DAILY LESSON LOG
Teacher EDINA D. MENDOZA
I. OBJECTIVES
A. Content Standard/s
B. Performance Standard/s
C. Learning Competencies/ Objective/s
Write the LC Code for Each
II. CONTENT
III. LEARNING RESOURCES
A. References
1. Teacher’s Guide Pages
2. Learner’s Material Pages
3. Textbook Pages
4. Additional Materials for Learning
Resource Portal
B. Other Learning Resources
IV. PROCEDURES
A. Reviewing previous lesson or
presenting the new lesson.
B. Establish a purpose for the lesson
School WESTERN CAGAYAN SCHOOL OF ARTS AND TRADES Grade Level 11
Learning Area English for Academic and Professional Purposes
Inclusive Dates 6-10, 2020 Quarter I
Objectives must be met over the week and connected to the curriculum standards. To meet the objectives, necessary procedures must be followed and if needed, additional lessons, exercises, and remedial activities may be done
for developing content, knowledge, and competencies. These are assessed using Formative Assessment Strategies, Valuing objectives to support the learning of content and competencies and enable students to find significance
and joy in learning the lessons. Weekly objectives shall be derived from the curriculum guide.
The learner understands the principles and uses of a reaction paper/ review/ critique
The learner produces an objective assessment of an event, a person, a place or a thing.
The learner forms opinions based on facts The learner forms opinions based on facts The learner forms opinions based on facts
The learner cites specific sources to
support claims (CS_EN11/12A-EAPP-Id-f-
(CS_EN11/12A-EAPP-Id-f-11) (CS_EN11/12A-EAPP-Id-f-11) (CS_EN11/12A-EAPP-Id-f-11)
12)
Content is what the lesson is all about. It pertains to the subject matter that the teacher aims to teach. In the CG, the content can be tackled in a week or two.
Writing the Reaction Paper/Review/ Writing the Reaction Paper/Review/ Writing the Reaction Paper/Review/ Writing the Reaction Paper/Review/
Critique Critique Critique Critique
List the materials to be used in different days. Varied sources of materials sustain students’ interest in the lesson and in learning. Ensure that there is a mix of concrete and manipulative materials as well as paper-based materials.
Hands-on learning promotes concept development.
These steps should be done across the week. Spread out the activities appropriately so that students will learn well. Always be guided by demonstration of learning by the students which you can infer from formative assessment
activities. Sustain learning systematically by providing students with multiple ways to learn new things, practice their learning, question their learning processes, and draw conclusions about what they learned in relation to their life
experiences and previous knowledge. Indicate the time allotment for each step.
• Write the aim and objectives of the lesson • Collect samples of theatre reviews from • Visit an art exhibition (in person or online)
on the board. the Internet, newspapers, or magazines. to see how art is organized and exhibited.
• Explain that employers will often have an • Review the major elements of a theatre
element of comprehensive review within production (acting, directing, script, stage,
• Review major periods and themes in art
their system – this may also be true in set).
college or school. Asks students to work in • Review the major elements of a theatre history.
pairs to complete the self-appraisal review (description, analysis,
exercise on Worksheet 1 for themselves interpretation). Description refers to • Review the basic elements of visual art,

C. Presenting examples/instances of
the new lesson
D. Discussing new concepts and
practicing new skills #1
E. Discussing new concepts and
practicing new skills #2
F. Developing Mastery
(Leads to Formative Assessment)
G. Finding practical applications of
concepts and skills in daily living
and also for another student within the
class – this must be someone that they feel
comfortable giving feedback to.
Open reaction paper/ review/ critique
lesson and asks for volunteers to read out
their self-appraisals. Uses the ratings for
each section of the self-appraisal form to
type appropriate statements in the two
columns on-screen. Repeats for the peer
appraisal and elicits comparisons from the
students.
• Discuss the role of criticism in theatre,
reviewing the major elements of theatrical
production and review.
• Give students time to read about the
playwright and/or the performance.
• Attend a live performance or view one on
video/DVD.
• Guide students in a critical discussion of
the work, organizing the discussion around
a critical framework such as description,
analysis and interpretation. You may even
want to write down students' comments
and categorize them under description,
analysis, or interpretation. You might ask,
for example:
O What happened? Describe the plot and
any aspects of the performance.
O Why do you think the author or
playwright included these things? What do
they tell you about the playwright? What do
they reflect about the period where the
piece takes place? What do you think the
desired effect was?
O What do you think of the things you've
summarizing events of the performance.
For example: "Each scene was acted out
accompanied by a series of images."
Analysis takes the description and puts it in
context. For example: "This technique is
popular in restoration theatre." Finally,
interpretation builds on the description and
analysis, and allows room for a personal
opinion. For example: "This made it hard to
connect with the characters."
• Go through the process of describing and
analyzing the visual facts of the piece
Blood Connection by Aviva Beigel.
• Use form descriptors like line, light,
shape, color, temperature, size, quantity,
space, location, surface, and texture to
describe the work. They will continue to
make further observations about similarity,
closeness, contrast, sequence, direction,
rhythm, symmetry, balance, completeness,
and closure. Finally the students will make
observations about the technical process of
the work based on what they can draw
from the visual facts.
• Come up with a critical hypothesis about
the piece. Do so by asking the following
questions. Where is this happening? Who
lives here? What did they do? Why did they
do it? Are the represented events real or
potentially real? Was this place seen
remembered or invented? Where are we in
relation to what we see? What happened
before we arrived? What will happen
afterward? If this were real how our world
including:
color
line/shape
brushwork
• Review factors to consider in curating an
exhibition (audience, space, theme, order).
• Select 30 images of artworks and have
enough copies for several small groups.
• Visit an exhibit at a museum or online (the
National Gallery of Art has a virtual exhibit,
and many museums have slide loan
programs available free of charge).
• Review the periods in art represented in
the exhibit.
• Discuss how exhibits are organized.
How does the exhibit begin and end?
What was the curator was thinking in
organizing the exhibit?
What was the desired effect on you as the
viewer?
What did you learn from the exhibit?
• Discuss the decisions made by the
curator, the information included in the
signs, and the impact the decisions had on
the students as museum patrons.
• Divide students into small groups and give
each group 30 images (titles, artists, and
years). Ask students to select 15 of these
images to curate into an exhibit. Their
selections should reflect an organizing
theme based on their interpretation of the
images.
 described and analyzed? How did they
make you feel? Did the piece have the
desired effect on you as a viewer?
• Beginning critics may struggle to
distinguish analysis from interpretation.
Encourage students to practice separating
analysis rooted in cultural or historical
meanings from their own personal
impressions.
• Provide the details of the assignment:
Students will be writing a review of a
theater performance for a newspaper. The
paper has a 400-word limit and a deadline
of noon the day following the performance.
• Share reviews with the class the following
day.
H. Making generalization and Ask all students to swap results with • Student participation and engagement
abstractions about the lesson their partner and see if their own review • An understanding of the elements of
I. Evaluating learning of themselves is better or worse than performance and review.
their peers. Draw out patterns in the • Reviews submitted according to the
deadline
class: Are students more or less self-
• Reviews that reflect thoughtful analysis of
critical? What are the implications of a performance, including constructive
this for an appraisal system? criticism
J. Additional activities for application or
remediation
would be different? After asking these
questions critical hypothesis will reflect
answers.
• After going through the early steps of the
Feldman process, describing, analyzing,
and interpreting, the students will complete
of final step of judging the work. Use the
critical hypothesis created to ground the
judgment that was made.
• After participating in the criticism process
student will spend the rest of the class
period describing, analyzing, interpreting,
and judging the piece Scared Dead by
Aviva Beigel in a written critique.
The students will be assessed on their
understanding and use of the Feldman
method of art criticism through the written
critique they complete on the piece Scared
Dead by Aviva Beigel. They will be
evaluated on their abilities to describe and
analyze the piece based on the visual
facts, come up with a critical hypothesis
based on those facts, and judge the piece
against that critical hypothesis.
• Ask students to write museum signs to
accompany each selected work of art. Each
card should include descriptive information
(title, artist, and date the work was
created), as well as interpretive information
based on their theme.
• Ask students to write an essay to
accompany their exhibition. This essay
should detail their organizing theme and
place works in a curatorial context.
• Allow students to share their exhibitions
and writing with the class.
• Discuss and compare student
interpretations.
• Review the original exhibition visited or
viewed online. Discuss new understandings
and thoughts on the curation of the exhibit.
• Student participation and engagement
• An understanding of how art exhibits are
organized
• Student exhibits that reflect a theme and
challenge the viewer to look closely at a
work of art.
• Signs and essays that include
descriptions, analysis, and personal
interpretations.

1. REMARKS
Reflect on your teaching and assess yourself as a teacher. Think about your students’ progress this week. What works? What else needs to be done to help the students to learn? Identify what help your institutional supervisors can
2. REFLECTION provide for you so when you meet them, you can ask them relevant questions.
A. No. of learners who earned 80% in the evaluation
B. No. of learners who require additional activities for
remediation who scored below 80%
C. Did the remedial lessons work?
No. of learners who have caught up the lesson
D. No. of learners who continue to require remediation.
E. Which of my teaching strategies worked well?
Why did this work?
F. What difficulties did I encounter which my principal or
supervisor can help me solve?
G. What innovation or localized materials did I use / discover
which I wish I wish to share with other teachers.
Pursuant of DepEd Order No. 42, s. 2016

Prepared by: Approved By:

EDINA D. MENDOZA EMELITA P. COLLADO

Senior High School Teacher Principal II

MARYROSE P. MARAMAG
Senior High School Teacher