Creative Writing Module 6: Understanding intertextuality as a technique of drama answer Key

SENIOR HIGH SCHOOL Creative Writing Quarter 2 – Module 3 Reading and Writing Drama Department of Education ● Republic of the Philippines Creative Writing Alternative Delivery Mode Quarter 2 – Module 3: Reading and Writing Drama First Edition, 2020 Republic Act 8293, section 176 states that: No copyright shall subsist in any work of the Government of the Philippines. However, prior approval of the government agency or office wherein the work is created shall be necessary for exploitation of such work for profit. Such agency or office may, among other things, impose as a condition the payment of royalties. Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trademarks, etc.) included in this book are owned by their respective copyright holders. Every effort has been exerted to locate and seek permission to use these materials from their respective copyright owners. The publisher and authors do not represent nor claim ownership over them. Published by the Department of Education – Region X – Northern Mindanao. Development Team of the Module Writers and Quality Assurance Team: Development Team: Chairperson: Co-Chairpersons: Members: Rheza Mae M. Pacut Dionnita D. Paderanga Jeremy C. Subaldo Dr. Arturo B. Bayocot, CESO III Regional Director Dr. Victor G. De Gracia Jr. CESO V Assistant Regional Director Jonathan S. dela Peña, PhD, CESO V Schools Division Superintendent Rowena H. Para-on, PhD Assistant Schools Division Superintendent Mala Epra B. Magnaong, Chief ES, CLMD Neil A. Improgo, PhD, EPS-LRMS; Bienvenido U. Tagolimot, Jr., PhD, EPS-ADM; Erlinda G. Dael, PhD, CID Chief; Maria Teresa M. Absin, EPS (English); Celieto B. Magsayo, LRMS Manager; Loucile L. Paclar, Librarian II; Kim Eric G. Lubguban, PDO II Printed in the Philippines by Department of Education - Alternative Delivery Mode (DepEd-ADM) Office Address: Masterson Avenue, Upper Balulang, Zone 1, Cagayan de Oro City, Cagayan de Oro, Lalawigan ng Misamis Oriental Telefax: ________________________________________________ E-mail Address: ________________________________________________ i SENIOR HIGH SCHOOL Creative Writing Quarter 2 – Module 3 Reading and Writing Drama

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Department of Education ● Republic of the Philippines ii iii TABLE OF CONTENTS Page No. OVERVIEW What I Need To Know Things to Remember To Get Through 1 1 Lesson 1- ELEMENTS, TECHNIQUES AND LITERARY DEVICES IN DRAMA What I Need To Know What I Know What Is It What's More Assessment 3 3 5 11 12 Lesson 2 – INTERTEXTUALITY AS A TECHNIQUE IN DRAMA What I Need To Know What I Know What Is It What's More Assessment 13 13 15 20 21 Lesson 3 - CHARACTER/ SETTING/ PLOT FOR A ONE-ACT PLAY What I Need To Know What’s In What I Know What’s New What Is It What’s More What I Have Learned Assessment 22 22 23 24 25 29 30 30 Lesson 4 - DIFFERENT STAGING MODALITIES vis-à-vis ENVISIONING THE SCRIPT What I Need To Know What I Know What’s New What Is It What’s More What I Have Learned Assessment 31 31 33 35 44 44 45 References 47 iv 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 for one to become 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. 1 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! 2 LESSON 1 ELEMENTS, TECHNIQUES 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 3 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 4 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. 5 ➢ 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. 6 ➢ 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 This type 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. 7 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 threeact 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 Introduction This part introduces the characters and establishes the 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. 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. 8 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 Antagonist It refers to what the characters say or do to achieve their goals. 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 19th 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. Foreshadowing It refers to the use of hints at the future just to create audience’s anticipation. Inciting incident It refers to that occurrence which introduces the main character 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. 9 Monologue Protagonist Reversal Scenes Soliloquy Stakes Surprise Suspense It refers to the speech delivery of an actor in the presence of other actors who simply listens, but not talk. It is the main character in a play who often comes with a mission or has a quest to conquer. It occurs when the protagonist either fails or succeeds. These are portions of an act which let the audience relax briefly from the tension of the story It is an actor’s speech delivery to express thoughts at the time when he or she is alone. These refer to what the characters stand to either gain or lose when they succeed or fail. It is what happened in the story which the audience does not expect at all. 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 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 10 ❖ 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 and the application of elements and literary devices of drama as discussed above. Thank you. 11 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 b. docudrama c. flashback d. foreshadowing e. reversal f. dialogue g. opera h. In Medias Res i. music j. complications It refers to the use of hints at the future just to create audience’s anticipation. It is used to set the mood and tone of the play. This is known as the most versatile genre of drama. It causes the action of the play to move. This new genre of drama involves dramatic portrayals of historic events. It occurs when the protagonist either fails or succeeds. 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. 10. It is often used to clarify the present situation through description or enactment of what happened in the past. 1. 2. 3. 4. 5. 6. 7. Congratulations for finishing lesson 1! Now, let’s move on to Lesson 2. 12 LESSON 2 INTERTEXTUALITY AS A 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 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 13 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 14 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 ➢ Explicit reference - It happens when the writer mentions, quotes or cites another text in his or her work in a direct manner. 15 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. Literary 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.” 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. 16 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: 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!’ ” 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. 17 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 reimagination 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 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 18 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. 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 19 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 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. 20 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 1. Parody 2. appropriation 3. historical allusion 4. intertexto 5. adaptation 6.quotation 7. allusion 8. mythological allusion 9. plagiarism 10. religious allusion B a. allows the writer to make a reworking or reimagination of a popular text b. “She is as beautiful as Venus.” c. to intermingle while weaving d. used by the writer to mock its target e. the act of “using or closely imitating the language and thoughts of another author without authorization f. “Reflecting on her cruel behaviour, Cinderella’s stepmother stood still like a pillar of salt.” g. a writer creates a film, TV drama or play based on a written work h. “He was a Nero.” i. an indirect reference in one text to another text, place, historical period or author j. direct referencing with acknowledgment to the original author Congratulations for finishing lesson 2 of this module!! Now let’s proceed to lesson 3. 21 LESSON 3 Competency: CHARACTER/ SETTING/ PLOT FOR A ONE-ACT PLAY Conceptualize a character/setting/plot HUMSS_CW/MP1j-IIc-17 for a one-act play. WHAT I NEED TO KNOW At the end of this lesson, the learners are expected to: 1. 2. 3. Define one-act play; Conceptualize a character/setting/plot for a one-act play; and 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. ELEMENTS TECHNIQUES (intertexuality) LITERARY DEVICES 22 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? 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 23 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 freight 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. SETTING PLOT 24 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. As published by (Shaurya 2015) in riashaurya.wordpress.com, the following are the chief characteristics of one-act plays: (i) One-act play is a play that has only one act but may consist of one or more scenes. (ii) One-act plays are usually written in a concise manner. (iii) It deals with a single dominant situation and aims at producing a single effect. (iv) It deals with only one theme developed through one situation to one climax in order to produce the maximum of effect. (v) It treats the problems of everyday life as marriage, punishment for crimes, labor conditions, divorce, etc. 25 (vi) 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. It is the very backbone of the one-act play. o Climax is the turning point of the drama. It is an important part of the one-act play & constitutes its moment of supreme interest. o The Denouement is very brief and often overlaps with climax. (vii) Action begins right at the start of the play. (viii) There are no breaks in the action, that is, it is continuous since it’s a short play; no intervals. (ix) Everything superfluous is to be strictly avoided as the play is short and the action takes place within a short period of time. It introduces elaborate stage directions to minimize the time taken by the action itself. (x) The creation of mood, or atmosphere is indispensable to its success. (xi) There are three dramatic unities which are observed in the one-act play. The unities are the unity of time, unity of place and the unity of action. (xii) 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. (xiii) The characters in a one-act play are limited in number. Generally, there are not more than two or three principal characters. (xiv) There is no full development of character. All the different aspects of a character are not presented. The attention is focused on only one or two salient aspects of character and they are brought out by placing the characters in different situations and circumstances. The author implies the past and intimates the future of a character by presenting a crucial moment in the life of that character. (xv) There is an influence of realism. The characters in the modern one-act play are ordinary men and women. It depicts characters that seem to be real and related to everyday life. (xvi) It must present a question, for which the audience eagerly awaits the answer. (xvii) Its language is simple and can be followed without any strain. All superfluity is to be avoided in the dialogue. The dialogue must be purposeful; the best dialogue is that which does several things at one time. Every word is to be carefully 26 chosen and sentences must be compact and condensed. Effort should be made to say, whatever is to be said, in the least possible words. Thus, the language of the dialogue should be simple, brief and easy to understand. Long speeches and arguments and long sentences would be out of place and would lessen the charm and interest of the play. Shaurya (2015) further enumerated the examples of one-act plays by major dramatists: (i) Anton Chekhov (ii) August Strindberg (iii) Thornton Wilder (iv) Eugene Ionesco (v) Arthur Miller (vi) Samuel Beckett (vii) Israel Horovitz (viii) Edward Albee - A Marriage Proposal (1890) - Pariah (1889) Motherly Love (1892) The First Warning (1892) - The Long Christmas Dinner (1931) - The Bald Soprano (1950) - A Memory of Two Mondays (1955) - Krapp’s Last Tape (1958) - Line (1974) - 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: 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) 27 ROSE 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 In addition to the dialogue, a script will also include stage directions. These notes, which are often in italics or parentheses, help the actors interpret the scene for the audience. In this example, when Rose transitions from singing to speaking directly to Troy, the stage directions tell her to whom she is talking. The audience will only see her turn and direct her comment to Troy. 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 Before the dialogue in a script, the playwright will often include a cast of characters. Typically, each character, both major and minor, is listed alongside a brief description of the character's role 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 This list is usually given to audience members on a printed playbill, or program, as they enter the theatre, so that they may identify the major characters and the actors who will play them. • PLOT The plot structure of the play doesn't really differ from that in prose. There is an exposition, a rising action, a climax, falling action, and the resolution. 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 (Elements of Drama: Characters, Plot, Setting & Symbolism, 2013) 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 29 PLOT WHAT I HAVE LEARNED 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 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 31 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 32 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/[email protected]/8189967420

NATIONAL THEATRE OF JAPAN – HANAMICHI https://commons.wikimedia.org/wiki/File:National_Theatre_of_Japan_-_Hanamichi_2018_10_21.JPG 33 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 UNDERSTAND 1. FIVE TERMS THAT ARE FAMILIAR TO ME 1. 2. 2. 3. 3. 4. 4. 5. 5. 34 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/[email protected]/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 35 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. 36 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. 37 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 L2 L3 L4 L5 L6 L7 L8 L9 L10 FRANCESCA: All right! Let’s party! JEANETTE: Cesca! Do you really have to go? FRANCESCA: Yes Darling, but don’t fret. I’m really going to miss you all. JEANETTE: Don’t you ever forget me dear! JAMAL: Where is your home again Cesca? FRANCESCA: It’s in San Jose, Talisayan. JAMAL: Why do you want to go back? Stay here! Stay with us! JEANETTE: What’s the life of a party without you Francesca? Right Jamal? JAMAL: We’re going to miss you. FRANCESCA: I love you friends, but tonight, let’s partyyy! SCENE 1 The parlor of Mendoza's house in San Jose L1 L2 L3 L4 L5 L6 L7 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) MRS. M: Oh, ikaw man diay kanaa Tony! Abi kobag naa ka sa siyudad? TONY: (Nakurat)- ikaw naba kanaa aling Atang? MRS. M: (Nikatawa)- Oo loy! Kinsa man diay imong pagtoo? Nagtoo ka na ako na si Sharon Cuneta? TONY: Wala naman gayud ko nakaila nimo aling Atang . MRS. M: (Naulaw, kamoo kapot sa iyang bag- ong gupit na buhok) Nagpasalon ra intahon ko loy, bati diay? TONY: Nindot ‘noon te! Abi gani nako ikaw na si Kikay. 38 L8 L9 L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 L29 L30 L31 L32 L33 L34 L35 L36 L37 L38 MRS. M: Ikaw gayud Edgar, poros ragayud Ka binoang hangtod karon, Ali dayon. (Kalit nay ni kanta)- “Welcome, Welcome, Welcome” TONY: Kinsa ba kaha naa sila aling Atang? MRS. M: Heee! ako mga silingan nga pilingon singer! Pasagdi kanaa sila. Kumusta na diay tood imo mama? TONY: (Naglingkod)- maayo gihapon te, gimingaw na daw siya dire sa San jose. MRS. M: (Niabay kang Tony)- Pila na gani ka katuig nilakaw Tony? TONY: Tulo ra ka bulan te. MRS. M: Tulo ka bulan? Kalooy sab ni Mareng, sigurado ko wala na gayud to makaagwanta. Mooli gayud toa. TONY: Lage te, lahi ra biya ming mga Engineer, kung nay project kuhaon dayun mi insigida. MRS. M: Jesus! Dapat lang makauli na diri imohang mama, gimingaw nakog dula og tongits uban siya. TONY: Gimingaw na gihapon siya ana ante. 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. TONY: (Nakulbaan)- Kanus-a diay ni-ari balik si Kikay aling Atang? 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! TONY: (Nikatawa) – Nahimoot ko ni Kikay te oy. Asa diay si Kikay karon Aling Atang? MRS. M: Toa sa kuwarto Loy, nikatulog pa. TONY: (Nitan-aw sa orasan)- Nagkatulog pa? MRS. M: Ana siya Loy (Fake American accent)- “New York people do not wake-up before 12 o’clock noon. TONY: Mag-alas 10 naman ante. MRS. M: Kung nasayod kalang Loy, pag-abot niya dire hala sali inom, sige rag lakwatsa, disco dire, disco didto. Hesusmariajosep! TONY: Palihog nalang kog ingon niya te nga nibisita ko. Palihog nalang gihapon ko og hatag danhing bulak sa iyaha. MRS. M: Ngano man, molakaw na ikaw? Ayaw sa Loy malipay gayud to makita ka hulat lang sa ako pukawon si Kikay. TONY: Oo sige te. MRS. M: Og Loy, hapit nako malimtan, ayaw kog tawaga nga Aling Atang molagot toa si Kikay. TONY: Huh? Kay ngano man ante? MRS. M: Ah basta, perteng artiha danhing anak nako, dapat dawkog tawagon tawagon nga Mrs. Mendoza. TONY: Ok. Sige aling a-- este… Mrs. Mendoza. MRS. M: Daw Tony, ayaw kalimti, tawaga na si Kikay og “FRANCESCA” TONY: Pranceska? MRS. M: Dili Pranceska, Fran.. ces… ca. TONY: Ok. Segi Mrs. Mendoza. MRS. M: Sige ako na pukawon si Franceca Loy. 39 (Kalit nay nitoktok sa purtahan) L39 L40 MRS. M: Dios Mio! TONY: Ako na moabli Mrs. Mendoza. (Gi ablihan ang purtahan) SCENE 2 L1 L2 L3 L4 L5 L6 L7 L8 L9 L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 TOTOY: Toonnyyy? TONY: Totoy! (Gibangga ilang mga tiyan) TOTOY: Tarantadong talong! TONY: Manok na Pula! Pila naba ka tao imo naraid? TOTOY: Wow! Ikaw pila naman ka bangko imo nakawatan? (Nikatawa). TONY: (Gitoklod si Michale daw nakit-an ang is aka kaha nga sigarilyo)- Oh yosi panghatag ra ged. TOTOY: (Kamolo sigarilyo)- Abi nakog nia ka sa Cagayan. TONY: Oo brad, niari rako dire para kang Kikay. TOTOY:(Nisindi sa yosi)- Dawbi Brad! Permente nalang bati ang dungog akong gakadunggan kang Kikay. TONY: Lage brad, ako sab (Nilingkod). TOTOY: (Nilingkod og apil) Ana gani mga silingan nga naboang na daw siya karon TONY: Gikan man si Kikay sa New York. TOTOY: Huh? Diay? Niunsa man siya didto? TONY: Nagskwela siyag Hair culture daw Beauty Science. Nia pay diploma! TOTOY: Wow! Taasag buhok ni Kikay. Lahi ra ged nis Kikay. TONY: Ay Oh, dili na siya si Kikay, kay siya na si Francesca. TOTOY: Fran… cis… ca? TONY: Ang Ms. San Jose nahimo na siya og Ms. New York (nagkatawaha) TOTOY: Si Iday? Usa ka Amerikana? Ayaw kog yaga-yagae (nagkatawaha) kaila ta dana niya sugod pa atong namaligya siya sa puto. TONY: (Nagkatawa) Kadumdom ka sa una katong getulod nato siya sa kanal? TOTOY: Oo oy, kadumdom pako ato, gelakag pa ged ta niya taman pikas kanto hahahaha. TONY: Kusog pa ged kaayo manumbag hahaha. 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 L25 L26 L27 L28 L29 L30 L31 NENA: Totoy? TOTOY: Nena, mylabss! NENA: Tony? Unsa ni? Empoy og Bebot reunion? TOTOY: Naa mi dire para kay Kikay. NENA: Pati pod ko nana siya? TONY: Gi-pukaw pa ni aling Atang. NENA: Gi-pukaw pa? nganu? Naghagok pa diay? 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) 40 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 L34 L35 L36 L37 L38 L39 L40 L41 L42 L43 L44 L45 L46 MRS. M: Umalis nga kayo dito. Layas! NENA: Ikaw na aling Atang? TOTOY: Ginoo ko, aling Atang! TONY: Tol, dili na siya si aling Atang, siya na si Mrs. Mendoza karon. NENA: Ginakusi ko nimo sa una katong bata pa bitaw ko aling Atang. MRS. M: You were a very naughty girl, always fighting with Kikay. Labi na si nga permig pangawat sa mangga. TOTOY: Naa pa ang manggahan? MRS. M: Oo, naa pa sa luyo. TOTOY: Nena! Manguha ta mangga ta! MRS. M: Segi testingi ged ninyo kay pang bimbingon ta ged mo. TOTOY: Joke joke ra gani. MRS. M: Saba diha Totoy, ali ubani ko sa kusina. TOTOY: Hala! Ngano man? Unsaon man ko nimo aling Atang? MRS. M: Abno! Magpatabang rako sa pagdala sa mga butang. Totoy SCENE 3 L1 L2 L3 L4 L5 L6 L7 NENA: Well, Tony? TONY: Nganu nag anhi man ka dire, Nena? NENA: Baman pd dili? TONY: Wala pa nako na estorya si Kikay. NENA: Wala pa? abi ba nakog na ingon na nimo sa iyaha. TONY: Dili na nako kaya. NENA: Oh, Tony… Tony. L8 TONY: Paghunahuna gud Nena, tuo kag sayon makipagbreak sa tao nga engaged nas ako ah. NENA: Onsa man ged. Ako o si Kikay? L9 (CHUMBA: (Nagkanta) Sinong pipiliin mo? Si Kikay ba o Ako?) L10 L11 L12 L13 L14 L15 L16 L17 NENA: Puwede ba! TONY: Siyempre ikaw ged akong pilion, ikaw man ang akong gihigugma. NENA: Ngano? Tony? Nganong gi hanggat paman ged ko nimog pakasal nga engaged paman diay ka ni Kikay. TONY: Maypag wala nalang nako gisaba sa imo. Mao ning gakakuha sa akong pagkamatinudanon. NENA: Honest? You call yourself honest? Samantalang gi pa fall ko nimo pero nana diay nanagiya sa imoha. TONY: She loved me at my worst. You have me at my best. Pero gibaliwala rako niya. Mas gipili niya nga pasakitan ko. NENA: Can you please stop? Undang sa imong mga drama deh, basin malaparo teka. TONY: Sorry. 41 L18 L19 L20 L21 L22 L23 L24 L25 L26 L27 L28 NENA: Og imoha rapa ged ge sekreto ang atong engagement. TONY: Nahibal-an man ged nako nga pauli na si Kikay. NENA: Gikapoy nako sa mga sekreto Tony. TONY: Pasagdi sa mi ni Kikay nga mo-istorya karon. NENA:Well, dali ah kay dili nako kahulat og dugay. TONY: Ang problema kung onsaon nako siya pag istorya karon. NENA: Naay problema? TONY: Naa man ged ka og si Totoy. NENA: Gusto ka nga molakaw mi duha ni Totoy? TONY: Dili, gusto lang nako nga pasagdan mi ninyo duha mag storya. NENA: Ako na bahala ni Totoy. SCENE 4 L1 L2 L3 L4 L5 L6 L7 L8 L9 L10 L11 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25 MRS. M: Paminaw, nana si Kikay pero ayaw ninyo siya'g tawaga nga Kikay FRAN…CIS…CA dapat! 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!!! MRS. M: Onsa naman sad? KIKAY: How many times must I tell you mumshie dearest, to never serve juice in water glasses. MRS. M: Dili man ged nako makita imong gusto nga baso. KIKAY: Ohh poor, mumshie, nevermind. MRS. M: Sige nah, mag adto sa kog merkado. KIKAY: Don't forget to put lipstik okaayy? MRS. M: Hayyy ambot. KIKAY: Poor mumshie, she is problem, (waves her cigarette dayon gi dagkutan ni Totoy) KIKAY: Merci. TOTOY: Huh? Si Totoy man ko dili man Merci akong ngalan. KIKAY: I said Merci it means thank you in french. TOTOY: Merci. NENA: Istoryahi pud mi kung onsay naa sa New York. KIKAY: Aahhh, New York? Ready namo sa mga amazing, exciting romantic stories? TONY: Pila diay ka kamonths or year didto? KIKAY: 10 months, 4 days, 7 hours and 21 minutes! TOTOY: Grabi, topa gihapon imong utok didto? 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. NENA: Siguro, mulakaw na ta. TONY: Mao ged, murag nakadisturbo man siguro ta diri. NENA: Pasagdan nalang nato siya nga maghandumhandum sa iyang kaagi. TONY: Siya pa ang babae nga permi natog gakauban sa pag pangaligo sa sapa sa una? 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. 42 L26 L27 L28 L29 L30 L31 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". NENA: Nasabtan teka Kikay! Inga ana gihapon ang akong gakafeel sa atong kahoy diri. KIKAY: What tree? NENA: Ang mangga nga kahoy nato girl! Kadomdom ka atong kahoy nga atong gasakaan. TOTOY: Nasapon pa ged ta dadto ni aling Atang! Hahaha ge huboan pa ged kog short NENA: Mao gyud! Nidagan pagid ka nga hubo tanan hahahaha. (Nagkatawaha ang tanan except kay Kikay) L32 L33 L34 L35 L36 L37 L38 L39 L40 L41 L42 L43 L44 L45 L46 L47 L48 L49 L50 L51 L52 L53 L54 KIKAY: Wait, what three ba, ang talking? NENA: Atong mango tree. KIKAY: Oh! That tree. TOTOY: Ngano Eday, dili diay ta parehas tanan na feel ato nga kahoy? KIKAY: Of course not! They're completely different! I don't feel the same emotion you've feel for that tree. 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? KIKAY: Don't be silly Nena. TONY: Og nagtubag pa ged ka! KIKAY: Oh! You people can't understand all of this. TONY: Dili ged namo masabtan kay wala paman mi naka adto sa New York. 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. TONY: Sos! Mas ganahan pako sa kahoy nato. TOTOY: I second the motion. NENA: I move to close the nomination! KIKAY: Oh you funny, funny children! NENA: Mag adto ko didto sa kahoy mangamusta lang ko, gusto ka mag uban Kikay? KIKAY: Hahaha… Of course not, do go. NENA: Ikaw? Totoy? Uban ka nako? TOTOY: (Excited kaayo nga ni tindog) Of course my loves! Bisan asa pata padulong. NENA: (In Kikay manner)- No darling… just out to our dear little backyard. TOTOY: (Gi awat awat gihapon si Kikay)- oh, the backyard of San Jose. NENA: Hoy chong! Onsa man ged uban ka? O dili? TOTOY: Ingon gani ko! Hulat lang. 43 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 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 ___________________________________________________________________ ___________________________________________________________________. 44 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 16 pts Structure Dialogue Development Good 13 pts Fair 11 pts Needs Work 9 pts Excellent Good Fair Needs Work Play thoughtfully follows the proposed structure, and there is a clear beginning, middle, and end. Play follows the proposed structure, and there is a beginning, middle, and end. Play attempts to follow structure, but sections are somewhat unclear. Scene changes are added unnecessarily. Play does not have a clear beginning, middle, and ending. Excellent Good Fair Needs Work Dialogue is realistic and interesting. Lines are short; characters interrupt one another, answer questions, change subjects. Dialogue is somewhat realistic and interesting. Lines are short; characters occasionally interrupt one another, etc. Dialogue is hardly realistic or interesting. Lines may be wordy, and characters speak too politely/formally. Dialogue is extremely unrealistic. Excellent Good Fair Needs Work Audience gains sufficient insight into the characters and Audience gains some insight into the characters and the conflict. Audience gains little insight into the characters and the conflict, The scene is extremely undeveloped. The copy looks 45 Nuts and Bolts Stage Direction the conflict. Scene either pits a character with his/her greatest fear or new alliances develop. Holes may exist, but the situation is explained and explored. and is left with like an initial little information draft. on the characters and/or situations. Excellent Good Fair Needs Work One-act script is formatted perfectly, per the example provided in class, and has no issues with grammar or spelling. One-act script is typed and clear. However, there are minor errors either in formatting or clarity (grammar, spelling, etc.) One-act script is typed, but for many reasons including formatting or grammar and spelling, it is not easy to follow. One-act script is unclear and does not follow guidelines. Excellent Good Fair Needs Work Script illustrates appropriate, developed stage directions in italics. Script illustrates developing stage directions. Actions in performance may not be written. Script has some stage directions, but was not thoughtfully developed in writing. Few if any stage directions are written. You are now done with the lessons for Module 3. Congratulations and keep going!!! It’s time to proceed to Module 4. 46 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-plotsetting-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-drama12337020.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/ Internet Sources: https://appealofemma.wordpress.com/2014/05/16/adaptation-appropriation-andintertextuality/ https://courses.lumenlearning.com/atd-fscj-literatureforhumanities/chapter/elementsof-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 47 48 What I Know WHAT I KNOW What’s In LESSON – 1 1. d 1. Drama is another genre of literature 2. a 1. C which consists of various 3. b 2. D characteristics that are different from 4. d 3. B the other types of literary genres. It is a 5. c 4. A fictional representation done through 6. a 5. B dialogue and performance. It is a type 7. c 6. A of play which is written for theatre, 8. b 7. B television radio and film. 9. d 8. B 10. c 2. A playwright becomes effective 9. A when he or she is able to consider and 10. B apply all the various techniques and literary devices involved in writing a play. Moreover, he or she should also WHAT’S NEW Activity 1 put– into consideration all the necessary components - Answer may vary in the structure of drama, including the plot, setting, character and dialogue. WHAT’S MORE – Activity 2 and 3 Note to the teacher: - Answer may vary The correct answer to these questions may not be based on the answers provided as long as it captures the WHAT I HAVE LEARNED correct thought or idea presented. Answer may vary Assessment I. 1. True 2. False 3. True 4. False 5. True 6. False 7. True 8. False 9. True 10. False II. 1. d 2. i. 3. g 4. f 5. b 6. e 7. j 8. a 9. h 10. c - ASSESSMENT - Answer may vary MODULE 3 – LESSON 1 ANSWER KEY: What I Know 1. b 2. a 3. b 4. b 5. a 6. c 7. d 8. a 9. a 10. a 49 What’s In 1. Intertextuality is the manner in which one text influences another. 2. • • • • • • • • 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 reinterpret the meaning of the referenced text, as well as find common ideals, issues or values embedded and discovered across the texts used. Assessment I. 1. True 2. Implicit Reference 3. indirect 4. True 5. direct II. 1. d 2. a 3. h 4. c 5. g 6. j 7. i 8. b 9. e 10. f Note to the teacher: Acceptable answers do not have to be necessarily the same as the provided answers so long as the ideas and points presented are similar. Decide on your scoring for this activity. MODULE 3 – LESSON 2 50 Lesson 3 WHAT I KNOW 10. A 5. D 9. D 4. B 8. A 3. A 7. D 2. D 6. C 1. A Lesson 4 WHAT I KNOW 10. A 5. C 9. B 4. D 8. B 3. C 7. B 2. D 6. A 1. 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