@ WHAT I KNOW Directions: As you explore more deeply into the lesson at hand, let us check your knowledge about the essential elements confined in a one-act play, Read each item carefully and be able to choose the correct answer. Write your answer on a separate sheet of paper. 1. Itis a literary element that pertains to the sequence of related events in drama. A. Conflict B. Moral ©. Plot D. Theme 2. A character functions to emphasize the qualities of another character. ‘A. Antagonist B. Anti-hero C. Foil D. Protagonist 8. Whois the one opposing the central character? A, Antagonist, B. Anti-hero ©. Foil D. Protagonist 4, It's a type of character that is more realistic and shows development orchanga, A. Flat B. Round C. Square —_D. Stock ‘5. Which of the following is the main character in the play? A. Antagonist B. Anti-hero C. Foil D. Protagonist 6. Itis the time, place, and condition of a literary piece, A. Crisis B. Moral C. Setting D. Tone 7. A plot consists of five parts. Which amang the choices presents a logical sequence ofthe plot? ‘A. Exposition, climax, rising actions, falling actions, resolution B. Exposition, climax, rising actions, resolution, falling actions C. Exposition, rising actions, climax, falling actions, resolution D. Rising actions, exposition, falling actions, climax, resolution 8. Which part of the plot where the conflicts is/ are manifested and developed? A.Climax _ B. Exposition ©. Resolution D. Rising actions 9. Which among the items dees NOT qualify for setting? A. Atmosphere C. Geographic location B, Climate or weather D. Historical period 10. Which of the following refers to the people, animals or even ideas who are given life in the play? A. Characters B. Dialogue C. Plot D. Setting2 WHAT'S IN Do you still remember what you have learned im the previous module? | hope you were able to correctly comprehend the previous Jesson about understanding intertextuality which is a technique ofa drama. In theatre, the actor is in the total control. The director was not in the house last night, the designer wasn't there, the author's dead. It is just us and the audience.” ~lan McKellen-- | Directions: Read and analyze the questions below and write your answer on a separate sheet of paper. + Have you ever watched a live or televised stage play before? if yes, haw was your experience watching i? 4 What can you say about the way the cherecters portrayther roles? “4 What was the ending ofthe play you watched? *& Ponder the quotation above. According fo Sir fan Mekelion, who are the only persons visible tothe audience during stage play? 4 Do you agree with him when he said that it is only the actor whe ean take total eontral of an ongoing show ar performance and not anyone else? Why or why not?oy © WHAT'S NEW Directions: Read the following excerpt from Wilfredo Maria Guerrero's Call Me Flory, a one- act play. ‘STAGING: (When the curtain rises, we see Florencia and Matilde, seated on the sofa, in ‘Matiide's sala, talking.) FLOR: Yes, Matilde! | came right away when you called me up by phone to come and see you. MATIL: That's nice of you Mrs, De los Reyes, FLOR: | hope you don’t mind but my last name is Caracoles. My full name really is Florencia Aragon de Caracoles. But just call me Florencia. It's quite an hanor to know you, Matilde. ‘ve heard you are one of the best known society wamen in Manila. MATIL: Oh don't mention it. tisn't true, not true at all. FLOR: You're so modest Matilde, MATIL: | was told by Marilu to get in touch with you. She said you'd surely he FLOR: Did you say Mariu called you up? Marilu de Legazpi? Whose husband that big department store at Buendia? MATIL: Yes. But the reason that | called you up was. FLOR: Oh well my husband bough! the Legazpi’s rice fields in Pangasinan that cost us - 700,000.00 but it was worth it. MATIL: That's nice. FLOR: Well now, just how did you want me to callaborate—er—help? MATIL: I's a benefit show we are holding to collect funds for the Sapang Palay people. You know the place? FLOR: (With a gesture of disgust). Uff, yes. Those squatters who were formerly in intramuros. ‘Thank God they are evicted. Can you imagine? | used to hear mass everyday al the Cathedral and whenever we passed in our Mercedes benz 600 by those streets, | felt my self-suffocating ‘with the smells and sights of those horrible people. Uff, such disgusting squatters’ people. | ‘couldn't hear the mass properly and I couldn't pray because of them. MATIL; I's not their fault, really. After the war thousands came from the province and didn't know where ta seitie. the owner of, Answer the following questions briefly 1, What is the title of the play? 2. Who were the characters in the play? 3. Whereis the setting of the one-act-play? Describe the place.4. Characterize the following persons in the excerpt of a play and give your description, based your answers on the dialogue. ‘Character A; Description: ‘Character B:, Description: 5. If you were to rewrite the one-act play, how would you end the story? £ WHATIS IT These are the people or animals that are subjected to in the drama that are portrayed by the actors and actresses. A play can take its essential form because of the characters. They embody an integral part of drama. Character can be categorized according to funetions and types. Conceptualizing Characters IN THE DRAMA (ONE-ACT PLAY) _ \gonist — the main character in the play: | CHARACTERS | ACCORDING TO FUNCTION ‘a minor character who is a cimcton | tally shows failed goats ‘Round — a character who is realistic; has sufficient motivation for his actions and behavior, experiences change and development in the course of the play B. Flat __—a character who has one distinct CHARACTERS characteristic; static or does not change ACCORDING TO TYPES C. Stock — a literary characier who manifests Several trails that particularly apply to a group of peapie or class; Example: a crue! stepmotherMake a character chart In making the character chart, identify the names of your fictional characters. Since this: might be your first attempt in crafting a one-act play, try to think of names that are simple and ‘easy to remember. Desoribe each of your character's personality and appearance. Be clear as to how you want your characters to be and how their characterization will impact your story. Example: Justin ~ He is from a rich family. He is stubborn and likes to do things his own way. He is competitive and assertive. He is tall, handsome and has long wavy hair. Conceptualizing Setting itis the place, time, and condition in which the events occur. In other words, setting can be displayed through geographical lacation, historical era/period, weather or climate, season of the year, time of day, or even type af building A basic formula ta remember is: setting = scene (time + place) + mood/atmosphere. For example, the combination of a time like “midnight and a place like “a Gothic cemetery” has a natural resulting atmosphere that is “eerie or scary”. This could be the static backdrop of a novel on Dracula, Unusual or unexpected details, however, may be added. Setting, then, becomes more dynamic ‘and ceases to be a mere introduction or decoration in the story. In our example, the cemetery at night ‘could be “invaded by a group of teen-age Halloween ravelers who bring their class party to an ‘authentic setting, thus waking up the dead, both in a literal and figurative way. The niches could be lined with lantems and the tombs laden with food. ‘Write the setting In deciding an the setting, think of a place that is familiar to you and which you can vividly describe. This will help your readers create a mental picture of where the story is happening ‘Then identify the time when the story's scene is captured. Some writers describe the season or specify the era to let the readers understand the other elements of the story. Others mention the ‘cultural or religious orientation of the people in the identified setting to build the story's characters and the plot, Conceptualizing Plot The storyline or the artistic arrangement of events in the drama, It comprises exposition, rising action, climax, falling action, and conclusion. Aone-act play is a play thathas anly one-act, as distinct from plays that occur over several acts, One act play may consist of one or more scenes,To begin your plot, you Heed te choose the genre Of your Slory followed by these Guide Questions: Genres of Story Mystery story or quest: Will the character solve the mystery or find what he seeks? Romance: Do the tovers get together and live happily, or do they separate and feel miserable? Adventure or war story: Does the character survive the hostile environment he's, batting against or overcome the enemy? Redemption stary: Will the character save others, or transform himself? Coming of age: Does the character grow up, anid itso, how and why? ‘Tragedy: Does the character escape his fate or not, and if nal, why? AOne-Act play follows the standard format of short story, See the figure below. Figure 1 Events teacing ‘Or th} ‘story queeete| 2) mesons |S me Fy Rosouton erty Plot Diagram tps ee po m/l trond Nichia a omg. racer ODE MESDARenaa Rb 2H (oy TAF IROOM AEH SSAC ner 6Fy WHAT'S MORE Independent Activity 1 Directions: Study the script of the one-act play “The World is an Apple" that follows and identify its ‘character, setting and plot structure, Yau will notice that there are statements, phrases or words written inside the parenthesis (). These are the stage directions or the expected emotion, actien or specific instructions provided by the playwright to guide the actors in portraying their characters. Take note of the setting and events which can be classified into the different stages of the plot. ‘The World is an Apple by Alberto &. Florentino Characters: Gloria Mario Pablo Scene: (An improvised home behind a portion of the Intramuros walls. Twa wooden boxes flank the: doorway. At feft is an acacia tree with a wooden bench under it.) ‘Mario enters from the street at the left. He is in his late twenties, shabbily dressed and with hair that seems to have been uncut for weeks. He puts his lunch bag on the bench, sits down, removes his shoes and puts them beside his lunch bag. ‘GLORIA: (Cails from inside) Mario! Is that you, Mario? ‘GLORIA: (A smal! woman about Mario's age, with long hair, comes out wiping her hands on ‘her dress.) I'm glad you're home early. MARIO: How is Tita? (Without waiting for an answer, he enters the dwelling) GLORIA: (Crosses to the bench} Don't wake her up, Mario. She's tired, She cried the whole day. MARIO: (reappears and crosses to the bencir and sits on one end) Has she been, ‘eating well? GLORIA: She wouldn't eat even a mouthful of lugao. But Iilbuy her some biscuits. Maybe she'll eal them. (She slips her fingers into his breast pocket) Ill take some of the Money! MARIO: (Rises, annoyed) Glorial Can't you wait a minute? GLORIA: (Taken aback) - Hey, what's the matter? Why are you suddenly so touchy? MARIO: Who wouldn't be? I'm talking to you about the child and you bother me by ransacking my pockets. | wish yau'd think more of our daughter. ‘GLORIA: (Crosses at the Center) My God! Wasn't | thinking of her? Why do you think I need ‘some money? To buy me a pratty dress? Or see a movie? MARIO: Tone down your vaice. You'll wake the child up. GLORIA: (Low but infense) ~ All| want is a litle money to buy her something to eat! She ‘hasn't eaten anything all day! That was why | was “bothering” you! MARIO: (Repentant)- I'm sorry, Gloria... (Grips her arm) ‘GLORIA: It's all ight, Mario, Now, may | have some of the money? MARIO: (Tums to her)-Money? | ... don't have any... not now. GLORIA: Today is payday, Mario.don't... have it. What? | waited for you the whole day and you tell me (Angry) - that | have nothing! Nothing! What do you want me to-do steal? GLORIA: I'm not asking you to do a thing like that! All I want to know is what you ‘did with your money. MARIO: (Sits an the bench)-Nothing is left of it Nothing? What happened? h, | had a few drinks with my friends. Before | knewrit, | had spent every ‘cantavo of i. GLORIA: (Eyeing him intently)-Mario, do you think you can make a fool of me? Haven't | seen you drunk before: crawling home like a wounded snake and reeking of alcohol like @ hospital? You don't smell or look drunk, MARIO: Allright, so | didn’t go drinking. GLORIA: But your pay- what happened to it? MARIO: It's beter if you don’t know, Gloria GLORIA: Look, Mario 'm your wife. I have the right to half of everything you get. if can't have my share, | have the right to know at least where it went! MARIO: All right. (Rises.) | spent it all on another woman. GLORIA: Anather woman? | don't believe it.| know you wouldn't do such thing, MARIO: | didn't know you had so much faith in me. GLORIA: No, Mario, what I mean is you wouldn't spend all your money when you know your daughter may need some of it. You love her too much to-do that, (Mano sits down and buries his head in his shands. Gloria crosses to him and Jays a hand on his shoulder.) GLORIA: What's wrong, Mario? MARIO: (Turns his face away)- Nothing, Gloria, nothing. GLORIA: (Sits beside im) | know something is wrong, Mario. | can feet it. Tell me what itis. MARIO: (Stares at the ground) — Gloria, I've lost my job. GLORIA: (Rises, shocked) Oh, No! MARIO: (Looks up at her) I's tue, Gloria GLORIA: What about your pay for the whole week? MARIO: / lost my job a week ago. GLORIA: And you never even told me! MARIO: | thought | could get another, without making you worry. GLORIA: Da you think you can get another in five months? It took you that long t get the last one. MARIO: It won't take me as long to get another. GLORIA: But how did you lose it? Mario! Have your sinful fingers brought you trouble again? MARIO: Now, now, Gloria! Don't try to accuse me, as they did! GLORIA: What did they accuse you of? MARIO: Just what you meant to say, Pilfering, they call it. GLORIA: What else would you calli? (Pause.) What, according te them, did you steal? MARIO: It was nothing much, really nothing at all, GLORIA: What was it? MARIO: It was an apple. GLORIA: An apple! You mean- MARIO: An apple! Don't you know what an apple is? GLORIA: You mean; you took one apple. MARIO: Yes, and they kicked me out for it: for taking one, single apple. Not a dozen, not a crate. GLORIA: That's what you get — MARIO: (Sits down) -Could | have guessed they would do that for ane apple? {aq When there were milions of them? (Pauses) We were hauling them to 8the warehouse. | saw one roll out of @ broken crate. It was that big. ‘Suddenly, | found myself putting itin my lunch bag. ‘GLORIA: That's the trouble with you: when you think of your own stomach, you think of nothing else! MARIO: (Rises) I was not thinking of myself! ‘GLORIA: Whom were you thinking of- me? Did | ever ask for apples? MARIO: Yes, she did. (Pauses) Do you remember that day | took her out for a walk? On our ‘way home we passed a grocery store that sold “delicious” apples al seventy centavos each. ‘She wanted me to buy one for her, but | did not have seventy centavos. What | did was buy her ‘one of those small green apples they sell on the sidewalk, but she just threw it away, saying it was not a real apple. Then she cried. (Pauses) So... when | saw this apple roll out of the broken crate, | though! that Tia would love to have it. GLORIA: You should have tried to bring home pan-de-sal, of rice, or milk+ and nat those: “delicious” apples. We're not rich. We can live without appies! MARIO; Why? Did God create apple trees to bear {ruil for the rich alone? Didn't He create the ‘whole world for everyone? That's why I tried to bring the apple home for Tita. When we brought hher into this warld we sort of promised her everything she had a right to have in life, GLORIA: So, for a measly apple, you lost a job. MARIO: | wouldn't mind losing a thousand jobs for an apple for my daughter! GLORIA: Where was this apple? Did you bring it home to Tita? (Crossas to the bench to get the luneh bag) MARIO: No, thay kept it-as evidence, (Sits dowa.) GLORIA: See? You lost your job trying to filch an apple and you even lost the apple for which ‘you lost your job. (Gloria puts away the shoes and the lunch bag. She sits on the steps and they remain silent for a time.) GLORIA: (Rising)-Filching an apple that's too small a reason to kick a poor man out ef work. ‘You shauld ask them to give you a second chance, Mario. MARIO: They won't da that GLORIA: Why not? MARIO: (Rises) Can't you see they had been waiting forme to make a slip like that? They've ‘wanted to throw me out for any reason, so that they may bring their own men in GLORIA: You should complain MARIO: II did? They would dig up my police record, GLORIA: (Crosses fo him) - But, Mario that was so long agol Why would they try to dig that ‘thing up? MARIO: They'll do anything to keep me out, (Holds her arm.) But don't worry, I'l find another job. It isn’t really so hard to look for a job nowadays. (Fram this point he avaids her eyes). You know I've been job hunting for a week naw, and I think | have found a good job. GLORIA: There yau go. lying again. MARIQ: Believe me, I'm not lying this time. ‘GLORIA: (Crosses to the canter}--You're always lying- I can't tell when you're telling the truth or not. MARIO: In fact I'll See someone tonight who knows of a company that needs a night ‘watchman. ‘GLORIA: (Holds his arm) Honest? MARIO: (Avoids her eyes) Honest! (Sits down.) GLORIA: | knew God wouldn't let us down. He never lets anybody down. Il pray tonight and ‘ask Him to let you have that job. (Looks at Mario) But, Mario, would it maan that you'd have to stay out all night? MARIO: That would be allright. | can always sleep during the day. GLORIA: (Brushes against him like a cat)- What | mean is, it will be different when you aren't {=]PY my Side at night. (Warks away from him.) But, oh, | think I'l get used to it. (Crosses fo the‘center and turns around.) Why don't you go and see this friend of yours right now? Anyway you don’t have anything to do tonight. Don't you think its wise to see him as early as you ean? MARIO: (After a pause)-Yes, | think Ill do that. (Gloria crosses to the steps to get his shoes, followed by Mario.) GLORIA: (Hands him the shoes.)- Here, Mario, put these on and go Ilstep up and ‘wait for you. (She sits on the steps and watches him.) MARIO: (Putting on the shoes) - No, Gloria, yau must not wait forme. I may be back quite late. GLORIA: All right, But | doubt if| can sleep a wink until you retum. (Gloria comes Lup to him after he finishes and tries to hug him, but re pushes her away. Suddenly confused, he sits on the steps. Gloria sits beside him and plays with his hands.) GLORIA: Mother was wrong. You know, before we got married, she used to tell me: "Gloria, you'll commit the greatest mistake of your life if you marry that good-forenothing loafer!” Oh, | ‘wish she were alive now, She would have sean how much you've changed. (She sees someone behind the tree: Pablo. He has been watching them for a time. He 18 older than ‘Mario, sinister-looking, and well dressed.) PABLO: (Sarcastic Hmmmmmm How romantic! ‘MARIO: Pabio! (Suddenly unnerved, Maria starts to fidget. Gloria rises and walks to the center, her eyes burning with hate, Pablo lights a cigarette, never taking his eyas buming with hate off her.) PABLO: You're not glad to see me, are you? (Puts a foot on tire bench.) GLORIA: (Angry) What are you doing here? What do you want? PABLO: Saaaay! Is that the right way to receive a friend who has come for a visit? GLORIA: We don't care for your visits! PABLO: You haven't changed a bit, Gloria... not a bit, GLORIA: Neither have you, | can see! PABLO: You're stil that same woman who cursed me to hell because | happened 10 be Mario's friend long before you met him. Time has nat made you any kinder ta me. You still hate me, don't you? ‘GLORIA: Yes! And | wish you'd stay away from us for the rest of our lives! PABLO: | am not staying away from you! GLORIA: Then why are you here? PABLO: God! May | not aven come to see you now and then, to see if fe has been kind to ‘you? How are you getting along? ‘GLORIA: (Scomfully) We were doing well until you showed up! PABLO: Your daughter she was only that high when | saw her last-how is she? GLORIA: She's all right! PABLO: Oh! and | thought she had not been very well. GLORIA: (Suspicious) How did you know? (To Mario). Did you tell him? MARIO: |... how could |? | haven't seen him in a long time ... (Sits down.) until now of course. PABLO: What is she sick with? ‘GLORIA: (Rudely) - We don't know! PABLO: Don't you think you should take her to a doctor? (Puts his foot down and pulls out his wallet), Here, Wi loan you a few pesos. It may help your daughter to get well GLORIA: (Scom/ully) - We need it all right-but no, thank you PABLO: Why don't you take it! GLORIA: Paying you back wil only mean seeing your face ag PABLO: Well, if yau hate my face so much, you don’t have to pay me back. Take itasa git, \q] GLORIA: The more reason | should refuse it! 40PABLO: All right, if that's how you want it (Sits down and plays with the wallet.) GLORIA: Mario has stopped depending on you, since the day | took him away from ‘your clutches"! | have no regrets. PABLO: How about Mario? Has he no regrets either? GLORIA: He has none. PABLO: How can you be so sure? When he and | were pals we could go to first-class air conditioned movie houses every other day. I'l bet all the money I have here naw (brandishing his wallet) that he has nat been to one since you “liberated” him from me. And that was almost, four years ago. ‘GLORIA: One cannot expect too much from honest money- and we don't. PABLO: (Rises and walks about) What is honest money? Does it look better than dishonest money? Does it buy more? Honesty? What is it? Dressing like that? Staying in this dungecn you call a house? Is that what you call “hanesty"? MARIO: (Rises)- Pablo! PABLO: See whal happened to your daughter. That is what honesty has done to her, And how ‘can honesty help her now? She's sick and needs foad, good food. MARIO: Pablo! GLORIA: | know you have come to lead him back to your dishonest ways, but you can't. He won't listen to you naw! We have gane this far and we can go on living without your helpt PABLO: (Sarcastic) ~ You call this living? This, Gloria is what you call dying- dying slowly minute by minute. (Laughs.) MARIO: (Grasses fo him and shakes him}- Pablo, stop it! (Pablo stops). You shouldn't have ‘come. PABLO: | got tired waiting for you! So you have bean seeing each other! Iwas afraid so! PABLO: He came to the house yesterday. MARIO: Pablo, don't... PABLO: (Ignoring Mario) He said he would be back this noon. But he didn’t show up. | came because | was afraid his conscience was bothering him. -ablo, | told you she should not know! 1's allright, Mario, You'd better tell her everything. She's bound to know later. Tell her ‘whal you told me: that you no longer believe in the way she wanted you to live. Tell her. (Mario tums his back on them.) GLORIA: Mario... is this what you meant by another job? MARIO: Gloria... you...you must try to understand... | tried... but | could not let have this kind of life... GLORIA: (shouts at Pablo}- You're to blame for PABLO: He came to me first- GLORIA: When yau know he'll cling to anything and do anything! Even return to the life he hates! Get out! PABLO: I'l leave-just as soon as Mario is ready to go, GLORIA: He's not going with yout PABLO: Is that so! Why don't you ask him?- (sits on the bench, grinning.) GLORIA: (fo Maria)-You're not going with him, are you, Mario? Tell him to leave us and never come back! Tell him to go, please, Mario... |know he has talked to you and tried (0 poison your mind again... but don’t go with him, (Holds her) — Gloria, I... PABLO: Don't worry about him, Gloria, He's safe with me. (Putls her away}- You stay there, Pablo, I'l be with you in a minute. loria, I'm going with him, GLORIA: Don't Mario, don't {qy MARIO: You can't make me stop now, I've thought about this since last week. “1 , you san-of-devillGLORIA: No, no Maria, no ... (Holds sirm,) MARIO: You take good care of yourself and our child. I'l take good care of myself. ‘Don't wait up for me. Il come home very late. (Mario walks away with Pablo. Gloria stares at them, then she shouts.) GLORIA: MARIOOD0000000! (She covers her face with her dress and cries into it. The daughter, from inside, joins her crying as the curtain closes.) Good job! Are you ready to the next level? Independent Assessment 4 - Let's get it on! Directions: Fill in the graphic organizer with the correct details about the characters from the ‘one-act play, The Worfd is an Apple. Use separate paper in answering this activity. The World is an Apple (Characters) According to | Function! Name of, Short Description Function Type Character Protagonist Antagonist Foil Anti-Hero ‘According to | Round 1 ypes Flat Stock Independent Activity 1 Directions: Fill in the graphic organizer with the correct details about setting fram the one-act play. The Worid is an Apple. The World is an Apple SETTING DESCRIPTION 42Independent Assessment 2 Directions: Fill in the graphic organizer with the correct details about the plot from the one-act play, The World is. an Apple. | climax | Rising Acton Faling Action 7 = t=) ~ Independent Assessment 3 Direction: Answer the given questions by indicating a check mark on the appropriate column. Questions Yes No 1. Is the setting well conceptualized? 2, Does it add impact to the play? 3. Are the characters effective in the roles they portray? 4. 1s the plot sequentially arranged? 5, Do the events create impact to the story? _Independent Activity 4. Directions: Read the statements below. Choose the best answer in the box. Resolution Exposition Rising Action ___4. The line “And they five happily ever affer”is anexampleof 2. The turning point, the highest interest, emotion, of intensity within a story. ____3. The situation and climate are parts of which part of the plot. ____4. The part of the story that reveals the solution and takes care of the conflict. 5. In this element of plot the problem/conflict is introduced.ee ons sve rermen Let’s check how far you have learne Answer the questions brief 1 What are the citferent steps in conceptualizing the elements of the one-act play? 2. Why is it important to conceptualize the elements of the one-act play? WHAT/ CAN DO it's My Turnt Directions; Read the statements in the box below and follow what is being asked, If you were given a chance to be an author for a day and you are gaing to write your own version story of “The World is an Apple", what would be the ending of the play/story, You are graded according to the given criteria. Opts. GrammariSpelling...Spts. Total 25pts 45CF scsceuens Directions: Create your own concept of a one-act play. Visualize the needed elements in the playlstory. Provide your initial details regarding your characters, setting, and plot. Use separate paper in making this activity. Be guided by the suggested rubric for rating. Title of the Play Describe the Describe the Describe the Qualities ‘Qualities. ‘Qualities. saeg | Exposition | por | Falling Action Co 16One-Act Assessment Rubric Criteria 4pts. 3pts 2pts. Apts Total Tile ofthe | Theiieisclear | The tile is The litle is not | The tile is not Play andexhibited | somehow clear | sociear butit | clear and did not connection to | and exhibit exhibited exhibit the story. ‘connection to | cannectionto | connection to the story. the stary. the story. Characters Alrthe Alnthe: ‘All characters | No characters characters were | characters were | were listed but | were listed and listed and listed butonly | not described. | described. described few are desc ‘Setting ‘The time and The time and Time is: The time and place setting are | place setting are | correctly place setting are ‘correctly: provided but described but | provided and described. incorrectly the place is not. | described. described. Plat ‘Allthe main “Fofthe main | Softhemain | 2of themain events are ‘events are events are ‘events are correctly labeled | correctly labeled | carrectly correctly labeled ‘according to its | according toits | labeled according to its order. order. according to its | ordar. order. Mp wormionan actiityses Directions: Refine your work in Assessment based on your facilitater's feedback. You may also solicit feedback and ideas from your classmates, friends or family members. 47