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SHS Creative Writing Module
Quarter 2 – Module 9.2: Staging the Alpha and Omega
Compare and Contrast Classic stage from Modern stage

Republic Act 8293, section 176 states that: “No copyright shall subsist in
any work of the Government of the Philippines. However, prior approval of the
government agency or office wherein the work is created shall be necessary
for exploitation of such work for profit. Such agency or office may, among
other things, impose as a condition the payment of royalties.”

Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand

names, trademarks, etc.) included in this book are owned by their respective
copyright holders. Every effort has been exerted to locate and seek permission
to use these materials from their respective copyright owners. The publisher
and authors do not represent nor claim ownership over them.

Regional Director: GILBERT T. SADSAD

Assistant Regional Director: JESSIE L. AMIN

Development Team of the Module

Author: PAMELA G. GARCIA

Editor: JOE-BREN L. CONSUELO
Reviewers: JOE-BREN L. CONSUELO and SDO CAMARINES NORTE
(headed by EMMA V. DASCO)
Illustrators: JOHN LEONARD P. CUIZON
KENNETH OCAMPO

Layout Artist: CRIZ T. NUYLES,

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Introductory Message

For the teacher:

Welcome to the SHS CREATIVE WRITING MODULE!
This module was collaboratively designed, developed and reviewed by
educators from public institutions in Department of Education Region V (Bicol)
to assist you, the teacher in helping the learners meet the standards set by the
K to 12 Curriculum while overcoming their personal, social, and economic
constraints in schooling.
This learning resource hopes to engage the learners into guided and
independent learning activities at their own pace and time. Furthermore, this
also aims to help learners acquire the needed 21st century skills while taking
into consideration their needs and circumstances.
As a teacher, you are expected to orient the learners on how to use this
module. You also need to keep track of the learners' progress while allowing
them to manage their own learning. Furthermore, you are expected to
encourage and assist the learners as they do the tasks included in the module.

For the learner:

Welcome to the SHS CREATIVE WRITING MODULE!
This module was designed to provide you with fun and meaningful
opportunities for guided and independent learning at your own pace and
time. You will be enabled to process the contents of the learning resource while
being an active learner and at the same time an adventurer. Diego your
learning companion is with you as you embark in this learning journey. You will
transport in the different realms to learn and perform noteworthy tasks.
If you encounter any difficulty in answering the tasks in this module, do
not hesitate to consult your teacher. Always bear in mind that you are not
alone.
We hope that through this material, you will experience meaningful
learning and gain a deep understanding of the relevant competencies. More
so, use your notebook or a separate sheet of paper in noting significant details
and pieces of information in the different modules and even in accomplishing
the tasks given to you. You can do it!

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“How was the Greek Stage?” Diego asked.

You just gave a smile of awe. The Greek Stage is the Alpha – the beginning - of
stage and theater design. The exploration made you yearn to discover more
of how it has evolved, and if has led to its Omega – the end – for now.

The writer must engage with performance if you are going to find an
open space for your voice. The new writer must create an audience and
reading aloud to audiences is an ancient practice worldwide. This is where
theater scriptwriting takes you – you are given an opportunity to have the
audience as your readers.

Your creative magnum opus is taken into a theatrical introspection: the

words you wrote now comes alive with voice projection and acting. Your
creative voice is spoken out by actors, animated by body language and
colored live in the stage.
“Are you ready for this new chapter my friend? Allow me to take you into the
world of theater and the stage as we compare the Classic stage from Modern
stage. Let us personify them into their own beings and breathe life into them.”
Diego invitingly said.

You stood high and walked towards the stage you see.
You are the Alpha of this journey.

Word Analogy
You approach the stage and see that you have to complete the analogous
relationship by finding the correct word to match the incomplete stem.

FLEXIBLE THRUST END COMFORT ARENA

1. Pause : Play :: Pull : __________
2. Stone : Rigid :: Rubber : __________
3. Boxing: Ring :: Concert : _________
4. In : Out :: Start : ________
5. Thorns : Pain :: Pillow : ____________

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MY MODERN STAGE
What can you remember from the previous module you worked on? You
were introduced to the Greek Stage and its technicalities. You were given a
chance to create and design your personal Greek stage design. Let me entice
your mind as you create your own modern theater!

TASK: You are the best stage designer there is. You are asked to create a
design for the modern theatrical stage, going out of the conventions of what
our drama stages today look like. Consider the following elements to position:

a. Where will the audience be placed? What will be their arrangement?

b. What will the performing area look like? Where will you place it?
c. How will the area look like?
Do this in your notebook.

Retrospection on the Different Theater Forms across History

Drama, just like the other genres, has undergone significant changes in its
historical development. This is partly attributable to the fact that stage types
have also changed and have thus required different forms of acting. Let us
have a look at the various stage forms throughout history.

Greek Stage
Greek Classicism Plays in ancient Greece
were staged in amphitheaters, which were marked
by a round stage about three quarters surrounded Performance
by the audience. Since amphitheaters were very Area
large and could hold great masses of people (up to
25,000), the actors could hardly be seen from far
back, and for this reason, acting included speaking
in a loud, declamatory voice, wearing masks and
symbolical costumes and acting with large
gestures.
The chorus was a vital part of ancient drama. It had the function of
commenting on the play as well as giving warning and advice to characters.
The stage scenery was neutral and was accompanied by the real landscape
surrounding the amphitheater. Plays were performed in broad daylight, which

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also made it impossible to create an illusion of ‘real life’ on stage, at least for
night scenes. That was not intended anyway. Ancient Greek drama was
originally performed on special occasions like religious ceremonies, and it thus
had a more ritual, symbolic and also didactic purpose. Another interesting fact
to know is that the audience in ancient Greece consisted only of free men, i.e.,
slaves and women were excluded.

The Middle Ages Stage

Medieval plays were primarily performed during
religious festivities (mystery plays, morality plays).
They were staged on wagons, which stopped
somewhere in the market place and were entirely
surrounded by the audience. The close vicinity Performance
between actors and audience has to account for Area

a way of acting which combined serious renditions

of the topic in question with stand-up comedy and
funny or bawdy scenes, depending on the taste of
the audience. Actors took into account the
everyday experiences of their viewers and there
was much more interaction between audience and actors than nowadays.
The lack of clear boundaries between stage and audience again impeded
the creation of a realistic illusion, which was also not intended.

Renaissance England Stage

The Elizabethan stage was typically found in
public theatres, i.e., plays were no longer Performance
Area
performed outside. However, the Elizabethan
theatre was still an open-air theatre as the lack
of artificial lighting made daylight necessary for
performances. An exception was the Blackfriars
theatre, which was indoors and lit by candlelight.
Theatre groups were now professional and
sponsored by wealthy aristocrats. Groups which
were not under anybody’s patronage were
considered disreputable vagabonds.
The stage was surrounded by the audience on three sides and there was
still a close vicinity between audience and actors. The most common stage
form in Renaissance England was the apron stage which was surrounded by
the audience on three sides. This meant that actors could not possibly ignore
their viewers, and theatrical devices such as asides and monologues ad
spectatores were an integral part of the communication system. The stage set
was reasonably barren while costumes could be very elaborate. Since
performances took place in broad daylight, the audience had to imagine

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scenes set at night, for example, and respective information had to be
conveyed rhetorically in the characters’ speeches (word scenery). As there
was barely any scenery, scenes could change very quickly with people
entering and exiting. The three unities were thus frequently not strictly adhered
to in Elizabethan drama. The Elizabethan theatre could hold up to 2,000
people, and the audience was rather heterogeneous, consisting of people
from different social backgrounds. Plays of that period thus typically combine
various subject matters and modes (e.g., tragic and comical) because they
attempted to appeal to as wide an audience as possible.

Restoration Period Stage

Theatres of the seventeenth and eighteenth
centuries were considerably smaller than the Elizabethan Performance
Area
theatre (they held around 500 people), and
performances took place in closed rooms with artificial
lighting. In contrast to modern theatres where the
audience sits in the dark, the audience in the Restoration
period was seated in a fully illuminated room.
One must bear in mind that people of the higher
social class were also interested in presenting themselves
in public, and attending a play offered just such an opportunity. Because of
the lighting arrangement, the division between audience and actors was thus
not as clear-cut as today. Plays had the status of a cultural event, and the
audience was more homogeneous than in earlier periods, belonging primarily
to higher social classes.
While the stage was closed in by a decorative frame and the distance
between audience and actors was thus enlarged, there was still room for
interaction by means of a minor stage jutting out into the auditorium.
Furthermore, there was no curtain so that changes of scene had to take place
on stage in front of the audience. Restoration plays thus still did not aim at
creating a sense of realism but they presented an idealised, highly stylised
image of scenery, characters, language and subject matter.

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Modern Stage
The stage of the nineteenth and twentieth centuries
is called proscenium stage or picture frame stage because Performance
it is shaped in such a way that the audience watches the Area
play as it would regard a picture: The ramp clearly
separates actors and audience, and the curtain underlines
this division. Furthermore, while the stage is illuminated
during the performance, the auditorium remains dark,
which also turns the audience into an anonymous mass.
Since the audience is thus not disturbed from watching the
play and can fully concentrate on the action on stage, it
becomes easier to create an illusion of real life in plays. Furthermore, the
scenery is now often elaborate and as true-to-life as possible thanks to new
technologies and more detailed stage props. While many modern plays aim
at creating the illusion of a storyworld ‘as it could be in real life’ and acting
conventions follow this dictum accordingly, there have also been a great
number of theatrical movements which counter exactly this realism. However,
the modern stage form has not been able to fully accommodate to the needs
of more experimental plays (e.g., the epic theatre), nor to older plays such as
those of ancient Greece or the Elizabethan Age simply because the overall
stage conventions diverge too much. For this reason, we find nowadays a wide
range of different types of stage alongside the proscenium stage of
conventional theatres.

The Nature of Theatre Design

As an art form, theatre does not require a purposefully designed building

in which to be presented. But when audiences gather regularly to experience
a performance, attempts are generally made to organize the space to
improve on the nature of the experience the audience can have, and this is
the beginning of theatre design. The simplest theatres are cleared areas of
ground around which people can stand or sit to view a performance.
Theatre design, however, is concerned with elaborating such space—
first, to provide the optimum conditions for the audience to experience a
theatre performance and, second, to aid the practice of theatre design
can encompass open-air spaces or spaces that are fully enclosed. It can
involve a temporary structure put up only on certain occasions or a complete
stand-alone permanent building. It can include purpose-built areas within
larger complexes, or the modification of buildings originally built for other
purposes.

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Because they are well designed for the gathering of a group of people
and generally allow for controlled access, theatres tend to be used as
multipurpose buildings that can provide assembly space for lectures, meetings,
concerts, films, performance art, circuses, and even certain types of sporting
events. But at its most basic level, a theatre provides a space for the performers
to enact their performance and a space for the audience to experience that
enactment.

Modern Theatre Forms

Every theatre is unique, but, with few exceptions, theatres, both Western and
Asian, can be categorized into four basic forms:
a. arena stage theatres (also referred to as theatre-in-the-round)
b. thrust stage (or open stage) theatres
c. end stage theatres (of which proscenium theatres are a
subset)
d. flexible stage theatres, also sometimes called black
box theatres.
The design of all these types is based on the relationship the space establishes
between the stage and the house.

Arena theatres are those that have an

audience around four sides of the stage.
These are often called amphitheatres,
island stage theatres, or centre stage
theatres, or they are referred to generally
as theatre-in-the-round (although the
stages can be round, oval, octagonal,
square, rectangular, or in a variety of
irregular shapes).
• Arena stages are thought to
create a strong sense of community among the audience members
and an easy flow of energy between the audience and the actors.
• Arena stages put major restrictions on the amount and kind of visual
spectacle that can be provided for a performance, because
scenery more than a few feet tall will block the views the audience
members have of the action taking place onstage. In these theatres,
scene-changing equipment must be limited primarily to that which
can be put under the stage, and special effects are difficult to
manage because so little can be hidden from the audience
• Arena theatres also complicate the management of the movement
pattern for actors (the “blocking”), as they must perform to all sides
of the stage without having their backs to any one side for too long

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a time and without preventing one part of the audience from seeing
other actors.

Thrust stage theatres are those in

which the stage thrusts out from one
side of the space into the midst of
the audience. They are also known
as o pen stage theatres and
sometimes as courtyard theatres.
• The audience is most often
located around three sides of
a thrust stage, though they
can be located on two sides
opposite each other (as they
a re in alley stage or transverse stage theatres, sometimes called
centre stage theatres) or on two adjoining sides (as they are in L-
shaped theatres).
• Thrust stages are most commonly trapezoidal, semicircular,
rectangular, or square. In both arena and thrust stage theatres, some
members of the audience will be looking at other members of the
audience across the stage, where they will appear as the
background to the performance. Thrust stage theatres are therefore
thought to share many of the community-building advantages of
arena stages.
• Thrust stages make managing the movement patterns of the actors
and displaying and changing the scenery less difficult because there
is always at least one side of the stage that is not occupied by the
audience. Often, arena theatres are designed for easy conversion
into thrust stage theatres by way of the removal of one section of
audience seating.

End stage theatres are those that

have an audience on only one side.
Such stages are most often
rectangular or square, but they can be
triangular (in which case they are
called corner stage theatres) or take a
variety of irregular shapes that can
include side stages (in which case they
are referred to as extended stage
theatres).

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• End stages are thought to focus the full attention of the
audience onto the production.
• End stages also simplify blocking, allowing actors’ movement
patterns to be more easily composed into aesthetically
appropriate shapes, and they greatly simplify the display of
scenery and special effects. The house of an end stage theatre
can be rectangular or take the shape of a fan, leaving all
members of the audience facing the same direction. But the
house can also be shaped like a bell or a horseshoe or can be
semicircular or square and arranged so that some members of
the audience can still look across the space at other members
of the audience.
• The significant difference between this form and the arena or
thrust stage forms, however, is that in end stages almost all
members of the audience must look away from the stage to
see their fellow audience members. They therefore do not
appear as a background to the performance.
• End stage theatres are thought to be less conducive than the
other forms to building a sense of community within an
audience. End stage theatres may have movable ceiling and
walls that can be adjusted to increase or decrease the seating
capacity in the house. Some thrust stage theatres can be used
as end stage theatres by blocking off the audience’s space on
all but one side.

Flexible stage theatres are those that do not establish a fixed

relationship between the stage and the house. Also known as black box
theatres, laboratory theatres, modular theatres, multiform theatres, free
form theatres, or environmental theatres, they can be reconfigured for
each performance.
• They can be put into any of the standard theatre forms or any of the
variations of those.
• They can be made into “surround theatres” (which are sometimes
called “total theatres” or “theatre-all-around”), in which the
audience sits or stands in the centre and the stage surrounds it on four
sides.
• They can also be made into “promenade” spaces in which the
audience follows the actors around to different locations within the
space.

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The Goals of Theatre Design: It is all about COMFORT
Theatre design is primarily concerned with enhancing the experience the
audience can have at a performance. The specific architectural elements
considered ideal for improving that experience will differ from culture to
culture and sometimes even between subcultures within a given culture, but
they can still be divided into two general categories:

a. The art of theater in culture.

• Those elements that serve the aesthetics of the art of theatre
can involve everything from what the performers need to
reach the artistic standards deemed proper before a
performance starts to what they need to support the required
amount of spectacle during performance, whether it be a
bare stage or a stage with enormous movable sets and a
spectacular array of props.
• Theatre audiences have been organized by class, caste,
gender, and occupation as well as by combinations of these
and many other factors, depending on the emphasis put on
such divisions within a culture.

b. The art of theater for the audience.

• The elements that are most often discussed in terms of
optimizing the experience had by the audience, by contrast,
revolve around audience comfort. It must be recognized,
however, that not all designers of theatres see comfort as a
prime value. It is often thought that some discomfort assists in
keeping audience energy high. It is also true that comfort is a
relative term. In one culture it might mean a mud-free surface
on which to stand; in another it might suggest large soft seats
with much legroom and precise temperature control.
The physical and social components of comfort:
1. Physical comfort involves the nature of the seating or standing
area, the amount of space allotted to each audience
member, and the ease of access to the space. Physical
comfort also includes the ability of all audience members to
see and hear a performance in the manner that their culture
has taught them is most desirable for the proper experience of
theatre. It also includes the maintenance of a certain level of
safety.
2. Social comfort, on the other hand, has to do with each
audience member’s ability to feel like part of a group at a
theatre event. Among the factors that are generally
considered when it comes to social comfort is whether the

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arrangement of the audience within the house reflects the
accepted social order within the culture. It is true that keeping
the audience members within the social groups with which
they feel the most comfortable. The location of the theatre
within a town or city is also a factor in social comfort, as the
expected audience must feel that it is proper for them to be in
the area. The level of decoration of the theatre can also be a
factor in social comfort, as it can make the audience feel that
the art being presented is above or beneath their social level.
The precise nature of each architectural element and the exact combination
of elements found in any given theatre will be determined by the ability of a
theatre’s architect to understand and give expression to what the culture or
subculture believes to be ideal. Whatever the abilities of the architect,
however, that expression of the ideal will always be compromised by the
availability of resources. In order to conserve resources, some elements will be
left out while others will be provided at less than an optimum level. Matters of
comfort, however that term might be defined, will be applied to only as many
members of the audience as is practical rather than to all of the members
equally.

Practice Task 1: CRISS-CROSSING THE DIFFERENT THEATER FORMS

Now that you were taken on a flashback of the different theater forms across
time, let us match them side-by-side. Complete the matrix below to see what
makes one stand out from the other. You will be rated using the rubric found
after Cooling Down activity. Do this in your notebook.

Theater Form What makes it Advantage Disadvantage

unique

Greek Stage

Middle Ages Stage

Renaissance Stage

Restoration Period
Stage
Modern Stage (for the modern stage, discuss each type)

a. Arena Stage
b. Thrust Stage
c. End Stage
d. Flexible Stage

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Practice Task 2: THERE IS A STAGE TO THAT!
Research on the following movie/book titles and evaluate what modern stage
form is best suited if they will be given a stage drama adaptation. Justify your
answer in 3-5 sentences. You will be rated using the rubric found after Cooling
Down activity. Do this in your notebook.
1. The Hows of Us (Daniel Padilla and Kathryn Bernardo)
a. Modern Stage form suited:
_______________________________________
b. Explanation:
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
__________________________________________________________
2. Noli me Tangere (Jose P. Rizal)
a. Modern Stage form suited:
_______________________________________
b. Explanation:
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
__________________________________________________________
3. Harry Potter Series (JK Rowling)
a. Modern Stage form suited:
_______________________________________
b. Explanation:
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
__________________________________________________________
4. Heneral Luna (John Arcilla)
a. Modern Stage form suited:
_______________________________________
b. Explanation:
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_________________________________________________________

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THE COMFORTABLE VIEW

As we finish your learning journey in analyzing the classical and modern
stage, go back to its goals. Ponder on its aims: is the theater design really
designed for comfort? Do you agree or disagree with this? Create a three-
paragraph reflective article supporting your stand about the goals of theater
design.

Use the rubric below to guide in doing the Keeping You in Practice and Cooling
Down tasks:
Indicators 5 4 3 2 1 0
Demonstrate a Demonstrate a Demonstrate a basic Demonstrate a Demonstrate little or Not
conscious and thoughtful understanding of the limited no understanding of Observed
thorough understanding of creative writing understanding of the the creative writing
understanding of the creative writing process and the creative writing process and subject
Depth of the writing prompt process and the subject matter. process and subject matter. This reflection
Reflection and the subject subject matter. matter. This reflection needs revision
matter. This needs revision.
reflection can be
used as a model to
other students.
Use stylistically Use language that Use basic but Use language that is Use language that is Not
sophisticated is fluent and appropriate vague or imprecise unsuitable for the Observed
language that is original, with language, with a for the audience or audience and
precise and evident a sense of basic sense of voice, purpose, with little purpose, with little or
engaging, with voice, awareness some awareness of sense of voice, and a no awareness of
Language Use notable sense of of audience and audience and limited awareness of sentence structure.
voice, awareness purpose, and the purpose and some how to vary
of audience and ability to vary attempt to vary sentence structure.
purpose, and sentence structure. sentence structure.
varied sentence
structure.
Demonstrate Demonstrate Demonstrate partial Demonstrate limited Demonstrate little or Not
control control control of the control of the no control of the Observed
of the conventions of the conventions, conventions, conventions, conventions, making
Grammar with essentially no exhibiting exhibiting occasional exhibiting frequent comprehension
Conventions errors, even with occasional errors errors that do not errors that make almost impossible.
sophisticated only when using hinder comprehension
language. sophisticated comprehension. difficult.
language.
Created by: Pamela G. Garcia

Now that you have learned in detail both the Classic and Modern stage, let us
give life to these two stage forms. You and Diego are still on that stage and
two faceless, formless people appear. They are asking for your help to analyze
the Classic and Modern stage, personify them and make them into the persons
who appeared in front of you.
• What if the Classic and Modern stage were two different persons, what
life-like qualities will you give them, based on the characteristics you
learned?
• What will be the following attributes of Classic and Modern stage in
terms of:
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1. Personality
2. Likes
3. Dislikes
4. Fashion Choice
5. Facial features and Physical built
Give us an exact image of how you portray them and reasons why you did so.
Get creative: you can add some indigenous materials to your work, you can
draw, you can create a collage, you can do a graphic drawing, or cut-out
different images and merge them into one! Be guided with the rubric found on
the next page in making your output:

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 PERSONIFIED QUALITIES OF
3 2 1 0
CLASSIC AND MODERN
Well-observed Observed Almost Observed Not Observed
STAGE
The personality of the The personality of the The personality of the Not Observed
Classic and Modern Stage Classic and Modern Stage Classic and Modern Stage
personified images personified images showed personified images
PERSONALITY
excellently showed the the uniqueness of one from somehow showed the
uniqueness of one from the the other. uniqueness of one from the
other. other.
www.shsph.blogspot.com

The likes presented by the The likes presented by the The likes presented by the Not Observed
Classic and Modern stage Classic and Modern stage Classic and Modern stage
personified images clearly personified images personified images
LIKES
presented the advantages presented the advantages somehow presented the
of one stage form from the of one stage form from the advantages of one stage
other. other. form from the other
The dislikes presented by The dislikes presented by The dislikes presented by Not Observed
the Classic and Modern the Classic and Modern the Classic and Modern

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stage personified images stage personified images stage personified images
DISLIKES
clearly presented the presented the somehow presented the
disadvantages of one stage disadvantages of one stage disadvantages of one stage
form from the other. form from the other. form from the other.
The personified images of The personified images of The personified images of Not Observed
the Classic and Modern the Classic and Modern the Classic and Modern
stage clearly showed the stage showed the specific stage somehow showed
FASHION CHOICE
specific details in terms of details in terms of the specific details in terms
decoration and decoration and of decoration and
arrangement of elements. arrangement of elements. arrangement of elements.
The facial features and The facial features and The facial features and Not Observed
physical built of the Classic physical built of the Classic physical built of the Classic
and Modern stage and Modern stage and Modern stage
FACIAL FEATURES AND
personified images personified images added personified images
PHYSICAL BUILT exceptionally added to the to the presentation and somehow added to the
presentation and analysis of analysis of the two theater presentation and analysis of
the two theater stages. stages. the two theater stages.
Created by: Pamela G. Garcia
www.shsph.blogspot.com

Theatre design of the 20th century was the most varied in history. It was
the first century in which virtually every theatrical design developed during
the previous two millennia was available at the same time.
After 250 years in which the box, pit, and gallery theatre dominated
the art, there was widespread rebellion against it. A flood of new ideas was
started by explorations of past practices. There were many attempts to
imitate the different stages of the past years, such as the Greek stage,
Elizabethan stage, and Renaissance stage. This attempt to revival only
shaped the versatility of the modern stage.
At the turn of the 21st century, emphasis shifted to performing-arts
complexes in which several different styles of theatre were incorporated.

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Vocabulary Builder:
1. Thrust
2. Flexible
3. Arena
4. End
5. Comfort

Electronic Sources
Gimore, M. (2016). Stage Vocabulary and Stage Types for Tech Students.
Retrieved from slideplayer.com: https://slideplayer.com/slide/8654678/
Hildy, F. J. (2018, November 28). Theatre design. Retrieved August 2020, from
Encyclopædia Britannica: https://www.britannica.com/art/theatre-
design

Books
LETHBRIDGE, S., & MILDORF, J. (n.d.). Basics of English Studies:An introductory
course for students of literary studies in English. Universities of Tübingen,
Stuttgart and Freiburg. Retrieved from https://www2.anglistik.uni-
freiburg.de/intranet/englishbasics/PDF/Drama.pdf

Morley, D. (2007). The Cambridge Introduction to Creative Writing. New York:

Cambridge University Press.

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