INTRODUCTION TO DRAMA

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BACKGROUND
Essential Elements

According to The Oxford Companion to English

Literature, dramatic literature is "literature in which
plot and character are developed through dialogue impersonation (action)
and action," emphasizing performance aspects
distinct from other literary forms (Drabble, 2006). narrative (story)

Similarly, The Cambridge Guide to Literature in English spectatorship (audience).

highlights that dramatic literature's "written text
serves as a guide to enactment" and is uniquely
structured for audiences to experience live (Ousby,
1993).

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ELEMENTS OF DRAMA
The elements of drama are similar to the elements of fiction with two additional distinctions ---- DIALOGUE and
SPECTACLE.

Character Plot Setting:

Characters drive the action in Plot is the sequence of events and The setting provides context,
dramatic literature and embody actions that form the story. situating the characters in a
the conflicts and themes. particular time and place.
The Norton Anthology of Drama According to Aristotle’s Poetics, It adds to the mood and often
describes characters as "the agents plot is the "most important feature influences characters' actions, as
of action whose desires, of drama" because it provides highlighted in The Elements of
motivations, and interactions structure and is key to maintaining Drama by Patricia P. Pavis, who
shape the plot" (Gainor et al., audience engagement through emphasizes that setting "frames
2009). rising action, climax, and the actions within a coherent
resolution (Aristotle, trans. world" (Pavis, 2003).
Butcher, 1997).

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ELEMENTS OF DRAMA
Theme Dialogue Spectacle
Theme is the central idea or Dialogue is the spoken exchange Spectacle involves the visual
underlying message, which gives between characters. It reveals elements of a play, such as
depth to the play. character traits, motivations, and costumes, scenery, and lighting,
advances the plot enhancing the audience's sensory
experience.
The Cambridge Guide to Theatre As Richard Hornby states in Drama, Aristotle also identified spectacle
defines theme as "the moral or Metadrama, and Perception, as an important element, though
ethical questions and social issues "Dialogue is the heart of drama, he noted it as the "least artistic"
explored" that often provoke encapsulating conflict, and because it depends on visual
thought and introspection in personality" (Hornby, 1986). appeal rather than narrative
audiences (Banham, 1995). (Aristotle, trans. Butcher, 1997).

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PHILIPPINE DRAMA
The development of Philippine theater is best expressed
by examining the historical periods that produced them.
These are the pre-colonial, Spanish, American, Post – war
and contemporary periods.

INDIGENOUS PERIOD

Like most early forms of drama, Philippine drama Early Spanish historians considered the early
during this time was in the form of rituals, song and Philippine dramatic forms as crude and pagan
dances and customs of different ethnic tribes because they do not conform to the western
(Tiongson, 1975). form. However, these various rituals, songs and
dances and customs were considered important
by the indigenous peoples since they reflect the
life of the community which they were all a part
of.

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PHILIPPINE DRAMA SPANISH INFLUENCED DRAMATIC FORMS

RELIGIOUS DRAMA SECULAR DRAMA

The cenaculo is a dramatic performance to The komedya or moro-moro, according to Fernandez
commemorate the passion and death of Jesus Christ. (1998), shows a love affair between a Christian
princess and a Muslim prince or a Muslim princess
and a Christian prince.

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PHILIPPINE DRAMA AMERICAN INFLUENCED DRAMATIC FORMS

THE SARSUWELA THE PROSE PLAYS -- DRAMA

Sarsuwela is considered the father of Philippine Dramas are prose plays minus the music. It still
drama. It is a musical comedy or melodrama in three followed a “predictable formulae of family conflict
acts. It found an audience among the masses since it and tragedy, romantic tragedies and the like”
mainly deals with only one subject matter – the (Fernandez, 1998).
Filipino domestic life.

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PHILIPPINE DRAMA AMERICAN INFLUENCED DRAMATIC FORMS

THE BODABIL
The bodabil or stage show is not really a play but a
mixture of songs, dances, comedy skits and romance
dramas.

These plays are considered the inspiration of variety

shows in the Philippines.

THE LEGITIMATE THEATER

The legitimate plays are those plays which have
“artistic merit”. This period also saw the proliferation
of plays in English. Mostly performed in classrooms
and as school productions, these plays marked
“American influence on Philippine theater”
(Fernandez, 1984, p. 66).
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Over its 400-year history, Philippine theater is an obvious amalgamation of various
influences.
Our pre-colonial theatrical traditions show that we have been influenced too by our
Asian neighbors but at the same time our colonial theatrical influences during the
Spanish and American occupation (as seen in the religious plays and Western
theatrical forms, respectively) tell us that Philippine theatrical tradition is a hybrid
just like its people.
This leaves space for more Filipino playwrights to present and create new dramatic
forms for years to come.

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PREFINAL GRADING PERIOD REQUIREMENT
Class Dramatic Presentation Overview

Objective: To collaboratively perform a short dramatic presentation that demonstrates understanding

of plot, character, dialogue, and theme.

Number of Groups: Four (4) with 10-11 members per group

Dates of Presentation: Two groups on November 27 (Tuesday) and Two groups on November 29
(Thursday)

Length of Presentation: 30 minutes per group only

Venue: To be determined by the groups

Texts: A selection of texts will be randomly chosen by the groups

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STEP 1: GROUP FORMATION AND ROLES
Director: Oversees the overall vision and organizes the group.
Writers: Collaborate to create the script or dialogue (all group members can contribute).
Actors: Portray the characters in the presentation.
Stage Managers: Handles props, costumes, and setting arrangements.

Task: Assign Roles

Each group member should be assigned a role.

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STEP 2: READ AND ANALYZE THE TEXT
Group Discussion: Begin by reading the text as a group. Discuss the main themes, characters, and setting of the
scene to ensure everyone has a good understanding.

Identify Key Moments: Determine the important points in the text assigned. As your performance time is only
30 minutes, each group will have to choose only important scenes to present.

Modifying the Script: Submit the shortened or modified version of the text/script that will become the basis of
your performance.

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STEP 3: GRADED REHEARSALS
First Read-Through: Begin with a read-through of the scene while blocking and staging, focusing on getting
comfortable with the lines and movements.

Build Emotion and Expression: Practice using vocal tone, pacing, and facial expressions to communicate your
character’s feelings. Remember that dramatic literature relies heavily on conveying emotions to the
audience.

Refine and Practice: Rehearse multiple times, incorporating any feedback from group members or the
teacher. Focus on timing, expression, and seamless movement.

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STEP 4: STAGING AND BLOCKING
Groups must prepare and present their plans for their stage setup, their props and costumes, and their
actors’ blocking.

Stage Setup: Decide how you will arrange your stage area. Identify where each character will enter, exit,
and position themselves during the scene.

Blocking: Practice movement on stage, deciding when and where characters will move, and where they
will face. Consider how body language can enhance character portrayal.

Props and Costumes: Plan any simple props or costume pieces that might add to the realism of your scene
(with teacher approval). Props should enhance the scene without distracting from it.

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THE PLAYS
Titles KPKK
"Kapunongan sa
mg Ang Paglilitis ni
Walang Sugat Killing the Issue
Pangulo sa Mang Serapio
Kadautan sa
Kalibutan (KPKK)
Playwrights Karl Gaspar Severino Reyes Paul Dumol Karlo David
Brief Description An assembly This is a story of A poor blind man A story of a political
of devils personifies star-crossed lovers named Mang clan in Mindanao
personal and amidst the Serapio is accused and how they try to
structural evils in backdrop of the of crime he didn’t hold on to power
the modern world Philippine commit. It tells the no matter the cost.
Revolution story of the elusive
justice in the
Philippines.

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