LEARNING MODULE
SURIGAO STATE COLLEGE OF TECHNOLOGY
COLLEGE OF TEACHER EDUCATION
LEARNING MODULE IN
EM 6- Speech and Theater Arts
https://spokenwords.net/speech-drama-examinations
Compiled by:
EDEN GLIFF P. SEBAG, MA
Assistant Professor III
EM 6- Speech and Theater Arts
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SURIGAO STATE COLLEGE OF TECHNOLOGY
Vision:
An innovative and technologically-advanced State College in Caraga.
Mission:
To provide relevant, high quality and sustainable instruction, research, production and
extension programs and services within a culture of credible and responsive institutional
governance.
Goals:
1. Foster application of the discipline and provide its learner with industry-based
training and education particularly in engineering, technology and fisheries.
2. Conduct and utilize studies for the development of new products, systems and
services relevant to Philippine life and of the global village.
3. Promote transfer of technology and spread useful technical skills, thus
empowering its learners and their activities.
SSCT Core Values
Service-Oriented
Program Goals
Socially Responsive
Committed
Transformational
The BSED Program aims to develop highly-motivated and
competent teachers specializing in the content and pedagogy for
secondary education.
Program Educational Objectives
1. Articulate the rootedness of education in philosophical, socio-cultural, historical,
psychological, and political contexts.
2. Demonstrate mastery of subject matter/discipline.
3. Facilitate learning using a wide range of teaching methodologies and delivery
modes appropriate to specific learners and their environments.
4. Develop innovative curricula, instructional plans, teaching approaches, and
resources for diverse learners.
5. Apply skills in the development and utilization of ICT to promote quality, relevant,
and sustainable educational practices.
6. Demonstrate a variety of thinking skills in planning, monitoring, assessing, and
reporting learning processes and outcomes.
7. Practice professional and ethical teaching standards sensitive to the local,
national, and global realities.
8. Pursue lifelong learning for personal and professional growth through varied
experiential and field-based opportunities.
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Concepts of Speech Communication
7 hours
This topic will give
students a background on
the theory and practice of
speech improvement for
acting with emphasis on
development of the voice,
articulation,
and
pronunciation for theater
production.
https://www3.swipeclock.com/
1. Understand the nature of communication
2. Appreciate the importance of communication and speech
3. Apply the ideas learned in daily conversations
Recall the last time you talked with someone in a face-to-face situation. Analyze the speech
situation by answering the questions that follow. Write your answers on one whole yellow
paper and bear in mind the following rubric:
•
•
•
Criteria
Content (Relevance, comprehensiveness,
originality, insights)
Organization (Clarity of thoughts, creativity, unity
and consistency)
Mechanics (Punctuation, spelling, capitalization,
grammar)
•
•
•
•
•
Rating Scale
5 (Outstanding)
4 (Very Good)
3 (Good)
2 (Satisfactory)
1 (Needs Improvement)
1. With whom did you talk? How many persons made up the oral exchange? How is
he/she or are they related to you?
2. What events or circumstances brought you together?
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3.
4.
5.
6.
7.
SURIGAO STATE COLLEGE OF TECHNOLOGY
What did you talk about? Where did you converse?
Did you enjoy talking to each other/one another?
What language or dialect did you use?
Would you consider your interaction effective or ineffective? Why?
What, then, is communication? How would you differentiate between oral from
written communication?
BASIC FUNCTIONS OF COMMUNICATION (Abulencia, Efren F & Clarita A., 2009)
When a person speaks, he may be guided by a combination of these following basic
functions as suggested by Asante and Frye:
1. To provide an opportunity for approving ideas to be discussed in the open area
2. To promote causes, ideas, sentiments, and thoughts
3. To allow for public condemnation of evil or public praise of good
4. To pose options, possible or impossible, to interest groups
5. To present an information or a body of new knowledge
COMMUNICATION AND LANGUAGE ( Diaz, Rafaela H., 2005)
Communication- It is the dual or two-way process of transmitting messages from one person
to another. It is the symbolic interaction between two or more people that influences each
other’s behavior.
Language- It is our most effective medium of communication. It has but one purpose: to serve
as the code for the transmission of messages between and among people. By virtue of
convention or social agreement, language thus exists as a tool used in expressing ideas and
feelings to achieve understanding.
Properties
or
Characteristics of Language
1. It
is
systematic.
Language is highly organized
system in which each unit
plays an important part, which
is related to other parts, and
which when put together
constitute a whole.
2. It is arbitrary. There is no
necessary
connection
between the sounds people
use and the objects to which
https://www.dignited.com/35310/10-best-apps-for-learningthese sounds refer. The
a-new-language/
relationship
between
the
meaning and the symbols employed is a matter of convention.
3. It is rule-governed. This feature of language of language demonstrates that there are
underlying rules or patterns that occur frequently. These rules that govern the use of a
language are embodied I which what is called the grammar of the language.
4. It has a dual structure. Language is a system consisting of two subsystems: the
subsystem of sound and the subsystem of meaning.
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5. It is generative. This refers to the speaker’s ability to understand and produce any
number of sentences/utterances in the native tongue by recursion or by relativisation.
That makes a language creative and productive.
6. It is a socially learned behavior. It is a skill acquired as one grows up in the society.
It is culturally transmitted.
7. It is a social interactive tool. Language cannot be considered without communication
because it is the very reason for its existence. It is a shred code that enables its users
to transmit feeling, ideas and desires to one another because they want to
communicate.
ASPECTS OF COMMUNICATION
1. The Verbal or Linguistic Aspect. This is the aspect that makes use of words. It may
be oral or written, formal or informal.
2. The Nonverbal or Extralinguistic Aspect. This aspect does not make use of words
but may enhance or change the linguistic code. It has the following three elements.
a. Nonlinguistic elements. These are the devices used in conveying messages
without entirely relying on speech or language. These non-speech elements fall
under seven categories. They are as follows:
1. Kinesics—language of the body
2. Proxemics—language of space
3. Chronemics—language of time
4. Haptics—language of touch
5. Artefactual—language of objects, and
6. Physical Appearance
b. Paralinguistic elements. These include the following attributes of voice that
accompany the words we say. These factors can change the form and meaning of
a sentence by acting across elements or segments of an utterance.
1. Vocal quality
2. Pitch
3. Tempo
4. Volume
5. Juncture
c. Metalinguistic element. This is the abstract element that takes place in the mind
of the communicators- their awareness of the component units of language- sound,
words, phrases and sentences. This enables the language user to think about the
language independently of his/her comprehension and production abilities, talk
about it, analyze it and judge it as to correctness or appropriateness.
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https://linkedsuperpowers.com/post/effective-communication%E2%80%A6the-key-success-allaspects-your-life
Several Ways That Can Help Improve Communication
1. Plan your communication. Consult with others where appropriate.
2. Seek to clarify ideas before communicating.
3. Examine the true purpose of communication. Language, tone and total approach must
be adapted to serve the specific objective.
4. Consider the total physical and human setting when communicating. Observe proper
timing, the circumstances, and the social climate that pervades the communication
situation.
5. Be mindful of the overtones as well as the basic content of the message.
6. Consider the receiver’s frame of reference.
7. Make your message simple, clear, concise, concrete, complete, correct, and
consistent.
8. Show interest in your listener.
9. Do not do most of the talking.
10. Be polite; do not interrupt the speaker.
11. Be a good listener. Give the speaker your undivided attention.
12. Ask questions when necessary. Use repetition to reinforce key ideas.
13. Take the opportunity, when it arises, to convey something of help or value to the
receiver.
14. Follow up communication by soliciting feedback. Encourage and induce feedback.
15. Communicate for tomorrow as well as for today.
16. Be sure actions support communications.
17. Seek not only to be understood but to understand.
PRINCIPLES AND CHARACTERISTICS OF COMMUNICATION (Baraceros, Esther L. & R.
B. Lintao, 2010)
1. Communication is schemata-driven. Communication makes you send to or receive
messages from somebody by activating your schemata, experiences, or background
knowledge that you have stored in your brain since your early developmental stages.
2. Communication is an interpretative act. The only person who knows the exact or
full meaning of the message transmitted is the sender or speaker. Being the creator or
source of the ideas, he has the absolute knowledge about his message. Thus, the role
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of the receiver or listener is just to interpret, infer, or guess the meaning of things
appealing to his sense of hearing.
3. Communication does not guarantee a direct or automatic link between two
minds. Your mind has a lot of varied ideas or concepts about the world. However,
these forms of knowledge become meaningful only to others when you initiate
communication with them.
4. Communication is active, powerful, or forceful. Messages have varied effects on
all participants in any communicative event. Eliciting different meanings or reactions,
these messages are prone to changes brought about by sociological, institutional,
ideological, cultural, and other environmental elements.
5.
Communication is symbolic. Symbols,
signs, or marks like letters, words, sentences,
graphs, pictures and other concrete objects
represent or stand for ideas that you intend to
convey verbally. For non-verbal communication,
you resort to bodily actions (gestures, eye
movements, posture, facial expressions) voice
quality, space and time elements to stand for the
ideas you want to express.
6.
Communication always results in
something. It is impossible for any person
communicating a message not to get any
response or reaction at all from his listeners. It
always elicits a verbal or non-verbal response from
the participants of the speech event.
7.
Communication is irreversible. You are
free to talk and talk about anything under the sun.
https://www.kullabs.com/classes/
But once you utter something, the things you have
subjects/units/lessons/notes/note
said remains a sit is- susceptible to different
-detail/5975
interpretations or meanings. Upon giving a
statement, instantly, your words create an impact on the listener.
8. Communication is contextual. An exchange of views, ideas, or feelings doesn’t only
involve the sender and the receiver, but also other aspects of communication setting
like time, place, topic, occasion, purpose, and manner of communication.
9. Communication is developmental or progressive. To communicate ideas is to go
through the different stages of language learning that begins from birth to elementary,
high school, and college levels.
10. Communication is a process. Several stages of communication take place when
people exchange or share ideas with one another. Each stage involves elements with
different functions.
11. Communication is ethical. Any communicative event is expected to apply rules,
moral values, and beliefs agreed upon by societal members.
12. Communication is influenced by media and technology. Now, you are in the era
of knowledge explosion or modern technology. This period is characterized by an
instant global exchange of knowledge, services, and technology.
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THE COMMUNICATION PROCESS
https://courses.lumenlearning.com/wm-organizationalbehavior/chapter/the-process-ofcommunication/
Stage 1. Conceptualizing. Everything you intend to convey to others originates in your
brain, the storehouse of the things you know about your world.
Stage 2. Encoding. You have a lot of ideas, concepts, beliefs, or feelings to convey to
people around you, but knowing these as abstract, you are unable to express them as they
are. You think of codes or symbols to embody, signify or represent these concepts or ideas
you want to communicate to others.
Stage 3. Transmitting.
Stage 4. Receiving.
Stage 5. Decoding. This is the stage of the communication process where you decode or
translate the symbols to ordinary language that mirrors your cultural, sociological, ideological,
institutional, or environmental understanding of your world.
Stage 6. Responding.
Stage 7. Verifying. Communication is not only meeting your needs as the speaker/sender,
but also satisfying the needs of the listeners/receivers. To make sure that your acts of
exchanging of views or ideas with other people really cater to their interests, likes, dislikes,
you have to verify or check the effects of your communication on them.
TYPES OF COMMUNICATION
1. Verbal Communication. Another name of this kind of communication is Dialogue.
This type of communication requires the use of spoken words to convey or respond to
messages.
2. Non-verbal Communication. It is a wordless type of communication. Messages are
sent, not through words, but by means of Bodily Actions (gestures, posture, facial
expressions, eye behavior); Voice (tone, pitch, rate, quality); Physical appearance
(clothing, hairstyles, jewelry); and other symbols, mark or signs.
3. Visual Communication. This type of communication requires the use of visual aids
or graphics.
4. Facilitated Communication. Here a Facilitator is needed to help the physically
handicapped communicators.
5. Non-violent Communication or NVC. One type of communication that makes one
express his feelings of love or pity for people and his desire to meet these people’s
needs. Many also call this type of communication Compassionate Communication.
6. Science Communication. Revealing a group of people’s curiosity, knowledge, and
involvement in what are happening in their surroundings in relation to science is the
main concern of this type of communication.
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7. Superluminal Communication. Two or more people exchanging thoughts and
feelings in an FTL or faster-than-light speed are engaged in this type of
communication.
8. Strategic Communication. Big organizers with far-away branches or extension
offices in the field of business or military are the ones inclined to perform Strategic
Communication. They do this type of communication to disseminate facts, or
information about the holistic or integrated operation of their company.
9. Technical Communication. Traditionally, technical communication means
exchanging of ideas in the field of arts, science, and technology. Giving a more
comprehensive scope of this kind of communication, a modern view of technical
communication includes all communication acts in one’s workplace regardless of what
area of discipline it refers to.
10. Animal Communication. Communication between or among animals is determined
by their acts or behavior that affect other animals’ present or future life. Their
communicative acts happen through their bodily actions or movements, voice, sounds,
and oral language that is understandable only to animals.
Types of Communication According to Style or Purpose
a. Informal Communication
b. Formal Communication
Five Major Forms of Communication
▪ Intrapersonal Communication is a communication which happens yourself
▪ Dyadic Communication has two persons involved in this communication process.
▪ Small Group Communication has more than two members involved in communication
process
▪ Public Communication. Source or messages from a single person will reach or received
by huge number of audience.
▪ Mass Communication has a large number of audience and they are all can’t grouped
together in one place so we need certain tool or technology for communication process.
But in mass communication, there is no direct access with receiver. So, for that they need
media like newspaper, radio, television and internet. Here the audience feedback is very
less or delayed.
Context Types
Context refers to the setting in which communication takes place. The context helps
establish meaning and can influence what is said and how it is said. There are at least four
aspects in regards to this idea: physical, cultural, social-psychological, and temporal (DeVito,
2005).
The physical context refers to the concrete environment. It can be a sporting event,
place of worship, or restaurant. Each atmosphere has its own set of rules for how to
communicate (i.e. you would not talk in the same manner at a basketball game as you would
at a church).
The cultural context refers to the values, beliefs, lifestyles, and behaviors of a group
of people. Such instances will influence whether something is considered right or wrong by
the people involved. For example, an American may be put off by a French speaker invading
his/her space. This difficultly arises from the very different American and French cultures in
terms of proxemics, for Americans tend to be less comfortable when they are not given
personal space.
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The social-psychological context involves the norms of the group in a particular
situation, including the intimacy level among speakers and the formality of the
exchange. Again, there are certain rules set regarding how to communicate, for a
conversation held between boyfriend and girlfriend would not be handled in the same manner
as a conversation between boss and worker.
The temporal context is the positioning of a message within a sequence of
conversational events. It governs the mood of the conversation and how topics are to be
addressed and related thereafter. For example, the conversation is carried differently when
someone admits they were laid off from a job or when a couple announces the birth of their
first child.
Communication Models
1. Aristotle’s Model of Communication. According to this model, the speaker plays a
key role in communication. He is the one who takes complete charge of the
communication. The sender first prepares a content which he does by carefully putting
his thoughts in words with an objective of influencing the listeners or the recipients,
who would then respond in the sender’s desired way. No points in guessing that the
content has to be very very impressive in this model for the audience or the receivers
to get convinced. The model says that the speaker communicates in such a way that
the listeners get influenced and respond accordingly.
2. Berlo’s Model of Communication. Berlo's communication process starts at the
source, which is the part that produces the message using its communication skills,
attitude, knowledge, social system, and culture. After the message is developed, which
are elements in a set of symbols, the sender step begins. The encoding process is
where the motor skills take place by speaking, writing, touching, etc. The message
goes through the channel which carries the message. Then the receiver step begins.
The decoding process is where the sensory skills take place by hearing, seeing, feeling
touch, etc. Finally, the communication process ends at the destination, which is the
part that interprets the message using its communication skills, attitude, knowledge,
social system, and culture.
3. Shannon and Weaver Model of Communication. This model simply proposes that
a message actually originates from the person who gets the thought or has the
information. The sender is also called the Source of information or the Information
Source. The information then gets transmitted from the brain to the mouth and comes
out as a signal which then reaches the recipient after joining hands with several noises
and other disturbances. The recipient then further passes on the message to its final
destination or other minds of other individuals.
4. Schramm’s Model of Communication. The cyclical communication model is based
on the theory and belief that communication is a two-way street. This means there’s at
least a sender and a recipient. The model contains at least one other element as well;
the message itself. Usually communication takes places along the traditional path with
a wasteful recipient and sender. The recipient and sender can also be one and the
same.
5. Helical Model of Communication. According to the Helical model of communication,
the process of communication evolves from the very birth of an individual and
continues till the existing moment. All living entities start communicating from the very
first day of their origin. When seeds are planted, they convey the message to the
gardener that they need to be watered daily and should be treated well with fertilizers
and manure. When a plant emerges from the seed it also starts communicating its
need for water, sunlight, manure and fertilizers, thus supporting the Helical model of
communication. The same also applies for animals, birds, fishes and all living
creatures.
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SURIGAO STATE COLLEGE OF TECHNOLOGY
A. Communication in Action. Paste a picture of yourself participating in each of the five
basic forms of communication on long bond papers. After each picture for every level,
explain the scenario and the present elements. Please take note of the rubric found in
page 1. The output must be submitted on our next face to face session.
B. Drawing Communication. Illustrate all models of communication using long bond
papers and cite their advantages and disadvantages.
Review your past experiences in each of the forms of oral communication. Which of the five
forms “works” best for you, one where you feel comfortable and generally effective?
Enumerate and explain the reasons for your preference. Write your answers on yellow sheets.
Take note of the rubric shown in page 1.
1. Communication- It is the dual or two-way process of transmitting messages from
one person to another.
2. Language- It is our most effective medium of communication. It has but one
purpose: to serve as the code for the transmission of messages between and among
people.
3. Verbal Communication is a type of communication requires the use of spoken words
to convey or respond to messages.
4. Non-verbal Communication include gestures, posture, facial expressions, eye
behavior); Voice (tone, pitch, rate, quality); Physical appearance (clothing, hairstyles,
jewelry); and other symbols, mark or signs.
5. Visual Communication is a type of communication requires the use of visual aids or
graphics.
6. Non-violent Communication or NVC is a type communication also called
Compassionate Communication.
7. Science Communication. Revealing a group of people’s curiosity, knowledge, and
involvement in what are happening in their surroundings in relation to science is the
main concern of this type of communication.
8. Superluminal Communication. Two or more people exchanging thoughts and
feelings in an FTL or faster-than-light speed are engaged in this type of
communication.
9. Strategic Communication. Big organizers with far-away branches or extension
offices in the field of business or military are the ones inclined to perform Strategic
Communication. They do this type of communication to disseminate facts, or
information about the holistic or integrated operation of their company.
10. Technical Communication. Traditionally, technical communication means
exchanging of ideas in the field of arts, science, and technology. Giving a more
comprehensive scope of this kind of communication, a modern view of technical
communication includes all communication acts in one’s workplace regardless of what
area of discipline it refers to.
EM 6- Speech and Theater Arts
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LEARNING MODULE
SURIGAO STATE COLLEGE OF TECHNOLOGY
11. Animal Communication. Communication between or among animals is determined
by their acts or behavior that affect other animals’ present or future life.
To be announced via chat group or Google Class.
https://www.communicationtheory.org/forms-of-communication/
https://www.managementstudyguide.com/berlo-model-of-communication.htm
Fernandez, S.P. C. (2010). Making Theatre: The Craft of The Stage. IPAG- Artists Resource
Management (ARM), Inc
Khattak, Hamid R. et al. (2010). Communication Skills Module
Pangilinan, E. & M. Dilig. (1991). Speech and Drama. National Book Store
Velarde, V. (2015) Lecture Notes on Speech and Oral Communication.
Wilson, E. (1994). The Theater Experience. McGraw-Hill, Inc.
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Speech Mechanisms
9 hours
This topic will give students a background on
the theory and practice of speech
improvement for acting with emphasis on
development of the voice, articulation, and
pronunciation for theater production.
https://www.colinjamesmethod.com.au
1. Identify the logic behind the enunciation of every English sound
2. Apply the proper enunciation of words in daily conversations
3. Recognize the importance of enunciating words properly.
Answer the questions that follow. Write your answers in yellow sheets. Bear in mind the
following rubric:
•
•
•
Criteria
Content (Relevance, comprehensiveness,
originality, insights)
Organization (Clarity of thoughts, creativity, unity
and consistency)
Mechanics (Punctuation, spelling, capitalization,
grammar)
•
•
•
•
•
Rating Scale
5 (Outstanding)
4 (Very Good)
3 (Good)
2 (Satisfactory)
1 (Needs Improvement)
1. Give at least five (5) words that you mispronounce every time you speak in English.
Be honest. Why do you mispronounce the words?
2. Take a mirror and check your mouth and what’s inside. What do you see? Kindly
draw what you see. What does the image say why you mispronounce the words?
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Vocal Characteristics
VOICE can be used in a number of ways to enhance speech. By controlling the major vocal
characteristics, a speaker can complement, supplement, or even contradict the meaning
his/her message.
• VOLUME – refers to the loudness or softness of the voice.
• PITCH - highness or lowness of the tone or the sound of the voice.
• RATE – is the speed at which a speaker talks.
• QUALITY – makes one speaker’s voice distinct from other voices. The common
causes of poor quality are nasality, denasality, harshness, hoarseness, and
breathiness.
THE ORGANS OF SPEECH
https://themarineenglishforum.wordpress.com/2016/03/04/speech-organs-and-manner-ofarticulation/
Speech organs (or vocal organs): those parts of the body used in speech production.
The primary function of the vocal organs is biological. We do not have unique speech organs
(organs developed for speech only) not found in other mammals.
SPEECH ORGANS
1. LUNGS are the source of energy for speech production is the steady stream of air that
comes from the lungs as we exhale. The thorax (= chest) is bounded by the vertebrae in
the back and the sternum (= breast bone) in the front. Completing the cylinder are 12 sets
of ribs. The lungs consist of alveoli (= air sacks). The act of breathing air in and out is
controlled by various muscles of the rib cage, and by muscles of the abdomen and the
diaphragm. Ø The muscular band that separates the chest from the abdomen; it plays a
role in respiration and therefore in speech. During speech it is relaxed.
2. TRACHEA (= windpipe) (Greek trachea ‘neck’) a tube consisting of cartilages it leads from
the larynx, splits into two bronchi that connect to the lungs.
3. LARYNX (containing the vocal folds and from the Greek larynx ‘upper part of the windpipe’)
Ø “voice box” It is a structure of cartilages and muscles situated atop the trachea. There is a
protuberance at the front (= Adam’s apple) The functions of the larynx are:
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a. BIOLOGICAL: protecting the lungs by preventing food particles and fluids from
entering the trachea.
b. LINGUISTIC: involved in the production of several types of sound effects (e.g.
voicing, pitch, whisper etc.). The larynx contains the VOCAL FOLDS (two horizontal bands of
ligament and muscle). They vibrate during the articulation of vowels and of many consonants.
The space between the vocal folds is called the GLOTTIS. Articulation of the vocal folds:
GLOTTAL articulation e.g., glottal stops [÷] 3
HYOID BONE: it sits at the back of the base of the tongue and at the top of the larynx. It
brings about a muscular interaction between the tongue and the larynx. The larynx is made
up of five cartilages:
i. EPIGLOTTIS
ii. THYROID CARTILAGE
iii. CRICOID CARTILAGE
iv. ARYTENOID CARTILAGES
4. SUPRAGLOTTAL ORGANS (those above the larynx or the VOCAL CORDS or VOCAL
FOLDS. More commonly used terms are:
•
•
VOCAL TRACT: The air passages above the larynx.
ORAL CAVITY or ORAL TRACT (Latin os/oralis ‘mouth’)
a. Articulators in the oral cavity:
i. UPPER ARTICULATORS: upper lip, upper teeth, upper surface of the
mouth and the pharyngeal wall
ii. LOWER ARTICULATORS: lower lip, lower teeth, tongue
b. PHARYNX
NASAL CAVITY or NASAL TRACT (Latin nasus ‘nose’) 2
WHAT IS VOICING?
VOICING refers to the activity of the vocal folds. When the vocal folds are wide apart,
consonants are said to be voiceless, when they are closely together and vibrating,
consonants are said to be voiced.
WHAT IS ARTICULATION?
Articulation, in phonetics, a configuration of the vocal tract (the larynx and the
pharyngeal, oral, and nasal cavities) resulting from the positioning of the mobile organs of the
vocal tract (e.g., tongue) relative to other parts of the vocal tract that may be rigid (e.g., hard
palate). This configuration modifies an airstream to produce the sounds of speech. The main
articulators are the tongue, the upper lip, the lower lip, the upper teeth, the upper gum ridge
(alveolar ridge), the hard palate, the velum (soft palate), the uvula (free-hanging end of the
soft palate), the pharyngeal wall, and the glottis (space between the vocal cords).
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https://www.medbridgeeducation.com/blog/2019/05/5-ways-to-incorporate-literacy-intoarticulation-therapy/
WHAT IS MANNER OF ARTICULATION?
o refers to the way the articulators are set so that the resonance effect is possible.
o describes how the tongue, lips, jaw, and other speech organs are involved in making
a sound make contact. Often the concept is only used for the production of
consonants.
o is the “how” of making sounds / how we make sounds.
SIX MANNERS OF ARTICULATION
2. PLOSIVE/STOPS - Like nasal consonants, stop consonants occur when the vocal
tract is closed completely. But for stops the airflow is NOT redirected through the
nose. Instead, the air quickly builds up pressure behind the articulators and then
releases in a burst.
English contains the following stop consonants.
•
•
•
•
•
•
/p/ – purse and rap – oral passage is blocked by closing the lips (bilabial)
/b/ – “back” and “cab” – oral passage is blocked by closing the lips (bilabial).
/t/ – “tab” and “rat” – oral passage is blocked by pressing the tongue tip against
the alveolar ridge (alveolar)
/d/ – “dip” and “bad” – oral passage is blocked by pressing the tongue tip against
the alveolar ridge (alveolar)
/k/ – “kite” and “back” – block airflow with the back of the tongue against the soft
palate (velar).
/g/ – “good” and “bug” – block airflow with the back of the tongue against the soft
palate (velar).
3. NASAL – Nasal consonants are created when you completely block air flow through
your mouth and let the air pass through your nose.
There are three nasal consonants in English.
•
•
•
/m/ – “mad” and “clam” – oral passage is blocked by closing the lips (bilabial).
/n/ – “no” and “man‘ – oral passage is blocked by pressing tongue tip against the
alveolar ridge (alveolar).
/ŋ/ – “going” and “funk” – Oral passage is blocked by pressing the the back of
your tongue against the soft palate (velar).
4. FRICATIVES - While nasal and stop consonants involve a complete blockage of the
vocal tract, fricative sounds involve only a partial blockage of the vocal tract so
that air has to be forced through a narrow channel.
For example, you create a /t/ stop consonant when you block airflow completely with
your tongue against the alveolar ridge. But if you let up with the tongue a bit and let the air
seep through, you make an /s/ fricative consonant.
The English fricative sounds are as follows:
•
•
/f/ – “fro” and “calf“- air is forced through the upper teeth and lower lip
(labiodental)
/v/ – “vine” and “have” – air is forced through the upper teeth and lower lip
(labiodental)
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•
•
•
•
•
•
•
SURIGAO STATE COLLEGE OF TECHNOLOGY
/θ/ – “thick” and “bath” – air is forced through upper teeth and tongue (dental)
/ð/ – “the” and “rather” – air is forced through upper teeth and tongue (dental)
/s/ – “suit” and “bus” – air is forced through tongue and alveolar ridge (alveolar)
/z/ – “zit” and “jazz” – air is forced through tongue and alveolar ridge (alveolar)
/ʃ/ – “shot” and “brash” – air is forced through the tongue and point just beyond
alveolar ridge (post-alveolar)
/ʒ/ – “vision” and “measure” – air is forced through the tongue and point just
beyond alveolar ridge (post-alveolar)
/h/ – “happy” and “hope” – actually /h/ isn’t a fricative. It’s technically not even a
real consonant sound since there’s no constriction/obstruction of airflow.
5. LATERAL APPROXIMANT – Lateral consonants are when the tongue blocks the
middle of your mouth so that air has to pass around the sides.
There is one lateral consonant in English
•
/l/ – “luck”- place the tip of the tongue at the alveolar ridge (alveolar)
6. APPROXIMANT – Approximants are when two articulators come close
together but not quite close enough to create air turbulence.
The resulting sound is more like a fast vowel than anything else. For example, the /w/
approximant is like a fast /u/ sound (say /u/ + /aɪ/ really fast and you get the word “why”).
Notice how your tongue never actually comes in contact with the top of your mouth.
There are three English approximants:
•
•
•
/w/ – “wet” and “howard” – back of tongue raises to velum (but not too close!) and
lips are rounded (velar)
/j/ – “yes” and “bayou” – tongue raises to hard palate (but not too close!) (palatal)
/ɹ/ – “right” and “roar” – tongue raises to hard palate (but not too close)
(alveolar/post-alveolar)
6. AFFRICATES - When stop consonants mix with fricative consonants, the result is
an affricate consonant. Affricate consonants start as stop sounds with air building up
behind an articulator which then releases through a narrow channel as a fricative
(instead of a clean burst as stops do).
The English affricate sounds are:
•
•
/tʃ/ – “chick” and “match” – air is blocked with tongue just beyond the alveolar
ridge (post-alveolar), then released as a fricative.
/dʒ/ – “jam” and “badge” – air is blocked with tongue just beyond the alveolar
ridge (post-alveolar), then released as a fricative.
WHAT IS PLACE OF ARTICULATION?
o refers to the area in one of the resonating cavities (larynx, mouth) where the
articulators are opposing some kind of stricture or obstacle to the passing of air.
o describes the place of articulation of a consonant we must state which of the lower
articulators articulate with which of the upper articulators.
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PLACE OF ARTICULATION
o Bilabial consonants occur when you block/constrict airflow out of the mouth by
bringing your lips together.
English contains the following three bilabial consonants:
❖ /p/ as in “purse” and “rap“
❖ /b/ as in “back” and “cab“
❖ /m/ as in “mad” and “clam“
o
Labio-Dental consonants occur when you block/constrict airflow by curling your
lower lip back and raising it to touch your upper row of teeth.
English contains the following two labio-dental sounds:
❖ /f/ as in “fro” and “calf“
❖ /v/ as in “vine” and “have”
o
Dental consonants occur when you block/constrict airflow by placing your slimy
tongue against your upper teeth.
English contains the following two labio-dental sounds:
❖ /θ/ as is “thick” and “bath“
❖ /ð/ as in “the” and “rather”
o
Alveolar. The alveolar ridge is where your teeth meet your gums. You create
Alveolar consonants when you raise your tongue to the alveolar ridge to block or
constrict airflow.
The English alveolar consonants are as follows:
❖
❖
❖
❖
❖
❖
/n/ as in “no” and “man“
/t/ as in “tab” and “rat“
/d/ as in “dip” and “bad“
/s/ as in “suit” and “bus“
/z/ as in “zit” and “jazz“
/l/ as in “luck” and “fully”
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o
SURIGAO STATE COLLEGE OF TECHNOLOGY
Post-Alveolar. When you retract your tongue back just a bit from the alveolar ridge,
the sounds change enough to be recognized as distinct consonants. So postalveolar consonants are those that occur when the tongue blocks or constricts airflow
at the point just beyond the alveolar ridge.
The post-alveolar english consonants are as follows:
❖
❖
❖
❖
o
/ʃ/ as in “shot” or “brash”
/ʒ/ as in “vision” or “measure”
/tʃ/ as in “chick” or “match”
/dʒ/ as in “jam” or “badge“
Palatal. The roof of your mouth is the hard palate. You may know it as “the place that
burns like hell when I eat pizza that is too hot.” You create Palatal consonants when
you raise the tongue to this point and constrict airflow.
English has only one palatal consonant:
❖ /j/ as in “yes” and “bayou”
o
Velar. Behind your hard palate you have the velum or soft palate. Unlike the bony
hard palate in front of it, the this consists of soft, mucousy tissue. You make Velar
Consonants when you raise the back of your tongue to the velum to block or restrict
airflow.
English has the following velar consonants:
❖ /ŋ/ as in “going” and “uncle” (note that the ‘n
sound’ in these words is NOT made at the
alveolar ridge, which is why it is distinct from
/n/).
❖ /k/ as in “kite” and “back“
❖ /g/ as in “good” and “bug“
❖ /w/ as in “wet” and “howard”
o
Glottal. The glottis is actually two vocal folds (i.e. vocal cords). It acts as a sort of
bottle cap to your windpipe. Inhale and then hold your breath for a few seconds while
keeping your mouth open. What you are actually doing to keep the air from expelling
out of your lungs by closing your glottis.
Glottal consonants aren’t actually consonants; they just play consonant roles in the
language. In English, the following things happen at the glottis:
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❖ /h/ as in “hi” and “Bahamas.” Say these words and notice how you’re not
actually constricting or blocking airflow
for this /h/ sound. You’re just exhaling a
little bit harder than you would for a
normal vowel sound in transition to the
following vowel sound.
❖ /?/ – This is actually the culprit behind
many of the “silent syllables” we
discussed in the first lesson. For
example, in the phrase “wha(t) time is
it?” the /t/ in “what” is dropped and the
vowel sound before it is closed at the glottis.
VOWELS
The technical names of vowels tell four things about a sound:
o The height of the tongue (high-mid-low)
o The portion of the tongue that is raised or lowered (front-central-back)
o The tenseness of the tongue (tense-lax)
o The rounding of the lips (round-unround)
The technical names for the vowels follow the order listed above. Thus, for example,
what a teacher traditionally would call “the long e sound” in an elementary classroom is
technically called a high front unround vowel.
IPA
Technical Name
Traditional Name
i
high front unround vowel
the long e sound
ɪ
high front lax unround vowel
the short i sound
e
mid front unround vowel
the long a sound
ɛ
mid front lax unround vowel
the short e sound
æ
low front unround vowel
the short a sound
a
low central unround vowel
the short o sound
ʌ
mid central unstressed vowel
ə
mid central stressed vowel
the schwa sound
u
high back round vowel
the long u sound
ʊ
high back lax round vowel
the short u sound
o
mid back round vowel
the long o sound
ɔ
low back round vowel
Diphthongs
Diphthongs are complex vowel sounds in which the
tongue moves from one position to another to make a vowel
that change from one sound to another.
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1. Phonetic Video. Make a short video enunciating the vowels, diphthongs, and
consonant sounds. The video can be submitted via Google classroom. Make the clip
informative and entertaining.
2. Family Tree. Create a tree featuring your immediate family. But instead of simply
writing the names, transcribe their names using IPA. Your output must be on a long
bond paper.
3. Videoke Time! Take a video of yourself singing your favorite English song and send
it to our Google classroom. You and the song lyrics must be visible in the video.
4. Oration. Video your whole self while reciting an article entitled We Have Become
Untrue to Ourselves! by Felix B. Bautista. The video must be submitted via Google
classroom Consider the following in your presentation:
Criteria
Effectiveness (Conviction, Ability to
influence the judges)
Physical (Gestures, Posture, Eye contact)
Voice (Pronunciation, Quality, Volume,
Clarity)
Content (Grasp of subject)
Rating
5 Excellent
4 Very Good
3 Good
2 Satisfactory
1 Needs Improvements
We Have Become Untrue to Ourselves!
With all the force and vigor at my command, I contend that we have relaxed our
vigilance, that we have allowed ourselves to deteriorate. I contend that we have lost our pride
in the Philippines, that we no longer consider it a privilege and an honor to be born a Filipino.
To the Filipino youth, nothing Filipino is good enough any more. Even their Filipino
names no longer suit them. A boy named Juan does not care to be called Juanito anymore.
No, he must be Johnny. A girl named Virginia would get sore if she was nicknamed Viring or
Biñang. No, she must be Virgie or Ginny. Roberto has become Bobbie; Maria, Mary or Marie.
And because they have become so Americanized, because they look down on
everything Filipino, they now regard with contempt all the things that our fathers and our
fathers’ fathers held dear. They frown on kissing the hands of their elders, saying that it is
unsanitary. They don’t care for the Angelus, saying that it is old-fashioned. They belittle the
kundiman, because it is so drippingly sentimental.
They are what they are today because their elders – their parents and their teachers –
have allowed them to be such. They are incongruities because they cannot be anything else!
And they cannot be anything else because their elders did not know enough, or did not care
enough to fashion them and to mold them into the Filipino pattern.
This easing of the barriers that would have protected our Filipinism, this has resulted
in something more serious, I refer to the de-Filipinization of our economic life.
Let us face it. Economically speaking, we Filipinos have become strangers in our own
country.
And so, today, we are witnesses to the spectacle of a Philippines inhabited by Filipinos
who do not act and talk like Filipinos. We are witnesses to the pathetic sight of a Philippines
controlled and dominated and run by non-Filipinos.
We have become untrue to ourselves, we have become traitors to the brave Filipinos
who fought and died so that liberty might live in the Philippines. We have betrayed the trust
that Rizal reposed on us, we are not true to the faith that energized Bonifacio, the faith that
made Gregorio del Pilar cheerfully lay down his life at Tirad Pass.
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Watch any English movie and listen to them enunciate the sounds and words and compare it
to your enunciation. Tear this part and submit it to me on our next face to face session.
Title of the movie: ______________________
Sound
Word
/p/
/b/
/t/
/d/
/k/
/g/
/m/
/n/
/ŋ/
/f/
/v/
/θ/
/ð/
/s/
/z/
/ʃ/
/ʒ/
/h/
/l/
/w/
/j/
/ɹ/
Same or
Not
Sound
Word
Same or
Not
/tʃ/
/dʒ/
/j/
/h/
/i/
/ɪ/
/e/
/ɛ/
/æ/
/a/
/ʌ/
/ə/
/u/
/ʊ/
/o/
/ɔ/
/eɪ/
/aɪ/
/aʊ/
/oʊ/
/ɔɪ/
1. Voicing refers to the activity of the vocal folds.
2. Articulation, in phonetics, a configuration of the vocal tract (the larynx and the
pharyngeal, oral, and nasal cavities) resulting from the positioning of the mobile organs
of the vocal tract (e.g., tongue) relative to other parts of the vocal tract that may be rigid
(e.g., hard palate).
3. Manner of Articulation refers to the way the articulators are set so that the resonance
effect is possible and describes how the tongue, lips, jaw, and other speech organs
are involved in making a sound make contact. Often the concept is only used for the
production of consonants.
4. Place of Articulation refers to the area in one of the resonating cavities (larynx,
mouth) where the articulators are opposing some kind of stricture or obstacle to the
passing of air and describes the place of articulation of a consonant we must state
which of the lower articulators articulate with which of the upper articulators.
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To be announced soon via chat group or Google classroom.
https://essentialsoflinguistics.pressbooks.com/chapter/2-8-diphthongs/
Fernandez, S.P. C. (2010). Making Theatre: The Craft of The Stage. IPAG- Artists Resource
Management (ARM), Inc
Khattak, Hamid R. et al. (2010). Communication Skills Module
Pangilinan, E. & M. Dilig. (1991). Speech and Drama. National Book Store
Wilson, E. (1994). The Theater Experience. McGraw-Hill, Inc.
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Stage Arts
9 hours
Art has always played a role in theater history
and its origins. Whether it be from a simple set
to something more spectacle, to elaborate
costumes or the simple mask that displays
emotion, art plays a central role in the
expression of theater.
https://www.aspenk12.net/Page/3874
1. Understand the meaning and nature of Theater, Speech Arts and Stage.
2. Recognize the essential elements of producing a play.
3. Demonstrate various body positions with dialogues to create meaning and emphasis
Answer the questions that follow on a ½ yellow sheet.
1. Have you joined any speaking contest during your elementary and high school days?
How was the experience? Please narrate.
2. Who wrote your piece? What was the speech all about?
3. What part of that experience would you like to change? Why?
THE SPEECH ARTS
1. There are different types of public speech according to purpose:
❖ Informative- the main purpose is to present facts, knowledge, or information.
❖ Persuasive- goes beyond informing the audience about a certain subject. It aims to
reinforce or change the audience’s belief.
❖ Occasional or entertaining- aims to amuse the audience or to get them to relax and
enjoy themselves.
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4. A speaker must decide not only about what he/she will say to the audience but also how
to deliver his/her speech:
a. Impromptu speech is delivered with little or no preparation.
b. Extemporaneous speech s delivered with some prepared structure such as
notes or outline.
c. Memorized speech involves reciting the speech from memory.
d. Manuscript speaking is reading the speech word-for-word from its written form
or the manuscript.
5. A speaker has to prepare adequately for a speaking task for public speaking to be an
enjoyable experience for him/her and the audience.
❖ Know the audience
❖ Choose a topic
❖ Determine the purpose of the speech
❖ Gather information
❖ Make an outline of the speech
❖ Write the speech
6. A speech must have an introduction, a body, and a conclusion
7. Eye contact, facial expressions, gestures, posture, and appearance contribute to
effective speaking.
❖ Establish eye contact with the audience.
❖ Facial expressions should be appropriate to the topic.
❖ Posture should also be natural and comfortable.
❖ Gestures are purposive movements of the arms, hands, head, or shoulders.
❖ The speaker should look neat and clean.
8. Oral interpretation is the art of communicating a piece of literature in its emotional,
intellectual, and esthetic entirety to an audience.
9. It is generally accepted principle of oral interpretation that the interpreter must be true to
the author of the text.
10. There are two major types of oral interpretation.
a. Solo interpretation
❖ Story-telling is an oral sharing of a personal or a traditional story to an audience for
the purpose of entertaining or educating them. It may be:
o Illustrative- one that makes use of illustration or drawings in presenting a
story.
o Creative or dramatic- one that makes use of subtle dramatization, gestures,
and creative movements in presenting a story.
❖ Interpretive/Interpretative reading, also called dramatic reading, oral reading, or
reading aloud, is the process of reading orally for an audience using the elements of
voice and diction to convey the meaning and mood of the literary piece.
❖ Declamation is a recitation of a poem from memory in which the delivery is marked
by strong feeling but free from histrionics.
❖ Monologue is an interpretative oral performance of prose or of poetry in which the
interpreter plays the role of someone who addresses an imaginary listener, revealing
in his innermost thoughts and feelings. It may be:
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o
b.
❖
❖
❖
Exterior monologue where the performer speaks to another person who is
not in the
performance
space or the
audience;
o Interior
monologue
where the
performer speaks
as if to
himself/herself.
Group Interpretation
Reading Concert, also
known as readers
theater, is an oral
reading activity with
speakers presenting
literature in a dramatic
form.
https://www.weareteachers.com/8-steps-to-successful-classroom-readers-theater-2/
Chamber Theater is a theatrical approach to performing narrative literature.
Narration is included in the performance and it may be done by one or multiple
actors.
Speech choir, variously called “choral reading,” “choric interpretation,” and “vocal
orchestration,” is an ensemble reading technique where a group of readers recite as
one in coordinated voices and related interpretation. Choric arrangements may be:
o Reading in unison
o Solo and chorus
o Responsive reading
FUNDAMENTALS OF PLAY
PRODUCTION
1. A
play
is
a
dramatic
performance by actors on stage.
It is a series of pictures, which
the director carefully composes.
For the stage picture to be
interesting, the director should
work on the following:
https://www.scad.edu/academics/programs/performing-arts
a. Picturization is what the director creates in every scene. It should be meaningful and
should convey the emotional values and indicate relationship of the characters in the
scene.
b. Unity is the quality of picturization. The director should strive to maintain a balanced
stage and to control the attention of the audience.
c. Balance is like thinking of a stage as a seasaw pivoted on the center line.
d. Focus refers to the central point of interest that commands the attention of the
audience.
2. A play production involves the following stages:
a. Pre-production
b. Production
c. Post-production
3. People involved in a play production fulfill certain functions:
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a. Executive group is composed of the production manager, stage manager (serves
as a liaison between the technical staff and the creative staff), house manager (along
with the front-of-house-staff, and ushers are responsible for the audience), and their
staff.
b. Aesthetic group or artistic staff is composed of the director (conceptualizes the
play and communicates his/her concepts with the designers), designers (set
designer is in charge of the set or the visual arrangement in a play production, lighting
designer’s job is to illuminate the stage and the actors and to create mood and control
the focus of the audience, costume designer works on the clothing and accessories
worn by the actors, sound designer creates special aural effects for the production),
actors, and, if applicable, playwright, composer, choreographer, and musical director.
c. Business functions are performed by the marketing director (who prepares a
marketing plan to make audience come and see the play) and publicity personnel
(advertise the production and the box office handles reservations and sells tickets).
THE STAGE
1. The stage is divided into imaginary parts designated as right (R ), center (C), and left (L).
L or Rare from the actor’s perspective and not from the audience’s or director’s.
UP RIGHT
(UR)
DOWN RIGHT
(DR)
UP CENTER
(UC)
DOWN CENTER
(DC)
UP LEFT
(UL)
DOWN LEFT
(DL)
2. Each stage division has its own use:
o UL is soft, remote, and weak and so is used for unimportant scenes but effective for
horror scenes.
o UC is remote and cold but quite strong. This is good area in which to begin important
scenes that will move downstage later.
o UR is similar to UL but stronger and not so well suited for horror scenes.
o DL is intimate but colder and weaker that DR. this area is suited to secrets, scandals,
jealousies, and conspiracies.
o DC is harsh and emphatic.
o DR is intimate, warm, and strong. This is excellent for love scenes and scenes of
humanity and kindness.
o CS or center stage, where UC and DC meet, is a strong and emphatic area. This is
used for scenes where the forces of the play meet face to face.
3. Theatres have evolved with different internal layouts according to the types of productions
presented there. The most common types of stage arrangements are listed below.
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•
Proscenium stages have an architectural
frame, known as the proscenium arch,
although not always arched in shape. Their
stages are deep and sometimes raked,
meaning the stage is gently sloped rising
away from the audience. Sometimes the
front of the stage extends past the
proscenium into the auditorium. This is
known as an apron or forestage. Theatres
containing proscenium stages are known
as proscenium arch theatres and often
include an orchestra pit for live music and
a fly tower for the movement of scenery
and lighting.
Image
showing
the
proscenium arch at Sheffield Lyceum.
•
Thrust stages. As the name suggests,
these project or ‘thrust’ into the auditorium
with the audience sitting on three sides.
The thrust stage area itself is not always
square but may be semi-circular or half a
polygon with any number of sides. Such
stages are often used to increase intimacy
between actors and the audience. Image
showing the Thrust Stage at the
Gulbenkian, University of Kent.
•
Theatres
in-the-round.
These
have
a
central
performance area enclosed
by the audience on all sides.
The arrangement is rarely
‘round’: more usually the
seating is in a square or
polygonal formation. The
actors enter through aisles or
vomitories
between
the
seating. Scenery is minimal
and carefully positioned to
ensure it does not obstruct the
audience’s
view.
Image
showing the in-the-round auditorium at the Stephen Joseph Theatre,
Scarborough.
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•
Arena theatres are
large
scale
auditoria and have
a central stage area
with audiences on
all sides, similar to
theatres
in-theround. The stage
area is usually
rectangular, more
like a sports arena,
with tiered seating.
•
Black-box or studio
theatres. These are
flexible
performance
spaces which when
stripped to their basics
are a single room
painted black, the floor of
the stage at the same
level
as
the
first
audience row. Usually
these spaces allow for
the temporary setup of
seating in a number of
different configurations
to enable a wide variety of productions to be presented. Image showing the Studio
at the Questors Theatre, Ealing.
•
Platform stages. These usually consist of a raised rectangular platform at one end of
a room. They can either have a level or raked sloping floor. The audience sit in rows
facing the stage. Platform stages are often used in multi-purpose halls where theatre
is only one of the space’s uses. Where the stage is open and without curtains, they are
sometimes known as end stages or open stages.
•
Hippodromes. Hippodromes are similar to circuses and have a central circular arena
surrounded by concentric tiered
seating. Deep pits or low
screens often separate the
audience from the arena.
•
Open air theatres. These are
outdoor theatres that do not
have
a
roof,
although
sometimes parts of the stage or
audience seating will be
covered. These stages may
make use of the natural light as
it changes during the day,
particularly
sunset.
Image
showing the Rutland Open Air
Theatre.
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•
Site-specific theatre. Site-specific theatre is usually performed in a non-traditional
theatre space such as a pub, home or warehouse, often reflecting the history,
atmosphere or experiences of a particular location.
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Promenade theatre. This involves the audience moving from place to place following
the actors and performance.
BODY POSITIONS
There are numerous positions an actor may take on stage:
1. Full-front—this is very strong.
2. One-quarter turned away- still strong but less than FF.
3. One-half turned, or the profile—less strong.
4. Three-quarter turned away—weak
5. Full-back position—as strong as a profile but not as strong as one-quarter turn.
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5.
Some Important Terms
o Acting area is the portion of the stage used by actors during a play
o Ad-lib- means to extemporize stage business or conversation
o Articulation is the way of producing vowel and consonant sounds and joining them
to form words.
o Blocking is the arrangement of the actors’ movements on stage with respect to each
other and the stage space
o Break-a-leg is the traditional wish of good luck exchanged between theatrical people
prior to curtain
o Business rehearsal is a rehearsal for onstage action
o Curtain also called grand drape or theater drape, is the term used to refer to a
screen, usually a piece of cloth, which separates the stage from the auditorium
o Curtain call refers to the final appearance of the cast, when the play is over, to
receive the applause of the audience
o Dress rehearsal is the final rehearsal before opening in which actors are dressed in
their performance costumes
o Dress the stage means to set the stage with the necessary scenery, equipment,
props, and furniture
o Feedback in theater means the undesirable noise in the sound system
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SURIGAO STATE COLLEGE OF TECHNOLOGY
Feed lines means to give lines and actions in such a way that another actor can
make a point ot get a laugh
Fillers are noises or words used by the speaker to fill gaps between his/her
sentences or thoughts
Hand props are personal properties such as notebooks, glasses, or ballpens, used
by individual actors in the action of a play
House is the auditorium and front of the theater, as contrasted with the stage and
backstage areas
Level refers to the height of an actor above the stage floor.
Offstage refers to the areas of the stage, usually in the wings, which are not in view
of the audience
Pronunciation refers to how a word should be said- how to say each sound in a
word an which syllable to stress
Tics refer to the habitual and unnecessary repetition of words or phrases.
Stage directions refer to the entrances, exits, and actions of the characters on
stage.
1. Extemporaneous Speaking. Say
something about the picture in three
paragraphs Video your self delivering
your piece.
2. Graduation Speech. You are invited
as a guest speaker in a high school
graduation. Write your speech on
long bond papers and video yourself
delivering it with proper attire. Take note of the rubric in page 1.
3. Storytelling. Familiarize a story entitled Love in the Cornhusks by Aida L. Rivera and
retell following the rubric that follows. Video yourself covering the story in 5-7
minutes.
Love in the Cornhusks by Aida L. Rivera
Tinang stopped before the Señora’s gate and adjusted the baby’s cap. The dogs that
came to bark at the gate were strange dogs, big-mouthed animals with a sense of
superiority. They stuck their heads through the hogfence, lolling their tongues and
straining. Suddenly, from the gumamela row, a little black mongrel emerged and slithered
through the fence with ease. It came to her, head down and body quivering.
“Bantay. Ay, Bantay!” she exclaimed as the little dog laid its paws upon her shirt to sniff
the baby on her arm. The baby was afraid and cried. The big animals barked with
displeasure.
Tito, the young master, had seen her and was calling to his mother. “Ma, it’s Tinang.
Ma, Ma, it’s Tinang.” He came running down to open the gate.
“Aba, you are so tall now, Tito.”
He smiled his girl’s smile as he stood by, warding the dogs off. Tinang passed quickly
up the veranda stairs lined with ferns and many-colored bougainville. On landing, she
paused to wipe her shoes carefully. About her, the Señora’s white and lavender butterfly
orchids fluttered delicately in the sunshine. She noticed though that the purple walingwaling that had once been her task to shade from the hot sun with banana leaves and to
water with mixture of charcoal and eggs and water was not in bloom.
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“Is no one covering the waling-waling now?” Tinang asked. “It will die.”
“Oh, the maid will come to cover the orchids later.”
The Señora called from inside. “Tinang, let me see your baby. Is it a boy?”
“Yes, Ma,” Tito shouted from downstairs. “And the ears are huge!”
“What do you expect,” replied his mother; “the father is a Bagobo. Even Tinang looks
like a Bagobo now.”
Tinang laughed and felt warmness for her former mistress and the boy Tito. She sat
self-consciously on the black narra sofa, for the first time a visitor. Her eyes clouded. The
sight of the Señora’s flaccidly plump figure, swathed in a loose waist-less housedress that
came down to her ankles, and the faint scent of agua de colonia blended with kitchen
spice, seemed to her the essence of the comfortable world, and she sighed thinking of the
long walk home through the mud, the baby’s legs straddled to her waist, and Inggo, her
husband, waiting for her, his body stinking of tuba and sweat, squatting on the floor, clad
only in his foul undergarments.
“Ano, Tinang, is it not a good thing to be married?” the Señora asked, pitying Tinang
because her dress gave way at the placket and pressed at her swollen breasts. It was, as
a matter of fact, a dress she had given Tinang a long time ago.
“It is hard, Señora, very hard. Better that I were working here again.”
“There!” the Señora said. “Didn’t I tell you what it would be like, huh? . . . that you would
be a slave to your husband and that you would work a baby eternally strapped to you. Are
you not pregnant again?”
Tinang squirmed at the Señora’s directness but admitted she was.
“Hala! You will have a dozen before long.” The Señora got up. “Come, I will give you
some dresses and an old blanket that you can cut into things for the baby.”
They went into a cluttered room which looked like a huge closet and as the Señora
sorted out some clothes, Tinang asked, “How is Señor?”
“Ay, he is always losing his temper over the tractor drivers. It is not the way it was when
Amado was here. You remember what a good driver he was. The tractors were always
kept in working condition. But now . . . I wonder why he left all of a sudden. He said he
would be gone for only two days . . . .”
“I don’t know,” Tinang said. The baby began to cry. Tinang shushed him with irritation.
“Oy, Tinang, come to the kitchen; your Bagobito is hungry.”
For the next hour, Tinang sat in the kitchen with an odd feeling; she watched the girl
who was now in possession of the kitchen work around with a handkerchief clutched I one
hand. She had lipstick on too, Tinang noted. the girl looked at her briefly but did not smile.
She set down a can of evaporated milk for the baby and served her coffee and cake. The
Señora drank coffee with her and lectured about keeping the baby’s stomach bound and
training it to stay by itself so she could work. Finally, Tinang brought up, haltingly, with
phrases like “if it will not offend you” and “if you are not too busy” the purpose of her visit–
which was to ask Señora to be a madrina in baptism. The Señora readily assented and
said she would provide the baptismal clothes and the fee for the priest. It was time to go.
“When are you coming again, Tinang?” the Señore asked as Tinang got the baby
ready. “Don’t forget the bundle of clothes and . . . oh, Tinang, you better stop by the
drugstore. They asked me once whether you were still with us. You have a letter there and
I was going to open it to see if there was bad news but I thought you would be coming.”
A letter! Tinang’s heart beat violently. Somebody is dead; I know somebody is dead,
she thought. She crossed herself and after thanking the Señora profusely, she hurried
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down. The dogs came forward and Tito had to restrain them. “Bring me some young corn
next time, Tinang,” he called after her.
Tinang waited a while at the drugstore which was also the post office of the barrio.
Finally, the man turned to her: “Mrs., do you want medicine for your baby or for yourself?”
“No, I came for my letter. I was told I have a letter.”
“And what is your name, Mrs.?” He drawled.
“Constantina Tirol.”
The man pulled a box and slowly went through the pile of envelopes most of which
were scribbled in pencil, “Tirol, Tirol, Tirol. . . .” He finally pulled out a letter and handed it
to her. She stared at the unfamiliar scrawl. It was not from her sister and she could think
of no one else who could write to her.
Santa Maria, she thought; maybe something has happened to my sister.
“Do you want me to read it for you?”
“No, no.” She hurried from the drugstore, crushed that he should think her illiterate.
With the baby on one arm and the bundle of clothes on the other and the letter clutched in
her hand she found herself walking toward home.
The rains had made a deep slough of the clay road and Tinang followed the prints left
by the men and the carabaos that had gone before her to keep from sinking mud up to her
knees. She was deep in the road before she became conscious of her shoes. In horror,
she saw that they were coated with thick, black clay. Gingerly, she pulled off one shoe
after the other with the hand still clutching to the letter. When she had tied the shoes
together with the laces and had slung them on an arm, the baby, the bundle, and the letter
were all smeared with mud.
There must be a place to put the baby down, she thought, desperate now about the
letter. She walked on until she spotted a corner of a field where cornhusks were scattered
under a kamansi tree. She shoved together a pile of husks with her foot and laid the baby
down upon it. With a sigh, she drew the letter from the envelope. She stared at the letter
which was written in English.
My dearest Tinay,
Hello, how is life getting along? Are you still in good condition? As for myself, the same
as usual. But you’re far from my side. It is not easy to be far from our lover.
Tinay, do you still love me? I hope your kind and generous heart will never fade.
Someday or somehow I’ll be there again to fulfill our promise.
Many weeks and months have elapsed. Still I remember our bygone days. Especially
when I was suffering with the heat of the tractor under the heat of the sun. I was always in
despair until I imagine your personal appearance coming forward bearing the sweetest
smile that enabled me to view the distant horizon.
Tinay, I could not return because I found that my mother was very ill. That is why I was
not able to take you as a partner of life. Please respond to my missive at once so that I
know whether you still love me or not. I hope you did not love anybody except myself.
I think I am going beyond the limit of your leisure hours, so I close with best wishes to
you, my friends Gonding, Sefarin, Bondio, etc.
Yours forever,
Amado
P.S.
My mother died last month.
Address your letter:
Mr. Amado Galauran
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Binalunan, Cotabato
It was Tinang’s first love letter. A flush spread over her face and crept into her body.
She read the letter again. “It is not easy to be far from our lover. . . . I imagine your personal
appearance coming forward. . . . Someday, somehow I’ll be there to fulfill our promise. . .
.” Tinang was intoxicated. She pressed herself against the kamansi tree.
My lover is true to me. He never meant to desert me. Amado, she thought. Amado.
And she cried, remembering the young girl she was less than two years ago when she
would take food to Señor in the field and the laborers would eye her furtively. She thought
herself above them for she was always neat and clean in her hometown, before she went
away to work, she had gone to school and had reached sixth grade. Her skin, too, was not
as dark as those of the girls who worked in the fields weeding around the clumps of abaca.
Her lower lip jutted out disdainfully when the farm hands spoke to her with many flattering
words. She laughed when a Bagobo with two hectares of land asked her to marry him. It
was only Amado, the tractor driver, who could look at her and make her lower her eyes.
He was very dark and wore filthy and torn clothes on the farm but on Saturdays when he
came up to the house for his week’s salary, his hair was slicked down and he would be
dressed as well as Mr. Jacinto, the schoolteacher. Once he told her he would study in the
city night-schools and take up mechanical engineering someday. He had not said much
more to her but one afternoon when she was bidden to take some bolts and tools to him
in the field, a great excitement came over her. The shadows moved fitfully in the bamboo
groves she passed and the cool November air edged into her nostrils sharply. He stood
unmoving beside the tractor with tools and parts scattered on the ground around him. His
eyes were a black glow as he watched her draw near. When she held out the bolts, he
seized her wrist and said: “Come,” pulling her to the screen of trees beyond. She resisted
but his arms were strong. He embraced her roughly and awkwardly, and she trembled and
gasped and clung to him. . . .
A little green snake slithered languidly into the tall grass a few yards from
the kamansi tree. Tinang started violently and remembered her child. It lay motionless on
the mat of husk. With a shriek she grabbed it wildly and hugged it close. The baby awoke
from its sleep and cries lustily. Ave Maria Santisima. Do not punish me, she prayed,
searching the baby’s skin for marks. Among the cornhusks, the letter fell unnoticed.
Criteria
Adherence to the Storyline
• Adequate of details recounted
• Pertinence of details to the original story
• Chronological and logical order of the story’s events
• Creativity of recounting the story’s plot
• Elucidation of imagery
Delivery
• Elicitation of emotions and expressions of the character
played
• Spontaneity and naturalness of delivery
• Poise and confidence
• Facial expression, gestures, and eye contact
• Elicitation and sustainability of audience’s interest
Language Skills
• Suitability of Language
• Vividness f Language
• Grammatical Correctness
• Pronunciation and Enunciation
EM 6- Speech and Theater Arts
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Score
25
25
25
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Voice
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SURIGAO STATE COLLEGE OF TECHNOLOGY
Phrasing
Variation of voice across characters
Voice projection
Clarity
Voice quality
Sufficiency of variety in rate, pause, and pitch
25
TOTAL
Watch your Oration and Graduation Speech videos and honestly evaluate and rate yourself
using the enhanced rubric in page 14.
Oration
Criteria
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Presentation
style
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Vocal
Delivery
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Physical
Delivery
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Overall
Effect
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Explanation
Speaker gives a realistic attempt to
recreate the spirit of the original
presentation
Appropriate style of delivery
Message in speech is conveyed credibly
and convincingly as if the words were the
speakers own
Speaker is articulate and fluent
Uses vocal variety: volume, rate, pausing,
stress, and tone
Speaker is conversational and concerned,
passionate and pleasing
Speaker is in control of words and
emotions
Speaker is self confident and self-assured
Inviting to the audience
Varies facial expression to accentuate the
natural flow of thoughts and feelings
Makes eye contact with the audience
Stands straight and controlled, without
distracting movements
Movement, if used, should be motivated by
transitions in thought or mood
Gestures should be visible and effectively
used for emphasis, and varied
Speaker should project an understanding
of the speech’s message
Speaker should instill audiences concern
for the speech’s content
The original speaker’s message should not
be overshadowed by the delivery.
Score
Graduation
Speech
Score
TOTAL
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Comment on your Oration performance.
Comment on your graduation speech performance.
To be announced soon via chat group or Google classroom.
http://www.theatrestrust.org.uk/discover-theatres/theatre-faqs/170-what-are-the-types-oftheatre-stages-and-auditoria
Fernandez, S.P. C. (2010). Making Theatre: The Craft of The Stage. IPAG- Artists Resource
Management (ARM), Inc
Khattak, Hamid R. et al. (2010). Communication Skills Module
Pangilinan, E. & M. Dilig. (1991). Speech and Drama. National Book Store
Wilson, E. (1994). The Theater Experience. McGraw-Hill, Inc.
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