SENIOR HIGH SCHOOL

Creative Writing
Quarter 2 – Module 3
Reading and Writing Drama

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Creative Writing – Grade 12
Alternative Delivery Mode
Quarter 2 – Module 3: Reading and Writing Drama
Second Edition, 2021

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Creative Writing
Quarter 2 – Module 3
Reading and Writing Drama

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 TABLE OF CONTENTS

Page No.

OVERVIEW
What I Need To Know 1
Things to Remember To Get Through 1

Lesson 1- ELEMENTS, TECHNIQUES AND LITERARY DEVICES IN DRAMA

What I Need To Know 3

What I Know 3
What Is It 5
What's More 11
Assessment 12

Lesson 2 – INTERTEXTUALITY AS A TECHNIQUE IN DRAMA

What I Need To Know 13

What I Know 13
What Is It 15
What's More 20
Assessment 21

Lesson 3 - CHARACTER/ SETTING/ PLOT FOR A ONE-ACT PLAY

What I Need To Know 22

What’s In 22
What I Know 23
What’s New 24
What Is It 25
What’s More 29
What I Have Learned 29
Assessment 30

Lesson 4 - DIFFERENT STAGING MODALITIES vis-à-vis ENVISIONING THE

SCRIPT

What I Need To Know 31

What I Know 31
What’s New 33
What Is It 35
What’s More 44
What I Have Learned 44
Assessment 45

References 47

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 WHAT I NEED TO KNOW

This third learning module of Creative Writing for Senior High School students
is designed to more fully hone your skills in both reading and writing drama. It sheds
light on the important matters to learn more about becoming a distinguished
playwright in the field of drama.
In this module, the students understand and apply the different elements,
techniques and literary devices in drama through various activities, specifically
writing activities, which enable the learners to put into practice all the things which
are mentioned here. It also provides learners with a better grasp in conceptualizing a
character/setting/plot for a one-act play, leading them to compose at least one scene
for a one-act play that can be staged.
After studying this module, you will be able to:
1. identify the elements, techniques and literary devices
in drama,
2. understand intertextuality as a technique of drama,
3. conceptualize a character/setting/plot for a one-act play,
4. explore different staging modalities vis-à-vis envisioning the
script, and
5. write at least one scene for one-act play applying the various
elements, techniques and literary devices.

THINGS TO REMEMBER TO GET THROUGH

To learn and benefit from this module, follow the following steps:

1. Read the module title and the module introduction to get an idea of what
the module covers. Specifically, read the first two sections of this module
carefully. The first section tells you what this module is all about while the
second section tells you of what you are expected to learn.

2. Never move on to the next page unless you have done what you are
expected to do in the previous page. Before you start each lesson, read
first the INSTRUCTIONS.

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 3. Work on the activities. Take note of the skills that each activity is helping
you to develop.

4. Take the Post-Test after you are done with all the lessons and activities in
the module.

5. Meet with your teacher. Ask him/her about any difficulty or confusion you
have encountered in this module.

6. Finally, prepare and gather all your outputs and submit them to your
teacher.

7. Please write all your answers of the tests, activities, exercises, and others
on your separate activity notebook.

REMEMBER THIS

In order to become the best playwright there is, it is but necessary to dig
yourself in to the must-know elements, techniques and literary devices, as well as
intertextuality, and the different staging modalities that surround the world of drama.

GOOD LUCK AS YOU BEGIN THIS MODULE!

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 ELEMENTS, TECHNIQUES
LESSON
1
AND LITERARY DEVICES IN
DRAMA
Competency: Identify the various elements, techniques, and literary devices in
drama, HUMSS_CW/MPIj-IIc-15 (2 hours)

WHAT I NEED TO KNOW

At the end of this lesson, the learners are expected to:

1. define drama as a genre of fiction,
2. understand the elements, techniques and literary devices in drama, and
3. compose a short draft of any type of drama

WHAT I KNOW

Instructions: Recall what you have learned or read about drama as a genre of
fiction. Read and answer the following statements. In your notebook, write the letter
of your answer for each item.

1. Which of the following is not part of the typical structure of a play?

a. exposition c. climax
b. conflict d. tragedy

2. Which part of the play displays whether or not the protagonist won and problems
are resolved?
a. climax
b. conflict
c. denouement
d. exposition

3. It refers to what the characters say or do to achieve their goals in a play.

a. complications
b. action
c. conflict
d. backstory

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4. What element of drama refers to the events that took place in the past?
a. complications
b. action
c. conflict
d. backstory

5. It is used to refer to an actor’s speech delivery in the presence of other characters

who do not speak but listen.
a. music
b. flashback
c. monologue
d. intrigue

6. What element of drama refers to the character or situation that stands against the
protagonist?
a. antagonist
b. arc
c. intrigue
d. flashback

7. What is known as the mainstay of the musical drama?

a. intrigue
b. flashback
c. music
d. antagonist

8. What element of drama is known as something that happens out of the audience’s
expectation?
a. soliloquy c. stakes
b. surprise d. scenes

9. What element of drama is known as portions of an act?

a. soliloquy
b. surprise
c. stakes
d. scenes

10. Which of the following elements of drama refers to what the characters stand in
order to gain or lose whenever they succeed or fail.
a. soliloquy
b. surprise
c. stakes
d. scenes

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 V WHAT IS IT

What is Drama?

As mentioned in the previous module, literature is quite complex and consists

of a wide array of genres, including poetry and fiction which were mentioned in the
previous discussions. Drama, on the other hand, is another literary genre with
various characteristics which are distinct from the other types of literary works. In
literature, drama is defined as:

 a mode of fictional representation through dialogue and performance

 a type of play which is written for theater, television, radio and film
 a composition in the forms of either verse or prose for the purpose of
portraying life or character or telling a story which often involves conflicts and
emotions through action and dialogue
 comes from the Greek words δρᾶμα (an act, a play) and δράω (to act, to take
action)
 its writer is known as dramatist or playwright

Types of Drama

Drama is classified into different categories according to mood, tone, and

actions shown in the plot. Below are some of the most famous types of drama written
nowadays.

1. Comedy

This is known to be a broad genre of film, television, and literature.

Nonetheless, its ultimate goal is but simple – to make the audience laugh. In order to
achieve such goal, a playwright often uses quaint circumstances, unusual
characters, and witty remarks. What makes this category different from the other
types is that its writer uses lighter tone. Moreover, it is sometimes known to be
sarcastic in nature as it has the tendency to make fun out of serious topics.

The following are the sub-genres of comedy:

 romantic comedy
– It focuses on lighthearted, humorous plot lines which are often
centered on romantic ideas like how true love is able to
overcome many obstacles.

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  sentimental comedy
- It began in the 18th century as a reaction to the immoral tone
of English Restoration play. This sub-genre of comedy
focuses on the middle-class protagonists who are able to
successfully overcome a couple of moral trials.

 comedy of manners
- It is also referred to as the anti-sentimental comedy which
writes about the manners and feelings of modern society. It
also questions societal standards.

 tragic comedy
- It portrays characters who take on tragedy with humor in
order to bring out happy endings out of serious situations.

The following are the common examples of comedy:

 The Simpsons
 America’s Funniest Home Videos
 A Midsummer Night’s Dream by Shakespeare

2. Tragedy

As a type of drama, tragedy is basically rooted on its literal meaning which

connotes something that is unpleasant and unwelcome. Generally, it has darker
themes and portrays subjects which include death, disaster, and all sorts of human
suffering in a manner that is dignified and thought-provoking. This type of drama
involves two important elements: (1) its intense seriousness in dealing with matters
in which survival is at stake and (2) its involvement of the whole community in
matters of ultimate and common concern. A tragic flaw, a characteristic which often
leads to a downfall, is usually present among the story’s protagonists.

Tragedies come in different types which include:

 Greek Tragedy
- Typically, it involves a protagonist of high rank who commits
a mistake in judgment (flawed) and accepts his fall from
grace. Typically, it includes the elements of Gods,
mythology, conflict, suffering and catharsis. Among the great
Greek tragedians were Sophocles, Euripides and Aeschylus.

 Roman Tragedy
- These are mostly adaptations of Greek tragedies. The
Roman philosopher Seneca wrote nine plays which still exist
at present and adopted by Elizabethan and Jacobean
playwrights during the late 16th and early 17th centuries.

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  Elizabethan and Jacobean Tragedy
- Elizabethan tragedies, which are not all written by
Shakespeare, often involve main characters of high status
(nobility, military rank, among others) who committed an
error or flawed, encounter a reversal of fortune and die
towards the end of the play. On the other hand, Jacobean
tragedies usually have the characteristic of revenge
tragedies.

 Revenge Tragedy
- This type of tragedy often involves one character who seeks
revenge upon another character in the story for an evil doing.
The most common examples of this are Hamlet by
Shakespeare and The Duchess of Malfi by John Webster.

 Tragicomedy
- This is a single dramatic work which consists of a
combination of tragic and comic elements. One popular
example of this is the play Waiting for Godot by Samuel
Beckett.

 Domestic Tragedy
- Unlike the Elizabethan period tragedy, it portrays a common
man in a domestic setting as the tragic hero in the story. The
best examples for this are Henrik Ibsen’s A Doll’s House and
Eugene O’Neill’s The Iceman Cometh.

3. Farce

This type of drama features exaggerated or absurd forms of comedy. It is a

nonsensical genre of drama in which the characters intentionally overact and get
themselves into a slapstick or physical humor. Webster’s Dictionary refers to it as “a
light dramatic composition marked by broadly satirical comedy and improbable plot”.
Recently, it is known as something serious that has turned comical.

4. Melodrama

This is an exaggerated type of drama which shows classic one-dimensional

characters like heroes, heroines, and villains who deal with sensational, romantic,
and threatening situations. Examples of melodrama are the play The Glass
Menagerie by Tennessee Williams and Margaret Mitchell’s novel, Gone With the
Wind.

5. Opera

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 This type of drama combines theater, dialogue, music and dance to tell grand
stories of tragedy or comedy; hence, it is known as a versatile genre of drama. This
genre requires their performers to be both actors and singers since they will be
expressing their emotions and intentions through song instead of a dialogue.

6. Docudrama

This new genre involves dramatic portrayals of historic events or non-fictional

happenings. It is more often presented in movies such as Apollo 13 and 12 Years a
Slave.

The Structure of Drama

1. Plot

We refer to plot as the dramatic structure of a play. Nonetheless, it should not

be forgotten that the narrative structure is not the only consideration to think of since
majority of these plays are created to be played either in a theater, a movie or a
television.

There are three major divisions or acts in a physical format of a play. A three-
act play is composed of three acts which show a fuller and longer exposition of the
theme and conflict of the story. On the other hand, a one-act play involves one unit
of time, place and action only.

Typically, plays are written in many different forms, but the typical structure
often consists of the following:

1.Exposition and This part introduces the characters and establishes the
Introduction setting of the story. The introduction can either present the
conflict right at the very beginning or in the middle of the
action. Regardless of the structure, this part shows the
situations that involved the characters to the conflict and sets
the tone of the play.
2. Conflict This is where the challenges that the protagonist is about to
face are presented. This conflict may arise from various
forces, including the society, nature, environment, God, or
even from the main character himself/herself.
3. Rising Action or From the emergence of a conflict, the play now rises toward a
Complication dramatic tension which often turns into a confrontation. As
this dramatic tension intensifies, it provides emotional tension
between characters, giving the audience more details
concerning them which were not known in the introduction
and conflict. This part also makes the conflict more
complicated.

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 4. Turning Point, This part is where the audience finds out if the protagonist
Climax or Crisis either wins or loses in the battle that he or she is struggling
with. This is known as the highest point in a story.
5. Falling Action At this point, the audience somehow gets a sense of the
conclusion, but may still have some unsettled questions at
work within the plot.
6. Denouement or This marks the ending of the play where we can see if the
Resolution protagonist won against the antagonist. It also shows whether
or not the order is brought back and the conflict has been
resolved.

Dramatic Elements

While it is important for a playwright to understand the structure of drama, it is

also necessary that he or she is fully aware of the many different techniques and
devices – dramatic elements – involved in making a play more effective, interesting
and meaningful. Here are some of them:

Action It refers to what the characters say or do to achieve their goals.

Antagonist It refers to the character or situation that is in conflict with the
protagonist.
Arc It is the storyline of the play; something that the audience wants
to find out.
Aside This is when the actor speaks directly to the audience while the
other actors on stage supposedly did not hear a word he or she
says. In the Renaissance drama, it was used to make the actor’s
inner feelings known to the audience while in the 19 th century, it
was used to insert comedy or melodrama.
Backstory It refers to past events involved in the play.
Complications This is the introduction of new characters, information or other
events which often causes conflicts.
Conflict It refers to the problem which arises due to the opposing
intentions of the protagonist and the antagonist.
Discovery This is when the protagonist finally realizes the reality of the
situation.
Double plots It is the use of a subplot in moving towards and outside of the
main plot. This is usually observed in Elizabethan drama.
Dramatic It refers to what the audience intends to accept as true for the
convention story’s sake. This may include the actors acting to represent the
characters of the story, the stage set up to appear realistic in
time and location, and so on.
Flashback In order to clarify the situation, it uses description or enactment of
what happened in the past which usually has something to do
with the present conflict.
Foreshadowin It refers to the use of hints at the future just to create audience’s
g anticipation.
Inciting It refers to that occurrence which introduces the main character

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 incident and gets the plot going.
In Medias Res It is the opening scene in the middle of the action.
Intrigue It refers to a scheme created by one of the characters which
often results in a more complicated plot.
Music It is used on the stage to set the mood and tone of the play.
Monologue It refers to the speech delivery of an actor in the presence of
other actors who simply listens, but not talk.
Protagonist It is the main character in a play who often comes with a mission
or has a quest to conquer.
Reversal It occurs when the protagonist either fails or succeeds.
Scenes These are portions of an act which let the audience relax briefly
from the tension of the story
Soliloquy It is an actor’s speech delivery to express thoughts at the time
when he or she is alone.
Stakes These refer to what the characters stand to either gain or lose
when they succeed or fail.
Surprise It is what happened in the story which the audience does not
expect at all.
Suspense It involves happenings that cause a sense of uncertainty about
the things that will happen to the characters

2. Setting

An effective playwright does not only consider the plot when writing drama.
Equally important to that matter is to also think of the setting in a play. Basically,
setting is the term used to describe the place or the locale where the story of the
play is located. Moreover, it also includes the date, time and the action involved in
the play.

In general, setting has two main categories:

 Realistic plays
- Refer to those whose conventions are under the realistic
plane and are taken from real people, objects and situations.
In this category, the setting is created with the aim to
reproduce the external presence of life.
 Non-realistic plays
- It is the exact opposite of realistic plays in which it is drawn
out from stylized and unconventional events. It involves
characters who are not real people, but are allegorical or
symbolical. The setting in this category can be a dream-like
forest, a barren and deserted mountain, the underworld or
any fictional spot.

3. Character

As discussed in the lesson on fiction, character refers to a person or any

entity with human characteristics who acts, speaks, narrates or is referred to in a

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literary work. A character can be major (or principal) or minor (supporting). The
general classifications of characters in drama are as follows:

 Hero or heroine – also known as the protagonist whose conflict is also

the main conflict of the play
 Villain or villainess – the character with evil qualities and often
contradicts with the hero(ine)
 Superhero or superheroine – the character with supernatural powers
 Antihero or antiheroine – a character who is more ordinary compared
to traditional hero(ine)

4. Dialogue

Among the components in a play, this is the most important. This is basically
the reason why the action of the play moves. Since the nature of drama is
performative, it is the dialogue, which takes place between the characters, that often
reveal the tone and the characters in the play.

When writing the dialogues, consider the following pointers:

 Characters should not give flawless talks.

 Character should refrain from using clichés.
 Characters should not often use character names.
 Characters should not deliver lengthy speeches.
 Characters do not directly mention the theme of the play.

WHAT’S MORE

Activity 1. In your notebook, answer the following questions.

1.) In your own words, define drama as a literary genre.

2.) Based on the discussions in this lesson, what makes a playwright effective?

Activity 2. In your notebook, write a short draft of any type of drama,

considering the elements and literary devices discussed in this lesson.

Note to the teacher:

You may create your own rubrics in scoring the activity 1 and 2. Make
sure it focuses more on the content, style
11 and the application of elements and
literary devices of drama as discussed above.
Thank you.
 ASSESSMENT

I. True or False. Write TRUE if the statement is true and FALSE if it is not true
based on the discussion above.

1. Drama is a mode of fictional representation through the use of dialogue and

performance.
2. The writer of a drama is called a poet.
3. Comedy is a type of drama which aims to entertain the audience.
4. Tragedy is characterized by a lighter theme.
5. Farce is a type of drama that involves exaggerated or absurd forms of
comedy.
6. An effective playwright only puts into consideration the plot of the play.
7. The conflict is where the challenges that the protagonist is about to face are
presented.
8. Falling action is the last component of a plot.
9. To make a play become more effective and interesting, a playwright must
consider several techniques and devices or dramatic elements.
10. The setting of a play is always realistic.

II. Identification. Read the description in each item below. Find inside the box
the correct word/s that each description refers to. Write the letter of your
answer in your notebook.

a. arc f. dialogue
b. docudrama g. opera
c. flashback h. In Medias Res
d. foreshadowing i. music
e. reversal j. complications

1. It refers to the use of hints at the future just to create audience’s anticipation.
2. It is used to set the mood and tone of the play.
3. This is known as the most versatile genre of drama.
4. It causes the action of the play to move.
5. This new genre of drama involves dramatic portrayals of historic events.
6. It occurs when the protagonist either fails or succeeds.
7. This is the introduction of new characters, information or other events which
often causes conflicts.
8. It is the storyline of a play.
9. It is the opening scene in the middle of the action.

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 10. It is often used to clarify the present situation through description or
enactment of what happened in the past.

Congratulations for finishing lesson 1! Now, let’s move on to Lesson 2.

INTERTEXTUALITY AS A
LESSON 2
TECHNIQUE IN DRAMA
Competency: Understand intertextuality as a technique of drama
HUMSS_CW/MPIj-IIc-16

WHAT I NEED TO KNOW

At the end of this lesson, the learners are expected to:

1. define intertextuality in drama,
2. understand the significance of intertextuality as a technique in drama
3. revise the previously composed draft of drama applying the technique of
intertextuality

WHAT I KNOW

Instruction: Let us check what you have known so far about intertextuality. In your
notebook, write the letter of your answer for each question below.

1. Intertextuality is a powerful technique which is used by writers in order to make

“multiple layers” of _______________.
a. feeling
b. meaning
c. questioning
d. acting

2. It occurs when the writer refers to another text through ideas, symbols, genre or
style.
a. implicit reference
b. explicit reference
c. direct reference
d. indirect reference

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3. It happens when the writer makes a direct mentioning, quoting or citing of another
text in his or her work.
a. implicit reference
b. explicit reference
c. direct reference
d. indirect reference
4. It is a type of intertextuality which is used for satirical purposes; oftentimes to
mock.
a. allusion
b. parody
c. quotation
d. appropriation

5. In this type of intertextuality, the writer makes an indirect reference to another text,
historical period or religious belief.
a. allusion
b. parody
c. quotation
d. appropriation

6. This type of intertextuality requires that the writer makes an acknowledgment of

the author of the text which will be directly referred to.
a. allusion
b. parody
c. quotation
d. appropriation

7. This type of intertextuality happens when the writer changes or extends the
meaning of a certain text by reworking or re-imagination.
a. allusion
b. parody
c. quotation
d. appropriation

8. It is a type of intertextuality which uses a particular written work to create a film,

TV drama, or stage play.
a. adaptation
b. parody
c. allusion
d. appropriation

9. Intertextuality is a technique in which one text influences another.

a. True
b. False

10. Any text can be deemed a work of intertextuality.

a. True
b. False

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 V WHAT IS IT

Intertextuality: Definition Unfold

Perhaps, you have already applied intertextuality technique in your own

literary works, yet you do not know that that is how you call it in literature. Have you
tried borrowing phrases and concepts from other’s works and integrate them to your
own literary work? If so, then you have already done intertextuality without even
knowing it.

By definition, intertextuality is the manner in which one text influences

another. This borrowing can be done by an author in either direct or indirect manner.
Historically, it was in 1960s that a French Julia Kristeva made the definition of
intertextuality. Accordingly, it originated from the Latin word intertexto which means
“to intermingle while weaving”. According to Kristeva, all literary outputs which are
created contemporarily are intertextual with the works that were created before them.

On the other hand, Merriam-Webster dictionary defines intertextuality as the

“complex interrelationship between a text and other texts taken as basic to the
creation of interpretation of the text”. Furthermore, the Glossary of Literary Terms
written by M.H. Abrams defines this technique as signifying multiple ways in which
any literary text is combined with other texts through open or covert citations and
allusions, as well as repetitions and transformations of the formal and substantive
features of earlier texts.

For one to clearly identify intertextuality, it is important that he or she has a

wide knowledge of varied texts. Basically, this is where the need to read more and
increase your bank of books, poems, films and plays comes in.

There are two common ways in which a writer applies intertextuality in his or
her works. These are through:

 Implicit reference
- It happens when the writer refers to a different text through
the use of ideas, symbols, genre or style

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  Explicit reference
- It happens when the writer mentions, quotes or cites another
text in his or her work in a direct manner.

Types of Intertextuality

While intertextuality as a technique in drama is only aimed at one thing – to

produce and shape meaning, it comes in various types with different characteristics.

1. Allusion
 Among the types of intertextuality, this is perhaps the most common
and effective technique. It refers to an indirect reference in one text to
another text, place, historical period, or author for the purpose of
enriching or developing meaning.

Below are the four types of allusion:

It is an allusion which refers back to a historical event or period.

For example: “He was a Nero”
Historical
This statement allows the readers to associate the character’s
attribute of having a disturbing behaviour similar to that of the
infamous Roman emperor.

It refers to an allusion to a mythological figure or story.

For example: “She ran faster than Hermes.”
Mythological
In this statement, the character’s ability to ran is compared to that
of Hermes, the messenger of the Greek Gods.

This refers to an allusion to a literary text or figure.

For example: “No matter how Dorian adjusted the electric
blanket it was either too hot or too cold, never just right.”
Literary
The statement is taken from the lines of the famous figure,
Goldilocks.

Religious
This is an allusion to a religious text, story, or figure.
For example: “Reflecting on her cruel behaviour, Cinderella’s
stepmother stood still like a pillar of salt.”

The text is referenced from the religious figure, Lot’s wife.

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Your Guide on How to Analyze Allusion

Here is your step-by-step guide on how to analyze allusion:

Step 1: Read the passage to find out if there is a clear presence of

allusion to a place, time, religion, myth or text.

Step 2: Identify the examples that refer to something else, the type of
allusion used and the reference of the allusion.

Step 3: Determine what the allusion suggests in the text.

2. Parody

This type of intertextuality refers to the writer’s imitation of another text for the
purpose of exposing and discrediting one’s vice or follies. Often, a writer uses this
type to mock its targets who are usually celebrities, politicians, authors, a style or
trend or any subject which arouses anyone’s interest at the moment or at a specific
period of time.

Historically, the word “parody” comes from the Greek phrase parodia which is
a type of poem that copied the style of epic poems but with the characteristics of
mockery and light comedy.

Examples of Parody

The following are some of the examples of this type of intertextuality from
literaryterms.net :

Example 1:

“Your little sister puts on your father’s big shoes and stomps around in them,
saying, ‘I need to make a business call. I am very busy, very important
businessman!’ ”
17
 This example shows that the father was being imitated by the girl who knows
that he works as a businessman. The statements suggest to show the image of
many businessmen as overly serious and acclaimed self-important.

Example 2:

“At the talent show, a group of boys wears matching outfits and prances
around singing One Direction’s “Best Song Ever.” They sing very poorly and overly
dramatically.”

In this example, the boys are parodying the way a famous band dresses,
sings, and performs in a humorous way, commenting on how many pop stars are
actually low-leveled in terms of talent.

3. Quotation

This is another common type of intertextuality which involves a direct

reference to another text, giving citation to the owner of the text. Quotation is known
to be a device used for talking about language. It works in a somehow tricky way-
that is, to make its referent perform or participate in the referring. Placing quotation
marks around a certain word produces a device which infers that very word.

The most vital function of quotation marks is to set off and represent the exact
language which is either spoken or written by somebody else. This means that any
revision or edition of the exact statement or words defeats the purpose of quoting.

Example 1:

In the end, Albert Einstein was right when he said, “Life is like a bicycle. You
need to keep moving.”

Example 2:

Dr. King said, “I have a dream.”

4. Appropriation

This type of intertextuality allows the writer to make a reworking or re-

imagination of a popular text for the purpose of changing or extending its meaning.
Typically, it creates a whole new product and domain away from its originating
source.

One famous example of appropriation is L.H.O.O.Q, an artwork created by

Marcel Duchamp, is an appropriation of Mona Lisa which is created by Da Vinci. In

18
his version, Dumchamp took a picture of Da Vinci’s artwork and added a moustache
on it.

Another example of appropriation is evident in Clueless where Emma

appeared differently from that of the 1800’s to a modernized version of her living in
the 1990’s in America. The sets and scenery, dialogue and costumes are generally
different, too. The appropriation technique was also applied in the main character’s
attribute in which she is now into online youtube and blog to go with the latest trend
of Emma working and blogging as a matchmaker online.

5. Adaptation

This type of intertextuality entails creating a film, TV drama or stage play

based on a specific written work. Perhaps one of the most common examples for this
is the film adaptation of JK Rowling’s Harry Potter which was originally, a written
novel.

Historically, there are different reasons why a writer would want to employ
adaptation in his or her work. One of these is the desire to reconfigure a popular
material into becoming a more acceptable guise or introducing to the audience a
whole new and fresh literary style. Another reason is to get around censorship and
push boundaries.

Significance of Intertextuality

While we are studying intertextuality in drama, you might as well wonder its
significance to drama is or to the world of literature as a whole. Below are some of
the known reasons why intertextuality in drama is important:

 It provides readers with a much richer reading experience.

 It helps give new interpretations of literary works as it comes with a different
context, idea, or story into the text.
 It provides pleasure in terms of connection and continuity of cultures and
texts.
 It invites readers to revisit the earlier text, but this time, with new insights and
meanings relevant to the present time.
 It causes readers and audiences to raise questions concerning the nature of
authorship and originality of the text.
 It helps students write their own texts based on what they know from others.
 It portrays a connection between two texts with certain messages and ideas.
 It makes the readers think and re-interpret the meaning of the referenced text,
as well as find common ideals, issues or values embedded and discovered
across the texts used.

19
Intertextuality and plagiarism

In this world where anything can now be easily copied anytime over the
Internet, plagiarism is definitely a no-no and is in fact, considered a criminal offense.
As intertextuality involves a purposeful use of someone else’s work without proper
citation, will it be considered as plagiarism?

By definition, plagiarism is the act of “using or closely imitating the language

and thoughts of another author without authorization.” This, in its sense, may include
intertextuality. Nonetheless, it is the intention and the purpose for using someone
else’s work that excludes intertextuality from committing such offense.

Technically, intertextuality uses small excerpts of a hypotext which helps the

readers or audience get into the new hypertext’s original themes, characters or
contexts. The writer makes use of a portion of another text and alters its meaning by
putting it into another context. Basically, this means that the writers are simply using
the ideas of others in order to develop or enrich their own ideas and not plagiarizing
them.

In general, while plagiarism is simply copying the texts from one’s work and
putting it into your own work, intertextuality is basically grounded on the purpose of
creating new ideas based on the researched ideas from others to confirm them.
Hence, intertextuality is not an act of plagiarism at all.

WHAT’S MORE

Activity 1. In your notebook, answer the following questions.

1. What is intertextuality?
2. What is the importance of intertextuality as a technique in drama?

Activity 2. Please go back to the writing activity that you have done in the “What’s
More” portion of Lesson 1 in this Module. There, you wrote a draft of drama, applying
the elements, techniques and literary devices in drama mentioned in that lesson.
This time, make a revision of that draft. Take into account the use of intertextuality
technique in order to make your work more interesting and meaningful.

Note to the teacher:

You may create your own rubrics
20 in scoring the activity 1 and 2. Make
sure it focuses more on the content, style and the application of the different
types of intertextuality.
Thank you.
 ASSESSMENT

I. Modified True or False. Read each statement below very carefully. Write
TRUE if the statement is true. If it is not, replace the underlined word/s with the
right word/s which will make the statement true or correct. Write your answer
in your notebook.
1. Intertextuality is the manner in which one text influences another.
2. Explicit reference happens when the writer refers to a different text through the
use of ideas, symbols, genre or style.
3. Allusion refers to a direct reference in one text to another text, place, historical
period, or author for the purpose of enriching or developing meaning.
4.Parody refers to the writer’s imitation of another text for the purpose of exposing
and discrediting one’s vice or follies.
5. Quotation involves an indirect reference to another text, giving citation to its
owner.
II. Matching Type. Match the word/s in column A with the descriptions in
column B. Write the letter of your answer in your activity notebook.
A B
1. Parody a. allows the writer to make a reworking or re-
imagination of a popular text
2. appropriation b. “She is as beautiful as Venus.”
3. historical allusion c. to intermingle while weaving
4. intertexto d. used by the writer to mock its target
5. adaptation e. using the thoughts of other people without
asking permission
6.quotation f. “Reflecting on her cruel behaviour, Cinderella’s
stepmother stood still like a pillar of salt.”
7. allusion g. a writer creates a film, TV drama or play based
on a written work
8. mythological allusion h. “He was a Nero.”
9. plagiarism i. an indirect reference in one text to another text,
place, historical period or author

21
10. religious allusion j. direct referencing with acknowledgment to the
original author

Congratulations for finishing lesson 2 of this module!!

Now let’s proceed to lesson 3.

LESSON CHARACTER/ SETTING/

3 PLOT FOR A ONE-ACT PLAY
Competency: Conceptualize a character/setting/plot for a one-act play.
HUMSS_CW/MP1j-IIc-17

WHAT I NEED TO KNOW

At the end of this lesson, the learners are expected to:

1. Define one-act play;
2. Conceptualize a character/setting/plot for a one-act play; and
3. Appreciate the importance of conceptualizing the character, setting or plot for
a one-act play.

WHAT’S IN

Instructions: Before proceeding to the next lesson, recall first those things that you
have learned in the previous lessons. Enumerate the elements, techniques and
literary devices in drama. Do this in your notebook.

22
 ELEMENTS

TECHNIQUES
(intertexuality)

LITERARY DEVICES

WHAT I KNOW

Instructions: Recall what you learned about one-act play. Read and answer the
following statements. Write the letter of your answer in your notebook.

1. What is being done before or after the actual drama for amusement of the
audience?
a. One-act play b. intermission number c. breaktime d. playbill

2. The following are the four stages of one-act play EXCEPT ONE:
a. exposition b. conflict c. denouement d. antagonist

3. Why are there no breaks in the action during the one-act play?
a. It is continuous since it is a short play.
b. The director wants to end the play immediately.
c. The actors would be lazy to continue acting after the break time.
d. None of the above

4. Which of the following statements is true?

a. The characters in a one-act play are not limited in number.
b. There is no full development of characters.
c. The costumes and setting of the characters must be elaborated in one-act
play.
d. One-act play does not aim at the simplicity of the plot.

5. How can the influence of realism be shown in one-act play?

23
 a. It has a playbill. c. The story is out of imagination.
b. The ticket is expensive. d. It depicts characters that seem to be real.

6. Why is it important to give playbill to the audience member?

a. to serve as a fan when the venue’s temperature gets high
b. to entertain them when the play gets boring
c. so that they may identify the characters and the actors who will play them
d. so that they will have a souvenir

7. The following are structures of a plot EXCEPT ONE:

a. exposition b. falling action c. rising action d. characters

8. Which of the following statements is false?

a. One-act play is a play that has five acts but may consist of one or more
scenes.
b. One-act plays are usually written in a concise manner.
c. It deals with a single dominant situation and aims at producing a single
effect.
d. It deals with only one theme developed through one situation to one climax
in order to produce the maximum of effect.

9. What do you call the notes, which are often in italics or parentheses, which
help the actors interpret the scene for the audience?
a. stage presence b. stage fright c. stage décor d. stage directions

10. Which among the choices is correct?

a. Arthur Miller - A Memory of Two Mondays (1955)
b. Samuel Beckett - Line (1974)
c. Israel Horovitz - Krapp’s Last Tape (1958)
d. Edward Albee - The Goat, or Who is Susan? (2002)

WHAT’S NEW

Instructions: Define the terms character, setting and plot using a concept map.
You may follow the format below. Do this in your notebook.

24
 SETTING

PLOT

CHARACTER

V WHAT IS IT

What is One-act Play?

During the 18th and 19th centuries, one-act plays are done for amusement of
the audience before the actual drama starts which is known as “The Curtain
Raisers”, or just after the actual drama ends which is known as “The After Pieces”.
However, one-act plays do not require elaborated setting and costumes among the
actors for it only covers few minutes of the running time.

25
 As published by (Shaurya 2015) in riashaurya.wordpress.com, the following
are the chief characteristics of one-act play:

(i) It is a play that has only one act but may consist of one or more scenes.

(ii) This is usually written concisely.

(iii) It deals with a single dominant situation and aims at producing a single
effect.

(iv) It has only one theme developed through one situation to one climax.

(v) The one-act play, like the longer drama, should have a beginning, a middle
and an end. It may be divided into four stages: The Exposition, The Conflict, The
Climax and The Denouement.
                  
o The exposition is usually brief, serves as an introduction to the play.
o It is through the conflict that the action of the drama develops.
o Climax is the turning point of the drama.
o The Denouement is very brief and often overlaps with climax.

(vi) At the start of the play, the action begins immediately.

(vii) There are no breaks in the action, that is, it is continuous since it’s a short
play; no intervals.

(viii) Everything superfluous is to be strictly avoided as the play is short and

the action takes place within a short period of time.

(ix) The dramatic unities observed in one-act play are the unity of time, unity
of place and the unity of action.

(x) It aims at simplicity of plot; concentration of action and unity of impression.

It does not rely on spectacular effects and common dramatic tricks of old.

(xi) The characters in a one-act play are being limited in number.

(xii) There is no full development of character. The author implies the past and
intimates the future of a character by presenting a crucial moment in the life of that
character.

(xiii) There is an influence of realism. It depicts characters that seem to be

real and related to everyday life.

(xiv) Its language is simple and can be followed without any strain. All
superfluity is to be avoided in the dialogue.

26
 Shaurya (2015) further enumerated the examples of one-act plays by major
dramatists:

(i)  Anton Chekhov - A Marriage Proposal (1890)

(ii) August Strindberg - Pariah (1889)
                                        Motherly Love (1892)
                                        The First Warning (1892)
(iii) Thornton Wilder - The Long Christmas Dinner (1931)
(iv) Eugene Lonesco - The Bald Soprano (1950)
(v)  Arthur Miller - A Memory of Two Mondays (1955)
(vi) Samuel Beckett - Krapp’s Last Tape (1958)
(vii) Israel Horovitz - Line (1974)
(viii) Edward Albee - The Goat, or Who is Sylvia? (2002)

STRUCTURE OF ONE-ACT PLAY

 DIALOGUE
Unlike novel or short stories, plays are not written in paragraph form but rather
in script or lines of dialogue. The script is narrowed down to acts (major divisions of
the play) and each act is then subdivided into a scene (smaller divisions within the
act). Observe this sample script below from (Elements of Drama: Characters, Plot,
Setting & Symbolism, 2013):

Act I
Scene 2
The LIGHTS come up on ROSE hanging up clothes.
SHE hums and sings softly to herself.
It is the following morning.

ROSE. (Sings.)
Jesus, be a fence all around me every day
Jesus, I want you to protect me as I travel on my way.
Jesus, be a fence all around me every day.
(TROY enters from the house)

ROSE

27
 Jesus, I want you to protect me
As I travel on my way.
(To TROY.) Morning. You ready for breakfast? I can fix it as soon as I
finish hanging up these clothes?

TROY. I got the coffee on. That'll be all right. I'll just drink some of that
this morning.

However, the elements characters, plot and setting are also found in a play
the same with novels and short stories. Observe these elements that were
emphasized in August Wilson’s Fences.

 SETTING
A script also includes stage directions, which are often in italics or parentheses that
would help the actors interpret the scene for the audience. Observe this example
from (Elements of Drama: Characters, Plot, Setting & Symbolism, 2013):

ACT I
Scene 1

The setting is the yard which fronts the only entrance to the
MAXSON household, an ancient two story brick house set back off a
small alley in a big-city neighborhood. The entrance to the house is
gained by two or three steps leading to a wooden porch badly in need of
paint. A relatively recent addition to the house and running its full width,
the porch lacks congruence. It is a sturdy porch with a flat room. One or
two chairs of dubious value sit at one end where the kitchen window
opens on to the porch. An old-fashioned icebox stands silent guard at the
opposite end.

 CHARACTERS
The cast of characters are shown before the script. The characters are listed
alongside a brief description of their in the story. In this example, you can see that
Troy is the main character, and each character is described in relation to him.

TROY MAXSON
JIM BONO, Troy's friend
ROSE, Troy's wife
LYONS, Troy's oldest son by previous marriage
GABRIEL, Troy's brother

28
 CORY, Troy and Rose's son
RAYNELL, Troy's daughter

 PLOT
The plot structure of the play have exposition, a rising action, a climax, falling action,
and the resolution. Observe this example from (Elements of Drama: Characters,
Plot, Setting & Symbolism, 2013):

In the play Fences, the exposition explains that Troy Maxson is a

garbage man who loves his family, in spite of the fact he is cheating on
his wife, Rose. The main conflict comes when Troy's son, Cory, wants to
go to college on a football scholarship, but Troy doesn't want him to go
because he's afraid he'll be discriminated against like he had been when
he played baseball. In the rising action, Troy goes to Cory's coach and
tells him that Cory can't play football anymore. Cory accuses Troy of
being jealous. Troy's affair with Alberta

WHAT’S MORE

Instructions: (a) Watch the video from this link: https://youtu.be/gtPtNYBPkMk

which is a sample of a One-Act Play entitled “Family 2.0” performed during the One
Act Play Festival of Belmont High School; and (b) determine the characters,
setting, and plot of the play.

CHARACTERS SETTING PLOT

WHAT I HAVE LEARNED

29
Instruction: Complete the paragraphs with the necessary words or sentences that
best describe what you have learned from the discussion. Write your paragraphs in
your notebook. Follow the format below.

I have learned that one-act play

___________________________________________________________________
___________________________________________________________________.

It is important to conceptualize the characters, setting and plot for a one-act

play because________________________________________________________
___________________________________________________________________
___________________________________________________________________.

ASSESSMENT

Instructions: Conceptualize the characters, setting and plot for your own one-act
play. Consider the chief characteristics of a one-act play in doing this activity. Write
your answers in your notebook.

Title: ___________________________________

Characters:

Setting:

Plot:

Now you’re done for this lesson! You may now proceed to Lesson 4. 

30
 DIFFERENT STAGING
LESSON
MODALITIES vis-à-vis
4
ENVISIONING THE SCRIPT
Competencies:
a. Explore different staging modalities vis-à-vis envisioning the script,
HUMSS_CW/MPIj-IIc-18

b. Write at least one scene for one-act play applying the various elements,
techniques, and literary devices HUMSS_CW/MPIj-IIc-20

WHAT I NEED TO KNOW

At the end of this lesson, the learners are expected to:

1. identify the different staging modalities;
2. determine which stage modality is appropriate in a certain script; and

31
 3. write one scene for one-act play applying the various elements,
techniques and literary devices.

WHAT I KNOW

Instructions: Recall what you have learned or read about staging modalities. Read
and answer the following statements. In your notebook, write the letter of your
answer to the question in each item.

1. What refers to the performance of a drama or play in a stage?

a. Staging
b. Cinematography
c. Costume
d. Playbill

2. Which of the following is not a staging modality?

a. proscenium
b. traverse
c. arena
d. chromium

3. What stage modality is characterized by a central stage surrounded by audience

on all sides?
a. proscenium
b. traverse
c. arena
d. promenade

4. What is the first thing that you should do or choose in writing a one-act play script?
a. setting
b. characters
c. stage modality
d. subject

5. Which of the following statements is false?

a. Plays were performed in ancient Greece in amphitheater or arena theater
that caters as many as 25,000 audiences
b. Actors had to perform in a declamatory style since microphones are not yet
used during this time.
c. No one can perform in the 1960s
d. Throughout the history of drama, the architecture of stages has influenced
and contributed a lot to the style of drama and vice versa.

32
6. What staging modality is also known as picture frame stage since the audience
sits in rows facing the stage?
a. proscenium
b. traverse
c. arena
d. chromium

7. What type of staging modality wherein the audience are sitting on the sides of the
stage?
a. proscenium
b. traverse
c. arena
d. Theatre in the Round

8. Which type of staging modality was used in 1895 production of the famous Oscar
Wilde play, “The Importance of being Earnest”?
a. proscenium
b. traverse
c. arena
d. promenade

9. It is a necessary step before performing the one-act play live.

a. unwinding with friends
b. practicing with co-actors
c. changing the setting
d. shifting to another character

10. Why is the proscenium stage considered as a traditional type of stage modality?
a. because a curtain underlines the division of the actors and the audience
b. because the curtain is not flashy
c. because the stage is made of wood
d. because its structure is like the stage in fashion walk

WHAT’S NEW

Activity 1. Observe the similarities and differences of the pictures below. Write your
answers using the three-circle Venn Diagram. Write your answers in your notebook.

33
 SAN FRANCISCO OPERA HOUSE https://pxhere.com/en/photo/697058
https://www.flickr.com/photos/96054322@N00/8189967420

NATIONAL THEATRE OF JAPAN – HANAMICHI

https://commons.wikimedia.org/wiki/File:National_Theatre_of_Japan_-_Hanamichi_2018_10_21.JPG

Three-Cycle Venn Diagram

34
Activity 2. Watch the video from this link: https://www.youtube.com/watch?
v=HFWthwofpVs and list five (5) terms you do not understand and another five (5)
terms that you are familiar with that were mentioned by the speaker. Write your
answers in your notebook and follow the format below:

FIVE TERMS THAT I DO NOT FIVE TERMS THAT ARE FAMILIAR

UNDERSTAND TO ME
1. 1.

2. 2.

3. 3.

4. 4.

5. 5.

V WHAT IS IT

A. What is Staging?
Staging refers to the performance of a drama or play in a stage. The stage is
the area where the actors perform, and it is usually a raised platform. It is essential
to understand how to explore different staging modalities vis-a-vis envisioning the
script because these give great impact to the performance. Thus, the mode of the
stage must be fit to the script or kind of drama or play.
According to Roberts (2017), plays were performed in ancient Greece in
amphitheater or arena theater that caters as many as 25,000 audiences. Actors
had to perform in a declamatory style since microphones are not yet used during
this time. Throughout the history of drama, the architecture of stages has
influenced and contributed a lot to the style of drama and vice versa.

FOUR BASIC TYPES OF STAGING MODALITIES

35
 Today, the basic types of staging modalities are the following:

SAN FRANCISCO OPERA HOUSE

https://www.flickr.com/photos/96054322@N00/8189967420

 Proscenium Stage – is the stage of the nineteenth and twentieth centuries. It

is also known as picture frame stage since the audience sits in rows facing
the stage and they could watch the play as it would regard a large moving
picture in a frame just like in cinemas. This is considered as the traditional
type of staging wherein a curtain underlines the division of the actors and the
audience. In this type of modality, the stage is illuminated during the
performance while the audience remained dark. The audience are not
disturbed during the play which makes this staging modality successful in
giving real-life illusions during the performance.

NATIONAL THEATRE OF JAPAN – HANAMICHI

https://commons.wikimedia.org/wiki/File:National_Theatre_of_Japan_-_Hanamichi_2018_10_21.JPG

 Traverse Stage – or also known as alley staging, is a type of staging modality

wherein the audience are sitting on the sides of the stage, facing each other

36
 just like in a fashion catwalk. This type is appropriate for confrontation scenes
but needs dynamic fast-paced entrances. According to Parry (2014), this
gives an intimate atmosphere between the actors and the audience since the
audience will feel involved to the play. It is not overused and only need
minimal productions. This was used in 1895 production of the famous Oscar
Wilde play, “The Importance of being Earnest”.

https://pxhere.com/en/photo/697058

 Arena Stage - This is characterized by a central stage surrounded by

audience on all sides and is often raised to improve sightlines.

B. How to Write a One-act Play?

The following steps in writing a one-act play is published at

penandthepad.com by (Contributor 2018):

 Choose a subject to cover in a brief one scene act play. A short story works
best. Remember to give the one act play the necessary plot, action and
characters to make it a complete story. Research other one act plays to get
ideas and inspiration for yours.

 Develop the action first, then compose the dialog before you decide anything
else. Keep the plot simple for a one act play and it should move consistently
throughout the play.

 Develop the characters. Write out a character sketch beforehand to help you
flesh out your characters and bring them to life. Give your characters a motive
in life (or lack thereof) and up the stakes by making them face a problem. This
is central to any story.

 Generate the setting. The setting for a one act play will be one scene, but you
have to still develop the scene so the audience sees everything about the

37
 story line. Include as many of the five sense as you can. Lighting helps the
setting. Make sure you write in notes about how the lighting should look.

 Add in the stage directions after you write the action. Write notes about how
each character should respond and what props you'll need. For example, if
the characters should be facing another direction and talking to another
character, note it in the script.

 Find performers that fit each part. Hold auditions to find the right actors and
actresses. Be upfront with them about whether this gig is a paying gig or a
volunteer gig.

 Make copies of the play for each cast member. Save the document in case
you need extra copies. Give copies of the one act play to each member of the
stage and prop handling too.

 Practice the play. Ask for feedback from all the people involved in the play.
Hire or ask an expert to help with the production too. Hold one final practice
before opening the show. This should be a dress rehearsal. Treat this final as
the real thing and tie up any loose ends.

The script below is an excerpt of the one-act play written by Cherly Tessa
Lungay, Chandy Rafael Pelaez, and Niña Taray under the supervision of their
teacher, Mr. Jefred Son U. Aligsao of Talisayan National High School – Division of
Misamis Oriental which was performed as their culminating activity in Work
Immersion.

Balikbayan Girl
An Adaptation of The New Yorker in Tondo by Marcelino Agana Jr.

Characters:

 Aling Atang - Nanay ni Kikay

 Kikay/Francesca - Anak ni Aling Atang nga gikan sa New York nga
nagpuyo sa Lipata, San Jose, Talisayan, Misamis Oriental ug fiancé ni Tony
ug bestfriend ni Nena
 Tony - Engineer nga kababata ug fiancé ni Kikay. Naay relasyon ni Nena.
 Nena - Professional nga naay relasyon ni Tony, bestfriend ni Kikay, amiga ni
Totoy
 Totoy - taong kanto, bestfriend ni Tony, hilom nga nakagusto ni Nena nga
iyang barkada

38
 PROLOGUE

L1 FRANCESCA: All right! Let’s party!

L2 JEANETTE: Cesca! Do you really have to go?
L3 FRANCESCA: Yes Darling, but don’t fret. I’m really going to miss you all.
L4 JEANETTE: Don’t you ever forget me dear!
L5 JAMAL: Where is your home again Cesca?
L6 FRANCESCA: It’s in San Jose, Talisayan.
L7 JAMAL: Why do you want to go back? Stay here! Stay with us!
L8 JEANETTE: What’s the life of a party without you Francesca? Right Jamal?
L9 JAMAL: We’re going to miss you.
L10 FRANCESCA: I love you friends, but tonight, let’s partyyy!

SCENE 1
The parlor of Mendoza's house in San Jose

L1 MRS. M (Kamolo kanaog paingon sa purtahan)- bisita, permanente nalang bisita!

Puro nalang bisita tibook adlaw! Jusko naingon naman kita ini pagka Kris Aquino!
(Iyahang g abrihan ang purtahan. Paingod og solod si Tony nga nay dala bulak)
L2 MRS. M: Oh, ikaw man diay kanaa Tony! Abi kobag naa ka sa siyudad?
L3 TONY: (Nakurat)- ikaw naba kanaa aling Atang?
L4 MRS. M: (Nikatawa)- Oo loy! Kinsa man diay imong pagtoo? Nagtoo ka na ako na si
Sharon Cuneta?
L5 TONY: Wala naman gayud ko nakaila nimo aling Atang .
L6 MRS. M: (Naulaw, kamoo kapot sa iyang bag- ong gupit na buhok)
Nagpasalon ra intahon ko loy, bati diay?
L7 TONY: Nindot ‘noon te! Abi gani nako ikaw na si Kikay.
L8 MRS. M: Ikaw gayud Edgar, poros ra gayud Ka binoang hangtod karon, Ali dayon.
(Kalit nay ni kanta)- “Welcome, Welcome, Welcome”
L9 TONY: Kinsa ba kaha naa sila aling Atang?
L10 MRS. M: Heee! ako mga silingan nga pilingon singer! Pasagdi kanaa sila. Kumusta
na diay tood imo mama?
L11 TONY: (Naglingkod)- maayo gihapon te, gimingaw na daw siya dire sa San jose.
L12 MRS. M: (Niabay kang Tony)- Pila na gani ka katuig nilakaw Tony?
L13 TONY: Tulo ra ka bulan te.
L14 MRS. M: Tulo ka bulan? Kalooy sab ni Mareng, sigurado ko wala na gayud to
makaagwanta. Mooli gayud toa.
L15 TONY: Lage te, lahi ra biya ming mga Engineer, kung nay project kuhaon dayun mi
insigida.
L16 MRS. M: Jesus! Dapat lang makauli na diri imohang mama, gimingaw nakog dula og
tong-its uban siya.
L17 TONY: Gimingaw na gihapon siya ana ante.
L18 MRS. M: Lisod gayud limtan imong kaagi. Kung taga San Jose ka mobalik gayud ka
dire. Pero ambot lang sa ako anak na si Kikay. Katong panahon nga nia pa siya sa
New York, wala man nibatig kamingaw.
L19 TONY: (Nakulbaan)- Kanus-a diay ni-ari balik si Kikay aling Atang?
L20 MRS. M: Kadto rang niaging Lunes loy. Tan-awa ra gani unsa iyahang gi buhat sa
ako. Gipaspasan kog pa-salon, pamanicure bisag moadtog merkado hala dapat
plakada akong nawong sa make-up. Nahimo na ‘noon ko kataw-anan sa uban. Di

39
 najud nako mapugngan ako anak. Giignan pako og dapat Amerikano daw dapat kog
dating. Ginoo pasayloa!
L21 TONY: (Nikatawa) – Nahimoot ko ni Kikay te oy. Asa diay si Kikay karon Aling
Atang?
L22 MRS. M: Toa sa kuwarto Loy, nikatulog pa.
L23 TONY: (Nitan-aw sa orasan)- Nagkatulog pa?
L24 MRS. M: Ana siya Loy (Fake American accent)- “New York people do not wake-up
before 12 o’clock noon.
L25 TONY: Mag-alas 10 naman ante.
L26 MRS. M: Kung nasayod kalang Loy, pag-abot niya dire hala sali inom, sige rag
lakwatsa, disco dire, disco didto. Hesusmariajosep!

L27 TONY: Palihog nalang kog ingon niya te nga nibisita ko. Palihog nalang gihapon ko
og hatag danhing bulak sa iyaha.
L28 MRS. M: Ngano man, molakaw na ikaw? Ayaw sa Loy malipay gayud to makita ka
hulat lang sa ako pukawon si Kikay.
L29 TONY: Oo sige te.
L30 MRS. M: Og Loy, hapit nako malimtan, ayaw kog tawaga nga Aling Atang molagot
toa si Kikay.
L31 TONY: Huh? Kay ngano man ante?
L32 MRS. M: Ah basta, perteng artiha danhing anak nako, dapat daw ko’g tawagon nga
Mrs. Mendoza.
L33 TONY: Ok. Sige aling a-- este… Mrs. Mendoza.
L34 MRS. M: Daw Tony, ayaw kalimti, tawaga na si Kikay og “FRANCESCA”
L35 TONY: Pranceska?
L36 MRS. M: Dili Pranceska, Fran.. ces… ca.
L37 TONY: Ok. Segi Mrs. Mendoza.
L38 MRS. M: Sige ako na pukawon si Francesca Loy.

(Kalit nay nitoktok sa purtahan)

L39 MRS. M: Dios Mio!

L40 TONY: Ako na moabli Mrs. Mendoza.

(Gi ablihan ang purtahan)

SCENE 2

L1 TOTOY: Toonnyyy?
L2 TONY: Totoy! (Gibangga ilang mga tiyan)
L3 TOTOY: Tarantadong talong!
L4 TONY: Manok na Pula! Pila naba ka tao imo naraid?
L5 TOTOY: Wow! Ikaw pila naman ka bangko imo nakawatan? (Nikatawa).
L6 TONY: (Gitoklod si Michale daw nakit-an ang is aka kaha nga sigarilyo)- Oh yosi
panghatag ra ged.
L7 TOTOY: (Kamolo sigarilyo)- Abi nakog nia ka sa Cagayan.
L8 TONY: Oo brad, niari rako dire para kang Kikay.
L9 TOTOY:(Nisindi sa yosi)- Dawbi Brad! Permente nalang bati ang dungog akong
gakadunggan kang Kikay.
L10 TONY: Lage brad, ako sab (Nilingkod).

40
L11 TOTOY: (Nilingkod og apil) Ana gani mga silingan nga naboang na daw siya karon
L12 TONY: Gikan man si Kikay sa New York.
L13 TOTOY: Huh? Diay? Niunsa man siya didto?
L14 TONY: Nagskwela siyag Hair culture daw Beauty Science. Nia pay diploma!
L15 TOTOY: Wow! Taasag buhok ni Kikay. Lahi ra ged nis Kikay.
L16 TONY: Ay Oh, dili na siya si Kikay, kay siya na si Francesca.
L17 TOTOY: Fran… cis… ca?
L18 TONY: Ang Ms. San Jose nahimo na siya og Ms. New York (nagkatawaha)
L19 TOTOY: Si Iday? Usa ka Amerikana? Ayaw kog yaga-yagae (nagkatawaha) kaila ta
dana niya sugod pa atong namaligya siya sa puto.
L20 TONY: (Nagkatawa) Kadumdom ka sa una katong getulod nato siya sa kanal?

L21 TOTOY: Oo oy, kadumdom pako ato, gelakag pa ged ta niya taman pikas kanto
hahahaha.
L22 TONY: Kusog pa ged kaayo manumbag hahaha.
L23 TOTOY: Hayysstt… ang sa una nga Kikay layo ra kaayo sa karon.

(Kalit nay nitoktok sa purtahan, giablihan ni Michale og nisulod si Nena)

L24 NENA: Totoy?

L25 TOTOY: Nena, mylabss!
L26 NENA: Tony? Unsa ni? Empoy og Bebot reunion?
L27 TOTOY: Naa mi dire para kay Kikay.
L28 NENA: Pati pod ko nana siya?
L29 TONY: Gi-pukaw pa ni aling Atang.
L30 NENA: Gi-pukaw pa? nganu? Naghagok pa diay?
L31 MRS. M: Mata na siya! Nag-ilis pa lang. Good morning Nena good morning Totoy.

(Nakurat si Nena og Totoy sa ba-ong hitsura ni Aling Atang)

L32 MRS. M: Well, Totoy? Well Nena? I said good morning. Nganong inana man mo
makatotok sa akoa?

(CHUMBA: (nagkanta) Bakit kayo ganyan makatingin, super sexy naman ng ating bituin. Si
aling Atang pwede bang patikim)

L33 MRS. M: Umalis nga kayo dito. Layas!

L34 NENA: Ikaw na aling Atang?
L35 TOTOY: Ginoo ko, aling Atang!
L36 TONY: Tol, dili na siya si aling Atang, siya na si Mrs. Mendoza karon.
L37 NENA: Ginakusi ko nimo sa una katong bata pa bitaw ko aling Atang.
L38 MRS. M: You were a very naughty girl, always fighting with Kikay. Labi na si Totoy
nga permig pangawat sa mangga.
L39 TOTOY: Naa pa ang manggahan?
L40 MRS. M: Oo, naa pa sa luyo.
L41 TOTOY: Nena! Manguha ta mangga ta!
L42 MRS. M: Segi testingi ged ninyo kay pang bimbingon ta ged mo.
L43 TOTOY: Joke joke ra gani.
L44 MRS. M: Saba diha Totoy, ali ubani ko sa kusina.
L45 TOTOY: Hala! Ngano man? Unsaon man ko nimo aling Atang?

41
L46 MRS. M: Abno! Magpatabang rako sa pagdala sa mga butang.

SCENE 3

L1 NENA: Well, Tony?

L2 TONY: Nganu nag anhi man ka dire, Nena?
L3 NENA: Baman pd dili?
L4 TONY: Wala pa nako na estorya si Kikay.
L5 NENA: Wala pa? abi ba nakog na ingon na nimo sa iyaha.
L6 TONY: Dili na nako kaya.
L7 NENA: Oh, Tony… Tony.

L8 TONY: Paghunahuna gud Nena, tuo kag sayon makipagbreak sa tao nga engaged
nas ako ah.
L9 NENA: Onsa man ged. Ako o si Kikay?

(CHUMBA: (Nagkanta) Sinong pipiliin mo? Si Kikay ba o Ako?)

L10 NENA: Puwede ba!

L11 TONY: Siyempre ikaw ged akong pilion, ikaw man ang akong gihigugma.
L12 NENA: Ngano? Tony? Nganong gi hanggat paman ged ko nimog pakasal nga
engaged paman diay ka ni Kikay.
L13 TONY: Maypag wala nalang nako gisaba sa imo. Mao ning gakakuha sa akong
pagkamatinud-anon.
L14 NENA: Honest? You call yourself honest? Samantalang gi pa fall ko nimo pero nana
diay nanag-iya sa imoha.
L15 TONY: She loved me at my worst. You have me at my best. Pero gibaliwala rako
niya. Mas gipili niya nga pasakitan ko.
L16 NENA: Can you please stop? Undang sa imong mga drama deh, basin malaparo
teka.
L17 TONY: Sorry.
L18 NENA: Og imoha rapa ged ge sekreto ang atong engagement.
L19 TONY: Nahibal-an man ged nako nga pauli na si Kikay.
L20 NENA: Gikapoy nako sa mga sekreto Tony.
L21 TONY: Pasagdi sa mi ni Kikay nga mo-istorya karon.
L22 NENA:Well, dali ah kay dili nako kahulat og dugay.
L23 TONY: Ang problema kung onsaon nako siya pag istorya karon.
L24 NENA: Naay problema?
L25 TONY: Naa man ged ka og si Totoy.
L26 NENA: Gusto ka nga molakaw mi duha ni Totoy?
L27 TONY: Dili, gusto lang nako nga pasagdan mi ninyo duha mag storya.
L28 NENA: Ako na bahala ni Totoy.

SCENE 4

L1 MRS. M: Paminaw, nana si Kikay pero ayaw ninyo siya'g tawaga nga Kikay FRAN…
CIS…CA dapat!

42
L2 KIKAY:Ohhh, hello, hello, darling, you darling, Nena my dear! How cute you become
(Kiss Nena). Tony, my little pal (Shake hands) and Totoy my friend. Come sit down!
Ohh1 Mumshie! Mumshie!!!
L3 MRS. M: Onsa naman sad?
L4 KIKAY:How many times must I tell you mumshie dearest, to never serve
juice in water glasses.
L5 MRS. M: Dili man ged nako makita imong gusto nga baso.
L6 KIKAY:Ohh poor, mumshie, nevermind.
L7 MRS. M: Sige nah, mag adto sa kog merkado.
L8 KIKAY:Don't forget to put lipstik okaayy?
L9 MRS. M: Hayyy ambot.
L10 KIKAY:Poor mumshie, she is problem, (waves her cigarette dayon gi dagkutan ni
Totoy)
L11 KIKAY:Merci.
L12 TOTOY: Huh? Si Totoy man ko dili man Merci akong ngalan.
L13 KIKAY:I said Merci it means thank you in french.
L14 TOTOY: Merci.
L15 NENA: Istoryahi pud mi kung onsay naa sa New York.
L16 KIKAY:Aahhh, New York? Ready namo sa mga amazing, exciting romantic
stories?
L17 TONY: Pila diay ka kamonths or year didto?
L18 KIKAY:10 months, 4 days, 7 hours and 21 minutes!
L19 TOTOY: Grabi, topa gihapon imong utok didto?
L20 KIKAY:Yes! Yes! Darling, nagpabilin pa gihapon akong gugma didto. Kung maglingi
ko bisag asa naa gihapon didto akong heart. Feeling nko, I am not home, even
though I am already here gina ingon nila nga nakauli nako but feel nako naa pa
gihapon ko didto! Oh! New York, my very own New York.
L21 NENA: Siguro, mulakaw na ta.
L22 TONY: Mao ged, murag nakadisturbo man siguro ta diri.
L23 NENA: Pasagdan nalang nato siya nga maghandumhandum sa iyang kaagi.
L24 TONY: Siya pa ang babae nga permi natog gakauban sa pag pangaligo sa sapa sa
una?
L25 TOTOY: (Gi awat awat si Kikay) Oohh New York, my dream place, my very
own New York, my dream place, my very own New York.
L26 KIKAY: Oh listen, now, in New York, it's springtime. The daises are just appearing in
central park. When spring comes around each year, we New Yorkers, we make a
sort of pilgrimage to an old tree. It's been growing there ever since New York was
New York. We call it "Our Time".
L27 NENA: Nasabtan teka Kikay! Inga ana gihapon ang akong gakafeel sa atong kahoy
diri.
L28 KIKAY:What tree?
L29 NENA: Ang mangga nga kahoy nato girl! Kadomdom ka atong kahoy nga atong
gasakaan.
L30 TOTOY: Nasapon pa ged ta dadto ni aling Atang! Hahaha ge huboan pa ged kog
short
L31 NENA: Mao gyud! Nidagan pagid ka nga hubo tanan hahahaha.

(Nagkatawaha ang tanan except kay Kikay)

L32 KIKAY:Wait, what tree ba, ang talking?

L33 NENA: Atong mango tree.

43
L34 KIKAY:Oh! That tree.
L35 TOTOY: Ngano Eday, dili diay ta parehas tanan na feel ato nga kahoy?
L36 KIKAY:Of course not! They're completely different! I don't feel the same emotion
you've feel for that tree.
L37 NENA: Pero para sa amoa importante kaayo to nga kahoy kay daghan kaayo tag
chada nga mga memories ato nga kahoy kay symbol to siya sa friendship. TNTK?
Remember?
L38 KIKAY:Don't be silly Nena.
L39 TONY: Og nagtubag pa ged ka!
L40 KIKAY:Oh! You people can't understand all of this.
L41 TONY: Dili ged namo masabtan kay wala paman mi naka adto sa New York.
L42 KIKAY:Exactly! Wala pamo naka adto sa New York! Our special tree over there is
very different! It stands for the Manhattan skyline and for the Copacabana and for
Coney Island in summer and for Grant's Tomb on Riverside Drive and for Tuesday
nights and Eddie Condons with the crowds spilling all over the side walk and for the
nickel ferry ride to Staten island and for the St. Patrick's Day Parade down with Fifth
Avenue and for all… Oh. It's impossible to make you see.

L43 TONY: Sos! Mas ganahan pako sa kahoy nato.

L44 TOTOY: I second the motion.
L45 NENA: I move to close the nomination!
L46 KIKAY:Oh you funny, funny children!
L47 NENA: Mag adto ko didto sa kahoy mangamusta lang ko, gusto ka mag uban Kikay?
L48 KIKAY:Hahaha… Of course not, do go.
L49 NENA: Ikaw? Totoy? Uban ka nako?
L50 TOTOY: (Excited kaayo nga ni tindog) Of course my loves! Bisan asa pata padulong.
L51 NENA: (In Kikay manner)- No darling… just out to our dear little backyard.
L52 TOTOY: (Gi awat awat gihapon si Kikay)- oh, the backyard of San Jose.
L53 NENA: Hoy chong! Onsa man ged uban ka? O dili?
L54 TOTOY: Ingon gani ko! Hulat lang.

Note to the teacher:

You may search in Google the “ypf sample script for one-act play” and
click the first result and it will automatically download the sample script. You
may use this another sample in your class.
Thank you.

WHAT’S
44
MORE
Activity 3. Read and analyze again the given sample of one-act play script.
1. Determine the staging modality that is suitable for the script and explain in 3-5
sentences.
2. Identify the (a) elements, (b) techniques and (c) literary devices found in the
sample.

WHAT I HAVE LEARNED

Complete the paragraph with the necessary words or sentences that best describe
what you have learned from the discussion. Write your paragraph in your notebook.
Follow the format below.

I have learned that

___________________________________________________________________
___________________________________________________________________.

ASSESSMENT

Activity 4. Do this activity using a long bond paper.

1. Write one scene for one-act play by applying the various elements,
techniques, and literary devices.
2. Determine the type of staging modality that is suitable for the script that you
created.

45
Refer to this rubric for your guidance:

Excellent Good Fair Needs Work

 
16 pts 13 pts 11 pts 9 pts
Structure Excellent Good Fair Needs Work

Play Play follows the Play attempts to Play does not

thoughtfully proposed follow structure, have a clear
follows the structure, and but sections are beginning,
proposed there is a somewhat middle, and
structure, and beginning, unclear. Scene ending.
there is a clear middle, and end. changes are
beginning, added
middle, and unnecessarily.
end.

Dialogue Excellent Good Fair Needs Work

Dialogue is Dialogue is Dialogue is Dialogue is

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

Development Excellent Good Fair Needs Work

Audience gains Audience gains Audience gains The scene is

sufficient some insight into little insight into extremely
insight into the the characters the characters undeveloped.
characters and and the conflict. and the conflict, The copy looks
the conflict. Holes may exist, and is left with like an initial
Scene either but the situation little information draft.
fits a character is explained and on the characters
with his/her explored. and/or situations.
greatest fear or
new alliances
develop.

Nuts and Excellent Good Fair Needs Work

Bolts
One-act script One-act script is One-act script is One-act script is
is formatted typed and clear. typed, but for unclear and does
perfectly, per However, there many reasons not follow
the example are minor errors including guidelines.
provided in either in formatting or
class, and has formatting or grammar and
no issues with clarity (grammar, spelling, it is not

46
 grammar or spelling, etc.) easy to follow.
spelling.

Stage Excellent Good Fair Needs Work

Direction
Script Script illustrates Script has some Few if any stage
illustrates developing stage stage directions, directions are
appropriate, directions. but was not written.
developed Actions in thoughtfully
stage performance developed in
directions in may not be writing.
italics. written.

You are now done with the lessons for Module 3.

Congratulations and keep going!!!
It’s time to proceed to Module 4.
REFERENCES:

Contributor. 2018. "How to Write a One Act Play" accessed July 13, 2020.
https://penandthepad.com/write-one-act-play-2123970.html
"Elements of Drama: Characters, Plot, Setting & Symbolism." Study.com. July 13,
2013. https://study.com/academy/lesson/elements-of-drama-characters-plot-
setting-symbolism.html.
Hildy, Franklin J. 2018. Theatre Design. Encyclopedia Britannica, Inc. Enclopedia
Britannica Website. Accessed July 13, 2020.
https://www.britannica.com/art/theatre-design/Theatre-forms
Roberts, Scott. 2019. Types of Staging in Drama. Our Pastimes Website. Accessed
July 12, 2020. https://ourpastimes.com/types-of-staging-in-drama-
12337020.html
Shaurya, Ria. 2015. English Literature Notes - The One-Act Play. Accessed July 14,
2020. https://riashaurya.wordpress.com/2015/07/06/the-one-act-play/

47
Internet Sources:

https://appealofemma.wordpress.com/2014/05/16/adaptation-appropriation-and-
intertextuality/
https://courses.lumenlearning.com/atd-fscj-literatureforhumanities/chapter/elements-
of-drama/
http://englishtextualconcepts.nsw.edu.au/content/intertextuality
http://www.literarydevices.com/intertextuality/
https://literarydevices.net/drama/
https://literaryterms.net/comedy/
https://literaryterms.net/parody/
https://penlighten.com/understanding-intertextuality-with-examples
https://plato.stanford.edu/entries/quotation/
https://thedramateacher.com/types-of-tragedy-for-drama-class/
https://thewritepractice.com/intertextuality-as-a-literary-device/
https://www.basicknowledge101.com/pdf/literacy/Intertextuality.pdf
https://www.britannica.com/art/dramatic-literature
https://www.britannica.com/art/tragedy-literature
https://www.matrix.edu.au/literary-techniques-allusion/
https://www.matrix.edu.au/literary-techniques-intertextuality/
https://www.merriam-webster.com/dictionary/drama
https://www.thoughtco.com/drama-literary-definition-4171972
https://www.ultius.com/glossary/literature/genres/farce.html
https://www2.anglistik.unifreiburg.de/intranet/englishbasics/
DramaTypesofStages01.htm#proscenium

ANSWER KEY:
MODULE 3 – LESSON 1

What I Know What’s In Assessment

1. d 1. Drama is another genre of literature I.
2. a which consists of various 1. True
3. b characteristics that are different from 2. False
4. d the other types of literary genres. It is 3. True
5. LESSON
c 1 – WHAT
a fictional
I KNOW
representation done through 4. False
6. a dialogue and performance. It is a type 5. True
7. c 1. C of play which is written for theatre, 6. False
8. b 2. D television radio and film. 7. True
9. d 3. B 8. False
10. c 4. A 2. A playwright becomes effective 9. True
5. B when he or she is able to consider and 10. False
6. A apply all the various techniques and
7. B literary devices involved48in writing a II.
8. B play. Moreover, he or she should also 1. d
9. A put into consideration all the 2. i.
10. B necessary components in the 3. g
structure of drama, including the plot, 4. f
 MODULE 3 – LESSON 2

What I Know What’s In Assessment

1. b 1. Intertextuality is the manner in which one I.
2. a text influences another. 1. True
3. b 2. 2. Implicit Reference
4. b  It provides readers with a much richer 3. indirect
5. a reading experience. 4. True
6. c 5. direct
 It helps give new interpretations of
7. d
literary works as it comes with a
8. a II.
9. a different context, idea, or story into the
1. d
10. a text.
2. a
 It provides pleasure in terms of 3. h
connection and continuity of cultures 4. c
and texts. 5. g
 It invites readers to revisit the earlier 6. j
text, but this time, with new insights 7. i
and meanings relevant to the present 8. b
time. 9. e
 It causes readers 49 and audiences to 10. f
raise questions concerning the nature
of authorship and originality of the text.
 It helps students write their own texts
Lesson 3
WHAT I KNOW
1. A 6. C

2. D 7. D

3. A 8. A

4. B 9. D

5. D 10. A

Lesson 4
WHAT I KNOW
1. A 6. A 50

2. D 7. B
51
52