#5 INFORMATIVE SPEECH DESCRIPTIVE SPEECH- it creates a 2.

Don’t present too much information

vivid picture in the audience’s mind too quickly.
INFORMATIVE SPEECH
regarding a person, an object, an 3. Unlock familiar ideas or complex
• conveys knowledge – a task that event, a place or an animal. processes.
every person engages in every day 4. Use presentation aids.
DEFINITION SPEECH- it gives and
in some form or another.
clarifies the meaning, theory, or ANALOGY is a comparison of two
• can increase people’s understanding
philosophy of a specific topic. things that share common
or provide a new perspective around
characteristics.
a topic. • The main goal is to educate the
audience so that they may STRATEGIES TO KEEP THE
INFORMATIVE SPEECH- intends to
understand the main points AUDIENCE ENGAGED
educate the audience on a particular
regarding this subject.
subject. It gives information to others 1. Ignite interest.
• A speaker may define something by
to enhance understanding or 2. Tell a story.
giving and explaining the synonyms
knowledge of the concepts and ideas 3. Personalize content.
and antonyms, functions, examples,
presented. 4. Inject humor.
and etymology.
5. Present relevant information.
GOALS OF AN INFORMATIVE • It also involves presenting the
6. Use suspense.
SPEAKER essential qualities of a particular
object or concept that may set it #7 INTRODUCTION TO THEATER
1. Enhance understanding. apart from similar objects or ARTS
2. Ignite and maintain interest. concepts.
3. To be remembered. THEATER
DEMONSTRATION SPEECH- it
TYPES OF INFORMATIVE SPEECHES explains or illustrates how something is • Greek word theatron- seeing place.
done. • Theater is a location where
EXPLANATORY SPEECH- it makes a
something is seen.
topic or a subject clear through • Like most informative speeches, a • It is also used to refer to a location
concrete illustrations and examples. how-to speech will likely use where wars and surgeries take
• An abstract idea may also be presentation aids that show the place.
understandable by employing audience the procedure to enrich • Form of art that is almost entirely
several strategies such as analogies what is being said by the speaker. concerned with performances that
where the unfamiliar is compared • Visualizations help the audience are live, which are carefully planned
with something familiar. remember what each step looks like, to produce a unified and meaningful
• A speaker who delivers an increasing the likelihood that they sense of drama.
explanatory speech may make use will retain the overall information of • It is also a combination of people,
of visual aids that will make the the speech. plays, ideas, and place – as well as
presentation clear and the data the result of the interplay of various
STRATEGIES TO ENHANCE
more condensed and easily elements. It is a collaborative form
UNDERSTANDING
retainable for the audience. of art that requires the collaboration
1. Speak with clarity.
 of dozens, if not hundreds, of people SHAMANS- are humans who take on ARISTOPHANES- a renowned
working on a single production. an animist duty to mediate between playwright of comedy, has left us with
the spirit and earthly reality. eleven plays.
TWO PILLARS OF THEATER
SHAMANISM- is often distinguished by
The roots of theater may be traced
intense dancing and impassioned
back to ritual, in which actors re-create,
chanting, which usually ends in violent
magnify, and make meaningful shared
shaking at rapid speeds.
myths, beliefs, tales, and traditions.
THEATER IN THE WEST
1. RITUAL- a particular ceremonial
observance that is performed to GREEK DRAMA
confer certain benefits on the
• Greek theater established the
participants.
formal foundations of Western THESPIS was considered to have
Storytelling originated shortly after theater, which developed and invented tragedy when he presented
ceremonial activities began. The two defined key concepts such as the first actor in Greek theater. While
forms began blending together quite tragedy, comedy, characters, standing opposite the chorus, the first
quickly. In fact, humans have been plotlines, all of which are still vital in actor spoke with them.
telling tales of their everyday exploits play as we know it today.
since the dawn of speech, including • The fifth-century B.C. theater of AESCHYLUS introduced the second
tales of the hunt as well as tribal Athens remains one of the finest actor (called the deuteragonist),
history. bodies of dramatic production of all through whom the first conversations
time. between the two characters occurred.
2. STORYTELLING- depends on a
• Aristotle and other academics
single voice, therefore, it is a single SOPHOCLES latter added a third
believe that Greek tragedy evolved
point of view. It is more personalized character (dubbed as tritagonist),
from dithyrambs.
than a collective ritual performance. resulting in more complex dialogue.
• The Greek tragedy was not spoken
SHAMANISM but chanted or sung. All of the ancient Greek actors were
men. Furthermore, one actor played
DANCE-DRAMA- an early kind of DITHYRAMBS- ancient orgiastic rites
many parts, utilizing masks to reflect
theater, arose from the combination of in songs and dances in homage to the
the character’s age, gender, attitude,
ritual and storytelling. deity of fertility and wine, Dionysus.
and social status.
• Originated from the African DIONYSUS- involved ecstatically
CHORUS OF SINGER-DANCERS
continent. worshipping fertility symbols like
(usually about 12 to 15 members
phalluses, while chanting ancient
ANIMISM- a catch-all word reflecting representing the local people)
poetry and drinking lavish wine.
the ancient tribal culture’s underlying supported the players by singing their
religious drive, refers to the belief in DIONYSUS has since been regarded as lines in unison or via a single chorus
the ability of such spirits to animate the founding deity of Western Theater. leader.
things.
The Greek tragedy was not spoken but SOPHOCLES- He is believed to have movement, and a purposely upside-
chanted or sung. written more than 100 plays, however, down depiction of reality.
only seven have survived: Ajax,
High shoes- kothurnio
Antigone, TrachinianWomen,
Ornate headpiece- onkos Oedipus the King, Electra,
Philoctetes, and Oedipus at
Long colorful gown- himation Colonus.
Tunic- chlamys EURIPIDES- He is believed to have
The City Dionysia in ancient Greece written approximately 90 plays, that
was a week-long festival of festivities include satire plays as well as
and theatrical contests. tragedies.

1st day- each playwright presented his ROMAN DRAMA

cast and declared his play’s theme in • Roman builders abandoned the
front of the whole audience. Greek hillside theatron and
2nd day- there were processions with threshing-circle orchestra in favor of
sacrifices and ten (10) dithyrambs designing a theater that surrounded
presented. the audience while remaining open
to the sky.
3rd day- five comedies were performed.
VOMITORIA- divided the orchestra in
4th day- trilogy of tragedies was TERENCE- His plays are all about
half and built tunnel on both sides.
performed. young love and usually have a double
FRONS SCAENAE- basic Greek skene storyline. His most known plays:
5th and 6th day- three competing evolved into an ornate three-storey wall Andria, Hecyra, Heauton,
playwright, followed by a parody (a adorned with hundreds of sculptures. Timorumenos, Eunuchus, Phormio,
satire play) on the same subject. and Adelphoe.
STAGE TRAPS- openings in the stage
th
7 day- awards were given for the best floor for the ascent and descent of SENECA- best renowned for their
play and leading performer. actors. depictions of brutality and terror, were
reworkings of Greek tragedies. His
THREE GREAT TRAGEDIANS ROMAN DRAMATISTS
known plays are: The Trojan Women,
Had written and produced over 300 Contributed to the world theater Oedipus, Medea, The Mad
plays. Thirty-three of the world’s finest vocabulary which we continue to use Hercules, The Phoenician Women,
dramatic masterpieces have been up to the present, such as auditorium, Phaedra, Agamemnon, Thyestes.
handed down to us. actor, and histrionics
MEDIEVAL DRAMA
AESCHYLUS- father of Greek tragic PLAUTUS- He is a well-known
Medieval drama in Europe began with
drama. dramatist whose comedic impact stems
the celebration of divine resurrection
from exaggeration, burlesque, and
during Easter service.
frequently harsh humor, fast
QUEM QUARTERITIS- reenacted the their poetic brilliance, persistent • Storytelling and myths are given
appearance of an angel who told Mary examination of the human condition, emphasis in Asian theaters, rather
that Jesus of Nazareth has risen and insightful character depictions, but than escalating plot structures.
already. they also contain live music, dance, • Asian theaters are generally stylized
ribaldry, puns, satire, pageantry, and in approach. These forms are highly
LITURGICAL DRAMA- a playlet
comedy. non-realistic theaters with the
included as part of Church worship
combination of colored costumes,
service. His plays include Hamlet, Macbeth, A
intricate make up, artificial long
Midsummer Night’s Dream, Much Ado
TYPES OF MEDIEVAL PLAYS beards, and choreographed dance
About Nothing, King Lear, Othello,
battles with live musical
MYSTERY PLAY- It was based on Twelfth Night, The Tempest, Romeo and
accompaniment.
stories derived from the Holy Bible. Juliet, The Merchant of Venice
• Asian actors are trained intensively
Stories ranged from creation story to through an apprenticeship system,
THEATER IN THE EAST
judgment day. beginning from early childhood to
Asia, which accounts for over two-thirds middle age. Training in this system
MIRACLE PLAY- or saint’s play,
of the world’s population, is made up of can last seven years.
depicted the saints’ real and
two dozen of countries, hundreds of • Asian theater forms are very
apocryphal lives. Some of these plays
languages, and as a result, thousands traditional.
were staged using processional staging
of theatrical forms. Hence, there is no
(use of wagons) or pageants (use of CLASSICAL INDIA
such thing as “Asian theater”. Rather,
floats).
there is a plethora of Asian theaters,
SANSKRIT PLAY emerged in the Hindu
MORALITY PLAY- tackles stories of the each as unique as the Asian
culture in the second century B.C. up to
struggle of humans between good and civilizations that produced them.
the 10th century.
evil. Often called allegorical drama- it
GENERAL PRINCIPLES AND
followed the life’s journey of the main NATYASASTRA- comprehensive study
PRACTICES
character that personifies moral of the principles of performance and
qualities and taught moral lessons. • Asian theater forms are generally staging, music, gestures, dance and
danced, mimed, chanted, or sung. It dramatic texts of these plays are
Everyman was the most famous recorded.
is not just purely spoken.
morality play written in about 1500,
• Text in Asian theaters in rhythmic
which dramatized the final hours of This treatise describes the major
and melodic. Rhyme, imagery, and
man before his death. Sanskrit plays, including the two
alliteration are very important in
primary plays:
ENGLISH RENAISSANCE DRAMA these theater forms.
• Asian theater forms are highly visual Nataka – plays that are based on
In the works of William Shakespeare and sensual, with the interplay of famous king’s heroic stories.
(1564-1616), the Renaissance produced dance, song, music, mime,
the greatest theatrical masterpieces of Prakarana – plays that are based on
puppetry, gesture, acrobatics,
that age. the theme of love.
costumes, and make up.
SHAKESPEARE- His plays are well-
known among literary academics for
 XIQU- classical Chinese theater which • Kabuki theater was a more dazzling
means tuneful theater and translated and accessible kind of
as “Chinese opera”. entertainment. Its intention was to
entertain a wide audience.
BEIJING (PEKING) OPERA- which is
• Izumo Okuni developed Kabuki
known among the Chinese as jingjuor
about 1600. Her flashy and
“theater of the capital”. It was founded
theatrical form of dancing quickly
in 1970 during the emperor’s 80th
became famous in Kyoto’s brothels
birthday when actors from Anhui
and tea rooms.
amazed the court with their acrobatics,
• The term kabuki is a combination of
music and brilliant singing style.
three words: ka (song), bu
Chinese opera performers must be (dance), and ki (skills), which
proficient in the following skills: could mean “song-dance-skill”.
singing (chang), speech (nian), • Domestic plays (sewamonoor
acting and movement (zuo), and “common things”) and history plays
martial arts and acrobatics (da). (jidaimono or “period things”) are
two most popular genres of kabuki
KUTIYATTAM- another religious CLASSICAL JAPAN dramas.
theatrical form performed in temples
about ancient epics. Originating in the NOH AND KABUKI- two of Japan’s #8 ELEMENTS OF THEATER
province of Kerala, this theater form most famous classical theater forms.
reflects the local traditions and Sanskrit ELEMENTS OF THEATER
NOH PLAYS
classicism. AUDIENCE- the essence of theater is
• SHITE- main character that is the exchange, the chemistry, and the
The performances focus on the feelings
probed, prodded, and challenged by energy between the audience and the
and thoughts of the main character.
the secondary character called waki. actors on stage.
A performance can last up to 40 days • Shite characters- can be gods,
due to the elaboration of details of the spirits, ladies, animals, and even PERFORMERS- the individual onstage
story. warriors. (wears a mask) portraying characters in dramatic
• Waki characters- are always male action.
KATHAKALI- most dominant classical humans.
art form in India. Originating from the SCRIPT- blueprint for production.
• In Noh, all actors are males. They
villages of Kerala in 17th century, the specialize in only one character PLAYWRIGHT- a writer who writes the
stories came from the great Indian throughout their lives. scripts.
epics: Mahabharata and Ramayana. • For solemn entrances and exits,
QUALITIES OF A FINE PLAY
Performances start in the evening and actors use the “hashigakari”, a
last until dawn of the next day. bridge-style landing strip with four CREDIBILITY- characters must appear to
wooden pillars. act and think like real persons.
CLASSICAL CHINA
KABUKI PLAYS
INTRIGUE- offers curiosity for the ECONOMY- conscious decision of the easily create changes or
audience to expect what will happen playwright on what events that happen transformations of the material.
next in the play. to the character should be included in
POSTMODERN- creates production that
the play.
SPEAKABILITY- the dialogues are are radical, free-form, and sometimes
believably that of the character and not INTENSITY- allows for dramatic actions rebellious. This kind of production
of the author. to create strong impact to the employs a process called
audience. deconstruction, which involves taking a
STAGEABILITY- quality of a play that
part of the text which may be altered,
allows it to be effectively staged CELEBRATION- plays should celebrate
reassembled, deleted, or taken out of
through a complementation of stage life, more than just purely depicting or
context.
setting, physical acting and the analyzing it.
dialogues. THEATER SPACE- where performers and
The purpose of theater is to broaden
audience come together.
FLOW- a play must continuously say, our horizons of experience, to enlighten
do, and mean something on stage. life, and to elevate existence to the TYPES OF THEATER STAGES
level of art.
RICHNESS- detail and dimension PRESCENIUM- has audience seats
creates a believable scene. DIRECTOR- responsible for rehearsing facing the opposite space. The
the actors and coordinating the works audience view is framed by the
DEPTH OF CHARACTERIZATION- every
of the designers (scenic, costumes, proscenium arch which defines the
character in the play must have a
lighting, sound) and other members of rectangular opening in the performance
unique voice of its own, its purpose and
the team to ensure that the stage.
the reason of its presence.
performance is both coherent and
THRUST- has three-sided audience
GRAVITY AND PERMANENCE- interesting.
seats.
significance of a play’s central theme
TYPES OF DIRECTORS
and its general relevance to the ARENA- a circle or square stage
audience’s interests. TRADITIONAL- the script is the starting configuration where audience members
point of the production. Also called the are seated in four sections.
GRAVITY- the drama’s core theme has
text-based method, the director
significant and long-lasting importance FOUND- any stage that can be utilized
chooses the script to be staged,
in the spiritual, moral, or intellectual life for a theater performance. Can be
analyzes it, and prepares for the
of humanity. inside or outside, public or private.
production amounting.
PERTINENCE- the play touches current
Directional Concept- a unified blueprint
conditions that the audience is
to guide the creative process in terms
presently experiencing.
of idea, vision, or point of view of the
COMPRESSION- playwright’s device in director.
compressing a story that usually spans
AUTEUR- French word which means
days or years into one staging time.
“author”. In this directing approach, the
directors also serve as authors who can
 #9 SCENIC DESIGN AND STAGE 3. A designer must possess a visual
LIGHTING vocabulary developed through the
study of art, history, and literature.
SCENIC DESIGN- creation of set pieces
4. A designer must be keenly aware of
and sceneries that aid in the overall
the world around them.
visual appeal of production on stage.
5. A designer must be able to bring
• It should convey the mood and spirit substance to their ideas with skill
of the play, which can be achieved and dispatch and within the
by conducting extensive research structural limitations of their
into the script. medium.
• It is focused on the overall visual 6. A designer must have at least a
look and functionality of the many basic understanding and
design components that are utilized. appreciation of the other areas of
design.
STAGE LIGHTING- illuminates the area 7. A designer must study the dramatic
where the performers and sets are structure and perception of the
positioned. It indicates what the playwright’s intention to create
director and design team want the appropriate visual interpretation on
audience to see during a live stage.
performance. 8. A designer must understand all the
SCENIC DESIGN- also known as physical and textual elements, the
scenography, set design or stage actor’s needs, and a sense of space
design. It is a creative process in and movement.
theater production where the
scenographer plans, designs, and
THE DESIGN ELEMENTS
creates the needed sceneries for each
SCENIC DESIGN- set that is created to act in the play.
support the make-believe reality of the
SCENOGRAPHER- designs the stage
actors on stage. It provides space for
using the mixture of color, line, and
the director in telling the story to the
form to achieve a stage setting that
audience.
supports the performance.
LIGHTING DESIGN- the illumination of
QUALITIES OF A DESIGNER
the performance space.
1. A designer needs the vision and
COSTUME AND MAKEUP DESIGN-
imagination of the creative artist
recreating characters using costumes
and the ingenuity and skills of the
and makeup.
stage artisan.
SOUND DESIGN- overall blending of 2. A designer must display talent in
sound from all sources. their use of line, color, and form.