Tag Archives: theater

San Pedro Calungsod the musical coming to Manila

The musical dedicated to the Filipino saint comes to St Scholastica in Manila this August 27

San Pedro Calungsod the musical
Kuya Manzano as Padre Diego Luis de San Vitores

Catch celebrity singer Gerald Santos in an amazing role that shows the vocal quallities that made him a star.

All together with a talented cast and technical team that will give all our hearts to make you travel with us through the journey of the second Filipino saint Pedro Calungsod.

Tickets on sale for 300php for show of August 27 2016 at 6pm.

Reserve through the FB page and tickets will be under your name at the door one hour before the show.

San Pedro Calungsod the musical
Kuya Manzano (the mentor priest) & Gerald Santos (the saint)

Future pictures and updates at https://www.facebook.com/kuyafanclub/ You can communicate in Facebook for details on the tickets.

Watched it? Let us know your feedback please!

Love and Infinity… Kuya Manzano.

Cancer in Space, theater thesis at Ateneo College

theater phiippines

Want to know who’s behind the curtain?

Get to know the playwright of “Cancer in Space”

Gabbi Campomanes has loved theatre since she was but a wee babe. She is currently the Company Manager of Ateneo Blue Repertory and is finishing her degree in Creative Writing. When she isn’t in the theatre, she can be found singing, sleeping marvelling at her sock collection, or reading about how to pickle okra.

“After being diagnosed with an illness that could potentially destroy the planet, Julie is abandoned in a space pod 30,000 kilometers away from the Earth’s surface. In the solitude of outer space, Julie tries to keep things interesting. Even if she’s going to, like, die.”

philippine theater kuya manzano

The Ateneo Fine Arts presents
By Gabbi Campomanes

Part of the 2016 Playwriting Thesis Series

Direction and Set Design by Jay Crisostomo IV

Costume Design by Shawn Landayan

Lights Design by Syd Alcantara

Props Design by Carrie Server

Featuring Jomelle Era, Kuya Manzano, and Justin Ayran

Under the supervision of Glenn Sevilla Mas, MFA and Missy Maramara, MFA

philippine theater kuya manzano

2016 April 14, 16, and 22, 7pm | April 23, 3pm
Ateneo Fine Arts Theatre, 3/F Gonzaga Building
Ateneo de Manila University

Running with KUBKOB by Carmel Ilustrisimo
Tickets are sold as twin bills for P250
For more information, please contact AJ Umali at 0915 266 7792 or fill up the reservation form http://bit.ly/ADMUPlaywriting2016

Theater Makeup

Applying makeup for the theater must be very exact. After all, the character being depicted should be believable and sincere. Research study will certainly assure the character makeup properly matches the duration, setting, or mood of the theater. This may need ending up being familiar with the script or program. Communication in between cast, set director, hair stylist, and makeup artist will certainly assist in developing a great working relationship in between all.

DragonPhysics / How does lighting work on a stage

Before Applying Theater Makeup

Know the type of lighting that will be utilized for the theater. Whatever the color lights, yellow or red, will certainly impact the outcome of the makeup fashion. It will certainly likewise be required to know the range from phase to audience. Considering that makeup will certainly have to be seen from all distances, the features need to be made up specifically; so as not to appear flattened and drowned out by lights. The makeup artist will also wish to come up with a schematic plan or illustration, of what the last appearance will look like. Remember; this might not be required if the production is for a kindergarten play.

Devices for Applying Theater Makeup

Due to the fact that the actor will be on phase, under bright lights, and saw at from a distance, picking the proper devices is an important in applying theatrical makeup fashion. Because the theatrical makeup has the tendency to be more pigmented and heavier than daytime makeup, I advise synthetic brushes for easy clean-up, velour powder puffs, and sponges. The use of incorrect eyelashes is also an efficient device for adding focus to the eyes. A few of the products may have an oil base. Using the synthetic brushes will certainly secure the durability of the brush. If using a powder rouge, a natural hair brush is likewise appropriate. I suggest numerous different sizes of brushes; a big brush for rouge, 2 medium eye shadow brushes, a contouring brush, and a lip brush.

Applying Theater Makeup

1. Cleanse and moisturize the skin. Constantly start with a fresh canvas. Makeup will certainly look and last better if the face is devoid of dirt, dead skin cells, and excess oils.

2. It is similarly crucial to highlight and contour facial features. You will want to add highlight to areas that stand out such as the cheekbones, chin, forehead, and t-zone. This can be achieved using a shade lighter in foundation and white highlighter. Utilizing a darker foundation, shape parts of the face, under the cheekbone and the temples that decline naturally. This will certainly include dimension and character to the face.

3. Apply foundation that is one to two times darker than typical. The lights will certainly fade and flatten the face if not. The audience has to see that face from a distance. It is necessary to mix because the lighting might get lines of fluctuating color. Use clear powder to set the makeup.

4. Follow with rouge. I discover that utilizing a powder rouge will certainly aid with blending. It is likewise easy to manage the amount of color considering that the color can be magnified gradually so the star doesn’t appear to appear like a doll.

5. If the function shows other parts of the skin such as the arms, shoulders, or legs, you might have to make use of body structure to match the face to the body. I discover it finest to utilize a dampened sponge when applying body structure. This helps spread out the makeup equally, without streaks.

6. You have to know that in theater, the eyes and mouth are centers for feeling. They will certainly need to be exaggerated. They can be highlighted and colored with more pigment than other facial locations. Just bear in mind that you don’t want to resemble a raccoon. It is best to keep away from greatly lining the bottom part of the eye in black. I will utilize a soft brown and smudge if more emphasis is needed. You can overemphasize the line on the top of the eye if suitable to the function.

7. Curl the lashes and use mascara one coat at a time, enabling the mascara to dry between coats. Curling the lashes assists to open the eye area.

8. Line the lips using a color that matches the lipstick. I typically choose lipstick in a color darker or brighter than typically made use of so the lips can be seen. Follow the natural line of the lips then apply lipstick making use of a lip brush.

9. Complete applying the theater makeup fashion by dusting translucent powder to areas you feel need to be set in location.

Special Details in Theater Makeup

A character may need to be made older or younger, with scars and cuts, bruised, or balding. These special impacts take time and special materials. If a role requires special effects details, plan the schematics ahead of time. Special research and time will require to be set aside.

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The Acting Motif in Hamlet

The Acting Motif in Hamlet

Hamlet - Theater in the Philippines.
Characters acting on top of duties they are currently acting. And all of these functions make it exceptionally tough to differentiate who is acting and who is real. The acting concept in Hamlet is mirrored through virtually every scene, and impacts virtually every character in the play. Lets analize the acting motif in Hamlet then.

King Claudius is continually acting throughout the play to conceal his real self from those around him. Of all, the play begins out with Claudius acting as the grieving and excellent king after the loss of his sibling. The King just desires to keep Hamlet close by so he can keep a close eye on the genuine successor.

Other apparently worried acts follow as the King asks Rosencrantz and Guildenstern to spy on Hamlet, and to return any details the King might make use of to assist his stepson. In addition, the King has compassion with Laertes about Hamlet killing his papa, Polonius. He is just acting this method to control Laertes into disposing of his biggest danger, Hamlet.

Hamlet’s mom, Queen Gertrude, likewise does her share of acting within the play. She rejected the presence of the issue, and acted as if the only possible cause of Hamlet’s habits was “his daddy’s death and our o’erhasty marital relationship”. In other words, was Gertrude purposefully acting the whole time with the sense of guilt near the surface area, or did she bury this sense of guilt so far that she ended up being the character she was acting?

In addition, Laertes is controlled by the King to act as a reasonable candidate in a friendly sword match with the prince, when, in reality, he and the King are preparing on killing Hamlet. Laertes acts in the sword match as if he has no mal-intent, however is in fact utilizing the act as a device for vengeance. At the wish of the King, Rosencrantz and Guildenstern act as close pals of Hamlet in order to spy on him and acquire favor with the King.

Polonius likewise carries out acts on top of the act he is currently carrying out for the King. In addition, he likewise directs a number of other characters in their efforts to act. The only times that Polonius appears not to be acting is in Act 1, Scene 3, when he is talking with his youngsters, and whenever he is talking about acting, for example, with the gamers and Hamlet.

Hamlet definitely acts throughout the play, it is tough to determine when he is acting, and when he is not. Hamlet may be believing that if he acts mad, he might be enabled more liberty to check out the information of the criminal activity, without being captured in the act. Was Hamlet acting in Ophelia’s bed room, in the Hall throughout his discussion with Ophelia, throughout the play, and in his mom’s chamber?

The only major characters in the play who do not act are Horatio and Fortinbras. And Fortinbras does anything however camouflage his objectives through acting. Exactly what I discover fascinating is that in addition to being the only primary characters not to act, they are likewise the only primary characters left alive at the end of the play.

In general, we have actually seen how the acting theme has actually impacted the major characters. The acting concept in Hamlet is mirrored through virtually every scene, and influences practically every character in the play.