SENIOR HIGH SCHOOL

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Creative Writing
Quarter 2 – Module 3 Reading
and Writing Drama

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 Development Team of the Module
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Writers and Quality Assurance ge Rheza Mae M. Pacut
2 | P a g Subaldo
Dionnita D. Paderanga Jeremy C. e
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Development Team: 2|Page
Chairperson: Dr. Arturo B. Bayocot, CESO III
Regional Director

Co-Chairpersons:
Dr. Victor G. De Gracia Jr. CESO V
Department
Assistant Regional Directorof Education ● Republic of the
Jonathan S. dela Peña, PhD, CESO V Schools Division Superintendent Rowena H. Para-on, PhD
Philippines
Assistant Schools Division Superintendent
Mala Epra B. Magnaong, Chief ES, CLMD

Creative Writing Alternative Delivery

Members: ModeNeil 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
Quarter 2 – Module 3: Reading and Writing Drama First Edition,
2020

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Published by the Department of Education – Region X – Northern Mindanao.

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This third learning module of Creative Writing for Senior High School students is
designed to hone your skills more fully 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.

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LESSON 1: ELEMENTS, TECHNIQUES, AND LITERARY

DEVICES IN DRAMA

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 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
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
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on romantic ideas like how true love is able to overcome many obstacles.
➢ sentimental comedy
- It began in the 18th century as a reaction to the immoral tone of English
Restoration play. This sub-genre of comedy focuses on the middle-
class protagonists who are able to successfully overcome a couple of
moral trials.
➢ comedy of manners
- It is also referred to as the anti-sentimental comedy which writes
about the manners and feelings of modern society. It also questions
societal standards.
➢ tragic comedy
- It portrays characters who take on tragedy with humor in order to bring
out happy endings out of serious situations.
The following are the common examples of comedy:
 The Simpsons
 America’s Funniest Home Videos
 A Midsummer Night’s Dream by Shakespeare

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

Tragedies come in different types which include:

➢ Greek Tragedy
- Typically, it involves a protagonist of high rank who commits a mistake in
judgment (flawed) and accepts his fall from grace. Typically, it includes
the elements of Gods, mythology, conflict, suffering and catharsis.
Among the great Greek tragedians were Sophocles, Euripides and
Aeschylus.
➢ Roman Tragedy
- These are mostly adaptations of Greek tragedies. The Roman
philosopher Seneca wrote nine plays which still exist at present and
adopted by Elizabethan and Jacobean playwrights during the late 16th
and early 17th centuries.

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➢ Elizabethan and Jacobean Tragedy

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

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

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

➢ Domestic Tragedy
- Unlike the Elizabethan period tragedy, it portrays a common man in a
domestic setting as the tragic hero in the story. The best examples for
this are Henrik Ibsen’s A Doll’s House and Eugene O’Neill’s The Iceman
Cometh.
3. Farce
This type of drama features exaggerated or absurd forms of comedy. It is a
nonsensical genre of drama in which the characters intentionally overact and get
themselves into a slapstick or physical humor. Webster’s Dictionary refers to it as “a light
dramatic composition marked by broadly satirical comedy and improbable plot”. Recently, it is
known as something serious that has turned comical.

4. Melodrama
This is an exaggerated type of drama which shows classic one-dimensional characters
like heroes, heroines, and villains who deal with sensational, romantic, and threatening
situations. Examples of melodrama are the play The Glass Menagerie by Tennessee Williams
and Margaret Mitchell’s novel, Gone With the Wind.

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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.

6. Docudrama
This new genre involves dramatic portrayals of historic events or non-fictional
happenings. It is more often presented in movies such as Apollo 13 and 12 Years a Slave.

The Structure of Drama

1. Plot
We refer to plot as the dramatic structure of a play. Nonetheless, it should not be
forgotten that the narrative structure is not the only consideration to think of since majority of
these plays are created to be played either in a theater, a movie or a television.
There are three major divisions or acts in a physical format of a play. A three- act play is
composed of three acts which show a fuller and longer exposition of the theme and conflict of
the story. On the other hand, a one-act play involves one unit of time, place, and action only.
Typically, plays are written in many different forms, but the typical structure often
consists of the following:

This part introduces the characters and establishes the setting

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

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This part is where the audience finds out if the protagonist

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

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Dramatic Elements
While it is important for a playwright to understand the structure of drama, it is also
necessary that he or she is fully aware of the many different techniques and devices –
dramatic elements – involved in making a play more effective, interesting and meaningful.
Here are some of them:

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

Antagonist It refers to the character or situation that is in conflict with the
protagonist.
Arc It is the storyline of the play; something that the audience wants to find out.

Aside This is when the actor speaks directly to the audience while the other
actors on stage supposedly did not hear a word he or she says. In the
Renaissance drama, it was used to make the actor’s inner feelings known
to the audience while in the 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 story’s
convention 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.

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Monologue It refers to the speech delivery of an actor in the presence of other actors
who simply listens, but not talk.
Protagonist It is the main character in a play who often comes with a mission or has a
quest to conquer.
Reversal It occurs when the protagonist either fails or succeeds.
Scenes These are portions of an act which let the audience relax briefly from
the tension of the story
Soliloquy It is an actor’s speech delivery to express thoughts at the time when
he or she is alone.
Stakes These refer to what the characters stand to either gain or lose when
they succeed or fail.
Surprise It is what happened in the story which the audience does not expect
at all.
Suspense It involves happenings that cause a sense of uncertainty about the things
that will happen to the characters

2. Setting
An effective playwright does not only consider the plot when writing drama. Equally
important to that matter is to also think of the setting in a play. Basically, setting is the term
used to describe the place or the locale where the story of the play is located. Moreover, it also
includes the date, time and the action involved in the play.
In general, setting has two main categories:
❖ Realistic plays
- Refer to those whose conventions are under the realistic plane and are
taken from real people, objects and situations. In this category, the
setting is created with the aim to reproduce the external presence of life.
❖ Non-realistic plays
- It is the exact opposite of realistic plays in which it is drawn out from
stylized and unconventional events. It involves characters who are
not real people, but are allegorical or symbolical. The setting in this
category can be a dream-like forest, a barren and deserted mountain,
the underworld or any fictional spot.
3. Character
As discussed in the lesson on fiction, character refers to a person or any entity with
human characteristics who acts, speaks, narrates or is referred to in a literary work. A
character can be major (or principal) or minor (supporting). The general classifications of
characters in drama are as follows:
❖ Hero or heroine – also known as the protagonist whose conflict is also the main
conflict of the play
❖ Villain or villainess – the character with evil qualities and often
contradicts with the hero(ine)
❖ Superhero or superheroine – the character with supernatural powers
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docudrama opera
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4. Antihero or antiheroine – a character who is more ordinary compared to traditional

hero(in).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.

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.

1. It refers to the use of hints at the future just to create audience’s anticipation.
2. It is used to set the mood and tone of the play.
3. This is known as the most versatile genre of drama.
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4. It causes the action of the play to move.

5. This new genre of drama involves dramatic portrayals of historic events.

6. It occurs when the protagonist either fails or succeeds.

7. This is the introduction of new characters, information or other events which often
causes conflicts.
8. It is the storyline of a play.
9. It is the opening scene in the middle of the action.
10. It is often used to clarify the present situation through description or enactment of what
happened in the past.

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

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LESSON 2: INTERTEXTUALITY AS A
TECHNIQUE IN DRAMA
Competency: Understand intertextuality as a technique of drama
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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.

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.
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.

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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.
Types of Intertextuality
While intertextuality as a technique in drama is only aimed at one thing – to produce
and shape meaning, it comes in various types with different characteristics.

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

Below are the four types of allusion:

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

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

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

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

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

For example: “No matter how Dorian adjusted the electric blanket it was
Literary either too hot or too cold, never just right.”

The statement is taken from the lines of the famous figure, Goldilocks.

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This is an allusion to a religious text, story, or figure.

For example: “Reflecting on her cruel behaviour, Cinderella’s stepmother
Religious stood still like a pillar of salt.”

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

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Your Guide on How to Analyze Allusion

Here is your step-by-step guide on how to analyze allusion:
Step 1: Read the passage to find out if there is a clear presence of
allusion to a place, time, religion, myth or text.

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

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

2. Parody
This type of intertextuality refers to the writer’s imitation of another text for the purpose of
exposing and discrediting one’s vice or follies. Often, a writer uses this type to mock its targets
who are usually celebrities, politicians, authors, a style or trend or any subject which arouses
anyone’s interest at the moment or at a specific period of time.
Historically, the word “parody” comes from the Greek phrase parodia which is a type of
poem that copied the style of epic poems but with the characteristics of mockery and light
comedy.
Examples of Parody
The following are some of the examples of this type of intertextuality:
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 showing the image of many businessmen as
overly serious and acclaimed self-important.
Example 2:
“At the talent show, a group of boys wears matching outfits and prances around singing
One Direction’s “Best Song Ever.” They sing very poorly and overly dramatically.”
In this example, the boys are parodying the way a famous band dresses, sings, and
performs in a humorous way, commenting on how many pop stars are actually low-leveled in
terms of talent.
3. Quotation
This is another common type of intertextuality which involves a direct reference to
another text, giving citation to the owner of the text. Quotation is known to be a device used
for talking about language. It works in a somehow tricky way- that is, to make its referent
perform or participate in the referring. Placing quotation marks around a certain word
produces a device which infers that very word.
The most vital function of quotation marks is to set off and represent the exact language
which is either spoken or written by somebody else. This means that any revision or edition of
the exact statement or words defeats the purpose of quoting.
Example 1: In the end, Albert Einstein was right when he said, “Life is like a bicycle. You
need to keep moving.”
Example 2: Dr. King said, “I have a dream.”
4. Appropriation
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This type of intertextuality allows the writer to make a reworking or re-

imagination of a popular text for the purpose of changing or extending its meaning. Typically, it
creates a whole new product and domain away from its originating source.
One famous example of appropriation is L.H.O.O.Q, an artwork created by Marcel
Duchamp, is an appropriation of Mona Lisa which is created by Da Vinci. In his version,
Dumchamp took a picture of Da Vinci’s artwork and added a moustache on it.
Another example of appropriation is evident in Clueless where Emma appeared differently from
that of the 1800’s to a modernized version of her living in the 1990’s in America. The sets and
scenery, dialogue and costumes are generally different, too. The appropriation technique was
also applied in the main character’s attribute in which she is now into online youtube and blog to
go with the latest trend of Emma working and blogging as a matchmaker online.
5. Adaptation
This type of intertextuality entails creating a film, TV drama or stage play based on a
specific written work. Perhaps one of the most common examples for this is the film adaptation
of JK Rowling’s Harry Potter which was originally, a written novel.
Historically, there are different reasons why a writer would want to employ adaptation
in his or her work. One of these is the desire to reconfigure a popular material into
becoming a more acceptable guise or introducing to the audience a whole new and fresh
literary style. Another reason is to get around censorship and push boundaries.
Significance of Intertextuality
While we are studying intertextuality in drama, you might as well wonder its
significance to drama is or to the world of literature as a whole. Below are some of the known
reasons why intertextuality in drama is important:

 It provides readers with a much richer reading experience.

 It helps give new interpretations of literary works as it comes with a different context,
idea, or story into the text.
 It provides pleasure in terms of connection and continuity of cultures and texts.
 It invites readers to revisit the earlier text, but this time, with new insights and meanings
relevant to the present time.
 It causes readers and audiences to raise questions concerning the nature of authorship
and originality of the text.
 It helps students write their own texts based on what they know from others.
 It portrays a connection between two texts with certain messages and ideas.
 It makes the readers think and re-interpret the meaning of the referenced text, as well as
find common ideals, issues or values embedded and discovered across the texts used.
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?
Plagiarism is the act of “using or closely imitating the language and thoughts of another
author without authorization.” This, in its sense, may include intertextuality. Nonetheless, it is
the intention and the purpose for using someone else’s work that excludes intertextuality from
committing such offense.
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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.

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?

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 way one text influences another.
2. Explicit reference happens when the writer refers to a different text using ideas, symbols,
genre or style.
3. Allusion refers to a direct reference in one text to another text, place, historical period, or
author for the purpose of enriching or developing meaning.
4.Parody refers to the writer’s imitation of another text for the purpose of exposing and
discrediting one’s vice or follies.
5. Quotation involves an indirect reference to another text, giving citation to its owner.
II. Matching Type. Match the word/s in column A with the descriptions in column
B. Write the letter of your answer in your activity notebook.
A B
1. Parody a. allows the writer to make a reworking or re-
imagination of a popular text
2. appropriation b. “She is as beautiful as Venus.”
3. historical allusion c. to intermingle while weaving
4. intertexto d. used by the writer to mock its target
5. adaptation e. the act of “using or closely imitating the language and
thoughts of another author without authorization
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6.quotation f. “Reflecting on her cruel behaviour, Cinderella’s

stepmother stood still like a pillar of salt.”
7. allusion g. a writer creates a film, TV drama or play based on a written
work
8. mythological allusion h. “He was a Nero.”
9. plagiarism i. an indirect reference in one text to another text, place,
historical period or author
10. religious allusion j. direct referencing with acknowledgment to the original author
LESSON 3: CHARACTER/SETTING/PLOT FOR A ONE-
ACT-PLAY
Competency: Conceptualize a character/setting/plot for a one-act play.
HUMSS_CW/MP1j-IIc-17

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

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

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)

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SETTING
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PLOT

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

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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:
o One-act play is a play that has only one act but may consist of one or more scenes.
o One-act plays are usually written in a concise manner.
o It deals with only one theme developed through one situation to one climax to produce the
maximum of effect.
o It treats the problems of everyday life as marriage, punishment for crimes, labor
conditions, divorce, etc.
o 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.
o Action begins right at the start of the play.
o There are no breaks in the action, that is, it is continuous since it’s a short play; no
intervals.
o 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.
o The creation of mood, or atmosphere is indispensable to its success.
o 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.
o 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.
o The characters in a one-act play are limited in number. Generally, there are not more
than two or three principal characters.
o 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
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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.

o 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.
o It must present a question, for which the audience eagerly awaits the answer.
o 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 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.
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)

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
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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

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)

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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
_
_

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. ☺

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LESSON 4 DIFFERENT STAGING

MODALITIES vis-à-vis
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

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,
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techniques, and literary devices.

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.

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

SAN FRANCISCO OPERA HOUSE

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

FOUR BASIC STAGING MODALITIES

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
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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):
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 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 senses 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.

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.

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.
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I have learned that

_
_.

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 Good Fair 11 Needs Work 9 pts

pts 13 pts pts

Structure Excellent Good Fair Needs Work

Play thoughtfully Play follows the Play attempts to Play does not have a clear
follows the proposed proposed structure, follow structure, but beginning, middle, and ending.
structure, and there and there is a sections are
is a clear beginning, beginning, middle, and somewhat unclear.
middle, and end. end. Scene changes are
added unnecessarily.

Dialogue Excellent Good Fair Needs Work

Dialogue is Dialogue is Dialogue is hardly Dialogue is extremely

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

Development Excellent Good Fair Needs Work

Audience gains Audience gains some Audience gains little The scene is extremely
sufficient insight into insight into the insight into the undeveloped. The copy looks
the characters and characters and the characters and the
conflict. conflict,

the conflict. Scene Holes may exist, but the and is left with little like an initial draft.
either pits a situation is explained and information on the
character with explored. characters and/or
his/her greatest situations.
fear or new
alliances develop.

Nuts and Excellent Good Fair Needs Work

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

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Stage Excellent Good Fair Needs Work

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

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20
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30
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