Learning Area MUSIC Grade Level 8

W8
Quarter 4 Date
I. LESSON TITLE EAST ASIAN MUSICAL THEATER ARTFORM
II. MOST ESSENTIAL LEARNING • Performs selection/s from chosen Asian musical theater; (MU8TH-IVa-g-6)
COMPETENCIES (MELCs) • Evaluates music and music performances using guided rubrics applying
knowledge of musical elements and style. (MU8TH-IVc-h-8)
III. CONTENT/CORE CONTENT Japanese Theater (Kabuki), Chinese Theater (Peking Opera), Indonesian
Theater (Wayang Kulit)
IV. LEARNING PHASES AND LEARNING ACTIVITIES
I. Introduction (Time Frame: Day1)

JAPANESE THEATER

The traditional form of popular theater began at the end of 16th century and soon became the most successful theater
entertainment in the red-light districts of the great cities.
The three major classical theaters in Japan are Kabuki, Noh, and Bunraku. All three of these performance types have been
listed as UNESCO Intangible Cultural Heritages. Kabuki is a Japanese classical theater art form that can be traced back to the
Edo Period. The word Kabuki is written with three characters that mean song (ka), dance (bu), and skill (ki). A typical kabuki
show has elaborate costumes, exaggerated wigs, distinct make-up, over the top actions, and consists of an all-male cast. The
emphasized movements in the performance are to convey certain meanings to the audience since many old Japanese words
are used in the dialogue. Kabuki, traditional Japanese popular drama with singing and dancing performed in a highly stylized
manner. A rich blend of music, dance, mime, and spectacular staging and costuming, it has been a major theatrical form in
Japan for four centuries. The term kabuki originally suggested the unorthodox and shocking character of this art form. In
modern Japanese, the word is written with three characters: ka, signifying “song”; bu, “dance”; and ki, “skill.” Kabuki, traditional
Japanese popular drama with singing and dancing performed in a highly stylized manner. A rich blend of music, dance, mime,
and spectacular staging and costuming, it has been a major theatrical form in Japan for four centuries. The term kabuki
originally suggested the unorthodox and shocking character of this art form. In modern Japanese, the word is written with three
characters: ka, signifying “song”; bu, “dance”; and ki, “skill.”

CHINESE THEATER

Peking Opera is a form of Traditional Chinese theater which combines music, vocal performance, mime, dance and
acrobatics. Peking Opera is not actually a monolithic form, but rather a coalescence of of many older forms. Peking opera,
or Beijing opera (Chinese: 京剧; pinyin: Jīngjù), is the most dominant form of Chinese opera which combines music, vocal
performance, mime, dance and acrobatics. The music of Peking opera can be divided into the xīpí (西皮) and èrhuáng (二黄)
styles. Melodies include arias, fixed-tune melodies and percussion patterns. The repertoire of Peking opera includes over 1,400
works, which are based on Chinese history, folklore and, increasingly, contemporary life. Traditional Peking opera was
denounced as "feudalistic" and "bourgeois" during the Cultural Revolution (1966–1976) and replaced mostly with
the revolutionary operas until the period's end. After the Cultural Revolution, these transformations were largely undone. In
recent years, Peking opera has responded to sagging audience numbers by attempting reforms, include improving
performance quality, adapting new performance elements, shortening works, and performing new and original plays.

INDONESIAN THEATER

Wayang Kulit- refers to kinds of puppets theaters. Sometimes the puppet itself is referred to as wayang. Performance of shadow
puppet theaters is accompanied by gamelan orchestra in Java and by gender wayangin Bali. Wayang Kulit or shadow puppet.
Wayang Kulit, an Indonesian form of shadow puppetry, holds the audience’s attention with riveting storylines executed
masterfully by the dhalang, or puppeteer. The puppets are made of buffalo hide and intricately designed, down to the most
minute detail of costume and color, to help the audience distinguish between the different characters.
The dhalang tells the stories of kings, princesses, ogres, and knights, using deft hand movement and narration. While traditional
performances used cotton sheets and oil lamps to create the play of light, electric bulbs or other sources of light are used today.
Many of the plots draw from episodes seen in the Hindu epics Ramayana and Mahabharata. Wayang Kulit was declared a
Masterpiece of Oral and Intangible Heritage of Humanity by UNESCO in 2003.

D. Development (Time Frame: Day 2)

Learning Task 1: “WATCH and SEE”

Directions: Watch the Kabuki, Peking Opera ad Wayang Kulit performances using the following links below. Observe the
presentation and answer the following questions.
IV. LEARNING PHASES AND LEARNING ACTIVITIES

https://www.youtube.com/watch?v=67-bgSFJiKc
https://www.youtube.com/watch?v=PnMRIzpO4nU
https://www.youtube.com/watch?v=pfydro4X2t0

QUESTIONS:

1. How would you differentiate the three Asian Theaters based on the video clips?
___________________________________________________________________________________________________________________________
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2. Describe how the musical elements reflect in the East Asian Culture?
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3. What is the importance of musical theater art forms in the daily lives of Asian people?
___________________________________________________________________________________________________________________________
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4. How would you relate the Asian Theaters to the Theaters in the Philippines?
___________________________________________________________________________________________________________________________
___________________________________________________________________________________________________________________________
__________________________________________________________________________________________________________________________
5. How would you describe the costumes and props they used?
___________________________________________________________________________________________________________________________
___________________________________________________________________________________________________________________________
___________________________________________________________________________________________________________________________
E. Engagement (Time Frame: Day 3)

LEARNING TASK 2: “SHOWTIME”

Directions:
1. Make a 1-minute performance imitating a scene from Peking Opera.
2. You may use any materials that are available at home for your costume, music and props.
3. Take a video of your performance and submit it to your teacher.
4. You will be graded based on this rubric.

RUBRICS FOR ASSESSMENT

Criteria Excellent Very Good Good Needs Improvement
5pts 4pts 3pts 2pts
Music The music is related to The music chosen was The music needs to be The music was not
the Asian Music Theater closely related to Asian more related to Asian related to Asian
chosen. Music Theater. Music theater. music theater.
Gestures or All the movements The movements were Some movements were Most movements
Movements were appropriate to closely related to the related while other were not related to
the selected Asian selected Asian Music gestures were not. the selected Asian
Music Theater. Theater. music theater.
Costumes Costumes and props Costumes and props used Costumes and Props were Costume and props
and Props are all inclined with the were closely inclined with good but can still be need more precise
chosen Asian Music the chosen Asian Music improved to be more details to be related
Theater. theater. inclined with the chosen to the chosen Asian
Asian music theater. music theater.
A. Assimilation (Time Frame: Day 3)

LEARNING TASK 3: “COMPARE AND CONTRAST”

Directions: Using the diagram below, write the similarities and differences of Traditional East Asian Theater Art form to the
Philippine Theater Art form Zarzuela.
IV. LEARNING PHASES AND LEARNING ACTIVITIES

East Asian Theater Philippine Theater

Art form Art from Zarzuela

V. ASSESSMENT (Time Frame: Day 4_)

LEARNING TASK 4: “LET’S CONNECT”

Directions: Answer the following questions.

1. What have you learned from the East Asian Musical Theater art form?

2. How would you relate the Music of East Asian theater art form to the Philippines?

3. What is the significant learning that you may use in your daily living?

4. How would you relate the costumes of Asian Theater to the costumes used in the Philippine Theater?
IV. LEARNING PHASES AND LEARNING ACTIVITIES

VI. REFLECTION (Time Frame: Day 4_)

• The learner communicates the explanation of their personal assessment as indicated in the Learner’s Assessment Card.
• The learner, in their notebook, will write their personal insights about the lesson using the prompts below.
I understand that__________________________________________
I realize that ______________________________________________
I need to learn more about __________________________________
• Communicate your personal assessment as indicated in the Learner’s Assessment Card.
Personal Assessment on Learner’s Level of Performance
Using the symbols below, choose one which best describes your experience in working on each given task. Draw it
in the column for Level of Performance (LP). Be guided by the descriptions below:
 - I was able to do/perform the task without any difficulty. The task helped me in understanding the target content/
lesson.
✓ - I was able to do/perform the task. It was quite challenging, but it still helped me in understanding the target
content/lesson.
? – I was not able to do/perform the task. It was extremely difficult. I need additional enrichment activities to be able to
do/perform this task.
Learning Task LP Learning Task LP Learning Task LP Learning Task LP
Number 1 Number 3 Number 5 Number 7
Number 2 Number 4 Number 6 Number 8

VII. REFERENCES Learner’s Module Physical Education and Health 8

Internet
https://alljapantours.com/japan-attraction/traditional-performing-
arts/#:~:text=The%20three%20major%20classical%20theaters,back%20to%20the%20Edo%20Period.
https://asiasociety.org/new-york/wayang-kulit-indonesias-extraordinary-shadow-puppetry-
tradition

Prepared by: Richard John S. Almonina Checked by: NIMFAP. MANALO

APRILITO C. DE GUZMAN
JIMMY J. MORILLO
MARK ANTHONY M. HUELGAS
ANSELMA M. EBERO