Sample No.

2 1

DEVELOPMENT OF A PRIMER
FOR ORGANIZING A HIGH
SCHOOL THEATRE GUILD
BY: JENNIFER I. DIZON

CHAPTER I
THE PROBLEM AND ITS BACKGROUND

INTRODUCTION

A school’s foremost goal is to educate the students. 1 In fact most

schools try hard to give the best quality education to their students by
strengthening their curriculum. When education is talked about, many would
think primarily of the academic subjects. This idea is shared by most of the
school administrators, parents, and even the students. They tend to focus on
the major subjects like English, Mathematics and Science fallowed by the
other subjects. The focus is clearly on the linguistic and logical-mathematical
intelligence. What many schools do not know is that they should also provide
an environment catering to the students’ multiple intelligences including
artistic and interpersonal. Involving students in drama and theatre arts
through the organization of theatre guilds is a way of addressing this
problem.2
1
The hook

2
The problem (the students need to develop their multiple intelligence)
Sample No. 2 2

According to Perez (2003), participation in this kind of interest club

provides opportunity for the students to develop students’ skills creativity
and potentials.

Hildawa (2000) stressed that through the successful use of drama

activities, a paradigm shift from the present day concentration of
contemporary schools from concentration on linguistic and logical-
mathematical intelligences alone to a broader spectrum of intelligences is
expected.

However, Caterall (1999) underscored the need for the teacher

instruction in the handing of theatre arts related activities believing that the
success of the activity depends on how the theatre education guides the
students.3

The importance of drama in education is also explained by educators

like Courtney (1989) He says that at the same time that the various dramatic
approaches have been made to practical class work in recent years; a
philosophic basis has been evolving. It has grown naturally out of previous
thoughts and in making its judgments from known facts and its denial of
‘system,’ proves that drama education is based on an empirical method of
thought.4

H.J. Blackman, Britton and E.J. Bruton (1975) said:

The danger of classification of any kind is that, starting as

a convenient generalization, it comes to be pursued in place of
the living complexity it attempted to summarize, and working is
dictated by the generalization instead of by the actual existing
situations.

Burton extended this by saying it is impossible for us to create a

‘philosophy’ as previously known, for we are within the scheme we are trying
assess:

…it is not for us to say that human beings should, or

should no, respond in this or that way, thy do- or do not. And this
acceptance of life in totality is our starting principle.

These thinkers reject education when it is seen as training in reason,

will, conscience, taste, or sensibilities and emotions. Rather, activity is vital
to education.

3
Another problem (there is a need of a teacher instruction in creating a guild)
4
Another Problem (there is a lack of a system)
Sample No. 2 3

In the classroom situation, much of the children’s work is in group and

it is obviously important that Dramatic Education should take full account of
modern research into the characteristic of groups.5

As with so many intellectual fields within the social sciences, group

study originated with Freud. He said that social groups were based on the
pattern of the family, and that this has a certain biological need. When we
are setting up a group organization for improvisation, movement drama, and
the like, we are providing children with specifically structured group
environment which influences the personality in a specific way (Courtney
1989)

According to Hobgood (1988,) theatre teaching of high quality builds

on the foundation of emotional and intellectual commitment. 6 The important
tenets that stand behind and go far to explain the quality achievements of
outstanding theater teachers will be proposed here as central premises of
theater education and training. I f we state them and then consider their
implications, one makes useful discoveries.

The first premise according to Hobgood is that

Theater is an important, complex art of intrinsic cultural

interest that deserves thorough study.

It was in support of this premise that the pioneers of theater education

waged struggles for recognition of the field. According to him, Baker, Mabie,
Drummond, Stevens, Koch, and other determined men and women did not
simply prove by their accomplishments the truth in this proposition. They
campaigned for the right of the other, perhaps less persuasive, teachers to
show the validity of the premise. For the reason they were involved, directly
and indirectly, in the movement fifty years ago to establish a national
association of theater teacher that would carry on that campaign.

According to Hobgood, in most educational settings in America today,

this first premise is accepted. It is not too much to say that the entire
structure of theater education arose from the foundation laid by that
principle. We may reasonably doubt that any teacher who subscribe to less
will be likely to hold influence for long with sensitive students deeply
interested in the theater.

The practitioners and supporters of theater education today tend to

forget the battles fought in its behalf two or more generations ago. The first
5
The rationale (The theatre experience must be contained in a group “family”)
6
The rationale (The benefit of emotional and intellectual commitment) and the premises
sporting it)
Sample No. 2 4

premise furnished the ground for contest with representatives of traditional

disciplines in education. A second premise stood implicitly behind
confrontation of a more subtle sort:

The theater experience is incredibly rich, diverse, and –

most difficult of all, – ephemeral; yet it is not only possible but
valuable to the future of the theater and to the young people
drawn to it, to devise teaching methods for understanding the
arts and mastering the crafts of the stage.

This premise found justification for “educational theater” in the artists

it helped to produce through the inspired, imaginative work of theater
teachers.

A third premise grows out of the experience of such instructors and

contains an admonitory note for aspiring students:

The theatre requires more than clever minds and willing

minds and willing hands; it demands a full commitment in the
use of self (body, mind, and spirit) and an awareness of
contemporary life (social, ideological, cultural).

The commitment and awareness expressed in this premise do not

come easily in fact, many students fall short of understanding the
significance of it, which means their potential in the theatre profession
depends heavily on sheer luck. Such commitment and awareness can of
course be gained from teachers. That is another way of saying that his
principle forms a key concern in teaching theatre.

The central mission of a practitioner in the realm of theatre education

is to recognize, nurture, and develop the especially gifted. It is not so simple
an assignment as it may seem. A young talent is fist, a human being in a
process of becoming. To be helpful to, and to understand young men and
women with a passion for theatre, a teacher needs to appreciate the
processes of maturing individuals. To achieve this, theatre sensibility and
training is crucial for an educator. (Hobgood 1988)

BACKGROUND OF THE STUDY

According to Quiambao-Viray (2002) the past years have been witness

to the mushrooming of theatre groups specifically, school-based theatre
groups, in Metro Manila and in outlying provinces. Trough these dramatic
Sample No. 2 5

guilds or theatre organizations, students develop their skills related to the

theatre arts.

Unfortunately, like the 40% of the public high school surveyed by the
undergraduate Speech and Theatre Arts students of the Philippine Normal
University (2004), the Binigno “Ninoy” S. Aquino High School in the division
in Makati has no resident student theatre guild. According to BNAHS’ school
administrators, in the school’s ten years of existence as a public school,
there has been no effort to build an organization which could have
discovered and honed the acting and directing skills of its students. One
major reason for this is because of the lack of teachers who are trained in the
theater arts and theater guild management.7

CONCEPTUAL FRAMEWORK

Theater arts and human development are intertwined. Sustained

student involvement in theater arts (acting in plays and musicals,
participating in drama clubs, and taking acting lessons) associates with a
variety of developments for youth: gains in reading proficiency, gains in self
concept and motivation, and higher levels of empathy and tolerance for
other (Caterall 1999). According to him, young people who participate in
planning, practicing and critiquing individual and group projects gain practice
in thinking and talking as adults. They play important roles in their
organizations; they have control over centering themselves and working for
group excellence in achievement. Their joint work with adults and peers give
them opportunities that test and develop ideas, explicit processes, and build
real-life scenarios. In the performances of a theater organization, an
atmosphere in which students know how to solicit support, challenge
themselves and others, and share work and resources whenever possible, is
created. The use of individual and group critique throughout the production
process develops strategy-building and strengthens and young person’s
ability to assess and learn on his or her own.

According to Caterall (1999), it is in high school specifically where

students are apt to observe, experiment, and form their self-concepts. During
this phase, they find a lot of time in their hands, equaled by the high level of
energy that they have. They are also realizing during this time, that they
actually have talents and creativity which lies hidden in them because of the
absence of outlets for these potentials. One way of enhancing these
potentials is through theater. Aside from enhancing these talents, there is
also another deeper, underlying reason why students should be involved in
7
The elaboration of the problem
Sample No. 2 6

theater. According to Carpio (2000) through theater, students get a better

grasp of human problems, emotions, interplay and relationships. She states
that it is as effective in molding character as any of the other subjects
offered in the curriculum and it makes the students reach new heights in
creativity. Values important in life are instilled/ students learn cooperation
and teamwork; they can identify their strengths and weaknesses and thus
build them up for the better. Through theater or involvement in theater
guilds, students get the opportunity to experience these things.

The importance of students’ involvement in theater as mentioned in

the preceding studies form the basis for creating the paradigm of this study.
It presents the reasons why a theater guild, as a school-based organization
becomes a significant outlet for a students’ development.8 The paradigm
shows the researcher vision for the research (see fig. 1)

The researcher anchored the study on Burton’s theory on the

essentiality of drama in education.9 According to Burton, education must be
concerned with the attitudes and ideas which the child has about any activity
in which he is engaged. It is through these ideas that the child uses initiative
in developing his activities or in profiting from them, exercising himself by
organizing and learning from his experience so that the whole activity
becomes a personal project, continuous, cumulative, and multi-dimensional.
It is in this sense that, for Burton, drama is the vital part of all education.

Aside from this, the researcher concurred with the study made by the
undergraduate Speech and Theater Arts student of the Philippine Normal
University regarding high schools’ need for school based theater guilds and
Caterall and Hobgood’s theory that the teachers need theater instruction to
manage theater-related activities.10 Theater instruction could include
attending formal classes/workshops, or using theater instructional materials
like manuals/handbooks or audio-visual equipment/CD ROMs.

8
The researcher’s position (focus on students’ involvement)
9
The previews model used (Burton)
10
The preview model (Hobgood)
Sample No. 2 7

FIGURE 1: THE RESEARCH PARADIGM

Three phases were planned by the researcher. Phase I involved

planning the organization of a theater guild while Phase II required the
organization of the theater guild and its documentation. Phase three dealt
with the development of the primer for organizing a high school theater
guild.11

The output of this study is the finished primer.

STATEMENT OF THE PURPOSE OF THE STUDY

This study aimed to develop a primer for a organizing a high school

theater guild.12

Specifically, the study aimed to:

1. Determine the factors for organizing a theater guild.

2. Make an organizational plan based on the moderators’ best
practices
3. Execute and document the plan
4. Write a primer for organizing a high school theater guild13

SIGNIFICANCE OF THE STUDY

The researcher sees the need or a theater guild which will help
students not only in developing their talent and creativity but also in
boosting their self-confidence and over-all well being.

11
The new model
12
Main objective
13
Specific objectives
Sample No. 2 8

In organizing the theater guild, a primer was developed and this primer
could be a guide for teachers who are planning to organize or handle a
theater guild. They can use the primer as a tool in the management of their
functions.

Moreover, this study addresses itself to English, Filipino or Performing

Arts Teachers, that they may find a valuable tool in teaching dram or some
aspects of theater arts to high school students; teachers of the theater arts
that they may find essential pointers in the teaching of play production;

This study also addresses members of theater guilds that they may
gain insights and see what they can do to strengthen their organization; high
school students and students of drama and the theater arts that they may
use this study as a reference in theater organization, management a play
production. This study could also enlighten school administrators on the
importance of theater in education and thus, get their support in theater
activities.

SCOPE AND LIMITATION

This study focused on the development of a primer for organizing a

high school theater guild. To come up with this, the researcher followed a
process that included the organization of a theater guild at a public high
school.14 The study limited itself in the planning, organizing and
documentation of the theater guild and the development of a primer for
organizing a high school theater guild. The study also limits itself to focus on
the interpersonal and intrapersonal multiple intelligences as factors for
organizing a theater guild.15

The study involved the administrators, teachers, and selected students

from Benigno “Ninoy” S. Aquino High School, Makati City in the school year
2005-2006.

DEFINITION OF TERMS

For clearer understanding of the words used, these terms were

operationally/conceptually defined:

Operational Definitions:

14
Scope
15
Limitations
Sample No. 2 9

Best Practices- most preferred/ common steps or procedures which theater

guild moderators follow in organizing/managing various aspects of the
theater guild

Constitution- a written system of rules and regulations followed by the

theater guild

Development- the gradual completion of a plan for organizing a theater

guild; the writing of a primer for organizing a theater guild

Factors- the bases for organizing a theater guild

Human Resources- refers to the member of the theater guild

Institutionalize- to make the theater guild a part of the established school

structure
Interpersonal Development- the growth enhancement/improvement of a
person’s relationship with others

Intrapersonal Development- the growth enhancement or improvement of

a person’s own skills, talents or traits

Moderator- the teacher who manages the theater guild

Non-Human Resources – refers to materials/equipment used by the

theater guild

Organize- to bring together or form systematically a theater guild for a

common objective

Primer- a bases written guide discussing how to organize and manage a

theater guild.

Theater Guild- a school-based organization composed of a teacher-

moderator, and students who have inclinations in the theater arts

Conceptual Definitions:

Casting- refers to choice of actors for roles in a production (Winston, 2004)

Costumes- attire used by actors in a production (Winston, 2004)

Directing- refers to the task of leading a production in terms of choice a

play, the approach to production that will be used, casting, and to some
extent, designing, some aspects of the production (Farndon, 2004)

Director- the person whose principal role in a production is to direct the

performances of the actors and developed all aspects of the pay to create a
cohesive whole. (Winston, 2004)
Sample No. 2 10

Drama- refers to the play in the literary form in a synonym of play (Winston,
2004)

Lighting- is an aspect in production used o light up the object and to

established mood.

Make Up- Components used in the face to highlight features (Winston,

2004)

Play – is the form of literary work, which is an expression of idea about life
intended for performance on stage by actors and written in a dramatic mode
either in prose or verse and those basic element is conflict. (Forndon, 2000)

Play Production- refers to the preparation and actual staging of a play.

(Winston, 2004)

Producers- are the people who conceive the idea of performing a certain
text with certain actors in a certain place. (Farndon, 2000)

Production Manager- is the person who oversees the over all cost-
effectiveness and technical planning of a production. (Farndon, 2000)

Rehearsals – in play production it refers to preparation of a performance.

Scene Design- refers to the scenery, shifting, scene painting and properties
designed for the stage in a production. (Winston, 2004)

Stage Management- refers to the entire task in assembling a production

Stage Manager- is person responsible for running of rehearsals, finding

props and servicing the shows in performance and on stage. They may also
be involved in the creation, selection of sound effects, and backing tracks.
(Farndon, 2000)

Theater- is the dynamic and exciting aspect of drama, which uses the aural
visual-kinetic mediums blended together for a particular effect. (Farndo,
2000)