Creative Writing
Learning Activity Sheet
1
Quarter 4 – Module 9:
ELEMENTS, TECHNIQUES AND LITERARY DEVICES IN
DRAMA
Name of Learner: ____________________________________
Grade Level: ________________________________________
Section/Seksiyon: ____________________________________
Date/Petsa: ________________________________________
Background Information for Learners/Panimula (Susing Konsepto)
Welcome to the Reading and Writing 11 Alternative Delivery Mode (ADM) Module on
Intertextuality! The hand is one of the most symbolized parts of the human body. It is often used to
depict skill, action and purpose. Through our hands we may learn, create, and accomplish. Hence,
the hand in this learning resource signifies that you as a learner is capable and empowered to
successfully achieve the relevant competencies and skills at your own pace and time. Your academic
success lies in your own hands!
Learning Competency with code/Kasanayang Pampagkatuto at koda
Competency: Identify the various elements, techniques, and literary devices in
drama, HUMSS_CW/MPIj-IIc-15
At the end of this lesson, the learners are expected to:
1. define drama as a genre of fiction,
2. understand the elements, techniques and literary devices in drama, and
3. compose a short draft of any type of drama
2
LESSON
1
ELEMENTS, TECHNIQUES
AND LITERARY DEVICES IN
DRAMA
What is Drama?
As mentioned in the previous module, literature is quite complex and consists
of a wide array of genres, including poetry and fiction which were mentioned in the
previous discussions. Drama, on the other hand, is another literary genre with various
characteristics which are distinct from the other types of literary works. In literature,
drama is defined as:
❖ a mode of fictional representation through dialogue and performance
❖ a type of play which is written for theater, television, radio and film
❖ a composition in the forms of either verse or prose for the purpose of portraying
life or character or telling a story which often involves conflicts and emotions
through action and dialogue
❖ comes from the Greek words δρᾶμα (an act, a play) and δράω (to act, to take
action)
❖ its writer is known as dramatist or playwright
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.
The following are the sub-genres of comedy:
➢ 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.
3
➢ 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.
The following are the common examples of comedy:
• The Simpsons
• America’s Funniest Home Videos
• A Midsummer Night’s Dream by Shakespeare
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.
Tragedies come in different types which include:
➢ 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
- 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.
4
➢ Elizabethan and Jacobean Tragedy
- Elizabethan tragedies, which are not all written by
Shakespeare, often involve main characters of high status
(nobility, military rank, among others) who committed an error
or flawed, encounter a reversal of fortune and die towards the
end of the play. On the other hand, Jacobean tragedies
usually have the characteristic of revenge tragedies.
➢ 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
This type of drama features exaggerated or absurd forms of comedy. It is a
nonsensical genre of drama in which the characters intentionally overact and get
themselves into a slapstick or physical humor. Webster’s Dictionary refers to it as “a
light dramatic composition marked by broadly satirical comedy and improbable plot”.
Recently, it is known as something serious that has turned comical.
4. Melodrama
This is an exaggerated type of drama which shows classic one-dimensional
characters like heroes, heroines, and villains who deal with sensational, romantic, and
threatening situations. Examples of melodrama are the play The Glass Menagerie by
Tennessee Williams and Margaret Mitchell’s novel, Gone With the Wind.
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.
5
6. Docudrama
This new genre involves dramatic portrayals of historic events or non-fictional
happenings. It is more often presented in movies such as Apollo 13 and 12 Years a
Slave.
The Structure of Drama
1. Plot
We refer to plot as the dramatic structure of a play. Nonetheless, it should not
be forgotten that the narrative structure is not the only consideration to think of since
majority of these plays are created to be played either in a theater, a movie or a
television.
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
Introduction
2. Conflict
3. Rising Action or
Complication
This part introduces the characters and establishes the 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.
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.
From the emergence of a conflict, the play now rises toward a
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.
4. Turning Point, This part is where the audience finds out if the protagonist
either wins or loses in the battle that he or she is struggling
Climax or Crisis
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
6. Denouement or
Resolution
This marks the ending of the play where we can see if the
protagonist won against the antagonist. It also shows whether
or not the order is brought back and the conflict has been
resolved.
Dramatic Elements
While it is important for a playwright to understand the structure of drama, it is
also necessary that he or she is fully aware of the many different techniques and
devices – dramatic elements – involved in making a play more effective, interesting
and meaningful. Here are some of them:
Action
Antagonist
It refers to what the characters say or do to achieve their goals.
It refers to the character or situation that is in conflict with the
protagonist.
Arc
It is the storyline of the play; something that the audience wants to
find out.
Aside
This is when the actor speaks directly to the audience while the
other actors on stage supposedly did not hear a word he or she
says. In the Renaissance drama, it was used to make the actor’s
inner feelings known to the audience while in the 19th century, it
was used to insert comedy or melodrama.
Backstory
It refers to past events involved in the play.
Complications This is the introduction of new characters, information or other
events which often causes conflicts.
Conflict
It refers to the problem which arises due to the opposing intentions
of the protagonist and the antagonist.
Discovery
This is when the protagonist finally realizes the reality of the
situation.
Double plots
It is the use of a subplot in moving towards and outside of the main
plot. This is usually observed in Elizabethan drama.
It refers to what the audience intends to accept as true for the
Dramatic
story’s sake. This may include the actors acting to represent the
convention
characters of the story, the stage set up to appear realistic in time
and location, and so on.
Flashback
In order to clarify the situation, it uses description or enactment of
what happened in the past which usually has something to do with
the present conflict.
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.
7
Monologue
Protagonist
Reversal
Scenes
Soliloquy
Stakes
Surprise
Suspense
It refers to the speech delivery of an actor in the presence of other
actors who simply listens, but not talk.
It is the main character in a play who often comes with a mission
or has a quest to conquer.
It occurs when the protagonist either fails or succeeds.
These are portions of an act which let the audience relax briefly
from the tension of the story
It is an actor’s speech delivery to express thoughts at the time
when he or she is alone.
These refer to what the characters stand to either gain or lose
when they succeed or fail.
It is what happened in the story which the audience does not
expect at all.
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.
In general, setting has two main categories:
❖ 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.
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:
❖ Hero or heroine – also known as the protagonist whose conflict is also
the main conflict of the play
❖ Villain or villainess – the character with evil qualities and often
8
contradicts with the hero(ine)
❖ Superhero or superheroine – the character with supernatural powers
❖ Antihero or antiheroine – a character who is more ordinary compared to
traditional hero(ine)
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.
When writing the dialogues, consider the following pointers:
•
•
•
•
•
Characters should not give flawless talks.
Character should refrain from using clichés.
Characters should not often use character names.
Characters should not deliver lengthy speeches.
Characters do not directly mention the theme of the play.
ASSESSMENT
I. True or False. Write TRUE if the statement is true and FALSE if it is not true
based on the discussion above.
1. Drama is a mode of fictional representation through the use of dialogue and
performance.
2. The writer of a drama is called a poet.
3. Comedy is a type of drama which aims to entertain the audience.
4. Tragedy is characterized by a lighter theme.
5. Farce is a type of drama that involves exaggerated or absurd forms of
comedy.
6. An effective playwright only puts into consideration the plot of the play.
7. The conflict is where the challenges that the protagonist is about to face are
presented.
8. Falling action is the last component of a plot.
9. To make a play become more effective and interesting, a playwright must
consider several techniques and devices or dramatic elements.
10. The setting of a play is always realistic.
9
Quarter 4 – Module 10:
INTERTEXTUALITY
Name of Learner: ____________________________________
Grade Level: ________________________________________
Section/Seksiyon: ____________________________________
Date/Petsa: ________________________________________
Background Information for Learners/Panimula (Susing Konsepto)
Welcome to the Reading and Writing 11 Alternative Delivery Mode (ADM) Module on
Intertextuality! The hand is one of the most symbolized parts of the human body. It is often used to
depict skill, action and purpose. Through our hands we may learn, create, and accomplish. Hence,
the hand in this learning resource signifies that you as a learner is capable and empowered to
successfully achieve the relevant competencies and skills at your own pace and time. Your
academic success lies in your own hands!
Learning Competency with code/Kasanayang Pampagkatuto at koda
Competency: Understand intertextuality as a technique of drama
HUMSS_CW/MPIj-IIc-16
At the end of this lesson, the learners are expected to:
1. define intertextuality in drama,
2. understand the significance of intertextuality as a technique in drama
3. revise the previously composed draft of drama applying the technique of
intertextuality
References for learners/Mga Sanggunian
Gadavanij, S. (n.d.). Intertextuality as Discourse Strategy. School of Language and Communication
“Intertextuality”. (2015). Online Etymology Dictionary. Dictionary.com website: http://dictionary.
reference.com/browse/intertextuality
Ivanic, R. (1998). Writing and identity: The discoursal construction of identity in academic. John
Benjamins Publishing Co. 1070 AN Amsterdam. The Netherlands
10
LESSON 2
INTERTEXTUALITY AS A
TECHNIQUE IN DRAMA
Intertextuality: Definition Unfold
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.
On the other hand, Merriam-Webster dictionary defines intertextuality as the
“complex interrelationship between a text and other texts taken as basic to the creation
of interpretation of the text”. Furthermore, the Glossary of Literary Terms written by
M.H. Abrams defines this technique as signifying multiple ways in which any literary
text is combined with other texts through open or covert citations and allusions, as well
as repetitions and transformations of the formal and substantive features of earlier
texts.
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.
11
Types of Intertextuality
While intertextuality as a technique in drama is only aimed at one thing – to
produce and shape meaning, it comes in various types with different characteristics.
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.
Below are the four types of allusion:
It is an allusion which refers back to a historical event or period.
For example: “He was a Nero”
Historical
This statement allows the readers to associate the character’s
attribute of having a disturbing behaviour similar to that of the
infamous Roman emperor.
It refers to an allusion to a mythological figure or story.
For example: “She ran faster than Hermes.”
Mythological
In this statement, the character’s ability to ran is compared to that
of Hermes, the messenger of the Greek Gods.
Literary
This refers to an allusion to a literary text or figure.
For example: “No matter how Dorian adjusted the electric
blanket it was either too hot or too cold, never just right.”
The statement is taken from the lines of the famous figure,
Goldilocks.
Religious
This is an allusion to a religious text, story, or figure.
For example: “Reflecting on her cruel behaviour, Cinderella’s
stepmother stood still like a pillar of salt.”
The text is referenced from the religious figure, Lot’s wife.
12
Your Guide on How to Analyze Allusion
Here is your step-by-step guide on how to analyze allusion:
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.
Step 3: Determine what the allusion suggests in the text.
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.
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
The following are some of the examples of this type of intertextuality:
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.
13
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
This is another common type of intertextuality which involves a direct reference
to another text, giving citation to the owner of the text. Quotation is known to be a
device used for talking about language. It works in a somehow tricky way- that is, to
make its referent perform or participate in the referring. Placing quotation marks
around a certain word produces a device which infers that very word.
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:
Dr. King said, “I have a dream.”
4. Appropriation
This type of intertextuality allows the writer to make a reworking or reimagination of a popular text for the purpose of changing or extending its meaning.
Typically, it creates a whole new product and domain away from its originating source.
One famous example of appropriation is L.H.O.O.Q, an artwork created by
Marcel Duchamp, is an appropriation of Mona Lisa which is created by Da Vinci. In his
version, Dumchamp took a picture of Da Vinci’s artwork and added a moustache on
it.
Another example of appropriation is evident in Clueless where Emma appeared
differently from that of the 1800’s to a modernized version of her living in the 1990’s in
America. The sets and scenery, dialogue and costumes are generally different, too.
The appropriation technique was also applied in the main character’s attribute in which
14
she is now into online youtube and blog to go with the latest trend of Emma working
and blogging as a matchmaker online.
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:
•
•
•
•
•
•
•
•
It provides readers with a much richer reading experience.
It helps give new interpretations of literary works as it comes with a different
context, idea, or story into the text.
It provides pleasure in terms of connection and continuity of cultures and texts.
It invites readers to revisit the earlier text, but this time, with new insights and
meanings relevant to the present time.
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.
Intertextuality and plagiarism
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
15
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.
ASSESSMENT
.
I. 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
1. Parody
2.
3.
4.
5.
appropriation
historical allusion
intertexto
adaptation
6. quotation
7. allusion
8. mythological allusion
9. plagiarism
10. religious allusion
B
a. allows the writer to make a reworking or reimagination of a popular text
b. “She is as beautiful as Venus.”
c. to intermingle while weaving
d. used by the writer to mock its target
e. the act of “using or closely imitating the
language and thoughts of another author without
authorization
f. “Reflecting on her cruel behaviour, Cinderella’s
stepmother stood still like a pillar of salt.”
g. a writer creates a film, TV drama or play based
on a written work
h. “He was a Nero.”
i. an indirect reference in one text to another text,
place, historical period or author
j. direct referencing with acknowledgment to the
original author
16
Quarter 4 – Module 11:
CHARACTER/ SETTING/ PLOT FOR A ONE-ACT PLAY
Name of Learner: ____________________________________
Grade Level: ________________________________________
Section/Seksiyon: ____________________________________
Date/Petsa: ________________________________________
Background Information for Learners/Panimula (Susing Konsepto)
Welcome to the Reading and Writing 11 Alternative Delivery Mode (ADM) Module on Hypertext
and Intertext! The hand is one of the most symbolized parts of the human body. It is often used to
depict skill, action and purpose. Through our hands we may learn, create, and accomplish. Hence,
the hand in this learning resource signifies that you as a learner is capable and empowered to
successfully achieve the relevant competencies and skills at your own pace and time. Your
academic success lies in your own hands!
Learning Competency with code/Kasanayang Pampagkatuto at koda
Competency: Conceptualize a character/setting/plot for a one-act play.
HUMSS_CW/MP1j-IIc-17
At the end of this lesson, the learners are expected to:
1.
2.
3.
Define one-act play;
Conceptualize a character/setting/plot for a one-act play; and
Appreciate the importance of conceptualizing the character, setting or plot for
a one-act play.
References for learners/Mga Sanggunian
Elements of Drama - Quiz. (n.d.). Retrieved May 15, 2021, from quizizz.com website:
https://quizizz.com/admin/quiz/58fec89c78cc6a11004fbd61/elements-of-drama
Play - Examples and Definition of Play. (2019, May 2). Retrieved from Literary Devices website:
https://literarydevices.net/play/
17
LESSON
3
CHARACTER/ SETTING/
PLOT FOR A ONE-ACT PLAY
What is One-act Play?
During the 18th and 19th centuries, one-act plays are done for amusement of
the audience before the actual drama starts which is known as “The Curtain Raisers”,
or just after the actual drama ends which is known as “The After Pieces”. However,
one-act plays do not require elaborated setting and costumes among the actors for it
only covers few minutes of the running time.
As published by (Shaurya 2015) in riashaurya.wordpress.com, the following are
the chief characteristics of one-act plays:
(i) One-act play is a play that has only one act but may consist of one or more
scenes.
(ii) One-act plays are usually written in a concise manner.
(iii) It deals with a single dominant situation and aims at producing a single
effect.
(iv) It deals with only one theme developed through one situation to one climax
in order to produce the maximum of effect.
(v) It treats the problems of everyday life as marriage, punishment for crimes,
labor conditions, divorce, etc.
(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.
o The exposition is usually brief, serves as an introduction to the play.
o It is through the conflict that the action of the drama develops. It is the
very backbone of the one-act play.
o Climax is the turning point of the drama. It is an important part of the
one-act play & constitutes its moment of supreme interest.
o The Denouement is very brief and often overlaps with climax.
(vii) Action begins right at the start of the play.
(viii) There are no breaks in the action, that is, it is continuous since it’s a short
play; no intervals.
(ix) Everything superfluous is to be strictly avoided as the play is short and the
18
action takes place within a short period of time. It introduces elaborate stage directions
to minimize the time taken by the action itself.
(x) The creation of mood, or atmosphere is indispensable to its success.
(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.
(xii) It aims at simplicity of plot; concentration of action and unity of impression.
It does not rely on spectacular effects and common dramatic tricks of old.
(xiii) The characters in a one-act play are limited in number. Generally, there
are not more than two or three principal characters.
(xiv) There is no full development of character. All the different aspects of a
character are not presented. The attention is focused on only one or two salient
aspects of character and they are brought out by placing the characters in different
situations and circumstances. The author implies the past and intimates the future of
a character by presenting a crucial moment in the life of that character.
(xv) There is an influence of realism. The characters in the modern one-act play
are ordinary men and women. It depicts characters that seem to be real and related
to everyday life.
(xvi) It must present a question, for which the audience eagerly awaits the
answer.
(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.
Shaurya (2015) further enumerated the examples of one-act plays by major
dramatists:
(i) Anton Chekhov
(ii) August Strindberg
(iii) Thornton Wilder
(iv) Eugene Ionesco
(v) Arthur Miller
(vi) Samuel Beckett
(vii) Israel Horovitz
(viii) Edward Albee
- A Marriage Proposal (1890)
- Pariah (1889)
Motherly Love (1892)
The First Warning (1892)
- The Long Christmas Dinner (1931)
- The Bald Soprano (1950)
- A Memory of Two Mondays (1955)
- Krapp’s Last Tape (1958)
- Line (1974)
- The Goat, or Who is Sylvia? (2002)
19
STRUCTURE OF ONE-ACT PLAY
•
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.
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.
20
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-fasioned 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
This list is usually given to audience members on a printed playbill, or program,
as they enter the theatre, so that they may identify the major characters and the actors
who will play them.
•
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.
In the play Fences, the exposition explains that Troy Maxson is a garbage man who
loves his family, in spite of the fact he is cheating on his wife, Rose. The main
conflict comes when Troy's son, Cory, wants to go to college on a football
scholarship, but Troy doesn't want him to go because he's afraid he'll be
discriminated against like he had been when he played baseball. In the rising
action, Troy goes to Cory's coach and tells him that Cory can't play football
anymore. Cory accuses Troy of being jealous.
Troy's affair with Alberta
(Elements of Drama: Characters, Plot, Setting & Symbolism, 2013)
21
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.
Title: _______________________________________________________
Characters:
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
Setting: ___________________________________________________________
Plot:
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
22
Quarter 4 – Module 12:
DIFFERENT STAGING
MODALITIES vis-à-vis ENVISIONING THE SCRIPT
Name of Learner: ____________________________________
Grade Level: ________________________________________
Section/Seksiyon: ____________________________________
Date/Petsa: ________________________________________
Background Information for Learners/Panimula (Susing Konsepto)
Welcome to the Reading and Writing 11 Alternative Delivery Mode (ADM) Module on DIFFERENT
STAGING MODALITIES vis-à-vis ENVISIONING THE SCRIPT! The hand is one of the most
symbolized parts of the human body. It is often used to depict skill, action and purpose. Through
our hands we may learn, create, and accomplish. Hence, the hand in this learning resource
signifies that you as a learner is capable and empowered to successfully achieve the relevant
competencies and skills at your own pace and time. Your academic success lies in your own
hands!
Competencies:
a. Explore different staging modalities vis-à-vis envisioning the script,
HUMSS_CW/MPIj-IIc-18
b. Write at least one scene for one-act play applying the various elements,
techniques, and literary devices HUMSS_CW/MPIj-IIc-20
At the end of this lesson, the learners are expected to:
1. identify the different staging modalities;
2. determine which stage modality is appropriate in a certain script; and
3. write one scene for one-act play applying the various elements,
techniques and literary devices.
References for learners/Mga Sanggunian
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/
23
DIFFERENT STAGING
LESSON MODALITIES vis-à-vis
4
ENVISIONING THE SCRIPT
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.
FOUR BASIC TYPES OF STAGING MODALITIES
Today, the basic types of staging modalities are the following:
SAN FRANCISCO OPERA HOUSE
https://www.flickr.com/photos/96054322@N00/8189967420
•
Proscenium Stage – is the stage of the nineteenth and twentieth centuries. It
is also known as picture frame stage since the audience sits in rows facing the
stage and they could watch the play as it would regard a large moving picture
in a frame just like in cinemas. This is considered as the traditional type of
staging wherein a curtain underlines the division of the actors and the audience.
In this type of modality, the stage is illuminated during the performance while
the audience remained dark. The audience are not disturbed during the play
24
which makes this staging modality successful in giving real-life illusions during
the performance.
NATIONAL THEATRE OF JAPAN – HANAMICHI
https://commons.wikimedia.org/wiki/File:National_Theatre_of_Japan_-_Hanamichi_2018_10_21.JPG
•
Traverse Stage – or also known as alley staging, is a type of staging modality
wherein the audience are sitting on the sides of the stage, facing each other
just like in a fashion catwalk. This type is appropriate for confrontation scenes
but needs dynamic fast-paced entrances. According to Parry (2014), this gives
an intimate atmosphere between the actors and the audience since the
audience will feel involved to the play. It is not overused and only need minimal
productions. This was used in 1895 production of the famous Oscar Wilde play,
“The Importance of being Earnest”.
https://pxhere.com/en/photo/697058
•
Arena Stage - An Arena stage is characterized by a central stage surrounded
by audience on all sides. The stage area is also often raised to improve
sightlines.
25
B. How to Write a One-act Play?
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.
26
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. 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:
•
•
•
•
•
Aling Atang - Nanay ni Kikay
Kikay/Francesca - Anak ni Aling Atang nga gikan sa New York nga
nagpuyo sa Lipata, San Jose, Talisayan, Misamis Oriental ug fiancé ni Tony ug
bestfriend ni Nena
Tony - Engineer nga kababata ug fiancé ni Kikay. Naay relasyon ni Nena.
Nena - Professional nga naay relasyon ni Tony, bestfriend ni Kikay, amiga ni
Totoy
Totoy - taong kanto, bestfriend ni Tony, hilom nga nakagusto ni Nena nga
iyang barkada
PROLOGUE
L1
L2
L3
L4
L5
L6
L7
L8
L9
L10
FRANCESCA: All right! Let’s party!
JEANETTE: Cesca! Do you really have to go?
FRANCESCA: Yes Darling, but don’t fret. I’m really going to miss you all.
JEANETTE: Don’t you ever forget me dear!
JAMAL:
Where is your home again Cesca?
FRANCESCA: It’s in San Jose, Talisayan.
JAMAL:
Why do you want to go back? Stay here! Stay with us!
JEANETTE: What’s the life of a party without you Francesca? Right Jamal?
JAMAL:
We’re going to miss you.
FRANCESCA:I love you friends, but tonight, let’s partyyy!
SCENE 1
The parlor of Mendoza's house in San Jose
L1
L2
L3
L4
L5
L6
L7
MRS. M (Kamolo kanaog paingon sa purtahan)- bisita, permanente nalang bisita! Puro
nalang bisita tibook adlaw! Jusko naingon naman kita ini pagka Kris Aquino!
(Iyahang g abrihan ang purtahan. Paingod og solod si Tony nga nay dala bulak)
MRS. M: Oh, ikaw man diay kanaa Tony! Abi kobag naa ka sa siyudad?
TONY: (Nakurat)- ikaw naba kanaa aling Atang?
MRS. M: (Nikatawa)- Oo loy! Kinsa man diay imong pagtoo? Nagtoo ka na ako na si
Sharon Cuneta?
TONY: Wala naman gayud ko nakaila nimo aling Atang .
MRS. M: (Naulaw, kamoo kapot sa iyang bag- ong gupit na buhok)
Nagpasalon ra intahon ko loy, bati diay?
TONY: Nindot ‘noon te! Abi gani nako ikaw na si Kikay.
27
L8
MRS. M: Ikaw gayud Edgar, poros ragayud Ka binoang hangtod karon, Ali dayon.
(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.
28
(Kalit nay nitoktok sa purtahan)
L39
L40
MRS. M: Dios Mio!
TONY: Ako na moabli Mrs. Mendoza.
(Gi ablihan ang purtahan)
SCENE 2
L1
L2
L3
L4
L5
L6
L7
L8
L9
L10
L11
L12
L13
L14
L15
L16
L17
L18
L19
L20
L21
L22
L23
TOTOY: Toonnyyy?
TONY: Totoy! (Gibangga ilang mga tiyan)
TOTOY: Tarantadong talong!
TONY: Manok na Pula! Pila naba ka tao imo naraid?
TOTOY: Wow! Ikaw pila naman ka bangko imo nakawatan? (Nikatawa).
TONY: (Gitoklod si Michale daw nakit-an ang is aka kaha nga sigarilyo)- Oh yosi
panghatag ra ged.
TOTOY: (Kamolo sigarilyo)- Abi nakog nia ka sa Cagayan.
TONY: Oo brad, niari rako dire para kang Kikay.
TOTOY:(Nisindi sa yosi)- Dawbi Brad! Permente nalang bati ang dungog akong
gakadunggan kang Kikay.
TONY: Lage brad, ako sab (Nilingkod).
TOTOY: (Nilingkod og apil) Ana gani mga silingan nga naboang na daw siya karon
TONY: Gikan man si Kikay sa New York.
TOTOY: Huh? Diay? Niunsa man siya didto?
TONY: Nagskwela siyag Hair culture daw Beauty Science. Nia pay diploma!
TOTOY: Wow! Taasag buhok ni Kikay. Lahi ra ged nis Kikay.
TONY: Ay Oh, dili na siya si Kikay, kay siya na si Francesca.
TOTOY: Fran… cis… ca?
TONY: Ang Ms. San Jose nahimo na siya og Ms. New York (nagkatawaha)
TOTOY: Si Iday? Usa ka Amerikana? Ayaw kog yaga-yagae (nagkatawaha) kaila ta
dana niya sugod pa atong namaligya siya sa puto.
TONY: (Nagkatawa) Kadumdom ka sa una katong getulod nato siya sa kanal?
TOTOY: Oo oy, kadumdom pako ato, gelakag pa ged ta niya taman pikas kanto
hahahaha.
TONY: Kusog pa ged kaayo manumbag hahaha.
TOTOY: Hayysstt… ang sa una nga Kikay layo ra kaayo sa karon.
(Kalit nay nitoktok sa purtahan, giablihan ni Michale og nisulod si Nena)
L24
L25
L26
L27
L28
L29
L30
L31
NENA: Totoy?
TOTOY: Nena, mylabss!
NENA: Tony? Unsa ni? Empoy og Bebot reunion?
TOTOY: Naa mi dire para kay Kikay.
NENA: Pati pod ko nana siya?
TONY: Gi-pukaw pa ni aling Atang.
NENA: Gi-pukaw pa? nganu? Naghagok pa diay?
MRS. M: Mata na siya! Nag-ilis pa lang. Good morning Nena good morning Totoy.
(Nakurat si Nena og Totoy sa ba-ong hitsura ni Aling Atang)
29
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)
L33
L34
L35
L36
L37
L38
L39
L40
L41
L42
L43
L44
L45
L46
MRS. M: Umalis nga kayo dito. Layas!
NENA: Ikaw na aling Atang?
TOTOY: Ginoo ko, aling Atang!
TONY: Tol, dili na siya si aling Atang, siya na si Mrs. Mendoza karon.
NENA: Ginakusi ko nimo sa una katong bata pa bitaw ko aling Atang.
MRS. M: You were a very naughty girl, always fighting with Kikay. Labi na si
nga permig pangawat sa mangga.
TOTOY: Naa pa ang manggahan?
MRS. M: Oo, naa pa sa luyo.
TOTOY: Nena! Manguha ta mangga ta!
MRS. M: Segi testingi ged ninyo kay pang bimbingon ta ged mo.
TOTOY: Joke joke ra gani.
MRS. M: Saba diha Totoy, ali ubani ko sa kusina.
TOTOY: Hala! Ngano man? Unsaon man ko nimo aling Atang?
MRS. M: Abno! Magpatabang rako sa pagdala sa mga butang.
Totoy
SCENE 3
L1
L2
L3
L4
L5
L6
L7
NENA: Well, Tony?
TONY: Nganu nag anhi man ka dire, Nena?
NENA: Baman pd dili?
TONY: Wala pa nako na estorya si Kikay.
NENA: Wala pa? abi ba nakog na ingon na nimo sa iyaha.
TONY: Dili na nako kaya.
NENA: Oh, Tony… Tony.
L8
TONY: Paghunahuna gud Nena, tuo kag sayon makipagbreak sa tao nga engaged
nas ako ah.
NENA: Onsa man ged. Ako o si Kikay?
L9
(CHUMBA: (Nagkanta) Sinong pipiliin mo? Si Kikay ba o Ako?)
L10
L11
L12
L13
L14
L15
L16
L17
NENA: Puwede ba!
TONY: Siyempre ikaw ged akong pilion, ikaw man ang akong gihigugma.
NENA: Ngano? Tony? Nganong gi hanggat paman ged ko nimog pakasal nga
engaged paman diay ka ni Kikay.
TONY: Maypag wala nalang nako gisaba sa imo. Mao ning gakakuha sa akong
pagkamatinudanon.
NENA: Honest? You call yourself honest? Samantalang gi pa fall ko nimo pero nana
diay nanagiya sa imoha.
TONY: She loved me at my worst. You have me at my best. Pero gibaliwala rako niya.
Mas gipili niya nga pasakitan ko.
NENA: Can you please stop? Undang sa imong mga drama deh, basin malaparo teka.
TONY: Sorry.
30
L18
L19
L20
L21
L22
L23
L24
L25
L26
L27
L28
NENA: Og imoha rapa ged ge sekreto ang atong engagement.
TONY: Nahibal-an man ged nako nga pauli na si Kikay.
NENA: Gikapoy nako sa mga sekreto Tony.
TONY: Pasagdi sa mi ni Kikay nga mo-istorya karon.
NENA:Well, dali ah kay dili nako kahulat og dugay.
TONY: Ang problema kung onsaon nako siya pag istorya karon.
NENA: Naay problema?
TONY: Naa man ged ka og si Totoy.
NENA: Gusto ka nga molakaw mi duha ni Totoy?
TONY: Dili, gusto lang nako nga pasagdan mi ninyo duha mag storya.
NENA: Ako na bahala ni Totoy.
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?
L17
TONY: Pila diay ka kamonths or year didto?
L18
KIKAY:10 months, 4 days, 7 hours and 21 minutes!
L19
TOTOY: Grabi, topa gihapon imong utok didto?
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.
31
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.
(Nagkatawaha ang tanan except kay Kikay)
L32
KIKAY:Wait, what three ba, ang talking?
L33
NENA: Atong mango tree.
L34
KIKAY:Oh! That tree.
L35 TOTOY: Ngano Eday, dili diay ta parehas tanan na feel ato nga kahoy?
L36 KIKAY:Of course not! They're completely different! I don't feel the same emotion you've
feel for that tree.
L37 NENA: Pero para sa amo ah importante kaayo to nga kahoy kay daghan kaayo tag
chada nga mge memories ato nga kahoy kay symbol to siya sa friendship. TNTK?
Remember?
L38
KIKAY:Don't be silly Nena.
L39
TONY: Og nagtubag pa ged ka!
L40
KIKAY:Oh! You people can't understand all of this.
L41
TONY: Dili ged namo masabtan kay wala paman mi naka adto sa New York.
L42 KIKAY:Exactly! Wala pamo naka adto sa New York! Our special tree over there is very
different! I stands for the Manhattan skyline and for the Copacabana and for Coney
Island in summer and for Grant's Tomb on Riverside Drive and for Tuesday nights and
Eddie Condons with the crowds spilling all over the side walk and for the nickel ferry
ride to Staten island and for the St. Patrick's Day Parade down with Fifth Avenue and
for all… Oh. It's impossible to make you see.
L43
TONY: Sos! Mas ganahan pako sa kahoy nato.
L44
TOTOY: I second the motion.
L45
NENA: I move to close the nomination!
L46
KIKAY:Oh you funny, funny children!
L47
NENA: Mag adto ko didto sa kahoy mangamusta lang ko, gusto ka mag uban Kikay?
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.
32
ASSESSMENT
Activity 4. Do this activity using a long bond paper.
1. Write one scene for one-act play by applying the various elements, techniques,
and literary devices. Use the combination of Bisaya and English dialect and it
must be origina composition.
Refer to this rubric for your guidance:
Excellent
16 pts
Structure
Dialogue
Development
Good
13 pts
Fair
11 pts
Needs Work
9 pts
Excellent
Good
Fair
Needs Work
Play
thoughtfully
follows the
proposed
structure, and
there is a clear
beginning,
middle, and
end.
Play follows the
proposed
structure, and
there is a
beginning,
middle, and end.
Play attempts to
follow structure,
but sections are
somewhat
unclear. Scene
changes are
added
unnecessarily.
Play does not
have a clear
beginning,
middle, and
ending.
Excellent
Good
Fair
Needs Work
Dialogue is
realistic and
interesting.
Lines are
short;
characters
interrupt one
another,
answer
questions,
change
subjects.
Dialogue is
somewhat
realistic and
interesting.
Lines are short;
characters
occasionally
interrupt one
another, etc.
Dialogue is
hardly realistic or
interesting. Lines
may be wordy,
and characters
speak too
politely/formally.
Dialogue is
extremely
unrealistic.
Excellent
Good
Fair
Needs Work
Audience
gains sufficient
insight into the
characters and
Audience gains
some insight into
the characters
and the conflict.
Audience gains
little insight into
the characters
and the conflict,
The scene is
extremely
undeveloped.
The copy looks
33
Nuts and
Bolts
Stage
Direction
the conflict.
Scene either
pits a
character with
his/her
greatest fear
or new
alliances
develop.
Holes may exist,
but the situation
is explained and
explored.
and is left with
like an initial
little information
draft.
on the
characters
and/or situations.
Excellent
Good
Fair
Needs Work
One-act script
is formatted
perfectly, per
the example
provided in
class, and has
no issues with
grammar or
spelling.
One-act script is
typed and clear.
However, there
are minor errors
either in
formatting or
clarity (grammar,
spelling, etc.)
One-act script is
typed, but for
many reasons
including
formatting or
grammar and
spelling, it is not
easy to follow.
One-act script is
unclear and
does not follow
guidelines.
Excellent
Good
Fair
Needs Work
Script
illustrates
appropriate,
developed
stage
directions in
italics.
Script illustrates
developing
stage directions.
Actions in
performance
may not be
written.
Script has some
stage directions,
but was not
thoughtfully
developed in
writing.
Few if any stage
directions are
written.
34
Quarter 4 – Module 13:
WRITE A CRAFT ESSAY
Name of Learner: ____________________________________
Grade Level: ________________________________________
Section/Seksiyon: ____________________________________
Date/Petsa: ________________________________________
Background Information for Learners/Panimula (Susing Konsepto)
This learning module contains the last part of creative writing. It tackles about the different
orientations of creative writing where learners can produce a craft essay on the personal creative
process deploying a consciously selected orientation of creative writing. This may also further their
talent to develop their practical and creative skills in reading and writing.
Competency: Write a craft essay demonstrating awareness of and sensitivity to the
different literary and/or socio-political contexts of creative writing.
HUMSS_CW/MPIIc-f-23
At the end of this lesson, the learners are expected to:
1. identify the different staging modalities;
2. determine which stage modality is appropriate in a certain script; and
3. write one scene for one-act play applying the various elements,
techniques and literary devices.
References for learners/Mga Sanggunian
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/
35
LESSON
5
WRITE A CRAFT ESSAY
What is Essay?
The word essay is defined as a piece of writing, usually from the author’s
personal point of view, on a particular subject or issue. Essays are non-fictional but
often subjective and can also include narrative.
Writing an essay means fashioning a coherent set of ideas into an argument.
Because essays are essentially linear—they offer one idea at a time—they must
present their ideas in the order that makes most sense to a reader. Successfully
structuring an essay means attending to a reader's logic.
The focus of such an essay predicts its structure. It dictates the information
readers need to know and the order in which they need to receive it. Thus, your
essay's structure is necessarily unique to the main claim you are making.
Craft essay is done through freewriting, expressing ones ideas and
interpretations of a situation.
Here is an example of a craft essay: (you may also check on this link for more
samples of craft essay, https://appalachianreview.net/tag/craft-essay/)
Parts of an Essay
Introduction
The introduction guides your reader into the paper by introducing the topic. It
should begin with a hook that catches the reader’s interest. This hook could be a
quote, an analogy, a question, etc. After getting the reader’s attention, the
introduction should give some background information on the topic. The ideas within
the introduction should be general enough for the reader to understand the main
claim and gradually become more specific to lead into the thesis statement.
Thesis Statement
The thesis statement concisely and clearly states the main idea or argument
of the essay, sets limits on the topic, and can indicate the organization of the essay.
The thesis works as a road map for the entire essay, showing the readers what you
have to say and which main points you will use to support your ideas.
Body
The body of the essay supports the main points presented in the thesis and
36
should be orderly. Each point is developed by one or more paragraphs and
supported with specific details. These details can include support from research and
experiences. In addition to this support, the author’s own analysis and discussion of
the topic ties ideas together and draws conclusions that support the thesis. The body
must present strong arguments or evidences to be more convincing.
Transitions
Transitions connect paragraphs to each other and to the thesis. They are
used within and between paragraphs to help the paper flow from one topic to the
next. These transitions can be one or two words (“first,” “next,” “in addition,” etc.) or
one or two sentences that bring the reader to the next main point. The topic sentence
of a paragraph often serves as a transition.
Conclusion
The conclusion brings together all the main points of the essay. It refers back
to the thesis statement and leaves readers with a final thought and sense of closure
by resolving any ideas brought up in the essay. It may also address the implications
of the argument clearly. In the conclusion, new topics or ideas that were not
developed in the paper should not be introduced. Again, conclusion should restate
the thesis statement and must have a closure.
ASSESSMENT
Instruction: Write a short 4 paragraph craft essay about a current issue or a sociopolitical situation that is very relevant in our society today. Demonstrate or apply
awareness of and sensitivity to the different literary and /or socio-political contexts of
creative
writing.
37
Example: Title: Malaria is preventable
Introduction: (brief history or background of topic)
Malaria is an infectious disease caused by parasites that are transmitted to
people through female Anopheles mosquitoes. Each year, over half a billion people
will become infected with malaria, with roughly 80% of them living in Sub-Saharan
Africa. Nearly half a million people die of malaria every year, most of them young
children under the age of five.
Thesis statement: (should have at least 2 reasons or argument)
The best way to reduce the impact of malaria in Sub-Saharan Africa is to focus
on reducing the number of people who contract the disease, rather than waiting
to treat the disease after the person is already infected.
Body 1: (in this part the author focus on first claim which is: focus on reducing
the number of people who contract the disease )
One of the major reasons for the failure of the project was that it set uniform
strategies and policies. By failing to consider variations between governments,
geography, and infrastructure, the program was not nearly as successful as it could
have been. Sub-Saharan Africa has neither the money nor the infrastructure to
support such an elaborate program, and it couldn’t be run the way it was meant to.
Most African countries don't have the resources to send all their people to doctors and
get shots, nor can they afford to clear wetlands or other malaria prone areas. The
continent’s spending per person for eradicating malaria was just a quarter of what
Brazil spent. Sub-Saharan Africa simply can’t rely on a plan that requires more money,
infrastructure, and expertise than they have to spare.
Body 1: (in this part the author focus on second claim which is: waiting to treat
the disease after the person is already infected.)
One of the cheapest and most effective ways of preventing malaria is to implement
insecticide-treated bed nets (ITNs). These nets provide a protective barrier around the
person or people using them. While untreated bed nets are still helpful, those treated
with insecticides are much more useful because they stop mosquitoes from biting
people through the nets, and they help reduce mosquito populations in a community,
thus helping people who don’t even own bed nets. Bed nets are also very effective
because most mosquito bites occur while the person is sleeping, so bed nets would be
able to drastically reduce the number of transmissions during the night. In fact,
transmission of malaria can be reduced by as much as 90% in areas where the use of
ITNs is widespread. Because money is so scarce in Sub-Saharan Africa, the low cost
is a great benefit and a major reason why the program is so successful. Bed nets cost
roughly 2 USD to make, last several years, and can protect two adults.
Conclusion : must be based from your thesis statement
Therefore, reducing the number of people who contract malaria would also reduce
poverty levels in Africa significantly, thus improving other aspects of society like
education levels and the economy. Vector control is more effective than treatment
strategies because it means fewer people are getting sick. When fewer people get
sick, the working population is stronger as a whole because people are not put out of
work from malaria, nor are they caring for sick relatives
38
____________________________________________________________
Title
Introduction:
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
Thesis statement :
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
Body 1:
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
Body 2:
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
Conclusion:
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
____________________________________________________________________
39
RUBRIC FOR WRITING COMPOSITION
Performance
Areas
Very Good 10-8
Content
Article has specific central idea that
is clearly stated in the opening
paragraph, appropriate,
concrete details.
Article is logically organized
and well- structured
Central idea is vague; nonsupportive to the topic; lacks focus
Cited research information,
introduced personal ideas to
enhance article
Some research of the topic was
done but was inconclusive to
support topic; cited information was
cohesiveness
Written work has no errors in word
selection and use sentence
structure, spelling, punctuation,
and capitalization
vague
Written work is relatively free of
errors in word selection and use,
sentence structure, spelling,
punctuation and
capitalization (some have errors)
Organization
Research
Mechanics
Good 7-5
Writing somewhat digresses
from the central idea
Needs
Improvement 4-1
Unable to find specific
supporting details
Central point and flow of
article is lost;
lacks organization and
continuity
Did little or no gathering
of information on the
topic, did not cite
information
Written article has several
errors in word selection
and use.
FINAL OUTOUT:
Personalized Story Book
Direction:
1. Create a story book using any materials you can find in your area.
2. The title must be in the cover page with your name as the author.
3. Apply what you have learned in this subject. The list of characters, setting and
theme must be written at the last page of the book.
4. The story must be original and clothe with moral values.
5. You can draw or cut some pictures to paste.
6. Use English or Bisaya dialect only.
7. The text must be written at the bottom portion of each picture or drawing.
Refer to the example:
---------------------CONGRATULATIONS!!! YOU ARE DONE, YOU MADE IT---------------------
PLEASE RETURN THIS LEARNING ANSWER SHEET TOGETHER WITH YOUR
ATTACHMENT LIKE THE CRAFT ESSAY AND STORY BOOK ON OR BEFORE JUNE
11, 2021. Thank YOU
40