1.zarzuela, form of Spanish or Spanish-derived musical theatre in which the dramatic action is carried through an alternating combination of song and speech.
2.Theater in the Philippines is as varied as the cultural traditions and the historical influences that shaped it
through the centuries. The dramatic forms that flourished and continue to flourish among the different peoples
of the archipelago include: the indigenous theater, mainly Malay in character, which is seen in rituals, mimetic
dances, and mimetic customs; the plays with Spanish influence, among which are the komedya, the sinakulo,
the playlets, the sarswela, and the drama; and the theater with Anglo-American influence, which encompasses
bodabil and the plays in English, and the modern or original plays by Fihpinos, which employ representational
and presentational styles drawn from contemporary modern theater, or revitalize traditional forms from within
or outside the country.
3.Theatre doesn’t tell anything. A performed play doesn’t tell anything. A character might. An actor can’t — or shouldn’t, at least not without a purpose (such as Brecht’s). This applies even to one-person performances: the show doesn’t tell a story.
4.The origins of zarzuela were courtly but its subject matter, staging, dance and music all feature signs of popular culture. The genre has been compared to operetta, Singspiel or Broadway musical, but is really unique to Spain. It is theater that alternates music and spoken dialogue (Stanton, 2002: 158).
5.From this, it can be said that to Filipinos, music is more than just a means of entertainment; it is a way to communicate emotions, to tell stories, and to express feelings. This is especially the case in times of crisis, the most significant instance being during the Martial Law period in the 1970s.
Answers & Comments
Answer:
1.zarzuela, form of Spanish or Spanish-derived musical theatre in which the dramatic action is carried through an alternating combination of song and speech.
2.Theater in the Philippines is as varied as the cultural traditions and the historical influences that shaped it
through the centuries. The dramatic forms that flourished and continue to flourish among the different peoples
of the archipelago include: the indigenous theater, mainly Malay in character, which is seen in rituals, mimetic
dances, and mimetic customs; the plays with Spanish influence, among which are the komedya, the sinakulo,
the playlets, the sarswela, and the drama; and the theater with Anglo-American influence, which encompasses
bodabil and the plays in English, and the modern or original plays by Fihpinos, which employ representational
and presentational styles drawn from contemporary modern theater, or revitalize traditional forms from within
or outside the country.
3.Theatre doesn’t tell anything. A performed play doesn’t tell anything. A character might. An actor can’t — or shouldn’t, at least not without a purpose (such as Brecht’s). This applies even to one-person performances: the show doesn’t tell a story.
4.The origins of zarzuela were courtly but its subject matter, staging, dance and music all feature signs of popular culture. The genre has been compared to operetta, Singspiel or Broadway musical, but is really unique to Spain. It is theater that alternates music and spoken dialogue (Stanton, 2002: 158).
5.From this, it can be said that to Filipinos, music is more than just a means of entertainment; it is a way to communicate emotions, to tell stories, and to express feelings. This is especially the case in times of crisis, the most significant instance being during the Martial Law period in the 1970s.
Explanation:
Answer:
Di ko gets sorry sa iba na lang po