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Creative Writing
Quarter 2 – Module 3 Reading and Writing
Drama
Department of Education ● Republic of the Philippines
Creative Writing Alternative Delivery Mode Quarter 2 – Module 3: Reading
and Writing Drama First Edition, 2020
Republic Act 8293, section 176 states that: No copyright shall subsist in any work
of the Government of the Philippines. However, prior approval of the government agency or
office wherein the work is created shall be necessary for exploitation of such work for profit.
Such agency or office may, among other things, impose as a condition the payment of
royalties.
Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names,
trademarks, etc.) included in this book are owned by their respective copyright holders.
Every effort has been exerted to locate and seek permission to use these materials from
their respective copyright owners. The publisher and authors do not represent nor claim
ownership over them.
Development Team:
Chairperson: Dr. Arturo B. Bayocot, CESO III
Regional Director
Members: Neil A. Improgo, PhD, EPS-LRMS; Bienvenido U. Tagolimot, Jr., PhD, EPS-ADM;
Erlinda G. Dael, PhD, CID Chief; Maria Teresa M. Absin, EPS (English); Celieto B.
Magsayo, LRMS Manager; Loucile L. Paclar, Librarian II; Kim Eric G. Lubguban,
PDO II
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SENIOR HIGH SCHOOL
Creative Writing
Quarter 2 – Module 3 Reading and Writing
Drama
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Department of Education ● Republic of the Philippines
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TABLE OF CONTENTS
Page No.
OVERVIEW
What I Need To Know 1
Things to Remember To Get Through 1
iv
Lesson 4 - DIFFERENT STAGING MODALITIES vis-à-vis ENVISIONING THE
SCRIPT
References 47
v
WHAT I NEED TO KNOW
This third learning module of Creative Writing for Senior High School students
is designed to more fully hone your skills in both reading and writing drama. It sheds
light on the important matters to learn more about for one to become a distinguished
playwright in the field of drama.
In this module, the students understand and apply the different elements,
techniques and literary devices in drama through various activities, specifically
writing activities, which enable the learners to put into practice all the things which
are mentioned here. It also provides learners with a better grasp in conceptualizing a
character/setting/plot for a one-act play, leading them to compose at least one scene
for a one-act play that can be staged.
After studying this module, you will be able to:
1. identify the elements, techniques and literary devices
in drama,
2. understand intertextuality as a technique of drama,
3. conceptualize a character/setting/plot for a one-act play,
4. explore different staging modalities vis-à-vis envisioning the
script, and
5. write at least one scene for one-act play applying the various
elements, techniques and literary devices.
To learn and benefit from this module, follow the following steps:
1. Read the module title and the module introduction to get an idea of what
the module covers. Specifically, read the first two sections of this module
carefully. The first section tells you what this module is all about while the
second section tells you of what you are expected to learn.
2. Never move on to the next page unless you have done what you are
expected to do in the previous page. Before you start each lesson, read
first the INSTRUCTIONS.
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3. Work on the activities. Take note of the skills that each activity is helping
you to develop.
4. Take the Post-Test after you are done with all the lessons and activities in
the module.
5. Meet with your teacher. Ask him/her about any difficulty or confusion you
have encountered in this module.
6. Finally, prepare and gather all your outputs and submit them to your
teacher.
7. Please write all your answers of the tests, activities, exercises, and others
on your separate activity notebook.
REMEMBER THIS
In order to become the best playwright there is, it is but necessary to dig
yourself in to the must-know elements, techniques and literary devices, as well as
intertextuality, and the different staging modalities that surround the world of drama.
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ELEMENTS, TECHNIQUES 1
AND LITERARY DEVICES IN
DRAMA
LESSON
WHAT I KNOW
Instructions: Recall what you have learned or read about drama as a genre of
fiction. Read and answer the following statements. In your notebook, write the letter
of your answer for each item.
2. Which part of the play displays whether or not the protagonist won and problems
are resolved?
a. climax
b. conflict
c. denouement
d. exposition
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3. It refers to what the characters say or do to achieve their goals in a play.
a. complications
b. action
c. conflict
d. backstory
4. What element of drama refers to the events that took place in the past?
a. complications
b. action
c. conflict
d. backstory
6. What element of drama refers to the character or situation that stands against the
protagonist?
a. antagonist
b. arc
c. intrigue
d. flashback
8. What element of drama is known as something that happens out of the audience’s
expectation?
a. soliloquy c. stakes
b. surprise d. scenes
10. Which of the following elements of drama refers to what the characters stand
in order to gain or lose whenever they succeed or fail.
a. soliloquy
b. surprise
c. stakes
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d. scenes
V WHAT IS IT
What is Drama?
Types of Drama
Drama is classified into different categories according to mood, tone, and actions
shown in the plot. Below are some of the most famous types of drama written
nowadays.
1. Comedy
This is known to be a broad genre of film, television, and literature. Nonetheless, its
ultimate goal is but simple – to make the audience laugh. In order to achieve such
goal, a playwright often uses quaint circumstances, unusual characters, and witty
remarks. What makes this category different from the other types is that its writer
uses lighter tone. Moreover, it is sometimes known to be sarcastic in nature as it has
the tendency to make fun out of serious topics.
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➢ romantic comedy
– It focuses on lighthearted, humorous plot lines which are often
centered on romantic ideas like how true love is able to overcome
many obstacles.
➢ sentimental comedy
- It began in the 18th century as a reaction to the immoral tone
of English Restoration play. This sub-genre of comedy
focuses on the middle-class protagonists who are able to
successfully overcome a couple of moral trials.
➢ comedy of manners
- It is also referred to as the anti-sentimental comedy which
writes about the manners and feelings of modern society. It
also questions societal standards.
➢ tragic comedy
- It portrays characters who take on tragedy with humor in
order to bring out happy endings out of serious situations.
2. Tragedy
As a type of drama, tragedy is basically rooted on its literal meaning which connotes
something that is unpleasant and unwelcome. Generally, it has darker themes and
portrays subjects which include death, disaster, and all sorts of human suffering in a
manner that is dignified and thought-provoking. This type of drama involves two
important elements: (1) its intense seriousness in dealing with matters in which
survival is at stake and (2) its involvement of the whole community in matters of
ultimate and common concern. A tragic flaw, a characteristic which often leads to a
downfall, is usually present among the story’s protagonists.
➢ Greek Tragedy
- Typically, it involves a protagonist of high rank who commits
a mistake in judgment (flawed) and accepts his fall from
grace. Typically, it includes the elements of Gods, mythology,
conflict, suffering and catharsis. Among the great Greek
tragedians were Sophocles, Euripides and Aeschylus.
➢ Roman Tragedy
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- These are mostly adaptations of Greek tragedies. The
Roman philosopher Seneca wrote nine plays which still exist
at present and adopted by Elizabethan and Jacobean
playwrights during the late 16th and early 17th centuries.
➢ Revenge Tragedy
- This type of tragedy often involves one character who seeks
revenge upon another character in the story for an evil doing.
The most common examples of this are Hamlet by
Shakespeare and The Duchess of Malfi by John Webster.
➢ Tragicomedy
- This is a single dramatic work which consists of a
combination of tragic and comic elements. One popular
example of this is the play Waiting for Godot by Samuel
Beckett.
➢ Domestic Tragedy
- Unlike the Elizabethan period tragedy, it portrays a common
man in a domestic setting as the tragic hero in the story. The
best examples for this are Henrik Ibsen’s A Doll’s House and
Eugene O’Neill’s The Iceman Cometh.
3. Farce
4. Melodrama
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5. Opera
This type combines theater, dialogue, music and dance to tell grand stories of
tragedy or comedy; hence, it is known as a versatile genre of drama. This genre
requires their performers to be both actors and singers since they will be expressing
their emotions and intentions through song instead of a dialogue.
6. Docudrama
1. Plot
There are three major divisions or acts in a physical format of a play. A threeact
play is composed of three acts which show a fuller and longer exposition of the
theme and conflict of the story. On the other hand, a one-act play involves one unit
of time, place and action only.
Typically, plays are written in many different forms, but the typical structure often
consists of the following:
1.Exposition and This part introduces the characters and establishes the
Introduction setting of the story. The introduction can either present the
conflict right at the very beginning or in the middle of the
action. Regardless of the structure, this part shows the
situations that involved the characters to the conflict and sets
the tone of the play.
2. Conflict This is where the challenges that the protagonist is about to
face are presented. This conflict may arise from various
forces, including the society, nature, environment, God, or
even from the main character himself/herself.
3. Rising Action or From the emergence of a conflict, the play now rises toward a
Complication dramatic tension which often turns into a confrontation. As
this dramatic tension intensifies, it provides emotional tension
between characters, giving the audience more details
concerning them which were not known in the introduction
and conflict. This part also makes the conflict more
complicated.
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4. Turning Point, This part is where the audience finds out if the protagonist
Climax or Crisis either wins or loses in the battle that he or she is struggling
with. This is known as the highest point in a story.
5. Falling Action At this point, the audience somehow gets a sense of the
conclusion, but may still have some unsettled questions at
work within the plot.
6. Denouement or This marks the ending of the play where we can see if the
Resolution protagonist won against the antagonist. It also shows
whether or not the order is brought back and the conflict has
been resolved.
Dramatic Elements
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Foreshadowing It refers to the use of hints at the future just to create audience’s
anticipation.
Inciting incident It refers to that occurrence which introduces the main character
and gets the plot going.
In Medias Res It is the opening scene in the middle of the action.
Intrigue It refers to a scheme created by one of the characters which often
results in a more complicated plot.
Music It is used on the stage to set the mood and tone of the play.
Monologue It refers to the speech delivery of an actor in the presence of other
actors who simply listens, but not talk.
Protagonist It is the main character in a play who often comes with a mission
or has a quest to conquer.
Reversal It occurs when the protagonist either fails or succeeds.
Scenes These are portions of an act which let the audience relax briefly
from the tension of the story
Soliloquy It is an actor’s speech delivery to express thoughts at the time
when he or she is alone.
Stakes These refer to what the characters stand to either gain or lose
when they succeed or fail.
Surprise It is what happened in the story which the audience does not
expect at all.
Suspense It involves happenings that cause a sense of uncertainty about
the things that will happen to the characters
2. Setting
An effective playwright does not only consider the plot when writing drama. Equally
important to that matter is to also think of the setting in a play. Basically, setting is
the term used to describe the place or the locale where the story of the play is
located. Moreover, it also includes the date, time and the action involved in the play.
❖ Realistic plays
- Refer to those whose conventions are under the realistic
plane and are taken from real people, objects and situations.
In this category, the setting is created with the aim to
reproduce the external presence of life.
❖ Non-realistic plays
- It is the exact opposite of realistic plays in which it is drawn
out from stylized and unconventional events. It involves
characters who are not real people, but are allegorical or
symbolical. The setting in this category can be a dream-like
forest, a barren and deserted mountain, the underworld or
any fictional spot.
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3. Character
As discussed in the lesson on fiction, character refers to a person or any entity with
human characteristics who acts, speaks, narrates or is referred to in a literary work. A
character can be major (or principal) or minor (supporting). The general
classifications of characters in drama are as follows:
4. Dialogue
Among the components in a play, this is the most important. This is basically the
reason why the action of the play moves. Since the nature of drama is performative,
it is the dialogue, which takes place between the characters, that often reveal the
tone and the characters in the play.
WHAT’S MORE
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Note to the teacher:
You may create your own rubrics in scoring the activity 1 and 2. Make sure it
focuses more on the content, style and the application of elements and literary
devices of drama as discussed above.
Thank you.
ASSESSMENT
I. True or False. Write TRUE if the statement is true and FALSE if it is not
true based on the discussion above.
II. Identification. Read the description in each item below. Find inside the
box the correct word/s that each description refers to. Write the letter of your
answer in your notebook.
a. arc f. dialogue
b. docudrama g. opera
c. flashback h. In Medias Res
d. foreshadowing i. music
e. reversal j. complications
1. It refers to the use of hints at the future just to create audience’s anticipation.
2. It is used to set the mood and tone of the play.
3. This is known as the most versatile genre of drama.
4. It causes the action of the play to move.
5. This new genre of drama involves dramatic portrayals of historic events.
6. It occurs when the protagonist either fails or succeeds.
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7. This is the introduction of new characters, information or other events which
often causes conflicts.
8. It is the storyline of a play.
9. It is the opening scene in the middle of the action.
10. It is often used to clarify the present situation through description or
enactment of what happened in the past.
INTERTEXTUALITY AS A
TECHNIQUE IN DRAMA
LESSON 2
Competency: Understand intertextuality as a technique of drama
HUMSS_CW/MPIj-IIc-16
WHAT I KNOW
Instruction: Let us check what you have known so far about intertextuality. In your
notebook, write the letter of your answer for each question below.
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2. It occurs when the writer refers to another text through ideas, symbols, genre or
style.
a. implicit reference
b. explicit reference
c. direct reference
d. indirect reference
7. This type of intertextuality happens when the writer changes or extends the
meaning of a certain text by reworking or re-imagination.
a. allusion
b. parody
c. quotation
d. appropriation
V WHAT IS IT
Perhaps, you have already applied intertextuality technique in your own literary
works, yet you do not know that that is how you call it in literature. Have you tried
borrowing phrases and concepts from other’s works and integrate them to your own
literary work? If so, then you have already done intertextuality without even knowing
it.
By definition, intertextuality is the manner in which one text influences another. This
borrowing can be done by an author in either direct or indirect manner. Historically, it
was in 1960s that a French Julia Kristeva made the definition of intertextuality.
Accordingly, it originated from the Latin word intertexto which means “to intermingle
while weaving”. According to Kristeva, all literary outputs which are created
contemporarily are intertextual with the works that were created before them.
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For one to clearly identify intertextuality, it is important that he or she has a wide
knowledge of varied texts. Basically, this is where the need to read more and
increase your bank of books, poems, films and plays comes in.
There are two common ways in which a writer applies intertextuality in his or her
works. These are through:
➢ Implicit reference
- It happens when the writer refers to a different text through
the use of ideas, symbols, genre or style
➢ Explicit reference
- It happens when the writer mentions, quotes or cites another
text in his or her work in a direct manner.
Types of Intertextuality
1. Allusion
➢ Among the types of intertextuality, this is perhaps the most common and
effective technique. It refers to an indirect reference in one text to
another text, place, historical period, or author for the purpose of
enriching or developing meaning.
Literary
This refers to an allusion to a literary text or figure.
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For example: “No matter how Dorian adjusted the electric
blanket it was either too hot or too cold, never just right.”
Step 1: Read the passage to find out if there is a clear presence of allusion to a
place, time, religion, myth or text.
Step 2: Identify the examples that refer to something else, the type of allusion used
and the reference of the allusion.
2. Parody
This type of intertextuality refers to the writer’s imitation of another text for the
purpose of exposing and discrediting one’s vice or follies. Often, a writer uses this
type to mock its targets who are usually celebrities, politicians, authors, a style or
trend or any subject which arouses anyone’s interest at the moment or at a specific
period of time.
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Historically, the word “parody” comes from the Greek phrase parodia which is a type
of poem that copied the style of epic poems but with the characteristics of mockery
and light comedy.
Examples of Parody
Example 1:
“Your little sister puts on your father’s big shoes and stomps around in them, saying,
‘I need to make a business call. I am very busy, very important businessman!’
”
This example shows that the father was being imitated by the girl who knows that he
works as a businessman. The statements suggest to show the image of many
businessmen as overly serious and acclaimed self-important.
Example 2:
“At the talent show, a group of boys wears matching outfits and prances around
singing One Direction’s “Best Song Ever.” They sing very poorly and overly
dramatically.”
In this example, the boys are parodying the way a famous band dresses, sings, and
performs in a humorous way, commenting on how many pop stars are actually low-
leveled in terms of talent.
3. Quotation
The most vital function of quotation marks is to set off and represent the exact
language which is either spoken or written by somebody else. This means that any
revision or edition of the exact statement or words defeats the purpose of quoting.
Example 1:
In the end, Albert Einstein was right when he said, “Life is like a bicycle. You need to
keep moving.”
Example 2:
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Dr. King said, “I have a dream.”
4. Appropriation
5. Adaptation
This type of intertextuality entails creating a film, TV drama or stage play based on a
specific written work. Perhaps one of the most common examples for this is the film
adaptation of JK Rowling’s Harry Potter which was originally, a written novel.
Historically, there are different reasons why a writer would want to employ
adaptation in his or her work. One of these is the desire to reconfigure a popular
material into becoming a more acceptable guise or introducing to the audience a
whole new and fresh literary style. Another reason is to get around censorship and
push boundaries.
Significance of Intertextuality
While we are studying intertextuality in drama, you might as well wonder its
significance to drama is or to the world of literature as a whole. Below are some of
the known reasons why intertextuality in drama is important:
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• It causes readers and audiences to raise questions concerning the nature of
authorship and originality of the text.
• It helps students write their own texts based on what they know from others.
• It portrays a connection between two texts with certain messages and ideas.
• It makes the readers think and re-interpret the meaning of the referenced text,
as well as find common ideals, issues or values embedded and discovered
across the texts used.
In this world where anything can now be easily copied anytime over the Internet,
plagiarism is definitely a no-no and is in fact, considered a criminal offense. As
intertextuality involves a purposeful use of someone else’s work without proper
citation, will it be considered as plagiarism?
By definition, plagiarism is the act of “using or closely imitating the language and
thoughts of another author without authorization.” This, in its sense, may include
intertextuality. Nonetheless, it is the intention and the purpose for using someone
else’s work that excludes intertextuality from committing such offense.
Technically, intertextuality uses small excerpts of a hypotext which helps the readers
or audience get into the new hypertext’s original themes, characters or contexts. The
writer makes use of a portion of another text and alters its meaning by putting it into
another context. Basically, this means that the writers are simply using the ideas of
others in order to develop or enrich their own ideas and not plagiarizing them.
In general, while plagiarism is simply copying the texts from one’s work and putting it
into your own work, intertextuality is basically grounded on the purpose of creating
new ideas based on the researched ideas from others to confirm them. Hence,
intertextuality is not an act of plagiarism at all.
WHAT’S MORE
1. What is intertextuality?
2. What is the importance of intertextuality as a technique in drama?
Activity 2. Please go back to the writing activity that you have done in the “What’s
More” portion of Lesson 1 in this Module. There, you wrote a draft of drama, applying
the elements, techniques and literary devices in drama mentioned in that lesson.
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This time, make a revision of that draft. Take into account the use of intertextuality
technique in order to make your work more interesting and meaningful.
ASSESSMENT
I. Modified True or False. Read each statement below very carefully. Write
TRUE if the statement is true. If it is not, replace the underlined word/s with the
right word/s which will make the statement true or correct. Write your answer
in your notebook.
1. Intertextuality is the manner in which one text influences another.
2. Explicit reference happens when the writer refers to a different text through the
use of ideas, symbols, genre or style.
3. Allusion refers to a direct reference in one text to another text, place, historical
period, or author for the purpose of enriching or developing meaning.
4.Parody refers to the writer’s imitation of another text for the purpose of exposing
and discrediting one’s vice or follies.
5. Quotation involves an indirect reference to another text, giving citation to its owner.
II. Matching Type. Match the word/s in column A with the descriptions in
column B. Write the letter of your answer in your activity notebook.
A B
1. Parody a. allows the writer to make a reworking or re-
imagination of a popular text
2. appropriation b. “She is as beautiful as Venus.”
3. historical allusion c. to intermingle while weaving
4. intertexto d. used by the writer to mock its target
5. adaptation e. the act of “using or closely imitating the
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language and thoughts of another author without
authorization
6.quotation f. “Reflecting on her cruel behaviour, Cinderella’s
stepmother stood still like a pillar of salt.”
7. allusion g. a writer creates a film, TV drama or play based
on a written work
8. mythological allusion h. “He was a Nero.”
9. plagiarism i. an indirect reference in one text to another text,
place, historical period or author
10. religious allusion j. direct referencing with acknowledgment to the
original author
WHAT’S IN
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Instructions: Before proceeding to the next lesson, recall first those things that you
have learned in the previous lessons. Enumerate the elements, techniques and
literary devices in drama. Do this in your notebook.
ELEMENTS
TECHNIQUES
(intertexuality)
LITERARY DEVICES
WHAT I KNOW
Instructions: Recall what you learned about one-act play. Read and answer the
following statements. Write the letter of your answer in your notebook.
1. What is being done before or after the actual drama for amusement of the
audience?
a. One-act play b. intermission number c. breaktime d. playbill
2. The following are the four stages of one-act play EXCEPT ONE:
a. exposition b. conflict c. denouement d. antagonist
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3. Why are there no breaks in the action during the one-act play?
a. It is continuous since it is a short play.
b. The director wants to end the play immediately.
c. The actors would be lazy to continue acting after the break time.
d. None of the above
9. What do you call the notes, which are often in italics or parentheses, which
help the actors interpret the scene for the audience?
a. stage presence b. stage freight c. stage décor d. stage directions
WHAT’S NEW
Instructions: Define the terms character, setting and plot using a concept map.
You may follow the format below. Do this in your notebook.
SETTING
PLOT
CHARACTER
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V WHAT IS IT
(i) One-act play is a play that has only one act but may consist of
one or more scenes.
(iv) It deals with only one theme developed through one situation to
one climax in order to produce the maximum of effect.
(vi) The one-act play, like the longer drama, should have a
beginning, a middle and an end. It may be divided into four stages: The
Exposition, The Conflict, The Climax and The Denouement.
(viii) There are no breaks in the action, that is, it is continuous since
it’s a short play; no intervals.
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(ix) Everything superfluous is to be strictly avoided as the play is
short and the action takes place within a short period of time. It introduces
elaborate stage directions to minimize the time taken by the action itself.
(xi) There are three dramatic unities which are observed in the one-
act play. The unities are the unity of time, unity of place and the unity of
action.
(xvii) Its language is simple and can be followed without any strain. All
superfluity is to be avoided in the dialogue. The dialogue must be purposeful;
the best dialogue is that which does several things at one time. Every word is
to be carefully chosen and sentences must be compact and condensed. Effort
should be made to say, whatever is to be said, in the least possible words.
Thus, the language of the dialogue should be simple, brief and easy to
understand. Long speeches and arguments and long sentences would be out
of place and would lessen the charm and interest of the play.
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(iii) Thornton Wilder - The Long Christmas Dinner (1931)
(iv) Eugene Ionesco - The Bald Soprano (1950)
(v) Arthur Miller - A Memory of Two Mondays (1955)
(vi) Samuel Beckett - Krapp’s Last Tape (1958)
(vii) Israel Horovitz - Line (1974)
(viii) Edward Albee - The Goat, or Who is Sylvia? (2002)
• DIALOGUE
Unlike novel or short stories, plays are not written in paragraph form but rather in
script or lines of dialogue. The script is narrowed down to acts (major divisions of the
play) and each act is then subdivided into a scene (smaller divisions within the act).
Observe this sample script below:
Act I
Scene 2
The LIGHTS come up on ROSE hanging up clothes.
SHE hums and sings softly to herself.
It is the following morning.
ROSE. (Sings.)
Jesus, be a fence all around me every day
Jesus, I want you to protect me as I travel on my way.
Jesus, be a fence all around me every day.
(TROY enters from the house)
ROSE
Jesus, I want you to protect me As
I travel on my way.
(To TROY.) Morning. You ready for breakfast? I can fix it as soon as I
finish hanging up these clothes?
TROY. I got the coffee on. That'll be all right. I'll just drink some of that this
morning.
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However, the elements characters, plot and setting are also found in a play
the same with novels and short stories. Observe these elements that were
emphasized in August Wilson’s Fences.
• SETTING
In addition to the dialogue, a script will also include stage directions. These
notes, which are often in italics or parentheses, help the actors interpret the scene
for the audience. In this example, when Rose transitions from singing to speaking
directly to Troy, the stage directions tell her to whom she is talking. The audience will
only see her turn and direct her comment to Troy.
ACT I
Scene 1
The setting is the yard which fronts the only entrance to the
MAXSON household, an ancient two story brick house set back off a
small alley in a big-city neighborhood. The entrance to the house is
gained by two or three steps leading to a wooden porch badly in need of
paint. A relatively recent addition to the house and running its full width,
the porch lacks congruence. It is a sturdy porch with a flat room. One or
two chairs of dubious value sit at one end where the kitchen window
opens on to the porch. An old-fashioned icebox stands silent guard at the
opposite end.
• CHARACTERS
Before the dialogue in a script, the playwright will often include a cast of
characters. Typically, each character, both major and minor, is listed alongside a
brief description of the character's role in the story. In this example, you can see that
Troy is the main character, and each character is described in relation to him.
TROY MAXSON
JIM BONO, Troy's friend
ROSE, Troy's wife
LYONS, Troy's oldest son by previous marriage
GABRIEL, Troy's brother
CORY, Troy and Rose's son
RAYNELL, Troy's daughter
• PLOT
The plot structure of the play doesn't really differ from that in prose. There is
an exposition, a rising action, a climax, falling action, and the resolution.
WHAT’S MORE
Instruction: Complete the paragraphs with the necessary words or sentences that
best describe what you have learned from the discussion. Write your paragraphs in
your notebook. Follow the format below.
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It is important to conceptualize the characters, setting and plot for a one-act
play because________________________________________________________
___________________________________________________________________
___________________________________________________________________.
ASSESSMENT
Instructions: Conceptualize the characters, setting and plot for your own one-act
play. Consider the chief characteristics of a one-act play in doing this activity. Write
your answers in your notebook.
Title: ___________________________________
Characters:
Setting:
Plot:
Now you’re done for this lesson! You may now proceed to Lesson 4. ☺
31
b. Write at least one scene for one-act play applying the various elements,
techniques, and literary devices HUMSS_CW/MPIj-IIc-20
WHAT I KNOW
Instructions: Recall what you have learned or read about staging modalities. Read
and answer the following statements. In your notebook, write the letter of your
answer to the question in each item.
6. What staging modality is also known as picture frame stage since the audience
sits in rows facing the stage?
a. proscenium
b. traverse
c. arena
d. chromium
7. What type of staging modality wherein the audience are sitting on the sides of
the stage?
a. proscenium
b. traverse
c. arena
d. chromium
8. Which type of staging modality was used in 1895 production of the famous Oscar
Wilde play, “The Importance of being Earnest”?
a. proscenium
b. traverse
c. arena
d. chromium
10. Why is the proscenium stage considered as a traditional type of stage modality?
a. because a curtain underlines the division of the actors and the audience
b. because the curtain is not flashy
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c. because the stage is made of wood
d. because its structure is like the stage in fashion walk
WHAT’S NEW
Activity 1. Observe the similarities and differences of the pictures below. Write your
answers using the three-circle Venn Diagram. Write your answers in your notebook.
34
Activity 2. Watch the video from this link: https://www.youtube.com/watch?
v=HFWthwofpVs and list five (5) terms you do not understand and another five (5)
terms that you are familiar with that were mentioned by the speaker. Write your
answers in your notebook and follow the format below:
2. 2.
3. 3.
4. 4.
5. 5.
35
V
WHAT IS IT
A. What is Staging?
Staging refers to the performance of a drama or play in a stage. The stage is
the area where the actors perform, and it is usually a raised platform. It is essential to
understand how to explore different staging modalities vis-a-vis envisioning the script
because these give great impact to the performance. Thus, the mode of the stage
must be fit to the script or kind of drama or play.
According to Roberts (2017), plays were performed in ancient Greece in
amphitheater or arena theater that caters as many as 25,000 audiences. Actors had
to perform in a declamatory style since microphones are not yet used during this
time. Throughout the history of drama, the architecture of stages has influenced and
contributed a lot to the style of drama and vice versa.
36
disturbed during the play which makes this staging modality successful in
giving real-life illusions during the performance.
https://pxhere.com/en/photo/697058
37
The following steps in writing a one-act play is published at
penandthepad.com by (Contributor 2018):
• Choose a subject to cover in a brief one scene act play. A short story works
best. Remember to give the one act play the necessary plot, action and
characters to make it a complete story. Research other one act plays to get
ideas and inspiration for yours.
• Develop the action first, then compose the dialog before you decide anything
else. Keep the plot simple for a one act play and it should move consistently
throughout the play.
• Develop the characters. Write out a character sketch beforehand to help you
flesh out your characters and bring them to life. Give your characters a motive
in life (or lack thereof) and up the stakes by making them face a problem. This
is central to any story.
• Generate the setting. The setting for a one act play will be one scene, but you
have to still develop the scene so the audience sees everything about the
story line. Include as many of the five sense as you can. Lighting helps the
setting. Make sure you write in notes about how the lighting should look.
• Add in the stage directions after you write the action. Write notes about how
each character should respond and what props you'll need. For example, if
the characters should be facing another direction and talking to another
character, note it in the script.
• Find performers that fit each part. Hold auditions to find the right actors and
actresses. Be upfront with them about whether this gig is a paying gig or a
volunteer gig.
• Make copies of the play for each cast member. Save the document in case
you need extra copies. Give copies of the one act play to each member of the
stage and prop handling too.
• Practice the play. Ask for feedback from all the people involved in the play.
Hire or ask an expert to help with the production too. Hold one final practice
before opening the show. This should be a dress rehearsal. Treat this final as
the real thing and tie up any loose ends.
The script below is an excerpt of the one-act play written by Cherly Tessa Lungay,
Chandy Rafael Pelaez, and Niña Taray under the supervision of their teacher, Mr.
38
Jefred Son U. Aligsao of Talisayan National High School – Division of Misamis
Oriental which was performed as their culminating activity in Work Immersion.
Balikbayan Girl
An Adaptation of The New Yorker in Tondo by Marcelino Agana Jr.
Characters:
• Totoy - taong kanto, bestfriend ni Tony, hilom nga nakagusto ni Nena nga iyang
barkada
PROLOGUE
SCENE 1
The parlor of Mendoza's house in San Jose
L8 MRS. M: Ikaw gayud Edgar, poros ragayud Ka binoang hangtod karon, Ali dayon.
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(Kalit nay ni kanta)- “Welcome, Welcome, Welcome”
L9 TONY: Kinsa ba kaha naa sila aling Atang?
L10 MRS. M: Heee! ako mga silingan nga pilingon singer! Pasagdi kanaa sila. Kumusta
na diay tood imo mama?
L11 TONY: (Naglingkod)- maayo gihapon te, gimingaw na daw siya dire sa San jose.
L12 MRS. M: (Niabay kang Tony)- Pila na gani ka katuig nilakaw Tony?
L13 TONY: Tulo ra ka bulan te.
L14 MRS. M: Tulo ka bulan? Kalooy sab ni Mareng, sigurado ko wala na gayud to
makaagwanta. Mooli gayud toa.
L15 TONY: Lage te, lahi ra biya ming mga Engineer, kung nay project kuhaon dayun mi
insigida.
L16 MRS. M: Jesus! Dapat lang makauli na diri imohang mama, gimingaw nakog dula og
tongits uban siya.
L17 TONY: Gimingaw na gihapon siya ana ante.
L18 MRS. M: Lisod gayud limtan imong kaagi. Kung taga San Jose ka mobalik gayud ka
dire. Pero ambot lang sa ako anak na si Kikay. Katong panahon nga nia pa siya sa
New York, wala man nibatig kamingaw.
L19 TONY: (Nakulbaan)- Kanus-a diay ni-ari balik si Kikay aling Atang?
L20 MRS. M: Kadto rang niaging Lunes loy. Tan-awa ra gani unsa iyahang gi buhat sa
ako. Gipaspasan kog pa-salon, pamanicure bisag moadtog merkado hala dapat
plakada akong nawong sa makeup. Nahimo na ‘noon ko kataw-anan sa uban. Di
najud nako mapugngan ako anak. Giignan pako og dapat Amerikano daw dapat kog
dating.
Ginoo pasayloa!
L21 TONY: (Nikatawa) – Nahimoot ko ni Kikay te oy. Asa diay si Kikay karon Aling Atang?
L22 MRS. M: Toa sa kuwarto Loy, nikatulog pa.
L23 TONY: (Nitan-aw sa orasan)- Nagkatulog pa?
L24 MRS. M: Ana siya Loy (Fake American accent)- “New York people do not wake-up
before 12 o’clock noon.
L25 TONY: Mag-alas 10 naman ante.
L26 MRS. M: Kung nasayod kalang Loy, pag-abot niya dire hala sali inom, sige rag
lakwatsa, disco dire, disco didto. Hesusmariajosep!
L27 TONY: Palihog nalang kog ingon niya te nga nibisita ko. Palihog nalang gihapon ko
og hatag danhing bulak sa iyaha.
L28 MRS. M: Ngano man, molakaw na ikaw? Ayaw sa Loy malipay gayud to makita ka
hulat lang sa ako pukawon si Kikay.
L29 TONY: Oo sige te.
L30 MRS. M: Og Loy, hapit nako malimtan, ayaw kog tawaga nga Aling Atang molagot toa
si Kikay.
L31 TONY: Huh? Kay ngano man ante?
L32 MRS. M: Ah basta, perteng artiha danhing anak nako, dapat dawkog tawagon
tawagon nga Mrs. Mendoza.
L33 TONY: Ok. Sige aling a-- este… Mrs. Mendoza.
L34 MRS. M: Daw Tony, ayaw kalimti, tawaga na si Kikay og “FRANCESCA”
L35 TONY: Pranceska?
L36 MRS. M: Dili Pranceska, Fran.. ces… ca.
L37 TONY: Ok. Segi Mrs. Mendoza.
L38 MRS. M: Sige ako na pukawon si Franceca Loy.
40
L39 MRS. M: Dios Mio!
L40 TONY: Ako na moabli Mrs. Mendoza.
SCENE 2
L1 TOTOY: Toonnyyy?
L2 TONY: Totoy! (Gibangga ilang mga tiyan)
L3 TOTOY: Tarantadong talong!
L4 TONY: Manok na Pula! Pila naba ka tao imo naraid?
L5 TOTOY: Wow! Ikaw pila naman ka bangko imo nakawatan? (Nikatawa).
L6 TONY: (Gitoklod si Michale daw nakit-an ang is aka kaha nga sigarilyo)- Oh yosi
panghatag ra ged.
L7 TOTOY: (Kamolo sigarilyo)- Abi nakog nia ka sa Cagayan.
L8 TONY: Oo brad, niari rako dire para kang Kikay.
L9 TOTOY:(Nisindi sa yosi)- Dawbi Brad! Permente nalang bati ang dungog akong
gakadunggan kang Kikay.
L10 TONY: Lage brad, ako sab (Nilingkod).
L11 TOTOY: (Nilingkod og apil) Ana gani mga silingan nga naboang na daw siya karon
L12 TONY: Gikan man si Kikay sa New York.
L13 TOTOY: Huh? Diay? Niunsa man siya didto?
L14 TONY: Nagskwela siyag Hair culture daw Beauty Science. Nia pay diploma!
L15 TOTOY: Wow! Taasag buhok ni Kikay. Lahi ra ged nis Kikay.
L16 TONY: Ay Oh, dili na siya si Kikay, kay siya na si Francesca.
L17 TOTOY: Fran… cis… ca?
L18 TONY: Ang Ms. San Jose nahimo na siya og Ms. New York (nagkatawaha)
L19 TOTOY: Si Iday? Usa ka Amerikana? Ayaw kog yaga-yagae (nagkatawaha) kaila ta
dana niya sugod pa atong namaligya siya sa puto.
L20 TONY: (Nagkatawa) Kadumdom ka sa una katong getulod nato siya sa kanal?
L21 TOTOY: Oo oy, kadumdom pako ato, gelakag pa ged ta niya taman pikas kanto
hahahaha.
L22 TONY: Kusog pa ged kaayo manumbag hahaha.
L23 TOTOY: Hayysstt… ang sa una nga Kikay layo ra kaayo sa karon.
41
L32 MRS. M: Well, Totoy? Well Nena? I said good morning. Nganong inana man mo
makatotok sa akoa?
(CHUMBA: (nagkanta) Bakit kayo ganyan makatingin, super sexy naman ng ating bituin. Si
aling Atang pwede bang patikim)
L36 TONY: Tol, dili na siya si aling Atang, siya na si Mrs. Mendoza karon.
L37 NENA: Ginakusi ko nimo sa una katong bata pa bitaw ko aling Atang.
L38 MRS. M: You were a very naughty girl, always fighting with Kikay. Labi na si Totoy
nga permig pangawat sa mangga.
L39 TOTOY: Naa pa ang manggahan?
L45 TOTOY: Hala! Ngano man? Unsaon man ko nimo aling Atang?
SCENE 3
L8 TONY: Paghunahuna gud Nena, tuo kag sayon makipagbreak sa tao nga engaged
nas ako ah.
L9 NENA: Onsa man ged. Ako o si Kikay?
SCENE 4
L1 MRS. M: Paminaw, nana si Kikay pero ayaw ninyo siya'g tawaga nga Kikay
FRAN…CIS…CA dapat!
L2 KIKAY: Ohhh, hello, hello, darling, you darling, Nena my dear! How cute you become
(Kiss Nena). Tony, my little pal (Shake hands) and Totoy my friend. Come sit down!
Ohh1 Mumshie! Mumshie!!!
L3 MRS. M: Onsa naman sad?
L4 KIKAY: How many times must I tell you mumshie dearest, to never serve
juice in water glasses.
L5 MRS. M: Dili man ged nako makita imong gusto nga baso.
L6 KIKAY: Ohh poor, mumshie, nevermind.
L7 MRS. M: Sige nah, mag adto sa kog merkado.
L8 KIKAY: Don't forget to put lipstik okaayy?
L9 MRS. M: Hayyy ambot.
L10 KIKAY: Poor mumshie, she is problem, (waves her cigarette dayon gi dagkutan ni
Totoy)
L11 KIKAY: Merci.
L12 TOTOY: Huh? Si Totoy man ko dili man Merci akong ngalan.
L13 KIKAY: I said Merci it means thank you in french.
L14 TOTOY: Merci.
L15 NENA: Istoryahi pud mi kung onsay naa sa New York.
L16 KIKAY: Aahhh, New York? Ready namo sa mga amazing, exciting romantic stories?
43
L20 KIKAY: Yes! Yes! Darling, nagpabilin pa gihapon akong gugma didto. Kung maglingi
ko bisag asa naa gihapon didto akong heart. Feeling nko, I am not home, even
though I am already here gina ingon nila nga nakauli nako but feel nako naa pa
gihapon ko didto! Oh! New York, my very own New York.
L21 NENA: Siguro, mulakaw na ta.
L22 TONY: Mao ged, murag nakadisturbo man siguro ta diri.
L23 NENA: Pasagdan nalang nato siya nga maghandumhandum sa iyang kaagi.
L24 TONY: Siya pa ang babae nga permi natog gakauban sa pag pangaligo sa sapa sa
una?
L25 TOTOY: (Gi awat awat si Kikay) Oohh New York, my dream place, my very
own New York, my dream place, my very own New York.
L26 KIKAY: Oh listen, now, in New York, it's springtime. The daises are just appearing in
central park. When spring comes around each year, we New Yorkers, we make a sort
of pilgrimage to an old tree. It's been growing there ever since New York was New
York. We call it "Our Time".
L27 NENA: Nasabtan teka Kikay! Inga ana gihapon ang akong gakafeel sa atong kahoy
diri.
L28 KIKAY: What tree?
L29 NENA: Ang mangga nga kahoy nato girl! Kadomdom ka atong kahoy nga atong
gasakaan.
L30 TOTOY: Nasapon pa ged ta dadto ni aling Atang! Hahaha ge huboan pa ged kog
short
L31 NENA: Mao gyud! Nidagan pagid ka nga hubo tanan hahahaha.
44
L48 KIKAY: Hahaha… Of course not, do go.
L49 NENA: Ikaw? Totoy? Uban ka nako?
L50 TOTOY: (Excited kaayo nga ni tindog) Of course my loves! Bisan asa pata padulong.
L51 NENA: (In Kikay manner)- No darling… just out to our dear little backyard.
L52 TOTOY: (Gi awat awat gihapon si Kikay)- oh, the backyard of San Jose.
L53 NENA: Hoy chong! Onsa man ged uban ka? O dili?
L54 TOTOY: Ingon gani ko! Hulat lang.
You may search in Google the “ypf sample script for one-act play” and click
the first result and it will automatically download the sample script. You may use
this another sample in your class.
Thank you.
WHAT’S MORE
Activity 3. Read and analyze again the given sample of one-act play script.
1. Determine the staging modality that is suitable for the script and explain in 3-5
sentences.
2. Identify the (a) elements, (b) techniques and (c) literary devices found in the
sample.
Complete the paragraph with the necessary words or sentences that best describe
what you have learned from the discussion. Write your paragraph in your notebook.
Follow the format below.
45
___________________________________________________________________
___________________________________________________________________.
ASSESSMENT
46
Dialogue Excellent Good Fair Needs Work
47
may not be writing.
written.
Contributor. 2018. "How to Write a One Act Play" accessed July 13, 2020.
https://penandthepad.com/write-one-act-play-2123970.html
"Elements of Drama: Characters, Plot, Setting & Symbolism." Study.com. July 13,
2013. https://study.com/academy/lesson/elements-of-drama-characters-
plotsetting-symbolism.html.
Hildy, Franklin J. 2018. Theatre Design. Encyclopedia Britannica, Inc. Enclopedia
Britannica Website. Accessed July 13, 2020.
https://www.britannica.com/art/theatre-design/Theatre-forms
Roberts, Scott. 2019. Types of Staging in Drama. Our Pastimes Website. Accessed
July 12, 2020. https://ourpastimes.com/types-of-staging-in-
drama12337020.html
Shaurya, Ria. 2015. English Literature Notes - The One-Act Play. Accessed July 14,
2020. https://riashaurya.wordpress.com/2015/07/06/the-one-act-play/
Internet Sources:
https://appealofemma.wordpress.com/2014/05/16/adaptation-appropriation-
andintertextuality/
https://courses.lumenlearning.com/atd-fscj-literatureforhumanities/chapter/
elementsof-drama/
http://englishtextualconcepts.nsw.edu.au/content/intertextuality
http://www.literarydevices.com/intertextuality/
48
https://literarydevices.net/drama/
https://literaryterms.net/comedy/
https://literaryterms.net/parody/
https://penlighten.com/understanding-intertextuality-with-examples
https://plato.stanford.edu/entries/quotation/ https://thedramateacher.com/types-of-
tragedy-for-drama-class/ https://thewritepractice.com/intertextuality-as-a-literary-
device/ https://www.basicknowledge101.com/pdf/literacy/Intertextuality.pdf
https://www.britannica.com/art/dramatic-literature
https://www.britannica.com/art/tragedy-literature https://www.matrix.edu.au/literary-
techniques-allusion/ https://www.matrix.edu.au/literary-techniques-intertextuality/
https://www.merriam-webster.com/dictionary/drama
https://www.thoughtco.com/drama-literary-definition-4171972
https://www.ultius.com/glossary/literature/genres/farce.html
https://www2.anglistik.unifreiburg.de/intranet/englishbasics/DramaTypesofStages01.
htm#proscenium
ANSWER KEY:
MODULE 3 – LESSON 1
49
50
MODULE 3 – LESSON 2
51
.A 10 C 5.
.B 9 D 4.
.B 8 C 3.
.B 7 D 2.
.A 6 A 1.
WHAT I KNOW
Lesson 4
.A 10 D 5.
.D 9 B 4.
.A 8 A 3.
.D 7 D 2.
.C 6 A 1.
WHAT I KNOW
Lesson 3
52
For inquiries or feedback, please write or call:
Department of Education
– Alternative Delivery Mode (DepEd
-ADM)
53