Title: ___________________________________

Characters: ___________________________________
___________________________________
___________________________________
___________________________________

Setting: ___________________________________

Plot: ___________________________________

Now you’re done for this lesson! You may now proceed to Lesson 4. ☺
 SENIOR HIGH SCHOOL

Creative Writing
Quarter 2 – Module 1
(Lesson 4)
Reading and Writing Drama

Department of Education ● Republic of the Philippines

 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
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. chromium

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.

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. chromium

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. chromium

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.

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

 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

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
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 - An Arena stage is characterized by a central stage surrounded

by audience on all sides. The stage area is also 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 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

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 ragayud 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
tongits 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 makeup. Nahimo na ‘noon ko kataw-anan sa uban. Di 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 dawkog tawagon 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 Franceca 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).
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?
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
pagkamatinudanon.
L14 NENA: Honest? You call yourself honest? Samantalang gi pa fall ko nimo pero nana
diay nanagiya 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!
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 three ba, ang talking?

L33 NENA: Atong mango tree.
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 amo ah importante kaayo to nga kahoy kay daghan kaayo tag
chada nga mge 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! I 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.

WHAT’S 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.
3.

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.

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. may be wordy,
short; Lines 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 Audience gains Audience gains The scene is

gains 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.
pits a is explained and on the
character with explored. characters
his/her 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
perfectly, per However, there many reasons does 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
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 directions, directions are
appropriate, stage directions. but was not written.
developed Actions in thoughtfully
stage performance developed in
directions in may not be writing.
italics. written.