Arts 7 Quarter 4 Module 2: Representative Theatrical Forms in the Philippines

Arts Quarter 4 – Module 2: Before the Curtain Call Representative Theatrical Forms in the Philippines

CO_Q4_Arts 7_ Module 2

[illustration: students reading under a tree, a teacher helping students at a desk, a child reading by lamplight, students with a globe]

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Arts – Grade 7

Alternative Delivery Mode Quarter 4 – Module 2: Before the Curtain Call (Representative Theatrical Forms in the Philippines) First Edition, 2020

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Development Team of the Module

Role	Name
Author:	Cherrie Rose L. Desaliza
Content Editor:	Emmanuel C. Alveyra
Language Editors:	Cherrie Rose L. Desaliza, Gladys F. Cantos
Reviewer:	Emmanuel C. Alveyra
Illustrator:	Reymark L. Miraples, Louie J. Cortez, Richard Amores, Pablo M. Nizal, Jr., Jan Christian D. Cabarrubias
Layout Artist:	Reymark L. Miraples, Magnolia M. Mabulo-Delos Santos
Management Team:	Benjamin D. Paragas Mariflor B. Musa Freddie Rey R. Ramirez Danilo C. Padilla Florina L. Madrid Norman F. Magsino Dennis A. Bermoy Emmanuel C. Alveyra

Arts

Quarter 4 – Module 2: Before the Curtain Call Representative Theatrical Forms in the Philippines

7

Introductory Message

This Self-Learning Module (SLM) is prepared so that you, our dear learners, can continue your studies and learn while at home. Activities, questions, directions, exercises, and discussions are carefully stated for you to understand each lesson.

Each SLM is composed of different parts. Each part shall guide you step-by-step as you discover and understand the lesson prepared for you.

Pre-tests are provided to measure your prior knowledge on lessons in each SLM. This will tell you if you need to proceed on completing this module or if you need to ask your facilitator or your teacher’s assistance for better understanding of the lesson. At the end of each module, you need to answer the post-test to self-check your learning. Answer keys are provided for each activity and test. We trust that you will be honest in using these.

In addition to the material in the main text, Notes to the Teacher are also provided to our facilitators and parents for strategies and reminders on how they can best help you on your home-based learning.

Please use this module with care. Do not put unnecessary marks on any part of this SLM. Use a separate sheet of paper in answering the exercises and tests. And read the instructions carefully before performing each task.

If you have any questions in using this SLM or any difficulty in answering the tasks in this module, do not hesitate to consult your teacher or facilitator.

Thank you.

What I Need to Know

[illustration: hand pressing a circular button]

Learning Competency:

The learner identifies the theatrical forms celebrated all over the country throughout the year. (A7EL-IVa-1)

Filipinos are known around the world to be hospitable and friendly, with many possessing a strong sense of humor and lightheartedness despite numerous challenges.

Within the context of artistic performances, Filipinos have a knack for maintaining a convincing appeal of being in character. No matter what a performer’s personal dealings may be, the show must go on.

Our country’s artistic forms of expression play a vital role in preserving our cultural roots. Supernatural events and even historical ones are often translated into an art form in order to these to be passed on to the next generation as reminders of why a certain place is so significant. One such example of these art forms would be the festivals which are celebrated all across the country in commemoration of religious and cultural themes. These have been discussed in the previous modules and, hopefully, you were able to familiarize yourself with the most popular ones and even research others after that. Perhaps one day you might even get to partake in these and cross them off your travel/bucket list, one by one.

If you had enjoyed reading about religious and non- religious festivals, this module is bound to expose you even further to more interesting art forms which our country takes pride in. Are you ready now? Let’s go then!

Learning Objectives

In this module, you will be able to:

1. recognize representative theatrical forms celebrated all over the country and throughout the year,
2. determine distinct characteristics of representative Philippine theatrical forms,
3. appreciate the significance of representative theatrical forms in the preservation of traditional Filipino culture.

What I Know

Direction: Read and answer the following questions carefully. Write the letter of your answer in your notebook.

1. Which among the following theatrical forms in the Philippines uses carton, a stick, a large white cloth, and candles as essential materials to achieve and highlight artistry?
   a. Senakulo
   b. Dance drama
   c. Shadow Puppet Play
   d. Sarswela

   
   

2. Which of the following characteristics of the carillo DOES NOT belong to the group?
   a. This form uses flat objects to produce cut-out figures.
   b. This form uses expressive and complex gesture language that reflects real-life actions.
   c. This form uses translucent papers with proper light blending.
   d. This form uses sticks and threads to support the movement of the object.

   
   

3. For a group task, your teacher assigned you to prepare a dance drama. One of the criteria for grading is its distinctiveness in comparison to the other theatrical forms. Since it is a dance performance, what should you consider as your main focus or as something to work hard for in order to achieve uniqueness in your performance?
   a. The correct use of costume and other props
   b. The appropriate selection of music
   c. The precision of movements and gestures
   d. The profoundness of the story to be told

   
   

4. The _______________ are believed to be the original creators of the moro- moro.
   a. Chinese
   b. Portuguese
   c. Japanese
   d. Spanish

   
   

5. It has been a conventional plot in stories –even nowadays—that two lovers are challenged and hindered by their differences in socio-economic status, educational attainment, and the like. Religious beliefs are also portrayed to be a crucial factor of consideration. Which among the following theatrical forms carries a plot that resembles the said situation?

   
   

   a. Sarswela
   b. Moro- moro
   c. Senakulo
   d. Shadow Puppetry

   
   

6. Sarswela is a musical comedy or melodrama usually with three acts which deals with men’s passion and emotions such as _____________.
   a. love and hate
   b. revenge and cruelty
   c. fun and adventure
   d. avarice (greed) or political problems

   
   

7. Which of the following DOES NOT need a well-defined and colorful character costume in the act?
   a. Senakulo
   b. Moro- moro
   c. Shadow Puppet Play
   d. Sarswela

   
   

8. Theatrical forms hold a very significant role in the lives of the ancient Filipinos since _____________.
   a. theatrical forms were considered the easiest way for Filipino parents and other family members to earn for a living
   b. there were no televisions or other forms of mass media at the time that could provide wider audiences with the chance to witness a creative performance
   c. the Philippines was the only Asian country for a time that knew of theatrical plays and this gave our country a great season of prominence and prestige
   d. theatrical forms served as the frontline scheme of the government to battle against drug abuse and illegal usage

   
   

9. Sarswela or Zarzuela, the Father of Drama, can be described as the following EXCEPT:
   a. having actors and actresses who would help develop a story dealing with men’s passion and emotions such as love, hate, revenge, cruelty, avarice (greed) or even some political issues
   b. having actors and actresses who would support a generally nationalistic theme and plot
   c. having actors and actresses who would usually be wearing traditional costumes like Filipiniana, Barong Tagalog, and other local attire in the conventional era
   d. having actors and actresses who would usually be wearing Western attire and costumes derived from the Spanish influences

   
   

10. Senakulo or cenakulo is a dramatic performance portraying the Passion and death of Jesus Christ. It is usually done during _____________.
    a. Christmas Season
    b. Advent Season
    c. Lenten Season
    d. the whole year round

    
    

11. Majority of the Philippine theatrical forms were derived from:
    a. the digital advancement of our country
    b. the agricultural richness of the Philippines
    c. the historical encounter with the Spaniards
    d. the political injustices that greatly affected Filipinos

    
    

12. Which of the following is TRUE?
    a. All theatrical forms are mostly the same in nature only that they differ in the time of conduct.
    b. All theatrical forms are different in portrayal but they share the same origin.
    c. Each theatrical form has distinct characteristics that separate it from the rest.
    d. Each theatrical form is a preceding act of another, making them individual parts of a bigger production.

    
    

13. Under the inspiration of _____________, the carrilo (one among the very first shadow puppet plays) was staged.
    a. Juan Luna
    b. Antonio Luna
    c. Jose Rizal
    d. Apolinario Mabini

    
    

14. The moro-moro is said to be unique in the Philippines because _____________.
    a. there are no other countries that came up with or created a similar drama to this
    b. the characters are usually made up of a fully-Filipino cast
    c. it is supposed to be conducted among natural resources and reservoirs in the Philippines
    d. it tells the story of how the Philippines got its name

    
    

15. Prinsipe Rodante is one example of _____________.
    a. Senakulo
    b. Moro- moro
    c. Shadow Puppet Play
    d. Sarswela

    
    

Lesson 1 – Before the Curtain Call (Representative Theatrical Forms in the Philippines)

What’s New

Hello! How is your learning experience going? You must have had a great time with the previous module on religious and cultural festivals. This time, the module is designed to introduce you to another dynamic and colorful realm in the world of performing arts. Of course, to help clarify your new knowledge, let us see first how well you still remember all that you’ve learned in the previous module.

Supply the table below with the appropriate information. Copy and answer this in your notebook.

Festival	Place	Inspiration/Reason of Celebration	Please check the appropriate box: Religious	Please check the appropriate box: Non-religious
1. Sinulog
2. Moriones
3. Kaamulan
4. Ati- atihan
5. Kadayawan
6. Dinagyang
7. Panagbenga
8. Maskara
9. Pahiyas
10. Fertility Dance

Thank you for your effort in completing the table. On your notebook, kindly copy and answer the following questions:

1. Were you able to properly fill out the table? Which part did you consider easy? How about the difficult ones?
2. Complete the statement below:
   My most favorite topic from the previous module was _____________________ because _____________________

As you recall the most important insights you had in the previous discussions and expect more promising learning experiences in this module, you should remember that religious and regional festivals are essential parts of our culture. Religious festivals demonstrate our faithfulness to the customs and traditions of the faith that we carry. On the other hand, non- religious or cultural festivals showcase the scope of our rich heritage and mirror the different customs that our society has.

You have learned that each of these festivals play an important role in the totality of our identity as Filipinos. They bind cultural gaps and give us common ground as each festival ought to be respected by every Filipino regardless of what affiliation or locality they might be representing.

Before you will be immersed in a different art form that you will likewise love to explore, let us try another activity that will surely kick-start your excitement.

WORK OUT TO FIGURE OUT

Below are images that are widely known or are familiar to most Filipinos. Take your time to observe and try to label each one of them. Also, add some descriptions that you can best associate them with. Please write your answers in your notebook.

[illustration: figures in blue and red-and-white robes carrying a large wooden cross]

The picture shows

---

---

---

---

---

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[illustration: silhouette of a nativity scene with an angel, a star, a donkey, and figures in a stable]

The picture shows

---

---

---

---

---

---

[illustration: grayscale scene of two figures standing in a doorway of a traditional house]

The picture shows

---

---

---

---

---

---

Let’s Ponder! Were you able to recognize the pictures? Please try to answer the following questions related to the activity above. Write your answers in your notebook.

1. Were you able to recognize the images? Where do you usually see them?
2. On what particular occasion do you usually witness scenes like this? Which kind of artistic performance do you think are they part of? Explain your answer.
3. Can you name some other similar performances?

What is It

Hi there! Are you up for what’s next? Please read the following discussions and take note of the most important details which you are about to come across

Representative Theatrical Forms in the Philippines

The Philippines is a country abounding in homegrown talents, especially when it comes to the diverse fields of visual and performing arts. Throughout the years, Filipinos have conquered numerous platforms and stages as their talents shone in singing, dancing, acting, directing and many other performing acts. Despite the hindrances caused by the pandemic, we continue to celebrate and indulge in the priceless contributions of the theater community and their irreplaceable role in society.

The theater is a place or sphere of reenactment wherein significant events or actions are accompanied by music, dance, and production all working in one accord. Each theatrical form covers a wide spectrum of resources and origins. Majority of our performing arts were derived from historical encounters with the Spaniards and neighboring countries.

Shadow Puppet Play

Back in the year 1898, shadow puppetry had already begun taking roots in the Philippines. Conceptualized by the country’s national hero himself, the carillo was one of the first shadow puppet plays at the time, and it was staged by Dr. Jose Rizal. Using a carton and a stick, he positioned these behind a large, white cloth and used a candle to illuminate the back of the puppets to create the shadows. ¹

[illustration: silhouette of a nativity scene with an angel, a star, a donkey, and figures in a stable] Shadow puppet play

Shadow puppetry is an ancient art form. It is dramatic entertainment typically performed on a moonless night during a town fiesta or on dark nights after a harvest. It uses cut-out figures and flat objects. They are commonly held together by sticks and threads intended to support and create the movement of the puppets. Sometimes, colored translucent papers are used to give off different colors and effects to the cut-out expressions, which also depend on proper blending with light. ¹

Though shadow play is considered an ancient form of storytelling, it continues to evolve over time. It is enhanced with varied techniques meant for improving the puppets and stages, whether through manual and digital technical aids. Shadow plays have been identified as vital parts of various cultures and traditions across Southeast Asian countries, particularly in Indonesia, Thailand, Malaysia, Cambodia and in other countries such as China.

¹ Lourdes R. Siobal, Ma. Honeylet A. Capulong, Ledda G. Rosenberger, Jeff Foreene M. Santos, Jenny C. Mendoza, Cherry Joy P. Samoy, Rabonni C. Roxas, and Johanna Samantha T. Aldeguer- Roxas. Music and Arts- Grade 7 First Edition. Department of Education, 2017.

Dance Drama

From the name itself, dance drama is a performance with scenes which are brought to life mainly through dance. It often has dialogue and can sometimes have a portion of singing. It is popularly used to retell famous national literature. Accompanied by appropriate music, it uses expressive body moments and complex gesture language that reflect real-life actions and recreate scenes which are delicately acted out. Sometimes, there are pantomimes, chants and costumes.

[illustration: two dancers in red and orange costumes, one standing with arm raised and one kneeling] Dance Drama

Since it is a dance performance, its main focus would be the precision of movements and gestures as these create the most impact. However, just like any other public performances, dance drama likewise achieves or creates the right ambiance through the proper use of costumes, props, lighting, stage setup and many other visual factors.

Moro-moro

The moro-moro was believed to be created by Spanish priests. This was the earliest known form of organized theater featuring Muslim-Christian battles. All moro-moro plays follow the main plot of a Muslim-Filipino prince who loved a Christian princess. Their differences in religious beliefs became the main obstacle for their love for each other; thus, this holds the main flow of the story. Prinsipe Rodante is one example of a moro-moro. ²

[illustration: two figures in plumed hats and costumes in a sword fight] Moro-moro

Usually performed during festivals and fiestas throughout the Philippines, moro- moro was indeed part of almost every village back then. Local writers would rewrite scripts and dialogues to ensure that each moro-moro production is different from each other in terms of music, dance, act sequences, costumes and props.

The moro-moro is said to have originated from the Philippines as there are no other countries that have come up with or created anything similar to the drama. The moro-moro is sometimes also called the comedia.

<transcriber’s note: the in-text reference after “moro.” is printed as 2, but the footnote below is printed as 9>

⁹ Lourdes R. Siobal, Ma. Honeylet A. Capulong, Ledda G. Rosenberger, Jeff Foreene M. Santos, Jenny C. Mendoza, Cherry Joy P. Samoy, Rabonni C. Roxas, and Johanna Samantha T. Aldeguer-Roxas. Music and Arts- Grade 7 First Edition. Department of Education, 2017.

Sarswela

Sarswela or Zarzuela is considered the Father of Drama. It is a musical comedy or melodrama usually composed of three acts which all deal with men’ s passion and emotions such as love, hate, revenge, cruelty, avarice (greed) or even political problems. It is usually written in prose, depicting the peculiarity of romantic love among idealized Filipino characters.

Since zarzuelas are generally nationalistic in theme and plot, actors and actresses would usually wear their traditional costumes such as the Filipiniana, Barong Tagalog, and other local attire in the featured era. The props and stage design would also be inspired by traditional Filipino motifs and crafted with local resources.

[illustration: two figures standing in a doorway of a traditional house with a wooden bench] Sarsuela

Though the zarzuela may seem similar with other performances that are accompanied by song and dance, it remains unique as it depicts stories told in integrated local folklore and is carried through the alternating combination of song and speech, vocal ensembles, folk music and dance. ³

Senakulo

Senakulo or cenaculo is a dramatic performance portraying the Passion and death of Jesus Christ. It is usually done during the Lenten season and is widely anticipated as Catholicism is the dominant faith in the Philippines, professed by more than 85% of the population. It takes at least eight days to be performed, usually starting on Palm Sunday and lasting until Easter Sunday. The complexity of how the senakulo is conducted may vary from one church to another. Also, as seasons are dynamic and changing, there have been modernized versions of senakulo that deviate from the conventional set- up. These adaptations still manage to showcase the same story line and messages usually inspired by Biblical stories from the Old and New Testaments.

[illustration: a figure on a cross above a group of robed women] Senakulo

³ Lourdes R. Siobal, Ma. Honeylet A. Capulong, Ledda G. Rosenberger, Jeff Foreene M. Santos, Jenny C. Mendoza, Cherry Joy P. Samoy, Rabonni C. Roxas, and Johanna Samantha T. Aldeguer- Roxas. Music and Arts- Grade 7 First Edition. Department of Education, 2017.

As for the costumes and props used in senakulo, these are also inspired by the Biblical times and are intended to create a historically authentic portrayal in the performance. Telon, a proscenium- type stage with painted cloths or paper backdrops, is commonly used for senakulo set- ups.⁴

The theatrical forms stated above held a very significant role in the lives of the ancient Filipinos as there were no televisions or other forms of mass media at the time that could provide wider audiences with the chance to witness a creative performance. Whether it was for siesta time or for an important occasion, theatrical performances were a valuable source of enjoyment and fulfillment for both the participating artists and the eager audience. They long served as recreational plays, and were the traditional counterparts of the concerts and shows of today.

¹¹ Lourdes R. Siobal, Ma. Honeylet A. Capulong, Ledda G. Rosenberger, Jeff Foreene M. Santos, Jenny C. Mendoza, Cherry Joy P. Samoy, Rabonni C. Roxas, and Johanna Samantha T. Aldeguer- Roxas. Music and Arts- Grade 7 First Edition. Department of Education, 2017.

What’s More

Right now is the perfect time to check just how much you’ve learned. Kindly fill out the learning chart below with the appropriate information based on what you have just discovered from the discussion above.

Representative Theatrical Form	Distinct Characteristic/s	Props and Costumes Used	Origin/ Historical Significance
1. Shadow Puppet Play
2. Dance Drama
3. Moro- moro
4. Sarwela or Zarzuela
5. Senakulo or cenakulo

What I Have Learned

Great job! Now, let us try to review your answers. Kindly respond to the following questions and write these in your notebook:

1. Which among the five (5) representative Philippine theatrical forms have you experienced watching in person? If you haven’t watched one yet, visit a site on the internet and watch at least three among them. Have you observed any of the distinct characteristics you have listed above in those particular performances?
2. When watching these theatrical forms, does it make you feel proud to be a Filipino? Why or why not?
3. How do you think these theatrical forms help in the preservation of Filipino culture?
4. In this fast-paced time we’re living in, digital platforms and apps seem to be the preference of the majority over on-stage productions like theatrical plays as they are more convenient to watch. As a Filipino youth, how would you support the Philippine theater industry and prevent it from disappearing entirely?

What I Can Do

SHOW IN A SHOE BOX

Representative Philippine theatrical forms are performances that are supported by grand production and creative designs. At this point, you might feel a bit disappointed that you cannot experience them in person yet due to the pandemic, so we will try to recreate our own mini version in the meantime.

[illustration: red curtain stage with three gold stars at the top, set against a blue background]

You will be preparing a simple 5-minute shadow puppet play using a shoe box as your main theater and paper cut-outs on sticks as your characters. Your story may revolve around any social or cultural issue that concerns you as a Filipino youth. Here’s how:

1. Write a script/ story board to guide you in your 5-minute shadow puppet play. Take a photo of your output using your cellphone or any similar device and submit it to your facilitator via email. Submit a copy of your original script as well.
2. Create your shoe box theater by using the following options:
   a. Using your smartphone or any electronic device that you have with you, please check the following link for the step-by-step procedure in doing this miniature craft:
   https://youtu.be/4Vig2wEIEFo
   b. Follow the step-by-step procedures illustrated below.

Materials:

• empty shoe box
• ruler
• skewers or straw
• brush, black paint
• scissors
• cutter
• white or black chart sheet (illustration board will do)
• white tissue paper
• spotlight/ flashlight

Procedure:

1. Mark and cut a 1cm gap line on all sides of the shoe box.

[illustration: hands marking a 1cm gap line on the edge of a shoe box with a ruler and pencil]

2. Attach the tissue or thin white cloth to one open side of the shoe box. Cut any excess part of the tissue on the sides. This shall serve as your white screen. Set it aside and let it dry.

[illustration: a cutter trimming tissue paper attached to the open side of a shoe box]

3. Using your cardboard or chart, draw and cut your story images or elements such as the characters, trees, props and other necessary figures. Your cutout elements will depend on your story board/ story line. Don’t forget to be creative! Upon finishing your cutouts, attach them on sticks with tape as their handle.

[illustration: paper cut-out figures and props taped to sticks]

4. If you have a permanent or fixed setting, you may already glue your props or cutouts onto specific areas for a more convenient performance. Turn your spotlight/ flashlight on and put it against your shoe box theater. You may now start your show!

[illustration: silhouette of a figure against a lit screen inside a shoe box theater]

Note to the learner:

In case you do not have any smartphone or electronic gadget with you for recording, you may have this alternative activity:

1. Create a storybook which revolves around any social or cultural issue that concerns you as a Filipino youth. It should be equivalent to a 5-minute shadow puppet show that will showcase a sample theatrical art form.
2. Make sure that you will describe the characters and setting in vivid details to assist the readers in imagining and visualizing the appropriate scenery. Also, take note that the illustrations must be black and white to imitate shadow figures.
3. Make it a goal that your teacher/ possible reader will have an interesting experience of shadow puppet play even if it will be told through the power of your words and illustrations.

The activity will be assessed using the following rubrics:

Criteria	5	4	3	2	1
Elements of Arts and Principles of Design	Planned carefully, showed effective use of at least 4 elements of art and applied 5 principles of design to produce outputs that display the characteristics of the arts in a given place	Used 3 elements of art and 4 principles of design in creating their output that illustrates the characteristics of the arts of a given place	Used 2 elements of art and 3 principles of design in their output. that illustrates the characteristics of the arts of a given place	Used 1 elements of art and 2 principles of design in creating their output. that illustrates the characteristics of the arts of a given place	Did not use any elements of art and principles of design in creating their output. that illustrates the characteristics of the arts of a given place
Creativity/ Originality	Illustrates/ shows original ideas and interpretations of the given activities or artworks and innovates materials used.	Shows original ideas and interpretations but does not innovate with the materials used.	The student tries an idea, but it lacks originality, does not innovate with the materials used.	Does not try new idea nor innovate with the materials used.	The student shows no evidence of original thought.
Effort/ Perseverance	The activity is beautifully and neatly finished and passed on time	The activity is finished and passed on time but is rushed in appearance.	The activity is finished and passed on time but needs much improvement.	The artwork was passed on time but unfinished.	The artwork is unfinished and was not passed on time.
Craftsmanship / Skill/ Consistency	The artwork was beautiful and patiently done.	With a little more effort, the work could have been outstanding, but lacks finishing touches.	The student showed average craftsmanship; adequate, but not as good as it could have been; done carelessly.	The student showed below average craftsmanship, lack of pride in finished work.	The student showed poor craftsmanship; evidence of laziness or lack of understanding.

[transcriber’s note: words split across line breaks in the rubric cells (for example “characteristic s”, “interpretatio ns”, “craftsmansh ip”) have been rejoined into single words]

Assessment

Direction: Read and answer the following questions carefully. Write the letter of your answer in your notebook.

1. Which among the following theatrical forms in the Philippines uses carton, a stick, a large white cloth, and candles as essential materials to achieve and highlight artistry?
   A. Senakulo
   B. Dance drama
   C. Shadow Puppet Play
   D. Sarswela

   
   

2. Which of the following characteristics of the carillo DOES NOT belong to the group?
   A. This form uses flat objects to produce cut-out figures.
   B. This form uses expressive and complex gesture language that reflects real-life actions.
   C. This form uses translucent papers with proper light blending.
   D. This form uses sticks and threads to support the movement of the object.

   
   

3. For a group task, your teacher assigned you to prepare a dance drama. One of the criteria for grading is its distinctiveness in comparison to the other theatrical forms. Since it is a dance performance, what should you consider as your main focus or as something to work hard for in order to achieve uniqueness in your performance?
   A. The correct use of costume and other props
   B. The appropriate selection of music
   C. The precision of movements and gestures
   D. The profoundness of the story to be told

   
   

4. The _____ are believed to be the original creators of the moro- moro.
   A. Chinese
   B. Portuguese
   C. Japanese
   D. Spanish

   
   

5. It has been a conventional plot in stories –even nowadays—that two lovers are challenged and hindered by their differences in socio-economic status, educational attainment, and the like. Religious beliefs are also portrayed to be a crucial factor of consideration. Which among the following theatrical forms carries a plot that resembles the said situation?

   
   

   A. Sarswela
   B. Moro- moro
   C. Senakulo
   D. Shadow Puppetry

   
   

6. Sarswela is a musical comedy or melodrama usually with three acts which deals with men’ s passion and emotions such as _____.
   A. love and hate
   B. revenge and cruelty
   C. fun and adventure
   D. avarice (greed) or political problems

   
   

7. Which of the following DOES NOT need a well-defined and colorful character costume in the act?
   A. Senakulo
   B. Moro- moro
   C. Shadow Puppet Play
   D. Sarswela

   
   

8. Theatrical forms hold a very significant role in the lives of the ancient Filipinos since _____.
   A. theatrical forms were considered the easiest way for Filipino parents and other family members to earn for a living
   B. there were no televisions or other forms of mass media at the time that could provide wider audiences with the chance to witness a creative performance
   C. the Philippines was the only Asian country for a time that knew of theatrical plays and this gave our country a great season of prominence and prestige
   D. theatrical forms served as the frontline scheme of the government to battle against drug abuse and illegal usage

   
   

9. Sarswela or Zarzuela, the Father of Drama, can be described as the following EXCEPT:
   A. having actors and actresses who would help develop a story dealing with men’s passion and emotions such as love, hate, revenge, cruelty, avarice (greed) or even some political issues
   B. having actors and actresses who would support a generally nationalistic theme and plot
   C. having actors and actresses who would usually be wearing traditional costumes like Filipiniana, Barong Tagalog, and other local attire in the conventional era
   D. having actors and actresses who would usually be wearing Western attire and costumes derived from the Spanish influences

   
   

10. Senakulo or cenakulo is a dramatic performance portraying the Passion and death of Jesus Christ. It is usually done during _____.
    A. Christmas Season
    B. Advent Season
    C. Lenten Season
    D. the whole year round

    
    

11. Majority of the Philippine theatrical forms were derived from:
    A. the digital advancement of our country
    B. the agricultural richness of the Philippines
    C. the historical encounter with the Spaniards
    D. the political injustices that greatly affected Filipinos

    
    

12. Which of the following is TRUE?
    A. All theatrical forms are mostly the same in nature only that they differ in the time of conduct.
    B. All theatrical forms are different in portrayal but they share the same origin.
    C. Each theatrical form has distinct characteristics that separate it from the rest.
    D. Each theatrical form is a preceding act of another, making them individual parts of a bigger production.

    
    

13. Under the inspiration of _____, the carrilo (one among the very first shadow puppet plays) was staged.
    A. Juan Luna
    B. Antonio Luna
    C. Jose Rizal
    D. Apolinario Mabini

    
    

14. The moro-moro is said to be unique in the Philippines because _____.
    A. there are no other countries that came up with or created a similar drama to this
    B. the characters are usually made up of a fully-Filipino cast
    C. it is supposed to be conducted among natural resources and reservoirs in the Philippines
    D. it tells the story of how the Philippines got its name

    
    

15. Prinsipe Rodante is one example of _____.
    A. Senakulo
    B. Moro- moro
    C. Shadow Puppet Play
    D. Sarswela

    
    

.

Additional Activities

[transcriber’s note: the number “22” printed above the heading “Additional Activities” on this page is not transcribed]

Your best friend Noel is a Filipino but he sees the Philippine performing arts as a waste of time, talent and energy. He is unaware of the value and potential of Philippine theatrical forms and their contributions to society. Every time there are theater or role plays in your class, he does not join. How would you encourage Noel to appreciate the significance of representative theatrical forms? Write a letter to him on a piece of paper like the one below. Do this on your notebook.

[illustration: blank scroll of paper with rolled ends]

Answer Key

[transcriber’s note: the answer box is printed rotated 180 degrees on the page; the items are shown here in their upright order]

What I Know/ Assessment
1. C
2. B
3. C
4. D
5. B
6. C
7. C
8. B
9. D
10. C
11. C
12. C
13. C
14. A
15. B

References

Lourdes R. Siobal, Ma. Honeylet A. Capulong, Ledda G. Rosenberger, Jeff Foreene M. Santos, Jenny C. Mendoza, Cherry Joy P. Samoy, Rabonni C. Roxas, and Johanna Samantha T. Aldeguer- Roxas. Music and Arts- Grade 7, First Edition. Department of Education, 2017.

Living, Simple. Simple Living. 2018. https://youtu.be/4Vig2wEIEFo (accessed May 22, 2020).

For inquiries or feedback, please write or call:

Department of Education – Bureau of Learning Resources (DepEd-BLR)

Ground Floor, Bonifacio Bldg., DepEd Complex Meralco Avenue, Pasig City, Philippines 1600

Telefax: (632) 8634-1072; 8634-1054; 8631-4985

Email Address: blr.lrqad@deped.gov.ph * blr.lrpd@deped.gov.ph