselves to an empowered future.
The six years of SPA training in theater shall lay the foundation for developing the consciousness, knowledge, skill, and attitudes of the
growing theater artist to a life steeped in an appreciation of heritage, charged with skills for artistic excellence, and stimulated with a spirit
for fermenting sustainable development of self, community, and the nation.
Special Program in the Arts will effectively nurture and refine the learners’ artistic expression and cultural literacy, and celebrate their
national heritage, while it instills, within every individual learner, pride in his own cultural identity.

LEARNING AREA STANDARD:

The learner demonstrates an appreciation and understanding of the concepts and principles of Theater Arts Creation, Aesthetics, and
History within the context of Philippine cultural and historical realities, resulting in theatrical opus imbued with artistic creativity, sense of
community, and pride of place, sensitive interaction with Filipino indigenous heritage, and values of human and social development,
mobilizing skills for a career in the arts.

GRADE LEVEL GRADE LEVEL STANDARDS

Grade 7 The learner demonstrates appreciation and understanding of the basic language of the creative arts,
focusing on theater arts as an INTEGRATED LANGUAGE of personal, group, and cultural
expression and creativity in stories, ritual, myth, and cultural enactments for the release of creativity,
and awareness of self and cultural identity, and sense of social responsibility.

KEY STAGE STANDARD GRADES 7-10

The learner demonstrates an appreciation and understanding of the concepts and principles of Theater Arts Creation,
Aesthetics and History within the context of Philippine cultural and historical realities. The course ends with theatrical
performances imbued with artistic creativity, sense of community and pride of place. Each performance incorporates
sensitive interaction with Filipino indigenous heritage, values of human and social development, and mobilization of skills
for a career in the arts.

GRADE LEVEL STANDARDS FRAME WORK

GRADE LEVEL Theater Arts Creation
Grade 7 Improvisations and deviance
of sketches
drawn from and focusing on:
 Indigenous cultural practices
 Exploration of self-creativity
 Collaborative creativity
 Reduction of inhibition
 Exploration of self-creativity
 Collection of improvisation
and deviance
Theater Aesthetics
 Modes of indigenous cultural
expression: Rituals epics and
festivals
 Elements of Artistic Expression
 Principles of Artistic Organization
 The Integrated Arts Approach
 Introduction to Different Arts
Disciplines
 Elements of Drama
Theme/ Image of the Human and
Society
 The role of culture and the arts in
human and societal development
 Culture and the arts as vessels and
expressions of Genius of Place
 The integratedness of artistic and
cultural modes in Philippine Indigenous
cultures as a holistic expression
 The diversity of Filipino cultural
performance and traditions as indicators
 Elements of Theater Performance of local creativity and ingenuity
 Improvisation and Devising
Techniques