Continguts de la mostra fotogràfica, organitzada pel Centre de Documentació i Museu de les Arts Escèniques (MAE) i l'Escola d'Ensenyament Secundari Artístic / Conservatori Professional de Dansa (EESA/CPD). Institut del Teatre, 2013
Zarzuela is a Spanish lyric-dramatic genre that alternates between spoken and sung scenes, incorporating operatic and popular song as well as dance. There are two main forms - Baroque zarzuela from 1630-1750 featuring gods/mythological characters, and romantic zarzuela from 1850-1950 in two subgenres: Genero Grande and Genero Chico. Spanish colonizers introduced zarzuela to the Philippines in 1878 where it was adapted into the Filipino genre of sarswela, featuring love stories, contemporary issues, and performances in native languages. Zarzuela also influenced genres in Cuba during the late 19th/early 20th century.
The document discusses various aspects of front office management in a hotel, including responsibilities of different front office roles and departments, revenue and reservations management, guest services, accounting for guests, and data management. It provides details on key front office functions like forecasting demand, yield management, managing reservations and occupancy, the guest registration process, privacy policies, billing to guest folios, night audits, and credit card processing.
Continguts de la mostra fotogràfica, organitzada pel Centre de Documentació i Museu de les Arts Escèniques (MAE) i l'Escola d'Ensenyament Secundari Artístic / Conservatori Professional de Dansa (EESA/CPD). Institut del Teatre, 2013
Zarzuela is a Spanish lyric-dramatic genre that alternates between spoken and sung scenes, incorporating operatic and popular song as well as dance. There are two main forms - Baroque zarzuela from 1630-1750 featuring gods/mythological characters, and romantic zarzuela from 1850-1950 in two subgenres: Genero Grande and Genero Chico. Spanish colonizers introduced zarzuela to the Philippines in 1878 where it was adapted into the Filipino genre of sarswela, featuring love stories, contemporary issues, and performances in native languages. Zarzuela also influenced genres in Cuba during the late 19th/early 20th century.
The document discusses various aspects of front office management in a hotel, including responsibilities of different front office roles and departments, revenue and reservations management, guest services, accounting for guests, and data management. It provides details on key front office functions like forecasting demand, yield management, managing reservations and occupancy, the guest registration process, privacy policies, billing to guest folios, night audits, and credit card processing.
The moro-moro is a play that became popular in the Philippines during the Spanish colonial period. It depicted battles between Christians and Moros (Muslims in the Philippines), with the Moros as the perpetual villains who always lost to the Christians in the end. Progressive historians have viewed the moro-moro as a tactic by the Spanish colonizers to demonize the Moros, the largest ethnic group that successfully warded off attempts at conquering them.
Dance is a natural form of human expression that reflects the spirit and culture of different peoples and times. It involves planned rhythmic movement to music. Classical dance has standardized rules and forms, while modern and contemporary dance incorporate more freedom of expression and influences from other styles. Folk dances traditionally express the feelings of particular communities, and Philippine dances especially showcase the culture through different types including religious, social, and occupational dances.
Drama is a specific mode of fiction represented in performance that involves communication between actors and spectators. It uses action and speech to tell a story through individuals or groups acting with their bodies and minds. Three major forms of traditional Asian drama are discussed: Chinese drama (Vun Pan Shi, Sin Pan Shi, Vun Min Shi), Japanese drama (Noh plays, Joruri puppet plays, and Kabuki drama), and early forms of Philippine drama like duplo and karagatan debates. Modern Philippine drama was rejuvenated by groups like Repertory Philippines, and the country's film industry began with movies like Dalagang Bukid in 1919.
The document provides an overview of drama throughout history across various cultures and eras. It discusses the origins and development of drama from ancient Greece and Rome, through medieval religious plays, Renaissance imitation of classics, and the rise of modern drama in the 19th century led by Ibsen. It also summarizes key Asian forms of drama including Noh plays in Japan and early Philippine drama.
The document summarizes the history of Philippine theater and drama. It discusses how performance was central to pre-colonial communities. During the Spanish colonial period, theater was performed on raised platforms and conveyed feudal and colonial values. Under American rule, theater became a form of protest by subverting genres. This led to censorship through the Sedition Act, which imprisoned playwrights who advocated for independence. The document also outlines the contributions of Daisy Hontiveros Avellana and the Barangay Theater Guild in popularizing and establishing Philippine theater.
Theatre is a collaborative art form that involves live performers presenting an experience to an audience. Some key elements of theatre include the performers, the audience, a director, the theatre space, and a text or script. Theatre has developed over thousands of years, originating from Greek festivals and continuing to evolve with Roman, medieval, and modern forms and traditions.
K TO 12 GRADE 7 LEARNING MODULE IN PHYSICAL EDUCATION (Q3-Q4)LiGhT ArOhL
This document provides an overview and lesson plans for a physical education module on Arnis, a Filipino martial art. The module is divided into 3 sessions that will teach students the fundamental skills of Arnis, including proper grips, stances, 12 striking techniques, and warm-up/cool-down exercises. Self-assessment rubrics are included to help students evaluate their own progress in learning and performing the techniques.
The document summarizes the history and development of traditional and early Philippine drama forms such as the duplo, karagatan, moro-moro, and cenakulo plays. It also discusses important street drama traditions like the Moriones festival and Ati-atihan festival. The document traces how drama evolved with the arrival of the Spanish, including the introduction of zarzuela musical plays. It notes that modern Philippine drama was rejuvenated with the establishment of Repertory Philippines in 1967.
Physical Education Grade 7 K-12 Folk dance 4th qtrElmer Llames
Folk dances in the Philippines reflect the country's history and traditions. They developed from daily life and events like harvests or the arrival of colonizers like the Spanish. Popular folk dances include the Tinikling, which mimics birds hopping between bamboo poles; the Pandanggo sa Ilaw, a graceful dance balancing oil lamps; and the Itik-Itik, a mimetic dance imitating duck movements in rice paddies. Regional dances often tell stories through their choreography and costumes. Folk dances remain an important part of Philippine culture and a way to preserve historical customs.
INTRODUCTION TO FRONT OFFICE:
the basics, such as the personnel under the front office department, their duties and responsibilities. and etc. SEE FOR YOURSELF.
The moro-moro is a play that became popular in the Philippines during the Spanish colonial period. It depicted battles between Christians and Moros (Muslims in the Philippines), with the Moros as the perpetual villains who always lost to the Christians in the end. Progressive historians have viewed the moro-moro as a tactic by the Spanish colonizers to demonize the Moros, the largest ethnic group that successfully warded off attempts at conquering them.
Dance is a natural form of human expression that reflects the spirit and culture of different peoples and times. It involves planned rhythmic movement to music. Classical dance has standardized rules and forms, while modern and contemporary dance incorporate more freedom of expression and influences from other styles. Folk dances traditionally express the feelings of particular communities, and Philippine dances especially showcase the culture through different types including religious, social, and occupational dances.
Drama is a specific mode of fiction represented in performance that involves communication between actors and spectators. It uses action and speech to tell a story through individuals or groups acting with their bodies and minds. Three major forms of traditional Asian drama are discussed: Chinese drama (Vun Pan Shi, Sin Pan Shi, Vun Min Shi), Japanese drama (Noh plays, Joruri puppet plays, and Kabuki drama), and early forms of Philippine drama like duplo and karagatan debates. Modern Philippine drama was rejuvenated by groups like Repertory Philippines, and the country's film industry began with movies like Dalagang Bukid in 1919.
The document provides an overview of drama throughout history across various cultures and eras. It discusses the origins and development of drama from ancient Greece and Rome, through medieval religious plays, Renaissance imitation of classics, and the rise of modern drama in the 19th century led by Ibsen. It also summarizes key Asian forms of drama including Noh plays in Japan and early Philippine drama.
The document summarizes the history of Philippine theater and drama. It discusses how performance was central to pre-colonial communities. During the Spanish colonial period, theater was performed on raised platforms and conveyed feudal and colonial values. Under American rule, theater became a form of protest by subverting genres. This led to censorship through the Sedition Act, which imprisoned playwrights who advocated for independence. The document also outlines the contributions of Daisy Hontiveros Avellana and the Barangay Theater Guild in popularizing and establishing Philippine theater.
Theatre is a collaborative art form that involves live performers presenting an experience to an audience. Some key elements of theatre include the performers, the audience, a director, the theatre space, and a text or script. Theatre has developed over thousands of years, originating from Greek festivals and continuing to evolve with Roman, medieval, and modern forms and traditions.
K TO 12 GRADE 7 LEARNING MODULE IN PHYSICAL EDUCATION (Q3-Q4)LiGhT ArOhL
This document provides an overview and lesson plans for a physical education module on Arnis, a Filipino martial art. The module is divided into 3 sessions that will teach students the fundamental skills of Arnis, including proper grips, stances, 12 striking techniques, and warm-up/cool-down exercises. Self-assessment rubrics are included to help students evaluate their own progress in learning and performing the techniques.
The document summarizes the history and development of traditional and early Philippine drama forms such as the duplo, karagatan, moro-moro, and cenakulo plays. It also discusses important street drama traditions like the Moriones festival and Ati-atihan festival. The document traces how drama evolved with the arrival of the Spanish, including the introduction of zarzuela musical plays. It notes that modern Philippine drama was rejuvenated with the establishment of Repertory Philippines in 1967.
Physical Education Grade 7 K-12 Folk dance 4th qtrElmer Llames
Folk dances in the Philippines reflect the country's history and traditions. They developed from daily life and events like harvests or the arrival of colonizers like the Spanish. Popular folk dances include the Tinikling, which mimics birds hopping between bamboo poles; the Pandanggo sa Ilaw, a graceful dance balancing oil lamps; and the Itik-Itik, a mimetic dance imitating duck movements in rice paddies. Regional dances often tell stories through their choreography and costumes. Folk dances remain an important part of Philippine culture and a way to preserve historical customs.
INTRODUCTION TO FRONT OFFICE:
the basics, such as the personnel under the front office department, their duties and responsibilities. and etc. SEE FOR YOURSELF.
El documento presenta la segunda edición del Concurso de Jóvenes Intérpretes de La Llosa de Ranes. El concurso consta de dos fases y está abierto a intérpretes de instrumentos de viento de hasta 16 años. La primera fase incluye una obra obligatoria y la segunda una obra de libre elección. El concurso tendrá lugar en junio y julio en el Auditorio Municipal de La Llosa de Ranes.
Este documento presenta el programa para un concurso de bandas de música que tendrá lugar el 7 y 8 de noviembre en Valencia, España. El programa incluye los detalles de las diferentes secciones y bandas participantes, así como la lista del jurado que evaluará las presentaciones.
Este documento presenta el orden del día de la 47a Asamblea General Ordinaria de la Federación de Sociedades Musicales de la Comunidad Valenciana, que se celebrará los días 17 y 18 de octubre de 2015 en Benicàssim, Castellón. La agenda incluye una conferencia sobre investigación en TIC para escuelas de música, la lectura del acta de la asamblea anterior, presentaciones sobre servicios jurídicos y de propiedad intelectual, y programación del Palau de les Arts, así como la aprobación de cuentas, presupuesto y elección
Este documento es una orden de domiciliación SEPA para adeudos directos que autoriza a la Sociedad Musical de La Llosa de Ranes a cobrar cuotas de un deudor mediante cargos directos a su cuenta bancaria. La orden incluye la información del acreedor, deudor y cuenta bancaria, así como la firma del deudor autorizando los cargos directos y reconociendo sus derechos sobre reembolsos.
Este documento presenta el programa de varias bandas de música que participarán en un festival en el Palau de la Música de Valencia entre el 16 y el 19 de julio. Cada banda tocará una obra obligada y varias piezas opcionales que incluyen pasodobles y obras para banda de compositores como Ferrer Ferran, Oscar Navarro y Andrés Valero Castells. El festival contará con la participación de bandas de España, Italia, Suiza, Estados Unidos y la Banda Municipal de Valencia.
Este documento presenta la programación de la Muestra Internacional de la Música Valenciana que tendrá lugar del 14 de abril al 15 de mayo de 2015. Incluye conciertos, conferencias y exposiciones sobre música valenciana en ciudades de España, Italia, Cuba y otros países. El objetivo es dar a conocer el rico patrimonio musical de la Comunidad Valenciana a nivel internacional.
El programa de la Banda de la Sociedad Musical de La Llosa de Ranes consta de dos partes. La primera parte incluye cuatro piezas musicales de compositores como Oscar Navarro, Mark Camphouse, Tomaso Albinoni y Abel Moreno Gómez. La segunda parte presenta tres obras de John Williams, Camillo de Nardis y Mariano San Miguel. Rafael García Vidal dirige la banda.
Programa certamen provincial bandes valencia 2014smlallosaderanes
Este documento presenta el programa del 38o Certamen Provincial de Bandas de Música de la Diputación de Valencia, que se llevará a cabo el 17 y 18 de mayo de 2014 en el Palau de la Música de Valencia. Participarán varias agrupaciones musicales de la región que competirán en diferentes secciones interpretando obras obligatorias y de libre elección ante un jurado.
2. LA COMPANYIA
Lírico Cultural “Maestro Alcaraz” va fer el seu debut l’any 1985 amb la posada en escena
de la sarsuela El Huésped del Sevillano. Va continuar la seua trajectòria i en 1986 es va muntar la
sarsuela El Último Romántico.
Van passar uns anys i en 1992 es va fer la posada en escena de La del Soto del Pardal, en
col∙laboració amb “Amigos de la Zarzuela” d’Abarán.
Van haver de passa catorze anys perquè l’any 2006 tornàrem, ja en aquestes noves
instal∙lacions ja que les sarsueles anteriors es van fer en l’antic Cinema Espanya.
L’any 2006 vam tenir l’honor d’escenificar La Verbena de la Paloma.
En el 2013, passem de les sarsueles del repertori més aviat clàssic, a la divertida sarsuela
de La Corte del Faraón. L’experiència va ser tan positiva, que ens han donat motiu per a entrenar
en el camp de l’espectacle de la Revista musical.
La diferència d’una revista a una sasuela estreba que al sarsuela, pot tenir moments més
o menys seriosos. La revista des que obri el teló, fins al final de l’obra, és una riallada contínua, amb
música enganxosa i plena d’alegria.
La revista, podríem dir que és l’espectacle més semblat a un musical. Hem fet un esforç
titànic perquè tots vostès ho passen extraordinariament bé i gaudisquen d’aquest espectacle.
La companyia Lírico Cultural “Maestro Alcaraz” dóna les gràcies a totes les persones i
entitats han fet possible que el muntatge d’aquesta revista musical siga una realitat.
ARGUMENT
Davant l’inesperat anunci de la visita del seu oncle Don Francisco, Concha es veu en el
dilema d’intentar ocultar‐li la seua vertadera professió: és una jove artista que es guanya la vida
com vedette de revista. Amb l’ajuda del seu nuvi, Leandro, escenifiquen, en el que en el seu
moment va ser un bordell, un col∙legi de senyoretes – al que bategen com Las Leandras – en el qual
professors i alumnes no són uns altres que els membres de la companyia teatral.
No obstant açò, l’embulle es desencadena quan Francisco, un home de províncies,
desconeixent el tancament del prostíbul, es presenta en el lloc amb el seu nebot Casildo esperant
els serveis de les senyoretes. Tots creuen que es tracta de l’oncle de Concha, que al seu torn és
confós més tard per Leandro com un pretendent de la xica.
Després d’una successió de malentesos, la situació, finalment quedarà aclarida.
Amb
LA COMPANYIA LÍRICO CULTURAL “MAESTRO ALCARAZ”
Amb la col∙laboració del
COR PARROQUIAL “SANT JOAN BAPTISTA” I
POQUELIN TEATRE BALLET ELENA TUDELA
REPARTIMENT
Concha Gemma Soler Chon Natalia Ivorra
Aurora Noelia Pérez Nati Natalia Ivorra
Manuela Mari Ferrandiz El tio Francisco Eugenio Valls
Fermina Ruth Climent Leandro Ivan Valero
Maika Susana Soldevilla Casildo Kike Blanquer
Vanesa Amparo Mas Porras Josele Pascual
Loli Imma Gadea Don Francisco Alfredo Asensio
Kuka Elisa García Paco El Gomoso Javier Pérez
Clementina Rocío Colomer Don Cosme J. Antonio Olcina
Charito Aitana Moltó Un Golfillo David Navarrete
Coralina Aitana Moltó
Director Musical
RAFA GARCÍA VIDAL
Director de Cors
JUAN GADEA
Director d’escena
J. ANTONIO OLCINA