4.

4 DAILY ACCOMPLISHMENT REPORT

DAY 1
05-29-17

The first day of the Directing workshop with Tata Nanding and Sir Marco Viaña proved to be
productive and engaging. The activities implemented to release tension and inhibitions
among participants served its purpose.

The facilitators made a decision to first tap on activities which deals with advanced acting,
believing that it is essential for directors to have a strong foundation and diverse experience
in acting before making a theater production themselves.

The following are the lessons and activities done during the first session:
1. GETTING TO KNOW YOU (GTKU)
 Name with action

2. EXPECTATION CHECK-UP
 Sasakyang Pangkalawakan
 Creative Reporting

3. THE FIVE FINGERS

 Significant memories on:
- Childhood
- School
- Family
- Love life
- Aspiration

4. SELF-REPRESENTATION
 Presentation of symbols (individual)
 Verse Choir (grouping)

5. ADAM AND EVE

 Word list
 Symbolic representation (Boy and Girl)
6. CONFLICT EXERCISES
 Patentero
 Convince Me
 Verbal Argument

7. DISCUSSIONS ON:
 Qualities of an Ideal Human Being/Artist
 Democratic Group Dynamics
 Johari's Window
 Instruments of a Director/Actor
 Elements of Artistic Expression
 Types of Conflict
- According to expression
- According to focus
- According to development
DAY 2
05-30-17

On the second day of the session, we've began to enter the creative room of a theater
director. In preparation for this, the facilitators made sure that the workshop procedure will
properly condition the participants. They conducted a series of activities that boosted their
concentration, internalization, and imagination.

The effectiveness of the facilitator's approach has been manifested through the diverse
interpretations of the workshop participants on the given script - an excerpt of "Timbang."

The following were the lessons and activities done during today's workshop duration:
1. GRID WALK (Walk, Stop, Clap, Jump)

2. POINT OF CONCENTRATION
 Count Off
 Objective

3. PSYCHO-PHYSICAL OBJECTIVE
 Obstacles
 Strategies
 Concentration
 Internalization
 Imagination

4. PAGE-TO-STAGE
I. Script Analysis
- Initial Reactions
- BME (Units)
- Relationships
- Character Analysis and Objectives
II. Blocking/Stage Movement
- Movement based on objectives
- Use of props and set pieces
III. Scene work and Mastery
- Exploration and Memorization
- Combine script analysis and blocking
5. TYPES OF STAGE
 Proscenium
 Arena
 Thrust
 Created/Found

6. PAGE-TO-STAGE PROCESS OUTPUTS

 Group 1: Inequality
 Group 2: Kama
 Group 3: Father’s Love
 Group 4: Bugaw
 Group 5: Marawi
 Group 6: Bulaklak
DAY 3
05-31-17
As the directing workshop hold its third session, the facilitators began to expose the
participants with two distinct forms of approach towards theater stage plays - the page-to-
stage process and people's theater.
The day kick started with activities meant to arrow the participants towards the application
of the different principles of composition. The process resulted to two performances which
were handpicked to be showcased during the workshop recital on Friday - the plays
"Corruption" and "Discrimination."

The following are the lessons and activities done during today's session:
1. BALL EXERCISE
2. TABLEAU
 Classroom
 Lamay
 Ant Hill
 Coral Reef
 Corruption
 Poverty

3. PEOPLE'S THEATER PROCESS

I. Metacards
- Identify issues
II. Image Theater
- Root Image
- Problem Image
- Consequence Image
- Ideal Image
III. Script Development
- Actor-driven
IV. Additional Elements
- Transition images
- Music
- Props/Costume/Set
V. Scene Work
- mastery and memorization
- combine images and additional elements
DAY 4
06-01-17

After the creative discussions and activities on advance acting and directing, the fourth day
of the workshop was devoted to the rehearsals of each group in preparation for the recital.
But before the rehearsals, a preliminary activity emphasizing the relevance of Maslow's
hierarchy of needs for both the actor and the director's character development was
discussed by Tata Nanding.

The facilitators have chosen five (5) outputs of the participants from PAGE-TO-STAGE
(excerpt from TIMBANG) and PEOPLE’S THEATER processes.
1. MARAWI
2. KAMA
3. BULAKLAK
4. CORRUPTION
5. DISCRIMINATION
The following are the lessons and activities done during the fourth day:
1. TRUTH CIRCLE
 What do I hate the most about myself?
 What do I like the most about myself?
 What more do I want to do in life?

2. MASLOW'S HIERARCHY OF NEEDS

 Self-Actualization
 Sense of Belongingness
 Security
 Basic Needs

3. SCENE WORK THROUGH AND MASTERY

 exploration and memorization
 combine images and additional elements

4. CRITIC NIGHT WITH THE FACILITATORS

DAY 5
06-02-17

The Directing Workshop Recital 2017 was held at the workshop venue, I’s Plant Hotel’s
Ballroom Hall, and was attended by the ISKOLAR-Calbayog, Junior Isko Performing Arts
Guild (JPAG), City Arts and Culture Office (CACO) employees, the University of the
Philippines Singing Ambassadors (UPSA), and other visitors.

The program began with an opening message from the City Arts and Culture officer and
project director, Mr. Jonas T. Lim, and from Tata Nanding’s co-facilitator, Sir Marco Viaña.
First to perform were the three best outputs from the page-to-stage process – “Kama”,
“Marawi”, and “Bulaklak.” It was followed by the performances coming from the outputs of
the people’s theater process, “Corruption” and “Discrimination.”

After the staging of the participants’ workshop outputs, Tata Nanding gave the closing
remarks expressing his gratitude for the success of the project and his vision towards the
future of theater arts in Calbayog City. This segued to the distribution of certificates to the
participants and photo opportunities which concluded the activity.