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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

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

Development Team of the Module

Writers and Quality Assurance Team: Rheza Mae M. Pacut

Dionnita D. Paderanga
Jeremy C. Subaldo

Development Team:
Chairperson: Dr. Arturo B. Bayocot, CESO III
Regional Director

Co-Chairpersons: 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

Members: 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

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i
 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!

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 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

3
 c. direct reference
d. indirect reference
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

4
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.

Types of Intertextuality

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 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 either too hot or too cold, never just right.”
Literary
The statement is taken from the lines of the famous figure,
Goldilocks.

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

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

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

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
6 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.

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.”

7
 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 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

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 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
intertextuality. Nonetheless, it is the intention and the purpose for using someone
else’s work that excludes intertextuality from committing such offense.

9
 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.

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 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

10
5. adaptation e. the act of “using or closely imitating the
language and thoughts of another author without
authorization
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

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
11 I KNOW
Instructions: Recall what you have learned or read about staging modalities. Read
and answer the following statements. In your notebook, write the letter of your
answer to the question in each item.

1. What refers to the performance of a drama or play in a stage?

a. Staging
b. Cinematography
c. Costume
d. Playbill

2. Which of the following is not a staging modality?

a. proscenium
b. traverse
c. arena
d. chromium

3. What stage modality is characterized by a central stage surrounded by audience

on all sides?
a. proscenium
b. traverse
c. arena
d. chromium

4. What is the first thing that you should do or choose in writing a one-act play script?
a. setting
b. characters
c. stage modality
d. subject

5. Which of the following statements is false?

a. Plays were performed in ancient Greece in amphitheater or arena theater
that caters as many as 25,000 audiences
b. Actors had to perform in a declamatory style since microphones are not yet
used during this time.
c. No one can perform in the 1960s
d. Throughout the history of drama, the architecture of stages has influenced
and contributed a lot to the style of drama and vice versa.

6. What staging modality is also known as picture frame stage since the audience
sits in rows facing the stage?
a. proscenium
b. traverse
c. arena
d. chromium

12
7. What type of staging modality wherein the audience are sitting on the sides of the
stage?
a. proscenium
b. traverse
c. arena
d. chromium

8. Which type of staging modality was used in 1895 production of the famous Oscar
Wilde play, “The Importance of being Earnest”?
a. proscenium
b. traverse
c. arena
d. chromium

9. It is a necessary step before performing the one-act play live.

a. unwinding with friends
b. practicing with co-actors
c. changing the setting
d. shifting to another character

10. Why is the proscenium stage considered as a traditional type of stage modality?
a. because a curtain underlines the division of the actors and the audience
b. because the curtain is not flashy
c. because the stage is made of wood
d. because its structure is like the stage in fashion walk

WHAT’S NEW

Activity 1. Observe the similarities and differences of the pictures below. Write your
answers using the three-circle Venn Diagram. Write your answers in your notebook.

13
 SAN FRANCISCO OPERA HOUSE https://pxhere.com/en/photo/697058
https://www.flickr.com/photos/96054322@N00/8189967420

NATIONAL THEATRE OF JAPAN – HANAMICHI

https://commons.wikimedia.org/wiki/File:National_Theatre_of_Japan_-_Hanamichi_2018_10_21.JPG

Three-Cycle Venn Diagram

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:

14
 SAN FRANCISCO OPERA HOUSE
https://www.flickr.com/photos/96054322@N00/8189967420

 Proscenium Stage – is the stage of the nineteenth and twentieth centuries. It

is also known as picture frame stage since the audience sits in rows facing
the stage and they could watch the play as it would regard a large moving
picture in a frame just like in cinemas. This is considered as the traditional
type of staging wherein a curtain underlines the division of the actors and the
audience. In this type of modality, the stage is illuminated during the
performance while the audience remained dark. The audience are not
disturbed during the play which makes this staging modality successful in
giving real-life illusions during the performance.

NATIONAL THEATRE OF JAPAN – HANAMICHI

https://commons.wikimedia.org/wiki/File:National_Theatre_of_Japan_-_Hanamichi_2018_10_21.JPG

 Traverse Stage – or also known as alley staging, is a type of staging modality

wherein the audience are sitting on the sides of the stage, facing each other
just like in a fashion catwalk. This type is appropriate for confrontation scenes
but needs dynamic fast-paced entrances. According to Parry (2014), this

15
 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.

A. 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.

16
  Add in the stage directions after you write the action. Write notes about how
each character should respond and what props you'll need. For example, if
the characters should be facing another direction and talking to another
character, note it in the script.

 Find performers that fit each part. Hold auditions to find the right actors and
actresses. Be upfront with them about whether this gig is a paying gig or a
volunteer gig.

 Make copies of the play for each cast member. Save the document in case
you need extra copies. Give copies of the one act play to each member of the
stage and prop handling too.

 Practice the play. Ask for feedback from all the people involved in the play.
Hire or ask an expert to help with the production too. Hold one final practice
before opening the show. This should be a dress rehearsal. Treat this final as
the real thing and tie up any loose ends.

The script below is an excerpt of the one-act play written by Cherly Tessa
Lungay, Chandy Rafael Pelaez, and Niña Taray under the supervision of their
teacher, Mr. Jefred Son U. Aligsao of Talisayan National High School – Division of
Misamis Oriental which was performed as their culminating activity in Work
Immersion.

Balikbayan Girl
An Adaptation of The New Yorker in Tondo by Marcelino Agana Jr.

Characters:

 Aling Atang - Nanay ni Kikay

 Kikay/Francesca - Anak ni Aling Atang nga gikan sa New York nga
nagpuyo sa Lipata, San Jose, Talisayan, Misamis Oriental ug fiancé ni Tony
ug bestfriend ni Nena
 Tony - Engineer nga kababata ug fiancé ni Kikay. Naay relasyon ni Nena.
 Nena - Professional nga naay relasyon ni Tony, bestfriend ni Kikay, amiga ni
Totoy
 Totoy - taong kanto, bestfriend ni Tony, hilom nga nakagusto ni Nena nga
iyang barkada

17
 PROLOGUE

L1 FRANCESCA: All right! Let’s party!

L2 JEANETTE: Cesca! Do you really have to go?
L3 FRANCESCA: Yes Darling, but don’t fret. I’m really going to miss you all.
L4 JEANETTE: Don’t you ever forget me dear!
L5 JAMAL: Where is your home again Cesca?
L6 FRANCESCA: It’s in San Jose, Talisayan.
L7 JAMAL: Why do you want to go back? Stay here! Stay with us!
L8 JEANETTE: What’s the life of a party without you Francesca? Right Jamal?
L9 JAMAL: We’re going to miss you.
L10 FRANCESCA: I love you friends, but tonight, let’s partyyy!

SCENE 1
The parlor of Mendoza's house in San Jose

L1 MRS. M (Kamolo kanaog paingon sa purtahan)- bisita, permanente nalang bisita!

Puro nalang bisita tibook adlaw! Jusko naingon naman kita ini pagka Kris Aquino!
(Iyahang g abrihan ang purtahan. Paingod og solod si Tony nga nay dala bulak)
L2 MRS. M: Oh, ikaw man diay kanaa Tony! Abi kobag naa ka sa siyudad?
L3 TONY: (Nakurat)- ikaw naba kanaa aling Atang?
L4 MRS. M: (Nikatawa)- Oo loy! Kinsa man diay imong pagtoo? Nagtoo ka na ako na si
Sharon Cuneta?
L5 TONY: Wala naman gayud ko nakaila nimo aling Atang .
L6 MRS. M: (Naulaw, kamoo kapot sa iyang bag- ong gupit na buhok)
Nagpasalon ra intahon ko loy, bati diay?
L7 TONY: Nindot ‘noon te! Abi gani nako ikaw na si Kikay.
L8 MRS. M: Ikaw gayud Edgar, poros ragayud Ka binoang hangtod karon, Ali dayon.
(Kalit nay ni kanta)- “Welcome, Welcome, Welcome”
L9 TONY: Kinsa ba kaha naa sila aling Atang?
L10 MRS. M: Heee! ako mga silingan nga pilingon singer! Pasagdi kanaa sila. Kumusta
na diay tood imo mama?
L11 TONY: (Naglingkod)- maayo gihapon te, gimingaw na daw siya dire sa San jose.
L12 MRS. M: (Niabay kang Tony)- Pila na gani ka katuig nilakaw Tony?
L13 TONY: Tulo ra ka bulan te.
L14 MRS. M: Tulo ka bulan? Kalooy sab ni Mareng, sigurado ko wala na gayud to
makaagwanta. Mooli gayud toa.
L15 TONY: Lage te, lahi ra biya ming mga Engineer, kung nay project kuhaon dayun mi
insigida.
L16 MRS. M: Jesus! Dapat lang makauli na diri imohang mama, gimingaw nakog dula og
tongits uban siya.
L17 TONY: Gimingaw na gihapon siya ana ante.
L18 MRS. M: Lisod gayud limtan imong kaagi. Kung taga San Jose ka mobalik gayud ka
dire. Pero ambot lang sa ako anak na si Kikay. Katong panahon nga nia pa siya sa
New York, wala man nibatig kamingaw.
L19 TONY: (Nakulbaan)- Kanus-a diay ni-ari balik si Kikay aling Atang?
L20 MRS. M: Kadto rang niaging Lunes loy. Tan-awa ra gani unsa iyahang gi buhat sa
ako. Gipaspasan kog pa-salon, pamanicure bisag moadtog merkado hala dapat
plakada akong nawong sa makeup. Nahimo na ‘noon ko kataw-anan sa uban. Di
najud nako mapugngan ako anak. Giignan pako og dapat Amerikano daw dapat kog
dating. Ginoo pasayloa!

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L21 TONY: (Nikatawa) – Nahimoot ko ni Kikay te oy. Asa diay si Kikay karon Aling
Atang?
L22 MRS. M: Toa sa kuwarto Loy, nikatulog pa.
L23 TONY: (Nitan-aw sa orasan)- Nagkatulog pa?
L24 MRS. M: Ana siya Loy (Fake American accent)- “New York people do not wake-up
before 12 o’clock noon.
L25 TONY: Mag-alas 10 naman ante.
L26 MRS. M: Kung nasayod kalang Loy, pag-abot niya dire hala sali inom, sige rag
lakwatsa, disco dire, disco didto. Hesusmariajosep!

L27 TONY: Palihog nalang kog ingon niya te nga nibisita ko. Palihog nalang gihapon ko
og hatag danhing bulak sa iyaha.
L28 MRS. M: Ngano man, molakaw na ikaw? Ayaw sa Loy malipay gayud to makita ka
hulat lang sa ako pukawon si Kikay.
L29 TONY: Oo sige te.
L30 MRS. M: Og Loy, hapit nako malimtan, ayaw kog tawaga nga Aling Atang molagot
toa si Kikay.
L31 TONY: Huh? Kay ngano man ante?
L32 MRS. M: Ah basta, perteng artiha danhing anak nako, dapat dawkog tawagon
tawagon nga Mrs. Mendoza.
L33 TONY: Ok. Sige aling a-- este… Mrs. Mendoza.
L34 MRS. M: Daw Tony, ayaw kalimti, tawaga na si Kikay og “FRANCESCA”
L35 TONY: Pranceska?
L36 MRS. M: Dili Pranceska, Fran.. ces… ca.
L37 TONY: Ok. Segi Mrs. Mendoza.
L38 MRS. M: Sige ako na pukawon si Franceca Loy.

(Kalit nay nitoktok sa purtahan)

L39 MRS. M: Dios Mio!

L40 TONY: Ako na moabli Mrs. Mendoza.

(Gi ablihan ang purtahan)

SCENE 2

L1 TOTOY: Toonnyyy?
L2 TONY: Totoy! (Gibangga ilang mga tiyan)
L3 TOTOY: Tarantadong talong!
L4 TONY: Manok na Pula! Pila naba ka tao imo naraid?
L5 TOTOY: Wow! Ikaw pila naman ka bangko imo nakawatan? (Nikatawa).
L6 TONY: (Gitoklod si Michale daw nakit-an ang is aka kaha nga sigarilyo)- Oh yosi
panghatag ra ged.
L7 TOTOY: (Kamolo sigarilyo)- Abi nakog nia ka sa Cagayan.
L8 TONY: Oo brad, niari rako dire para kang Kikay.
L9 TOTOY:(Nisindi sa yosi)- Dawbi Brad! Permente nalang bati ang dungog akong
gakadunggan kang Kikay.
L10 TONY: Lage brad, ako sab (Nilingkod).
L11 TOTOY: (Nilingkod og apil) Ana gani mga silingan nga naboang na daw siya karon
L12 TONY: Gikan man si Kikay sa New York.

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L13 TOTOY: Huh? Diay? Niunsa man siya didto?
L14 TONY: Nagskwela siyag Hair culture daw Beauty Science. Nia pay diploma!
L15 TOTOY: Wow! Taasag buhok ni Kikay. Lahi ra ged nis Kikay.
L16 TONY: Ay Oh, dili na siya si Kikay, kay siya na si Francesca.
L17 TOTOY: Fran… cis… ca?
L18 TONY: Ang Ms. San Jose nahimo na siya og Ms. New York (nagkatawaha)
L19 TOTOY: Si Iday? Usa ka Amerikana? Ayaw kog yaga-yagae (nagkatawaha) kaila ta
dana niya sugod pa atong namaligya siya sa puto.
L20 TONY: (Nagkatawa) Kadumdom ka sa una katong getulod nato siya sa kanal?

L21 TOTOY: Oo oy, kadumdom pako ato, gelakag pa ged ta niya taman pikas kanto
hahahaha.
L22 TONY: Kusog pa ged kaayo manumbag hahaha.
L23 TOTOY: Hayysstt… ang sa una nga Kikay layo ra kaayo sa karon.

(Kalit nay nitoktok sa purtahan, giablihan ni Michale og nisulod si Nena)

L24 NENA: Totoy?

L25 TOTOY: Nena, mylabss!
L26 NENA: Tony? Unsa ni? Empoy og Bebot reunion?
L27 TOTOY: Naa mi dire para kay Kikay.
L28 NENA: Pati pod ko nana siya?
L29 TONY: Gi-pukaw pa ni aling Atang.
L30 NENA: Gi-pukaw pa? nganu? Naghagok pa diay?
L31 MRS. M: Mata na siya! Nag-ilis pa lang. Good morning Nena good morning Totoy.

(Nakurat si Nena og Totoy sa ba-ong hitsura ni Aling Atang)

L32 MRS. M: Well, Totoy? Well Nena? I said good morning. Nganong inana man mo
makatotok sa akoa?

(CHUMBA: (nagkanta) Bakit kayo ganyan makatingin, super sexy naman ng ating bituin. Si
aling Atang pwede bang patikim)

L33 MRS. M: Umalis nga kayo dito. Layas!

L34 NENA: Ikaw na aling Atang?
L35 TOTOY: Ginoo ko, aling Atang!
L36 TONY: Tol, dili na siya si aling Atang, siya na si Mrs. Mendoza karon.
L37 NENA: Ginakusi ko nimo sa una katong bata pa bitaw ko aling Atang.
L38 MRS. M: You were a very naughty girl, always fighting with Kikay. Labi na si Totoy
nga permig pangawat sa mangga.
L39 TOTOY: Naa pa ang manggahan?
L40 MRS. M: Oo, naa pa sa luyo.
L41 TOTOY: Nena! Manguha ta mangga ta!
L42 MRS. M: Segi testingi ged ninyo kay pang bimbingon ta ged mo.
L43 TOTOY: Joke joke ra gani.
L44 MRS. M: Saba diha Totoy, ali ubani ko sa kusina.
L45 TOTOY: Hala! Ngano man? Unsaon man ko nimo aling Atang?
L46 MRS. M: Abno! Magpatabang rako sa pagdala sa mga butang.

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SCENE 3

L1 NENA: Well, Tony?

L2 TONY: Nganu nag anhi man ka dire, Nena?
L3 NENA: Baman pd dili?
L4 TONY: Wala pa nako na estorya si Kikay.
L5 NENA: Wala pa? abi ba nakog na ingon na nimo sa iyaha.
L6 TONY: Dili na nako kaya.
L7 NENA: Oh, Tony… Tony.

L8 TONY: Paghunahuna gud Nena, tuo kag sayon makipagbreak sa tao nga engaged
nas ako ah.
L9 NENA: Onsa man ged. Ako o si Kikay?

(CHUMBA: (Nagkanta) Sinong pipiliin mo? Si Kikay ba o Ako?)

L10 NENA: Puwede ba!

L11 TONY: Siyempre ikaw ged akong pilion, ikaw man ang akong gihigugma.
L12 NENA: Ngano? Tony? Nganong gi hanggat paman ged ko nimog pakasal nga
engaged paman diay ka ni Kikay.
L13 TONY: Maypag wala nalang nako gisaba sa imo. Mao ning gakakuha sa akong
pagkamatinudanon.
L14 NENA: Honest? You call yourself honest? Samantalang gi pa fall ko nimo pero nana
diay nanagiya sa imoha.
L15 TONY: She loved me at my worst. You have me at my best. Pero gibaliwala rako
niya. Mas gipili niya nga pasakitan ko.
L16 NENA: Can you please stop? Undang sa imong mga drama deh, basin malaparo
teka.
L17 TONY: Sorry.
L18 NENA: Og imoha rapa ged ge sekreto ang atong engagement.
L19 TONY: Nahibal-an man ged nako nga pauli na si Kikay.
L20 NENA: Gikapoy nako sa mga sekreto Tony.
L21 TONY: Pasagdi sa mi ni Kikay nga mo-istorya karon.
L22 NENA:Well, dali ah kay dili nako kahulat og dugay.
L23 TONY: Ang problema kung onsaon nako siya pag istorya karon.
L24 NENA: Naay problema?
L25 TONY: Naa man ged ka og si Totoy.
L26 NENA: Gusto ka nga molakaw mi duha ni Totoy?
L27 TONY: Dili, gusto lang nako nga pasagdan mi ninyo duha mag storya.
L28 NENA: Ako na bahala ni Totoy.

SCENE 4

L1 MRS. M: Paminaw, nana si Kikay pero ayaw ninyo siya'g tawaga nga Kikay FRAN…
CIS…CA dapat!
L2 KIKAY:Ohhh, hello, hello, darling, you darling, Nena my dear! How cute you become
(Kiss Nena). Tony, my little pal (Shake hands) and Totoy my friend. Come sit down!
Ohh1 Mumshie! Mumshie!!!
L3 MRS. M: Onsa naman sad?

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L4 KIKAY:How many times must I tell you mumshie dearest, to never serve
juice in water glasses.
L5 MRS. M: Dili man ged nako makita imong gusto nga baso.
L6 KIKAY:Ohh poor, mumshie, nevermind.
L7 MRS. M: Sige nah, mag adto sa kog merkado.
L8 KIKAY:Don't forget to put lipstik okaayy?
L9 MRS. M: Hayyy ambot.
L10 KIKAY:Poor mumshie, she is problem, (waves her cigarette dayon gi dagkutan ni
Totoy)
L11 KIKAY:Merci.
L12 TOTOY: Huh? Si Totoy man ko dili man Merci akong ngalan.
L13 KIKAY:I said Merci it means thank you in french.
L14 TOTOY: Merci.
L15 NENA: Istoryahi pud mi kung onsay naa sa New York.
L16 KIKAY:Aahhh, New York? Ready namo sa mga amazing, exciting romantic
stories?
L17 TONY: Pila diay ka kamonths or year didto?
L18 KIKAY:10 months, 4 days, 7 hours and 21 minutes!
L19 TOTOY: Grabi, topa gihapon imong utok didto?
L20 KIKAY:Yes! Yes! Darling, nagpabilin pa gihapon akong gugma didto. Kung maglingi
ko bisag asa naa gihapon didto akong heart. Feeling nko, I am not home, even
though I am already here gina ingon nila nga nakauli nako but feel nako naa pa
gihapon ko didto! Oh! New York, my very own New York.
L21 NENA: Siguro, mulakaw na ta.
L22 TONY: Mao ged, murag nakadisturbo man siguro ta diri.
L23 NENA: Pasagdan nalang nato siya nga maghandumhandum sa iyang kaagi.
L24 TONY: Siya pa ang babae nga permi natog gakauban sa pag pangaligo sa sapa sa
una?
L25 TOTOY: (Gi awat awat si Kikay) Oohh New York, my dream place, my very
own New York, my dream place, my very own New York.
L26 KIKAY: Oh listen, now, in New York, it's springtime. The daises are just appearing in
central park. When spring comes around each year, we New Yorkers, we make a
sort of pilgrimage to an old tree. It's been growing there ever since New York was
New York. We call it "Our Time".
L27 NENA: Nasabtan teka Kikay! Inga ana gihapon ang akong gakafeel sa atong kahoy
diri.
L28 KIKAY:What tree?
L29 NENA: Ang mangga nga kahoy nato girl! Kadomdom ka atong kahoy nga atong
gasakaan.
L30 TOTOY: Nasapon pa ged ta dadto ni aling Atang! Hahaha ge huboan pa ged kog
short
L31 NENA: Mao gyud! Nidagan pagid ka nga hubo tanan hahahaha.

(Nagkatawaha ang tanan except kay Kikay)

L32 KIKAY:Wait, what three ba, ang talking?

L33 NENA: Atong mango tree.
L34 KIKAY:Oh! That tree.
L35 TOTOY: Ngano Eday, dili diay ta parehas tanan na feel ato nga kahoy?
L36 KIKAY:Of course not! They're completely different! I don't feel the same emotion
you've feel for that tree.

22
L37 NENA: Pero para sa amo ah importante kaayo to nga kahoy kay daghan kaayo tag
chada nga mge memories ato nga kahoy kay symbol to siya sa friendship. TNTK?
Remember?
L38 KIKAY:Don't be silly Nena.
L39 TONY: Og nagtubag pa ged ka!
L40 KIKAY:Oh! You people can't understand all of this.
L41 TONY: Dili ged namo masabtan kay wala paman mi naka adto sa New York.
L42 KIKAY:Exactly! Wala pamo naka adto sa New York! Our special tree over there is
very different! I stands for the Manhattan skyline and for the Copacabana and for
Coney Island in summer and for Grant's Tomb on Riverside Drive and for Tuesday
nights and Eddie Condons with the crowds spilling all over the side walk and for the
nickel ferry ride to Staten island and for the St. Patrick's Day Parade down with Fifth
Avenue and for all… Oh. It's impossible to make you see.

L43 TONY: Sos! Mas ganahan pako sa kahoy nato.

L44 TOTOY: I second the motion.
L45 NENA: I move to close the nomination!
L46 KIKAY:Oh you funny, funny children!
L47 NENA: Mag adto ko didto sa kahoy mangamusta lang ko, gusto ka mag uban Kikay?
L48 KIKAY:Hahaha… Of course not, do go.
L49 NENA: Ikaw? Totoy? Uban ka nako?
L50 TOTOY: (Excited kaayo nga ni tindog) Of course my loves! Bisan asa pata padulong.
L51 NENA: (In Kikay manner)- No darling… just out to our dear little backyard.
L52 TOTOY: (Gi awat awat gihapon si Kikay)- oh, the backyard of San Jose.
L53 NENA: Hoy chong! Onsa man ged uban ka? O dili?
L54 TOTOY: Ingon gani ko! Hulat lang.

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.

23
 1. Determine the staging modality that is suitable for the script and explain in 3-5
sentences.

WHAT I HAVE LEARNED

Complete the paragraph with the necessary words or sentences that best describe
what you have learned from the discussion. Write your paragraph in your notebook.
Follow the format below.

I have learned that

___________________________________________________________________
___________________________________________________________________.

ASSESSMENT

Enrichment Activity. Do this activity using a long bond paper.

1. Write one scene for one-act play by applying the various elements,
techniques, and literary devices.
2. Determine the type of staging modality that is suitable for the script that you
created.

Refer to this rubric for your guidance:

Excellent Good Fair Needs Work

 
16 pts 13 pts 11 pts 9 pts
Structure Excellent Good Fair Needs Work

Play Play follows the Play attempts to Play does not

thoughtfully proposed follow structure, have a clear
follows the structure, and but sections are beginning,
proposed there is a somewhat middle, and
structure, and beginning, unclear. Scene ending.
there is a clear middle, and end. changes are
beginning, added
middle, and unnecessarily.
end.

24
Dialogue Excellent Good Fair Needs Work

Dialogue is Dialogue is Dialogue is Dialogue is

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

Development Excellent Good Fair Needs Work

Audience gains Audience gains Audience gains The scene is

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

Nuts and Excellent Good Fair Needs Work

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

Stage Excellent Good Fair Needs Work

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

You are now done with the lessons for Module 3.

25
 Congratulations and keep going!!!
It’s time to proceed to Module 4.
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-plot-
setting-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-drama-
12337020.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-and-
intertextuality/
https://courses.lumenlearning.com/atd-fscj-literatureforhumanities/chapter/elements-
of-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

ANSWER KEY:

26
 MODULE 3 – LESSON 2

What I Know What’s In Assessment

1. b 1. Intertextuality is the manner in which one I.
2. a text influences another. 1. True
3. b 2. 2. Implicit Reference
4. b  It provides readers with a much richer 3. indirect
5. a reading experience. 4. True
6. c  It helps give new interpretations of 5. direct
7. d literary works as it comes with a
8. a different context, idea, or story into the II.
9. a text. 1. d
10. a 2. a
 It provides pleasure in terms of
connection and continuity of cultures 3. h
and texts. 4. c
 It invites readers to revisit the earlier 5. g
text, but this time, with new insights 6. j
and meanings relevant to the present 7. i
time. 8. b
 It causes readers and audiences to 9. e
raise questions concerning the nature 10. f
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.

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.

27
Lesson 3
WHAT I KNOW
1. A 6. C

2. D 7. D

3. A 8. A

4. B 9. D

5. D 10.

Lesson 4
WHAT I KNOW
1. A 6. A

2. D 7. B

3. C 8. B

4. D 9. B

5. C 10. A

28
For inquiries or feedback, please write or call:
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:
Email Address:

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