Creative Writing/Malikhaing Pagsulat-Senior High School

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2020

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Development Team of the Module:

Authors: Geralyn J. Acero, Stifanny S. Panoril,

Andresito S. Sorongon, Jr., Alma L. Calibo,
Rowena A. Guioguio, Lorly L. Miquiabas,
Noriza J. Esteban. Icel Jane H. Bete,
Jessriel N. Bayucot,
Marevel B. Caburnay
Editors: Stiffany S. Panoril
George B. Temonio
Grace B. Ganceña
Illustrator: Jay Michael A. Calipusan

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CES, CLMD
Members: Dr. Bienvenido U. Tagolimot, Jr.
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Dr. Angelina B. Buaron
EPS, English

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 SENIOR HIGH SCHOOL

CREATIVE WRITING/
MALIKHAING PAGSULAT
Quarter 4 – Module 4
Reading and Writing Drama (One-Act)

This instructional material was collaboratively developed and

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Department of Education Republic of the Philippines

 MODULE 4

READING AND WRITING DRAMA

(ONE-ACT)

Welcome to Module 4! This module will help you understand how plays are
written. You will be guided in exploring the different literary devices, techniques and
elements in drama. You will also learn the basic steps and principles in writing a one-
act play by following the guidelines presented through the lessons particularly in
developing your characters, setting, plot and dialogue.

This module has six lessons:

 Lesson 1: Elements, Techniques and Literary Devices in Drama

 Lesson 2: Intertextuality: A Technique of Drama
 Lesson 3: Character, Setting and Plot for a One-Act Play
 Lesson 4: Staging Modalities and Envisioning the Script
 Lesson 5: Exercises on the Elements of Drama
 Lesson 6: Scene for One-Act Play

At the end of this module, you are expected to:

1. identify the various elements, techniques, and literary devices in drama

(HUMSS_CW/MPIj-IIc-15)
2. understand intertextuality as a technique of drama (HUMSS_CW/MPIj-IIc-16)
3. conceptualize a character/setting/plot for a one-act play (HUMSS_CW/MPIj-IIc-
17)
4. explore different staging modalities vis-à-vis envisioning the script
(HUMSS_CW/MPIjc-18)
5. write short exercises involving character, dialogue, plot, and other elements of
drama (HUMSS_CW/MPIj-IIc-19)
6. write at least one scene for one-act play applying the various elements,
techniques, and literary devices (HUMSS_CW/MPIj-IIc-20)

1
 o General Before you go further, you should remember
Instruction the following:

 do not put some markings on this Module as there are still other students who will
be using it;
 use a separate notebook as a REFLECTIVE JOURNAL to keep your answer in
each activity (be sure to LABEL your work according to the Module, lessons and
the date you work on it);
 each Module has a brief instruction and followed by a list of objectives. Read them
and follow instructions carefully;
 before going over the activities, answer the PRE-TEST first then find out how well
you did by checking your answers given in the self-assessment activity;
 each activity must be according to the objectives of this Module (note the skills or
strategies you tried to develop); and
 after each activity, you need to go over the items which you think you failed then
take the POST TEST when you think you have mastered all the activities.

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Lesson ELEMENTS, TECHNIQUES AND
1 LITERARY DEVICES IN DRAMA

What I Need to Know

At the end of this lesson, you are expected to identify the various
elements, techniques, and literary devices in drama
(HUMSS_CW/MPIj-IIc-15)

What I Know

Direction: Match the concepts with their definition or description.

1. Speaking a. It refers to the type of play (example: comedy and

tragedy).

2. Aside b. This is how narrative points are arranged to make a

story understandable to the reader or observer.

3. Spectacles c. It is a short speech made to the audience or to himself

but cannot be heard by the other characters on stage.

4. Plot d. These are the visual elements of a play.

5. Monologue e. It is a mode of expression or delivery of lines.

6. Theme f. It is short for properties or any article used as a part of

a dramatic production.

7. Dialogue g. It is a lengthy speech that one character addresses to

others on stage.

8. Genre h. It is a long speech made by a character while alone on

stage to reveal one’s true thoughts or feelings.

9. Soliloquy i. It refers to the meaning of the play or the main idea in

the play.

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 10. Props j. It refers to the conversation between two or more
characters.

What’s In

In Module 3, you learned about the different elements of fiction

which include character, point of view, plot, setting and atmosphere, conflict, irony and
theme. You were also introduced to mood and tone, foreshadowing, symbolism and
motif as techniques and literary devices of fiction. In this module, we will be focusing
on a different genre which is one-act play or drama.

What’s New

Have you tried watching a theater play? If yes, try recalling what
the story was about, who the characters were and where the story took
place. Then try to imagine how the writer came up with such a fantastic play. What did
the writer have to do before completing the entire story? What preparations were made
by the theater artists as well as the director before the actual play presentation? You
might be thinking that writing and staging theater plays need a lot of time and effort. In
the old times, when cinemas were not yet created, people would watch theater plays
to entertain themselves. In today’s generation, we can easily access various forms of
entertainment through television or via internet. However, the significant lessons
depicted in classical as well as modern plays gave great impact in ourselves and our
society.

What is It

“Drama” comes from a Greek word which means action. It is a

story told in dialogue by performers in front of an audience. It is another
word for a play. It is a portrayal of true stories (non-fictional) or stories created through
the imagination (fictional). In the past, when modern movie theaters or cinemas were
not yet existing, theater plays or dramas were very popular.
A person who writes or creates plays is known as a “playwright” or “dramatist”.
Shakespeare, who wrote the famous play “Romeo and Juliet”, is one of the most
famous and successful playwrights of all time. “Romeo and Juliet” is a sad or tragic
love story which ended in the death of the lovers who are the main characters in the
play. It is not just a love story, it also presents important lessons about life and
society’s battle with equality.

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 What about you? What is your favorite play or drama? Can you still remember
the name of the characters in that play? What is it about?

Literary Elements of Drama

Drama has various literary elements which are important during a drama’s
formation stage. The playwright has to think through these elements in order to come
up with a good play. We will be discussing four of them in detail for you to be able to
accomplish the next activities more easily.

1. Characters

These are the people, animals or even ideas who are given life in the play. In
other words, they are who make the story happen in drama. Characters are different
from actors. Actors are the ones who are doing the ‘acting’ or the people who are
portraying different characters. Kadinang Ginto which is a very popular Philippine
drama series or teleserye, for example, has Daniela Mondragon as one of the
characters but it is Dimples Romana, the actor, who portrays the role of Daniela.
Now, who do you think is the character, Romina Mondragon or Beauty
Gonzales? What about the actor? You’re right if you answered Romina as a character
and Beauty as the actor. Can you think of a play and then name all the characters you
can remember? If you can’t think of any, you can try recalling the characters from your
favorite movie or teleserye. Were you able to differentiate the characters from the
actors? If yes, then you did a good job.

2. Setting

This is where and when the story in the play happened or the time and place
where the events in the play took place. The play Romeo and Juliet has been set in
the era between 1300 and 1600 in Verona, Italy. The mention of places like the Capulet
estate, the Friar Laurence’s church, Verona and Mantua (a city in Italy) shows that the
story was indeed set in Italy. The plays prologue is presented this way:
“Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-cross'd lovers take their life;
Whose misadventured piteous overthrows
Do with their death bury their parents' strife.
The fearful passage of their death-mark'd love,
And the continuance of their parents' rage,
Which, but their children's end, nought could remove,
Is now the two hours' traffic of our stage;
The which if you with patient ears attend,

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 What here shall miss, our toil shall strive to mend.”
Notice that Shakespeare vividly described the setting giving details to the
situation the lovers are in with the feud between Romeo and Juliet’s families being
highlighted. Then he leaves the question as to how the two lovers would deal with
such struggle. The setting sets the tone, mood and atmosphere of the story. It also
comprises the environment of the story as observed in the description of the weather,
climate, physical location or social and cultural surroundings.

What do you think is the setting of the Philippine drama series or teleserye
Kadinang Ginto? Do you think it is in the present time in Metro Manila? If your answer
is yes, then you are right. You see, setting is very easy to identify. You simply have to
be observant of the landmarks or familiar places that might be mentioned by the
characters or are shown in the drama. As to identifying the time setting and other
elements, this can be done by observing the characters’ lifestyle, their cultural, or
religious orientation, fashion, manner of speaking or the dialogue itself. Normally, the
playwright provides details of the setting at the beginning of the play’s scene.

3. Plot

This element answers how the story happened in the play. This describes the
events, which relate to each other in a pattern or sequence that makes up a story. The
plot helps playwrights organize the information in the play in an understandable
manner.
Like a short story, there are five stages in a plot structure.
a. Exposition: This is the beginning of the story where characters and setting
are made known. This is the stage when the conflict or the main problem in the play is
introduced or presented.
b. Rising action: This occurs when a series of events following the initial
incident lead up to the dramatic climax. This is when the events begin to get
complicated or when excitement, tension or crisis is encountered.
c. Climax: This is the turning point or highest point of a story. This is meant to
be the moment of highest interest and emotion to make the audience or reader want
so eagerly to find out what will happen next.
d. Falling action: The series of events following the climax when events and
complications begin to resolve.
e. Denouement or Resolution: This is the end or the conclusion of a story’s
plot. It allows a story to end without trailing off or leaving the reader confused or
unsatisfied.

In the example below, the plot structure of the movie “The Hows of Us” is
identified.

Exposition Primo and George are schoolmates who fell in love and
decided to build and plan their future together
Rising action Their relationship was put to the test when Primo failed to
get his big break as a musician and turned into an arrogant

6
 artist and an irresponsible boyfriend while George kept on
sacrificing her personal dreams for him.
Climax George reached her breaking point and gave up and Primo
walked out of her life without leaving a trace.
Falling action George has moved on and pursued her dreams and Primo
came back a changed man eager to win her heart and trust
again.
Resolution George realized she is still in love with Primo and felt that he
deserves a second chance.

Let’s try another story. Are you familiar with the fable “The Turtle and the Rabbit”
or “Ang Pagong at ang Matsing”? What is the story’s plot? Try writing your answers
down.
The story’s exposition is when the rabbit and the turtle had an argument about
who was faster. The rising action is when they agreed to have a race to prove that
each of them is faster than the other. The climax is when the rabbit was leading the
race but as he relaxed and fell asleep, the turtle overtook him. The falling action is
when the turtle finished the race and won. The resolution is when the rabbit woke up
and realized that he’d lost the race which taught him a good lesson about patience
and humility.
Are your answers similar to this module? You can keep practicing and think of
other stories with a plot that is easy to identify. Playwrights think about the plot of their
story well to keep the audience or reader interested.

4. Dialogue

This refers to the words written by the playwright and spoken by the characters
in the play which can be found in a script. The dialogue helps move the action of the
play along. They always come after the name of a character to guide the actors as
they memorize or familiarize their lines. Below is an example of a dialogue:

GLORIA: Today is payday, Mario.

MARIO: Yes … but…
GLORIA: But what? Where’s your pay for the week?

There are many other elements of drama and it is important that you learn and
familiarize them as well. Montenegro-Gasulas, Mantaring, Lusica, Cidro, Miranda,
Mendoza and Nacino (2017) in the book Integrated English for English
Communication: Creative Writing, the elements of drama are classified into the
following:

A. Aristotle’s Six Essential Elements of Drama

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 Three of these elements specifically plot, characters and dialogue were
already discussed under the four major elements of drama. The other three are as
follows:

 Theme: While plot refers to the action of the play, theme refers to the meaning
of the play. Theme is the main idea or lesson to be learned from the play. In
some cases, the theme of a play is obvious; other times it is quite subtle.
 Music/Rhythm: While music is often featured in drama, in this case Aristotle
was referring to the rhythm of the actors' voices as they speak.
 Spectacle: This refers to the visual elements of a play: sets, costumes, special
effects, etc. Spectacle is everything that the audience sees as they watch the
play.
B. The Modern Theater

These are the additions to the previously known literary elements which result
from the changes and transitions related to theater play after a certain period of time.

 Conventions: These are the techniques and methods used by the playwright
and director to create the desired stylistic effect.
 Genre: Genre refers to the type of play. Some examples of different genres
include comedy, tragedy, mystery and historical play.
 Audience: This is the group of people who watch the play. Many playwrights
and actors consider the audience to be the most important element of drama,
as all of the effort put in to writing and producing a play is for the enjoyment of
the audience.
C. Technical Elements

These elements are necessary to add a visual appeal to the stage setup which
makes play production appear more dramatic and realistic. These elements add life or
spice to the play as they help build up the characters as well as make the scenes clear
to the audience.

 Scenery (set): This is the theatrical equipment, such as curtains, flats,

backdrops, or platforms, used in a dramatic production to communicate
environment
 Costumes: These are the clothing and accessories worn by actors to portray
their character and period.
 Props: This is short for properties; any article, except costume or scenery, used
as part of a dramatic production; any moveable object that appears on stage
during a performance, from a telephone to a train
 Lights: This is the placement, intensity, and color of lights to help communicate
environment, mood, or feeling
 Sound: The effects an audience hears during performance to communicate
character, context, or environment

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  Makeup: This includes costumes, wigs, and body paint used to transform an
actor into a character.
D. Performance Elements

These are the elements necessary to make a good production. These are
considerations actors should apply and be aware of to be able to perform their roles
well.

 Acting: This refers to the use of face, body, and voice to portray character
 Character motivation: This is the reason or reasons for a character’s behavior.
 Character analysis: In responding to dramatic art, this is the process of
examining how the elements of drama – literary, technical, and performance –
are used.
 Empathy: This is the capacity to relate to the feelings of another.
 Speaking: This refers to the mode of expression or delivery of lines.
 Breath control: This refers to the proper use of the lungs and diaphragm
muscle for maximum capacity and efficiency of breath for speaking.
 Vocal expression: This is how an actor uses his or her voice to convey
character inflection or the change in pitch or loudness of the voice.
 Projection: This is how well the voice carries to the audience
 Diction: This is the selection and pronunciation of words or the clarity of
speech.
 Gestures: These include movement of the actor’s head, shoulder, arm, hand,
leg, or foot to convey meaning.
 Facial expression: This is the physical and vocal aspects used by an actor to
convey mood, feeling, or personality.

Techniques and Literary Devices in Drama

Playwrights use many techniques and literary devices to make the story more
exciting and interesting. These techniques help bring the story to life and arouse the
intended emotions in the audience or readers. A good play is one that captures the
audience’s/readers ‘heart and attention while leaving important lessons or realizations
about society, family, love, politics, poverty, life and other significant issues we deal
with every single day.

A dramatic device is a convention used in drama as a substitution for reality

that the audience accepts as real although they know them to be false. These
techniques give the audience information they could not get from straightforward
presentation of action. Some of these literary devices are the following:

 Soliloquy: This is read as sƏ-li-lƏ-kwē. This is a speech by a single actor who

is alone on stage. Most classical plays have scenes when a character does
soliloquy. The character speaks out his/her thoughts aloud for the audience to
know and understand what he/she is thinking.

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  Monologue: This refers to a long speech made by one actor which may be
delivered alone or in the presence of others.
 Dramatic Irony: This occurs when a character’s words or acts carry a larger
meaning that the character does not perceive. He/she expects the opposite of
what fate holds in store, or unknowingly says something that has a double
meaning. The audience, however, is fully aware of the character’s situation.
 Foreshadowing: This is the playwright’s use of “hints” or “clues” which
prepares the audience/reader for future events or the outcome.
 Imagery: This is creating images in the audience’s/readers’ mind through the
use of vivid words. The use of figurative language is a good technique to stir
and challenge the readers’ imagination. This can be achieved by using figures
of speech like hyperbole, metaphor, simile, paradox, personification, oxymoron,
metonymy and many others.

What’s More

Let’s read.

Study the script of the one-act play that follows and identify its plot structure.
You will notice that there are statements, phrases or words written inside the
parenthesis ( ). These are the stage directions or the expected emotion, action or
specific instructions provided by the playwright to guide the actors in portraying their
characters. More detailed discussion on script and script-writing can be found on
Lessons 4-6. Take note of the events which can be classified into the different stages
of the plot.

The World is an Apple

by Alberto S. Florentino

Characters:
Gloria
Mario
Pablo

Scene: (An improvised home behind a portion of the Intramuros walls. Two wooden
boxes flank the doorway. At left is an acacia tree with a wooden bench under it.)
Mario enters from the street at the left. He is in his late twenties, shabbily
dressed and with hair that seems to have been uncut for weeks. He puts his lunch bag
on the bench, sits down, removes his shoes and puts them beside his lunch bag.

GLORIA: (Calls from inside) Mario! Is that you, Mario?

MARIO: Yes…

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GLORIA: (A small woman about Mario’s age, with long hair, comes out wiping her
hands on her dress.) I’m glad you’re home early.
MARIO: How is Tita? (Without waiting for an answer, he enters the dwelling).
GLORIA: (Crosses to the bench)- Don’t wake her up, Mario. She’s tired. She cried
the whole day.
MARIO: (reappears and crosses to the bench and sits on one end) Has she been
eating well?
GLORIA: She wouldn’t eat even a mouthful of lugao. But I’ll buy her some biscuits.
Maybe she’ll eat them. (She slips her fingers into his breast pocket) I’ll take
some of the Money!
MARIO: (Rises, annoyed) Gloria! Can’t you wait a minute?
GLORIA: (Taken aback) - Hey, what’s the matter? Why are you suddenly so touchy?
MARIO: Who wouldn’t be? I’m talking to you about the child and you bother me by
ransacking my pockets I wish you’d think more of our daughter.
GLORIA: (Crosses at the Center) My God! Wasn’t I thinking of her? Why do you
think I need some money? To buy me a pretty dress? Or see a movie?
MARIO: Tone down your voice. You’ll wake the child up.
GLORIA: (Low but intense) – All I want is a little money to buy her something to
eat!!She hasn’t eaten anything all day! That was why I was “bothering”
you!
MARIO: (Repentant)- I’m sorry, Gloria… (Grips her arm)
GLORIA: It’s all right, Mario. Now, may I have some of the money?
MARIO: (Turns to her)-Money? I … don’t have any… not now.
GLORIA: Today is payday, Mario.
MARIO: Yes … but…
GLORIA: But what? Where’s your pay for the week?
MARIO: I don’t … have it.
GLORIA: What? I waited for you the whole day and you tell me..
MARIO: (Angry) - that I have nothing! Nothing! What do you want me to do steal?
GLORIA: I’m not asking you to do a thing like that! All I want to know is what you
did with your money.
MARIO: (Sits on the bench)-Nothing is left of it.
GLORIA: Nothing? What happened?
MARIO: Oh, I had a few drinks with my friends. Before I knew it, I had spent every
centavo of it.
GLORIA: (Eyeing him intently)-Mario, do you think you can make a fool of me?
Haven’t I seen you drunk before: crawling home like a wounded snake
and reeking of alcohol like a hospital? You don’t smell or look drunk.
MARIO: All right, so I didn’t go drinking.
GLORIA: But your pay- what happened to it?
MARIO: It’s better if you don’t know, Gloria
GLORIA: Look, Mario I’m your wife. I have the right to half of everything you get.
If I can’t have my share, I have the right to know at least where it went!
MARIO: All right. (Rises.) I spent it all on another woman.

11
GLORIA: Another woman? I don’t believe it. I know you wouldn’t do such thing.
MARIO: I didn’t know you had so much faith in me.
GLORIA: No, Mario, what I mean is- you wouldn’t spend all your money when you
know your daughter may need some of it. You love her too much to do
that. (Mario sits down and buries his head in his hands. Gloria crosses
to him and lays a hand on his shoulder.)
GLORIA: What’s wrong, Mario?
MARIO: (Turns his face away)- Nothing, Gloria, nothing.
GLORIA: (Sits beside him) I know something is wrong, Mario. I can feel it. Tell me
what it is.
MARIO: (Stares at the ground) – Gloria, I’ve lost my job.
GLORIA: (Rises, shocked) Oh, No!
MARIO: (Looks up at her) It’s true, Gloria
GLORIA: What about your pay for the whole week?
MARIO: I lost my job a week ago.
GLORIA: And you never even told me!
MARIO: I thought I could get another, without making you worry.
GLORIA: Do you think you can get another in five months? It took you that long to
get the last one.
MARIO: It won’t take me as long to get another.
GLORIA: But how did you lose it? Mario! Have your sinful fingers brought you
trouble again?
MARIO: Now, now, Gloria! Don’t try to accuse me, as they did!
GLORIA: What did they accuse you of?
MARIO: Just what you meant to say, Pilfering, they call it.
GLORIA: What else would you call it? (Pause.) What, according to them, did you
steal?
MARIO: It was nothing much, really nothing at all.
GLORIA: What was it?
MARIO: It was an apple.
GLORIA: An apple! You mean-
MARIO: An apple! Don’t you know what an apple is?
GLORIA: You mean, you took one apple.
MARIO: Yes, and they kicked me out for it: for taking one, single apple. Not a
dozen, not a crate.
GLORIA: That’s what you get —
MARIO: (Sits down) -Could I have guessed they would do that for one apple?
When there were millions of them? (Pauses) We were hauling them to
the warehouse. I saw one roll out of a broken crate. It was that big.
Suddenly, I found myself putting it in my lunch bag.
GLORIA: That’s the trouble with you; when you think of your own stomach, you
think of nothing else!
MARIO: (Rises)- I was not thinking of myself!
GLORIA: Whom were you thinking of- me? Did I ever ask for apples?

12
MARIO: Yes, she did. (Pauses) Do you remember that day I took her out for a
walk? On our way home we passed a grocery store that sold “delicious”
apples at seventy centavos each. She wanted me to buy one for her, but
I did not have seventy centavos. What I did was buy her one of those
small green apples they sell on the sidewalk, but she just threw it away,
saying it was not a real apple. Then she cried. (Pauses) So… when I
saw this apple roll out of the broken crate, I thought that Tita would love
to have it.
GLORIA: You should have tried to bring home pan-de-sal, or rice, or milk- and not
those “delicious” apples. We’re not rich. We can live without apples!
MARIO: Why? Did God create apple trees to bear fruit for the rich alone? Didn’t
He create the whole world for everyone? That’s why I tried to bring the
apple home for Tita. When we brought her into this world we sort of
promised her everything she had a right to have in life.
GLORIA: So, for a measly apple, you lost a job .
MARIO: I wouldn’t mind losing a thousand jobs for an apple for my daughter!
GLORIA: Where was this apple? Did you bring it home to Tita? (Crosses to the
bench to get the lunch bag)
MARIO: No, they kept it-as evidence. (Sits down.)
GLORIA: See? You lost your job trying to filch an apple and you even lost the
apple for which you lost your job. (Gloria puts away the shoes and the
lunch bag. She sits on the steps and they remain silent for a time.)
GLORIA: (Rising)-Filching an apple that’s too small a reason to kick a poor man
out of work. You should ask them to give you a second chance, Mario.
MARIO: They won’t do that.
GLORIA: Why not?
MARIO: (Rises) Can’t you see they had been waiting for me to make a slip like
that? They’ve wanted to throw me out for any reason, so that they may
bring their own men in.
GLORIA: You should complain.
MARIO: If I did? They would dig up my police record.
GLORIA: (Crosses to him) - But, Mario that was so long ago! Why would they try
to dig that thing up?
MARIO: They’ll do anything to keep me out. (Holds her arm.) But don’t worry, I’ll
find another job. It isn’t really so hard to look for a job nowadays. (From
this point he avoids her eyes). You know I’ve been job hunting for a week
now, and I think I have found a good job.
GLORIA: There you go, lying again.
MARIO: Believe me, I’m not lying this time.
GLORIA: (Crosses to the center)- -You’re always lying- I can’t tell when you’re
telling the truth or not.
MARIO: In fact I’ll see someone tonight who knows of a company that needs a
night watchman.
GLORIA: (Holds his arm) Honest?

13
MARIO: (Avoids her eyes) Honest! (Sits down.)
GLORIA: I knew God wouldn’t let us down. He never lets anybody down. I’ll pray
tonight and ask Him to let you have that job. (Looks at Mario) But, Mario,
would it mean that you’d have to stay out all night?
MARIO: That would be all right. I can always sleep during the day.
GLORIA: (Brushes against him like a cat)- What I mean is, it will be different when
you aren’t by my side at night. (Walks away from him.) But, oh, I think I’ll
get used to it. (Crosses to the center and turns around.) Why don’t you
go and see this friend of yours right now? Anyway you don’t have
anything to do tonight. Don’t you think it’s wise to see him as early as
you can?
MARIO: (After a pause)-Yes, I think I’ll do that. (Gloria crosses to the steps to get
his shoes, followed by Mario.)
GLORIA: (Hands him the shoes.)- Here, Mario, put these on and go I’ll step up and
wait for you. (She sits on the steps and watches him.)
MARIO: (Putting on the shoes) - No, Gloria, you must not wait for me. I may be
back quite late.
GLORIA: All right, But I doubt if I can sleep a wink until you return. (Gloria comes
up to him after he finishes and tries to hug him, but he pushes her away.
Suddenly confused, he sits on the steps. Gloria sits beside him and plays
with his hands.)
GLORIA: Mother was wrong. You know, before we got married, she used to tell
me: ”Gloria, you’ll commit the greatest mistake of your life if you marry
that good-for-nothing loafer!” Oh, I wish she were alive now, She would
have seen how much you’ve changed. (She sees someone behind the
tree: Pablo. He has been watching them for a time. He is older than
Mario, sinister-looking, and well dressed.)
PABLO: (Sarcastic)-Hmmmmmm How romantic!
MARIO: Pablo!
(Suddenly unnerved, Mario starts to fidget. Gloria rises and walks to the
center, her eyes burning with hate. Pablo lights a cigarette, never taking
his eyes burning with hate off her.)
PABLO: You’re not glad to see me, are you? (Puts a foot on the bench.)
GLORIA: (Angry)- What are you doing here? What do you want?
PABLO: Saaaay! Is that the right way to receive a friend who has come for a visit?
GLORIA: We don’t care for your visits!
PABLO: You haven’t changed a bit, Gloria… not a bit.
GLORIA: Neither have you, I can see!
PABLO: You’re still that same woman who cursed me to hell because I happened
to be Mario’s friend long before you met him. Time has not made you
any kinder to me. You still hate me, don’t you?
GLORIA: Yes! And I wish you’d stay away from us for the rest of our lives!
PABLO: I am not staying away from you!
GLORIA: Then why are you here?

14
PABLO: God! May I not even come to see you now and then, to see if life has
been kind to you? How are you getting along?
GLORIA: (Scornfully) We were doing well until you showed up!
PABLO: Your daughter- she was only that high when I saw her last-how is she?
GLORIA: She’s all right!
PABLO: Oh! and I thought she had not been very well.
GLORIA: (Suspicious) How did you know? (To Mario). Did you tell him?
MARIO: I … how could I? I haven’t seen him in a long time … (Sits down.) until
now of course.
PABLO: What is she sick with?
GLORIA: (Rudely) - We don’t know!
PABLO: Don’t you think you should take her to a doctor? (Puts his foot down and
pulls out his wallet). Here, I’ll loan you a few pesos. It may help your
daughter to get well.
GLORIA: (Scornfully) - We need it all right-but no, thank you
PABLO: Why don’t you take it!
GLORIA: Paying you back will only mean seeing your face again.
PABLO: Well, if you hate my face so much, you don’t have to pay me back. Take
it as a gift.
GLORIA: The more reason I should refuse it!
PABLO: All right, if that’s how you want it.- (Sits down and plays with the wallet.)
GLORIA: Mario has stopped depending on you, since the day I took him away from
your” clutches”! I have no regrets.
PABLO: How about Mario? Has he no regrets either?
GLORIA: He has none.
PABLO: How can you be so sure? When he and I were pals we could go to
first-class air conditioned movie houses every other day. I’ll bet all the
money I have here now (brandishing his wallet) that he has not been to
one since you “liberated” him from me. And that was almost four years
ago.
GLORIA: One cannot expect too much from honest money- and we don’t.
PABLO: (Rises and walks about) What is honest money? Does it look better than
dishonest money? Does it buy more? Honesty? What is it? Dressing like
that? Staying in this dungeon you call a house? Is that what you call
“honesty”?
MARIO: (Rises)- Pablo!
PABLO: See what happened to your daughter. That is what honesty has done to
her. And how can honesty help her now? She’s sick and needs food, g
good food.
MARIO: Pablo!
GLORIA: I know you have come to lead him back to your dishonest ways, but you
can’t. He won’t listen to you now! We have gone this far and we can go
on living without your help!

15
PABLO: (Sarcastic) – You call this living? This, Gloria is what you call dying- dying
slowly minute by minute. (Laughs.)
MARIO: (Crosses to him and shakes him)- Pablo, stop it! (Pablo stops). You
shouldn’t have come.
PABLO: I got tired waiting for you!
GLORIA: So you have been seeing each other! I was afraid so!
PABLO: He came to the house yesterday.
MARIO: Pablo, don’t…
PABLO: (Ignoring Mario) He said he would be back this noon. But he didn’t show
up. I came because I was afraid his conscience was bothering him.
MARIO: Pablo, I told you she should not know!
PABLO: It’s all right, Mario. You’d better tell her everything. She’s bound to know
later. Tell her what you told me: that you no longer believe in the way
she wanted you to live. Tell her.
(Mario turns his back on them.)
GLORIA: Mario… is this what you meant by another job?
MARIO: Gloria… you…you must try to understand… I tried… but I could not let
have this kind of life…
GLORIA: (shouts at Pablo)- You’re to blame for this, you son-of-devil!
PABLO: He came to me first-
GLORIA: When you know he’ll cling to anything and do anything! Even return to
the life he hates! Get out!
PABLO: I’ll leave-just as soon as Mario is ready to go.
GLORIA: He’s not going with you!
PABLO: Is that so! Why don’t you ask him?- (sits on the bench, grinning.)
GLORIA: (to Mario)-You’re not going with him, are you, Mario? Tell him to leave
us and never come back! Tell him to go, please, Mario… I know he has
talked to you and tried to poison your mind again… but don’t go with him.
MARIO: (Holds her) – Gloria, I…
PABLO: Don’t worry about him, Gloria. He’s safe with me.
MARIO: (Pulls her away)- You stay there, Pablo, I’ll be with you in a minute.
MARIO: Gloria, I’m going with him.
GLORIA: Don’t Mario, don’t…
MARIO: You can’t make me stop now, I’ve thought about this since last week.
GLORIA: No, no Mario, no … (Holds him.)
MARIO: You take good care of yourself and our child. I’ll take good care of myself.
Don’t wait up for me. I’ll come home very late. (Mario walks away with
Pablo. Gloria stares at them, then she shouts.)
GLORIA: MARIOOOOOOOOOO!
(She covers her face with her dress and cries into it. The daughter, from
inside, joins her crying as the curtain closes.)

16
Think and write! Identify the plot of the play.

1. Exposition: (How does the story begin?)

2. Rising Action: (How does the problem or conflict arise?)

3. Climax: (What is the highest point of the story?)

4. Falling Action: (What is done to resolve the conflict?)

5. Denouement/Resolution: (How does the story end?)

17
 What I Have Learned

These are the key points discussed in this lesson:

1. Drama or play is a literary art form that is written in prose or verse. It is
intended to be performed on stage. The parts of the plot according to structure
are exposition, rising action, climax, falling action, and resolution.
2. Drama has three major elements: literary, performance and technical
elements. The literary elements include the plot, characters, setting, theme and
dramatic devices. The performance elements include acting and speaking. The
technical elements include the scenery, props, makeup and sound.
3. Drama serves as an effective avenue to present relevant issues about
the different aspects of society and human life.

What I Can Do

A. Let’s see how much you’ve remembered. Identify the elements of drama by writing
L for literary elements, T for technical elements and P for performance elements. Write
your answers on the space before each item.

1. Scenery
2. Dialogue
3. Lights
4. Theme
5. Speaking
6. Diction
7. Characters
8. Acting
9. Plot
10. Audience

18
B. Categorize the words in the box and place them in the appropriate column.

Plot Costumes Audience

Conventions Setting Characters

Projection Genre Empathy

Props Vocal Expression Sound

LITERARY TECHNICAL PERFORMANCE THE MODERN

ELEMENTS ELEMENTS ELEMENTS THEATER

Assessment

A. Direction: Match the concepts with their definition or description.

1. Dialogue A. This occurs when a series of events following the initial

incident lead up to the dramatic climax.

2. Scenery B. This refers to the meaning of the play or the main idea
or lesson to be learned from the play.

3. Performance C. This is the beginning of the story where characters and

setting are made known.

4. Rising action D. This is found in a script and spoken by the characters in

the play.

5. Makeup E. This is the group of people who watch the play.

19
 6. Theme F. This is the theatrical equipment such as curtains or
platforms.

7. Imagery G. This includes costumes, wigs and body paint actors

use.

8. Technical H. These are elements necessary to make a good

production.

9. Audience I. These elements are necessary to add a visual appeal

to the stage setup.

10. Exposition J. This helps create images in the reader’s mid through
the use of vivid words.

Additional Activity
Directions: Unscramble the words on the left to get the correct term
based on the given clues on the right. Write your answer on the space
provided.

tragedy; type of play;

1. RGEEN mystery

music; actors’ voices;

2. TYRHMH element

3. UDEOAILG words; script; lines

4. CCRRAAHSTE people; animals; do the

action

5. GSTLIH placement; intensity;

color

6. DUSON effects; hear; to

communicate

7. CGANIT portray, use of face; use

of body

20
8. ATBREH use of lungs; diaphragm
OOLNCTR muscle; efficiency of
breath

9. WPRLIAGYHT Shakespeare; writer;

drama;

10. ADMAR Greek; action; play

21
 Lesson INTERTEXTUALITY: A
2 TECHNIQUE OF DRAMA

What I Need to Know

At the end of this lesson, you are expected to understand
intertextuality as a technique of drama.
(HUMSS_CW/MPIj-IIc-16)

What I Know

Direction. Tick the column that best describes how much you know about
intertextuality. Answer as honestly as you can.

Yes No Not Sure

1. I am aware of the types of

intertextual techniques.

2. I can differentiate the types of

intertextual techniques

3. I recognize that intertextual

references requires an understanding
of drama’s literary techniques and
devices.

4. I can explain how intertextuality is

applied in literary texts.

5. I compare texts to find out if

intertextuality is used.

6. I am aware that there are different

ways in using intertextual references.

7. I can cite some examples of literary

pieces that apply intertextuality.

8. I recognize that some works such

as movies are parodies.

22
 9. I am familiar with allusion as a
literary device.

10. I know what appropriation is.

Give yourself 1 point for all the items which you ticked Yes. If you got a score
of 6 or more, it means that you already have a good idea about what intertextuality is.
But if not, it’s okay. This lesson will provide a thorough discussion on intertextuality as
a technique of drama.

What’s In

In Lesson 1, you have explored the various elements and techniques in drama.
In writing drama, its literary, performance and technical elements must be taken
into consideration. You have also learned that writers use various literary techniques
to capture the readers’ or audiences’ interests. These techniques help us understand
the theme, lesson or important message the writers want to convey. One technique
used by playwrights and writers is making intertextual references to deepen the
meaning for their literary piece. This will be discussed in detail in this lesson.

What’s New

Have you ever wondered why there are stories that seem so familiar or interrelated?
You might have also noticed that even some movies you’ve watched have something
in common or the concepts are somewhat similar. You might have asked yourself if
you’ve read or watched the same story in the past only to find out that what you are
currently reading or watching is a completely different one.

Try to study the texts below. How is intertextuality applied in these literary
works?

“No man is an island … and

therefore never send to know for
For Whom the Bell Tolls
whom the bell tolls; it tolls for thee.”
A novel by Earnest
-Meditation XVII by John Donne

23
 Notice that the phrase “for whom the bell tolls” was used in two different piece
of literature. Hemingway used it as a title while Donne used it in one of the lines in his
poem. We will explore this particular writing technique in this lesson.

What is It?

One very effective literary technique used by playwrights and

writers is intertextuality. Montenegro-Gasulas, et. al. (2017) describe intertextuality
to be present when a text’s meaning (story, book, article, song, video, or movie) is
influenced by another text which may be done either subtly or noticeably. The key
idea is that these intertextual references allow for a deeper understanding of the text.
Also, the texts or key ideas used previously have become familiar to the audience or
reader which can make the story more relevant and memorable. You can think of it
as a story retold in another story.
Let’s try comparing texts that can be linked together and find out how the idea
and concept apply intertextuality. Have you ever heard of the song “Love Story” by
Taylor Swift? The song makes intertextual references to Romeo and Juliet which is a
play written by Shakespeare and The Scarlet Letter which is a historical fiction written
by Nathaniel Hawthorne. Intertextual reference is evident as shown in these lyrics
“Cause you were Romeo, I was a scarlet letter/ And my daddy said stay away from
Juliet”.

Another example is an excerpt from the story East of Eden by John Steinback
which reads: “Even God can have a preference, can he? Let’s suppose God liked lamb
better than vegetables. I think I do myself. Cain brought him a bunch of carrots maybe.
And God said, ‘I don’t like this. Try again. Bring me something I like and I’ll set you up
alongside your brother.’ But Cain got mad. His feelings were hurt. And when a man’s
feelings are hurt he wants to strike at something, and Abel was in the way of his anger.”
This work of literature makes the allusion on the biblical story of Cain and Abel
abundantly clear. This is an example of allusion as a type of intertextuality.

Another example of intertextuality is the story of the Philippine fictional

superhero Darna. Does it sound similar with any other story? What about Zsazsa
Zaturnna? The graphic novel Zsazasa Zaturnnah is a parody of Darna. A parody is
an intertextual technique which allows writers to use an existing story as a reference
in coming up with another story with a slightly different version mostly done to entertain
or make the audience laugh. The concept presented in Darna has been adapted in
Zsazsa Zaturnnah. While Darna is about a woman who gains superpowers, the latter
is about a gay man who transforms into a super powered woman. The villain in Darna
known as Valentina, the Queen of Snakes is inspired by the Gorgons race of Greek
mythology which features Medusa, the woman with living poisonous snakes as her
hair and who can turn those who look at her in the eyes into stone.

24
 Appropriation is another type of intertextual technique which makes use of
adaptation, reinterpretation or reimagining an existing text and making it new. An
example for this is the movie “Batman” which is an adaptation from its comic’s version.

Intertextuality is using similar concepts from an already existing literature and

adapting it to deepen the meaning or value of the newly created piece of work.
Sometimes, you can think of it as a “story within a story or a story from another story”.
If you are familiar with movie parodies or movies in which concepts are taken from
another movie and gave it a different twist, these are examples of products of
intertextuality.

What’s More

Study the lyrics of the song “Roar” by Katy Perry and “Eye of the Tiger”
by Survivor. Analyze the underlined phrases or lines carefully. How is intertextuality
being applied in the songs?

ROAR EYE OF THE TIGER

I got the eye of the tiger, a fighter It's the eye of the tiger, it's the dream of the
Dancing through the fire fight
'Cause I am a champion, and you're gonna Risin' up to the challenge of our rival
hear me roar And the last known survivor stalks his prey in
Louder, louder than a lion the night
'Cause I am a champion, and you're gonna And he's watchin' us all with the eye of the
hear me roar! tiger
Now I'm floating like a butterfly Risin' up, straight to the top
Stinging like a bee I earned my stripes Had the guts, got the glory
I went from zero, to my own hero Went the distance, now I'm not gonna stop
Just a man and his will to survive
You held me down, but I got up (hey!)
Already brushing off the dust It's the eye of the tiger, it's the dream of the
You hear my voice, your hear that sound fight
Like thunder, gonna shake the ground Risin' up to the challenge of our rival
You held me down, but I got up And the last known survivor stalks his prey in
Get ready 'cause I've had enough the night
I see it all, I see it now And he's watchin' us all with the eye of the
tiger
Roar, roar, roar, roar, roar!
The eye of the tiger
The eye of the tiger
The eye of the tiger
The eye of the tiger

25
 In the lines below, describe what similar concepts are used in the songs and
how your knowledge and understanding of one of the songs help you relate or
understand the other song.

What I Have Learned

These are the key points discussed in this lesson:

Intertextuality allows writers to open new perspectives and possibilities to

construct their stories. Writers may explore a particular belief or ideology in their
narrative by discussing recent rhetoric in the original text.
The types of intertextual techniques are allusion, appropriation and
parody.

What I Can Do

Reflect and write.

1. Analyze the play The World is an Apple on Lesson 1 page 10, what other texts
or story can you relate it to? Have you read or heard a story in which an apple’s
significance is highlighted or emphasized? What similarities have you observed
from this story with the play? (If you can’t think of any, you can review Adam
and Eve’s story from the Bible found in Genesis 2-3 or the story of Snow White

26
 and the Seven Dwarfs written by Anne Carroll). Your answers will be rated
based on the intertextuality rubric found below question 3.

2. How does intertextuality help you understand certain concepts or ideas better?

3. Do you think borrowing ideas from previous works helps writers deepen the
meaning or value of their own work? Why or why not?

Intertextuality Rubric
Criteria Excellent Good Average Needs
Improvement
Appropriate Written Written Response to Response lacks
to the response response questions is comprehension
specific task addresses the somewhat somewhat or addresses a
(Content) specific task address the unclear or different
clearly specific task vague. question/ No
but not response
entirely provided.
Quality and Response is Response is Response is Response is
Clarity of well organized organized and fairly disorganized
Thought and developed organized and and
(Content) developed with general developed, underdeveloped,
with supporting presenting providing little or
appropriate ideas generalizing no relevant
support to provided without support./ No

27
 make adequate response
meaning clear support. provided.
Grammar, Response is Response has Response has Response has 6
Usage, and free from any 3 or less 4-5 errors in or more errors in
Mechanics errors in errors in grammar, grammar, usage
(Writing) grammar, grammar, usage, and and mechanics./
usage, and usage and mechanics. No response
mechanics. mechanics. provided.
Points 9-10 7-8 5-6 4 or less

Assessment

A. Direction: Find the correct answer for each statement from the words in the box.

text story Appropriation

communicate ZsaZsa Zaturnna Allusion

1. The concept of intertextuality refers to the idea that authors can use literary
connections as a way to .

2. is an intertextual technique which makes use of

adaptation or reinterpretation.

3. Intertextuality is present when a text’s meaning is influenced by another

.

4. One example of a parody is .

5. Intertextuality can be thought of as a within a

.

B. Direction: Write T if the statement is TRUE and FALSE if it is not.

1. Intertextuality is used to confuse the readers and audience of the story’s

true meaning.
2. Intertextuality is only limited to plays or stories.

28
3. Using intertextuality is similar to copy-paste approach in writing.
4. Intertextual references allow for a deeper understanding of the text.
5. Intertextuality is not an effective literary technique.

6. You can think of an intertextual reference as a story retold in another story.

7. Movie parodies are some examples of intertextuality.

8. The play “The World is an Apple” uses intertextuality.
9. Only excellent writers are able to apply intertextuality.

10. Stories with intertextual references are entirely similar.

29
 Lesson CHARACTER, SETTING AND
3 PLOT FOR A ONE-ACT PLAY

What I Need to Know

At the end of this lesson, you are expected to conceptualize a

character/ setting/ plot for a one-act play.
(HUMSS_CW/MPIj-IIc-17)

What I Know

Direction: Encircle the letter of your answer.

1. Which of the following refers to the people, animals or even ideas who are given
life in the play?
A. Setting C. Characters
B. Plot D. dialogue
2. Which element of drama describes the time when and place where the scene in
the play took place?
A. Setting C. Plot
B. Character D. Genre
3. Which of the following is NOT one of the five stages in a plot structure?
A. Denouement C. Climax
B. Soliloquy D. Exposition
4. What element in drama answers how the story happened in the play?
A. Exposition C. Setting
B. Falling action D. Plot
5. Which element is exemplified in the following statements?
GLORIA: Today is payday, Mario.
MARIO: Yes … but…
GLORIA: But what? Where’s your pay for the week?
A. Plot C. Dialogue
B. Setting D. Characters

30
 What’s In

In Lesson 2, you learned to study texts with intertextual references which have
used allusion, parody or appropriation. You also studied the play “The World is an
Apple” which uses both biblical and literary allusion. The use of intertextuality as a
technique in writing drama taught us to understand literary work in a deeper and
broader sense and find significance and meaning in the message the writers want to
convey.

What’s New

This time, you are challenged to generate a concept for your one-act play. This
is going to be a perplexing task but with patience and practice, you will be surprised
by how creative you can actually be. For a start, think of a movie, story or TV series
which you find interesting. Try to identify its plot, characters and setting. Write your
ideas below:

What is the title of the movie/story/book?

Who are the main characters?

What is the story about?

31
 What is It?

Try to picture yourself as a writer who is hired by a famous TV network to write

a concept for a one-act play. But as you do that, let me teach you the basic steps in
writing a concept for a one-act play. Read on and learn.
In conceptualizing the plot, setting and characters for a one-act play, follow
these steps:

Make a character chart

In making the character chart, identify the names of your fictional characters.
Since this might be your first attempt in crafting a one-act play, try to think of names
that are simple and easy to remember. Describe each of your character’s personality
and appearance. Be clear as to how you want your characters to be and how their
characterization will impact your story as a whole.
Example: Justin – He is from a rich family. He is stubborn and likes to do things his
own way. He is competitive and assertive. He is tall, handsome and has long wavy
hair.

List down possible titles

Most stories are remembered for their titles. In considering your play’s title, think
of a concept, symbol or object that can be associated with the story’s plot. This will
help your readers relate or connect with your story. For example, the TV series “The
Killer Bride” already gives the audience an idea that the story will revolve around a
character ‘bride’ who is linked to different murder cases. “Wildflower”, on the other
hand, is all about a seemingly kind woman who can be fierce and brave when the
situation requires. Remember, you can keep improving your title and you may ask
suggestions or feedback from your teacher or classmates.

Generate your story’s plot

In the previous lessons, you’ve learned how to identify a story’s plot. Review
the lesson on plot structure on pages 8-9 and generate your own story’s plot following
the five different stages which are the exposition, rising action, climax, falling action
and resolution.

Write the setting

In deciding on the setting, think of a place that is familiar to you and which you
can vividly describe. This will help your readers create a mental picture of where the
story is happening. Then identify the time when the story’s scene is captured. Some
writers describe the season or specify the era to let the readers understand the other
elements of the story. Others mention the cultural or religious orientation of the people

32
in the identified setting to build the story’s characters and the plot. Examples of setting
are presented in Lesson 1.

What’s More
Make a character sketch. You can choose to draw or write about any
of the characters in the play (Mario, Gloria or Pablo). You can either
draw an image of the character in the box or describe him/her based on how he/she
was depicted in the script using the lines below. You can consider answering these
questions to help you do this exercise: How was he/she described in the play, his/her
age, appearance, mood, the kind of clothes he/she wears? What is his/her personality
or characteristics?

What I Have Learned

What I Have Learned

These are the key points discussed in this lesson:

In conceptualizing the elements for a one-act play, these four basic steps
will serve as your guide: make a character chart, list down possible titles,
generate the plot then identify the setting.

33
 What I Can Do
Let’s conceptualize.

Have you thought about what story you are going to write about? Or
who the characters would be? Let’s try to do it step by step. First, think of three
characters who will be part of your story line. Illustrate each character in the first box,
write their name on the second then write short descriptions for each character in the
third box.

CHARACTER 1 CHARACTER 2 CHARACTER 3

Next, think of a tentative title for your script then identify the plot structure.

Tentative Title:
Exposition

Rising Action

Climax

Falling Action

Resolution

34
 You can still modify or edit the details of your story. What matters is that you
already know the basic steps in conceptualizing a story. Are you ready to specify the
setting of your story?
Identify the major setting of the story. Specify the time and place. Then, write
additional information about your setting which is appropriate for a play with only one
scene.

Setting Additional information about

the setting:

Time:

(Adapted from Integrated English for Effective Communication by Montenegro-

Gasulas, et. al, pp. 140-142)

Assessment
Direction. Encircle the letter of your answer.

1. The following are the characters in the play The World is an Apple, except:
A. Gloria C. Mario
B. Pablo D. Tito
2. What did Mario do which had him terminated from his job?
A. stole some money C. robbed the store
B. stole an apple D. got into a fight
3. Which character from the play is depicted as a bad influence?
A. Tita C. Pablo
B. Mario D. Gloria
4. The play is a good example of which type of literary genre?
A. Fiction C. Poetry
B. Nonfiction D. One-act play
5. Which element is exemplified in the following statements?
GLORIA: Today is payday, Mario.
MARIO: Yes … but…
GLORIA: But what? Where’s your pay for the week?
A. Plot C. Dialogue
B. Setting D. Character

35
B. Tick the column that corresponds to your response.

True False
1. A tentative title can never be changed or replaced.
2. Creating a character chart is not an effective strategy in
conceptualizing a play.
3. Choosing a familiar place as setting will make the story dull
and uninteresting.
4. A one-act play is focused only on one situation or episode.
5. There are five stages in a plot structure.
6. The setting of a play is described at the middle part of the
script.
7. Theme, plot, character and dialogue are the elements of
one-act play.
8. Listing down possible titles is an important aspect in
conceptualizing a play.
9. Plays can be effectively conceptualized without studying the
elements and techniques of drama.
1 In one-act plays, characters are few and character
0 development is limited.

Additional Activity
Direction: Refine your work in What I Can Do based on your facilitator’s feedback. You
may also solicit feedback and ideas from your classmates,
friends or family members.

36
 Lesson STAGING MODALITIES AND
4 ENVISIONING THE SCRIPT

What I Need to Know

At the end of this lesson, you are expected to explore
different staging modalities vis-à-vis envisioning the script
(HUMSS_CW/MPIjc-18)

What I Know

A. Directions: This is a test on different types of stage, staging modalities and the
steps in writing a script. Write the letter of the correct answer in a separate notebook.

1. The following are areas of stage, EXCEPT .

A. Set Stage C. Center Stage
B. Upper Stage D. Off Right

2. It refers to the type of stage where the audience sits at both right and left
part of the stage similar to fashion shows.
A. Round C. Thrust Stage
B. Proscenium D. Traverse

3. What is the “conversation between actors on stage” called?

A. Dialogue C. Dialect
B. Stage D. Language

4. In creating a play and in writing the script, the writer must be able to apply
the following, EXCEPT .
A. Finding and developing your lead character
B. Creating an interesting plot of the story
C. Survey clothing designed for the characters
D. Knowing the audience of the play

5. This refers to the stage which is positioned at the center of the audience.
A. Round C. Thrust Stage
B. Proscenium D. Traverse

37
 B. Directions. Write T if the statement is true, and write F is otherwise.
1. Each time a character exchanges word determines their identity as the
protagonist and antagonist of the story.

2. In finding and developing the characters in a one-act play, it should be limited

to not more than 6-8 people.

3. Flexibility is an important factor in any play because it might share set with
others.

4. In writing a play, the playwright must focus on developing the story regardless
of the stage layout because it will be a different task.

5. An eye-catching but not distracting backdrop can work better than lots of props
on the stage.

What’s In

In the previous lesson, you have learned that many writers tend to borrow works
and phrases from other text in order to give emphasis to some points and meanings
in their works. This in turn resulted to added effect among readers to provide a different
meaning and interpretation from the original literary text. You have also learned that
the use of intertextuality may be deliberate and optional which can open new ways of
looking at the story being read.

What’s New
A. Can you still recall your lesson on the different types of stage in a
drama? Label the following illustrations by filling out the missing letters
in the bricks.

1.

R S E U

38
2.

H T

3.
T A E S

4.

R D

B. How well did you remember? What are the different types of stage in a play?
Why is it important to know these?

39
 What is It
According to Longley (2019), drama is the interpretation of
events, both fictional and nonfictional, in a form of performance using
prose or poetry dialogues. This portrayal may be performed in stage, radio or in film.
Tracing its history, it originated in England and is performed to audience in a platform
referred to as “stage”. Today, the changing styles of drama from its onset in history is
also reflected in the changing stage types that requires different modes of acting.

What is Staging?

Staging is the position of the

acting area in relation to the
audience.

The Acting Area is the

available space occupied by the set
and used by the actors when acting.
Areas of the Stage

The stage where the actors perform the drama in front of an audience is divided
into the following areas as described by Theatre Solutions, Inc (2017):

ACTING
1. Upstage. It is the area that is considered the AREA
furthest from the audience. The upstage is CROSS OVER
divided into upstage right (USR), upstage
center (USC), and upstage left (USL).
2. Acting Area/Center Stage (CS). This is the
location where the actors are expected to
perform and where much of the set is placed.
3. Downstage. It is the area that is considered
the closest to the audience. The downstage is
divided into downstage right (DSR), downstage
center (DSC), and downstage left (DSL).
4. Cross Over. This area is utilized by the
performers as they travel from the left side to
the right side, the stage hands and the tec hnicians which is purposely
concealed from the audiences’ sight.

40
 5. Stage Right (SR) and Stage Left (SL). This is the area to the left and right of
the performers (audience’s right and left respectively) where it may be utilized
as the performers’ acting area if the need arises. It also has off right and off left
which may serve as points for the entrance and exit of the performers when
they need to. Both the off right and off left are hidden from the audience.

Major types of Stage

1. Proscenium Stage
The audience sits on one side only and they face one
side of the stage directly, and normally sits at a lower
height. However, in some proscenium stage, the stage is
raised above the audience or they are in raked (this
means that the farther the seat is, the higher it becomes.
The use of proscenium stage is common in many high
school stage or theaters where the actors perform in front of the audience. The left
and the right wing of the stage are reserved for the scenes or acts.

2. Thrust Stage

The thrust stage is the oldest known fixed

type of staging in the world, and it is thousands of
years old. This type situates the audience in three
sides of the stage (front, left and right wings). Hence,
it gives a closer and all-around view of the action

3. Traverse Stage
In the traverse stage, the audience sits on two
sides and this is good for creating an intimate
atmosphere. This type of stage is considered unique
since it is similar to a fashion shows where the
audience face each other and in between them is the
stage. This gives the performers no space for the
wings and limit the size of their props because of the size of the area for
performance. Thus, the set must work on all angles of the stage and require the
set changes to be done in front of the audience.

41
 4. Round/In-the-Round Stage
A stage that is positioned at the center
of the audience (audience is situated around the
whole stage). This creates intimate atmosphere and
good for drama. Also, in this case, the audience may
feel that they are part of the action and there is a
natural performance. It has almost similar, but
enhanced features of the thrust stage. Because of its
position, it opens to several entrance and exits for the
actors and actresses and the audience can see the
act in many angles. With this, the set designs must
be intricate and must make use of the available spaces.

The stage of a drama tells the flow of the play and how it will be presented aside
from its dialogue. These two (stage and dialogue) are important elements to bring the
characters to life.
Writing a one-act play is very limited in terms of its setting and staging so it is
necessary to utilize all the available resources. Adams (2014) pointed out that the
design of the set can dramatically alter how actors perform in the play. That is why it
is important to consider the stage layout that is much easier to follow.

Dialogue reveals character. The words of the characters tell much about the
character’s social/cultural background, education and emotional/psychological state.
In revealing a character through dialogue, a playwright must make important artistic
decisions to do with how a character speaks. Each time a character exchanges word
determines their identity as the protagonist and antagonist of the story. Dialogue is
considered as an important aspect that a playwright has to achieve purposely in order
to channel important idea towards the audience.

Further, the following should be followed when writing a play according to Adams
(2014):
1. Create an interesting plot
The audience should be able to follow it from the beginning to the end.
2. Decide on your structure
The location of the play should only be limited to be able to translate on
stage.
3. Decide how you want it to look
Consider the different types of stage and decide which one to use in the
play. The author should visualize it when writing. The layout must be easy to
follow and the audience must not be distracted. An eye-catching but not
distracting backdrop can work better than lots of props on the stage.
4. Know your audience

42
 The playwright should take note of the audience’s age, gender,
demographic, class, background, education and others.
5. Create interesting characters
Each of the characters should be unique and easy for the audience to
identify.

Staging also becomes successful with the visual details involve in the drama such
as blocking (precise staging of actors in order to facilitate the performance of a play),
scenic background (setting of a production), stage directions and sound effects.
Stage Directions is written inside round brackets, described how the actors, in the
portrayal of their characters, are expected to move, act, and speak. Stage directions
also describe other ‘movements’ on stage such as sound and light effects. A writer
must take note that the use of the present tense is observed in writing stage directions.
Also, stage directions may be inserted, as deemed fit, before, in-between, or after the
lines of the characters (Montenegro-Gasulas et al. 2017).
Although the one-act play is intended to be performed in a very limited time, it
must keep the audience given only an average of 30-minute performance time. This
may be considered an advantage to some writers because of its shortness in length,
producing a well-written one-act play may impose challenges. Solmerano et al. (2017)
added the following tips in writing a One-Act Play:
1. Get to Know One-Act Plays
As an aspiring one-act play writer, a good start is through familiarity of
one-act plays by reading and watching it. Reading and watching these can help
to understand the scope of the play and knowing when and where to place the
characters and actions within your play to make it more realistic and interesting
without sacrificing the timeframe and set options.
2. Finding and Developing Your Lead Character
Since it is only a one-act play, it will only involve a very limited number
of people which is normally not more than 4-5 people thus, finding the main
character may create problem among writers. In order to create a good one-
act play, know your main character including
3. Setting your scenes
The limited time of the one-act play also suggest a setting that is few as
possible or even limited to only one set. Flexibility is an important factor in any
play because it might share set with others. The writer’s task is to make use of
the characters’ obstacles and turn these into different scenes.

43
 What’s More
Read the following excerpt from Wilfredo Maria Guerrero’s Call Me
Flory, a one-act play. Take note of the dialogue and how can it be
performed in the stage.

STAGING: (When the curtain rises, we see Florencia and Matilde, seated on the sofa,
in Matilde’s sala, talking.)
FLOR: Yes Matilde! I came right away when you called me up by phone to come
and see you.
MATIL: That’s nice of you Mrs. De los Reyes.
FLOR: I hope you don’t mind but my last name is Caracoles. My full name really
is Florencia Aragon de Caracoles. But just call me Florencia. It’s quite an
honor to know you, Matilde. I’ve heard you are one of the best known
society women in Manila.
MATIL: Oh don’t mention it. It isn’t true, not true at all.
FLOR: You’re so modest Matilde.
MATIL: I was told by Marilu to get in touch with you. She said you’d surely help.
FLOR: Did you say Marilu called you up? Marilu de Legazpi? Whose husband
is the owner of that big department store at Buendia?
MATIL: Yes. But the reason that I called you up was…
FLOR: Oh well my husband bought the Legazpi’s rice fields in Pangasinan that
cost us P100,000.00 but it was worth it.
MATIL: That’s nice.
FLOR: Well now, just how did you want me to collaborate—er—help?
MATIL: It’s a benefit show we are holding to collect funds for the Sapang Palay
people. You know the place?
FLOR: (With a gesture of disgust). Uff, yes. Those squatters who were formerly
in Intramuros. Thank God they are evicted. Can you imagine? I used to
hear mass everyday at the Cathedral and whenever we passed in our
Mercedes benz 600 by those streets, I felt my self-suffocating with the
smells and sights of those horrible people. Uff, such disgusting squatters’
people. I couldn’t hear the mass properly and I couldn’t pray because of
them.
MATIL: It’s not their fault, really. After the war thousands came from the province
and didn’t know where to settle.
Briefly answer the following questions:

1. What do you notice in the script?

2. What type of stage may be used in performing the play? Why?

44
 3. How are the stage directions written? Do the stage directions clearly match
the character’s lines? Why?

Rubric for Assessment

Needs
Adequate No Answer
Indicators Improvement
6 points 0 pt
4 points
Answers are not Answers are partial
comprehensive or or incomplete. Key
completely stated. points are not clear. Did not answer the
Content question
Key points are Question not
addressed, but not adequately
well- supported. answered.
Answers reflect Answers reflect
inadequate
adequate Did not answer the
organization but
Organization organization or
shows an attempt to question.
development and are
organize the
easy to follow.
answers.
Displays three to five Displays over five
errors in spelling, errors in spelling, Did not answer the
Writing Conventions punctuation, punctuation, question.
grammar, and grammar, and
sentence structure. sentence structure.
Adapted from “IRubric: Scoring Rubric for Essay Questions.” RCampus. Accessed January
30, 2020. https://www.rcampus.com/rubricshowc.cfm?sp=yes&code=F4A59A&..

What I Have Learned

These are the key points discussed in this lesson:

 There are four major types of stage. This includes the Proscenium
Stage, Thrust Stage, In the Round and Traverse Stage. Each has
unique features which also require the playwrights to vary its usage
depending on the story, script, characters and the over-all set.
 The areas of the stage is divided into the Upper Stage, Center Stage,
and Down Stage. The center stage is where majority of the acts are
done.
 In writing the script of a one-act play, the playwright must give attention

45
 What I Can Do

A. Make a story out of the pictures by placing their dialogue inside the
bubbles/callouts.
1.

2.

46
 3.

4.

47
 Assessment
Complete the crossword puzzle below.

Created using the Crossword Maker on TheTeachersCorner.net

Across

1. considered the furthest from the audience

4. performed in front of audience
6. situates the audience in three sides of the stage
7. closest to the audience
9. words that reveal the character
10. maximum number of characters in one-act play

Down
2. audience sits on two sides
3. precise staging of actors in order to facilitate the performance of a play
5. positioned at the center of the audience
8. composed different gender which should be known by the poet in creating a play.

48
 Additional Activity
Directions: Let’s unleash your creative side. Create a diorama of any
stage type that you like. As much as possible, utilize any recycled
materials.

Lesson EXERCISES ON THE

5 ELEMENTS OF DRAMA

What I Need to Know

At the end of this lesson, you are expected to write short exercises involving
character, dialogue, plot, and other elements of drama
(HUMSS_CW/MPIj-IIc-19)

What I Know
Directions. Write the letter of the correct answer in a separate
notebook.

1. In terms of drama, character refers to .

A. actor C. a director
B. structure of a person D. off-stage character
2. It is the turning point or high point of a story.
A. Falling Action C. Exposition
B. Climax D. Denouement
3. The clothing worn on stage by a performer is called a .
A. costume C. scenery
B. set D. props
4. This refers to the words of the characters which tell much about the
character’s social/cultural background, education and psychological state.
A. Dialogue C. character
B. script D. set
5. This refers to what happens in the play and the basic storyline of a play.
A. theme C. rhythm
B. plot D. Spectacle

49
 What’s In
In the previous lesson, you have learned that the stage is not
directly the acting area of the characters. It is actually divided into
several areas including the upper stage, downstage and the center stage where most
of the acting is done. You have also learned that there are several types of stage for
a specific purpose to which the writer must consider in structuring his play. You have
also learned about the guidelines on how to better produce a one-act play according
to your audience and to the purpose.

What’s New
Directions: Imagine that you are a playwright and follow the tasks given
to you.
1. Create two characters.
2. You have to come up with a name, age, physical appearance and relationship
with the other character. Plot the descriptions in the following diagram.

Character 1 Character 2
1. Age 1. Age
2. Physical
2. Physical Appeara
Appearance nce

Relationship

3. Write two lines, one for each character, in which they reveal their impressions
toward one another. The line should focus on what do they think when they see
one another.

Rubric for Assessment:

Please tick ‘Observed’ when the criteria was met. Tick ‘Not observed’ if the
criteria was not met.

Criteria Observed Not Observed

Creation of two characters

Description of the characters

50
 a. Age
b. Physical Appearance
Lines (Dialogue)

What is It
Like any literary genre, drama or play also has several elements.
However, in drama, the story is unfolded in front of an audience and
must be performed by actors who are considered as the characters in a play. The story
is told based on the actors’ interpretation of the playwright’s work.

Solmerano, et al. (2017) outline the six elements according to Aristotle. They
mentioned about plot (structure of incidents or actions that
happen in a drama or play), character (people portrayed by
the actors in the play), thought (theme or the main idea of the
play), diction (dialogues of the characters), rhythm (actor’s
voices) and the spectacle (visual elements of a play including
make-up, props, sets, costumes and special effects).
For example, in the play, The World is an Apple written
by Alberto S. Florentino, the characters identified were Mario,
Gloria and Pablo. Gloria is a flat character in the play
because she was undeveloped and did not undergo change
as the play progresses which is referred to as round
character.

The playwright, when compared to any fiction or poetry

writer, does not possess the freedom to tell the readers or the
audience directly about his characters. He must unfold it in the
story so the words uttered by the characters in a play are end
important in the development of the story. A well-formed plot
of a play must have a beginning, which is not a necessary
consequence of any previous action, a middle, and an end.
The plot should be unified and that every element should be middle
tied to the rest of the plot.
beginning
However, in a classic full-length play, it follows a five-stage
plot (Freytag’s pyramid) composed of the exposition, complication, crisis or climax,
falling action and the resolution.

The words used in the conversation between and among characters in a play are
called dialogue. The dialogue also varies in structure and tone depending on the
characters being portrayed in the play specifically on the cultural/socio-economic
backgrounds of the character, the educational and the psychological aspects. Largely,

51
the mood of the playwright and his intention would determine the dialogue of the
characters in a play.

What’s More

Recall the excerpt of Call Me Flory by Wilfredo Maria Guerrero in the

previous lesson. Read it again and briefly answer the following questions:

1. Where does the story take place? Describe the place.

_
2. Characterize the following persons in the excerpt of a play and think of
adjectives that will describe them: Base your answers on the dialogue.
Florencia Aragon de Caracoles

Adjectives:

Matilde (Matil)

Adjectives:
3. If you will be the playwright and you will be asked to finish the excerpt, how
would you put the climax (middle) and how would you end the story?
Discuss the details.

What I Have Learned

The following are the key points tackled in this lesson:

 The story in a drama is revealed in front of an audience.
 The drama has elements such as the six elements mentioned by
Aristotle which include the plot, character, thought, diction, rhythm,
and spectacle.
 All the elements contribute to the flow of the story in a drama.
 Plot may be presented using the beginning, middle and end or using
the Freytag’s pyramid which is composed of the Exposition, Rising
Action, Climax, Falling Action and the Resolution or the Denouement.

52
 What I Can Do

Directions: Think of a story that you would like to write. Visualize the theme and
other elements needed in the story. Then, fill out the table with short details in bullet
form.
Title of the Play

Characters

Setting

Plot

Event 1

Event 2

Event 3

Event 4

Event 5

Conflict

Adapted from Ancheta, Lira. (2017). Creative Writing. Philippines: Vibal Group, Inc. p.
91.

Story Map Rubric:

Criteria 4 pts 3 pts 2 pts 1 pt

Completeness 5 required 4 required 3 required 2 or none
of details elements were elements were elements were required
provided provided provided elements were
provided

Conflict The conflict The conflict is The conflict There is no

was described described in a was poorly identified
in a complete complete described. problem.
thought and is thought but the
possible to be resolution is
solved at the not possible at
end. the end.

Setting The time and The time and Time is The time and
place setting place setting correctly place setting

53
 were correctly were provided described but were not
described but incorrectly the place was provided and
described. not described described.

Characters All the All the All the No characters

characters characters characters were listed
were listed were listed but were listed but and described.
and described. only few are not described.
described.

Plot All the main 4 of the main 3 the main 2 or none the
events were events were events were main events
correctly correctly correctly were correctly
labelled labelled labelled labelled
according to according to according to according to
its order. its order. its order. its order.

Title of the Play The title was The title was The tile was The tile was no
clear and somehow not so clear clear and did
exhibited clear and but it exhibited not exhibit
connection to exhibited connection to connection to
the story. connection to the story. the story.
the story.

Assessment
Directions. Modified True of False. Put a check () when the statement
is TRUE and if FALSE, change the statement to make it true.

1. The character’s background and state are revealed in the actor’s acting.
2. The dialogue suggest what happen in the play and the basic storyline.
3. The events should be arranged well from the beginning to the end of the story.
4. The exposition is where the story is raised to its highest point and it is considered
as the turning point of a story.
5. The physical appearance, age, socio-cultural background, education and
psychological state should be considered in building the character of a play.

Additional Activity

Directions: Look for a playwright in your community. Ask him/her to

list down the tips on how to produce a play. You may also ask about
the challenges the playwright faced before and after writing the play.

54
 Lesson
SCENE FOR ONE-ACT PLAY
6

What I Need to Know

At the end of this lesson, you are expected to write at least
one scene for one-act play applying the various elements,
techniques, and literary devices
(HUMSS_CW/MPIj-IIc-20)

What I Know
Directions: Arrange the steps in writing a one-act play by numbering it
from 1-5. Write the number on the blank before each letter.

a. Include stage directions stage directions

b. Select specific subject or topic to be covered
c. Create the place and time setting of the play
d. Keep the structure of the plot simple

e. Sketch the character and bring them to life

What’s In

In the previous lesson, you were able to undergo exercises of making your own
characters and creating the dialogue appropriate for the characters. You have also
learned that a play is not similar to any literary text where an author can be explicit in
telling the audience of the nature of his characters or the flow of the story but the story
is revealed through words and dialogues expressed by the actors in front of an
audience. With this, creating a character and play involves careful planning of the
beginning, middle and end of the story.

55
 What’s New
Directions: Create a scene of out of the given picture below. Limit your
dialogues into 3 lines per character.

[ ]:

[ ]:

[ ]:

[ ]:

[ ]:

[ ]:

What is It

What is a Scene?

Scene in a drama has multiple functions. First, it may refer to actual action that
occur in single setting and a specific time in a play. The scene commences as the
actor enters the stage which signal the start of the action and it will end when the actor
left or go out of the stage and provided the signal to end the action. Oftentimes, the
dialogue and action signal the flow of the story from one scene to the other and from
one action to the other the plot of the story is completed.

56
 Each scene may be delivered and finished in a couple of minutes long which will
depend on the dialogue and action. It is not long specially in a one-act play where it
will only last for less than an hour. It is a component of an act and only a portion of the
whole play.

In a script, the scene title is in capital letters accompanied by ordinal numbers. A

scene also refers to the scenery or fixtures placed on the stage to provide the
atmosphere and environment of a particular scene or piece of action. The scene, as a
fixture, reinforces the action and gives it depth and a realistic context. (Celine 2017).
Writing a One-Act Play

Generally, the generation today are more acquainted to watching movies, dramas
and lengthy films. The flow of stories told in these genres usually are taken in different
scenes and settings. However, telling a story may also be done using one act plays.
One act plays are stories which are complete but are told in less than an hour and
usually take place in a single scene (Contributor, 2019).

First, in order to come with a good one scene one-act play, one must select
certain subject to be covered. An interesting plot will work best which highlight the
necessary characters and action which would comprise the bigger picture of the story.
It is also suggested that the aspiring playwright will expose himself to other works or
other one-act plays to draw out inspiration and be acquainted of the techniques of the
play such as intertextuality and others.

Second, the plot should be simpler and there should be a structure. The
playwright should compose the dialog and visualize the action. There should be a
progress of the action all throughout the play.

Third is to create the character sketch before bringing them to life.

Conceptualize the motive in life of the characters or its lack in motive and make a
concrete plan of obstacles where the character faces the central point of the story—
the problem.

Fourth, infuse the place and the setting of the story. Although it is a one-act
play and focuses only on one scene, the audience must be able to fully understand
the storyline. Highlighting the five senses may help in the creation of the play. Also,
the technical aspects of the play must also be planned and that includes the lighting.

Next is to include stage directions stage directions after writing the dialogue.
It would help if there will be notes on the facial and gestures required among the
characters including the props. As seen in the following example in Call Me Flory, the
notation in the parenthesis requires the character to respond in a disgusted manner.

FLOR: (With a gesture of disgust). Uff, yes.

57
 The next step is on the search for the fitting people for the character and the
reproduction of the material, audition and the practice for the play.

What’s More

Directions: Below are individual details to make up a story. Create a short scene
connecting the following details by applying the guidelines in writing a play. . You may
rearrange the details in creating the story. Please be guided with the given rubric. Write
it on a separate sheet of paper.

Blood in Man Woman

the playing crying
hallway the guitar under the
rain

Song, Hawak
Kamay,
playing over Loud gun
a radio shot

What I Have Learned

The following are the key points tackled in this lesson:

A scene in a drama occurs in a single setting and in a specific time. It
may run for a couple of minutes and usually commences as the actors
enter the stage and ends when they exit out of the stage.
In writing a one play, (1) the playwright must focus on a single
subject, (2) plot should be simpler and must be well-planned, (3) build
your character sketch before bringing them to life, (4) create the place
and time setting of the story, and (5) include stage directions after
writing the dialogue.

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 What I Can Do
Using your outline in the previous lesson, write at least one scene
one-act play with emphasis on the elements, techniques and literary
techniques in writing a play. Be guided in writing a one-act play using the following
rubric.

Indicators Excellent Good Fair Needs Work

(4 points) (3 points) (2 points) (1 points)

Structure The one-act The one-act The one-act play The one-act
play follows play follows hardly follows play does not
the proposed the proposed the proposed have a clear
structure, and structure, and structure, and beginning,
there is a there is a the beginning, middle, and
clear beginning, middle, and end ending.
beginning, middle, and are somewhat
middle, and end. The play unclear. Scene
end. The play does not open changes are
opens in in media res, added
media res, and there may unnecessarily.
and there is not be closure
some type of at the end.
closure at the The entire
end. The play is one
entire play scene.
takes place in
one scene.

Dialogue The dialogue The dialogue The dialogue is Dialogue is

is realistic and is somewhat hardly realistic or extremely
interesting. realistic and interesting. unrealistic.
Lines are interesting. Lines may be
short; Lines are wordy, and
characters short; characters
interrupt one characters speak too
another, occasionally politely/formally.
repeat lines, interrupt one
answer another, etc.
questions
with
questions,
and change

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 the subject
abruptly

Development As the scene As the scene As the scene The scene is

unfolds, the unfolds, the unfolds, the extremely
reader gains reader gains reader gains undeveloped.
sufficient some insight little insight into The copy
insight into into the the characters, looks like an
the characters, their fears, and initial draft.
characters, their fears, the conflict. The
their fears, and the reader is left
and the conflict. Holes without much
conflict. may exist, but information on
Scene either the situation is the characters
pits a explained and and/or their
character with explored. situations.
his/her
greatest fear
or new
alliances
develop.

Characters Characters Characters Characters are Characters

are layered are layered hardly layered, are not
and and but interesting. layered or
interesting. interesting. Fears, interests, interesting.
Fears, Fears, and personality They are one-
interests, and interests, and are only slightly dimensional,
personality personality revealed. identical,
are explored, are briefly Characters are and/or
and explored, but similar to one unnecessary.
characters characters another, and it's
are unique. might be unclear why
No clone similar to one some characters
characters another. Each are there.
appear. Each character has
character has a reason to be
a reason to be in the scene.
in the scene.

Adapted from IRubric: One-Act Play Rubric.” RCampus. Accessed January 29, 2020.
https://www.rcampus.com/rubricshowc.cfm?code=C2A566&sp=true.

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 Assessment
Directions. Modified True of False. Put a check () when the
statement is TRUE and if FALSE, change the statement to make it
true.

1. To effectively create the time and place setting of the story, it is important to
highlight the five senses.
2. In a script, the scene title should be written in capital letters accompanied by
ordinal numbers.
3. The stage directions will come before the playwright has identified the characters.
4. In developing the plot of the story, it should be complex.
5. The duration of the story in a one scene one-act play should last from one (1) to
two (2) hours.

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