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Creative Writing
Quarter 2 – Module 4
Exploring Different Staging
Modalities Vis- a –Vis
Envisioning the Script
Creative Writing – Grade 12
Self-Learning Module (SLM)
Quarter 2 – Module 4: Exploring Different Staging Modalities Vis- a –Vis Envisioning
the Script
First Edition, 2020
Republic Act 8293, section 176 states that: No copyright shall subsist in any work
of the Government of the Philippines. However, prior approval of the government agency or
office wherein the work is created shall be necessary for exploitation of such work for profit.
Such agency or office may, among other things, impose as a condition the payment of
royalties.

Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names,
trademarks, etc.) included in this module are owned by their respective copyright holders.
Every effort has been exerted to locate and seek permission to use these materials from
their respective copyright owners. The publisher and authors do not represent nor claim
ownership over them.

Development Team of the Module

Writers: Carmen C.Leona
Editors: Louie Mark Garvida, Imelda C. Martinez, Jerryl Jean L. Salunayan
Reviewers: Helen J. Ranan, Sally A. Palomo
Illustrator: Reggie D. Galindez
Layout Artist:
Cover Art Designer: Ian Caesar E. Frondoza
Management Team: Allan G. Farnazo, CESO IV – Regional Director
Fiel Y. Almendra, CESO V – Assistant Regional Director
Romelito G. Flores, CESO V - Schools Division Superintendent
Mario M. Bermudez, CESO VI – Assist. Schools Division Superintendent
Gilbert B. Barrera – Chief, CLMD
Arturo D. Tingson Jr. – REPS, LRMS
Peter Van C. Ang-ug – REPS, ADM
Gerardo Magno – Subject Area Supervisor
Juliet F. Lastimosa - CID Chief
Sally A. Palomo - Division EPS In- Charge of LRMS
Gregorio O. Ruales - Division ADM Coordinator
Ronnie R. Sunggay / Helen J. Ranan – Subject Area Supervisor /
Coordinator

Printed in the Philippines by Department of Education – SOCCSKSARGEN Region

Office Address: Regional Center, Brgy. Carpenter Hill, City of Koronadal

Telefax: (083) 2288825/ (083) 2281893
E-mail Address: region12@deped.gov.ph
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Creative Writing
Quarter 2 – Module 4
Exploring Different Staging
Modalities: Vis-a- Vis
Envisioning the Script
Introductory Message
For the facilitator:

Welcome to the Creative Writing (Fiction ) Grade 11/12 Self-Learning Module

(SLM) on Exploring Different Staging Modalities !

This module was collaboratively designed, developed and reviewed by educators

both from public and private institutions to assist you, the teacher or facilitator in
helping the learners meet the standards set by the K to 12 Curriculum while
overcoming their personal, social, and economic constraints in schooling.

This learning resource hopes to engage the learners into guided and independent
learning activities at their own pace and time. Furthermore, this also aims to help
learners acquire the needed 21st century skills while taking into consideration
their needs and circumstances.

In addition to the material in the main text, you will also see this box in the body of
the module:

Notes to the Teacher

This contains helpful tips or strategies
that will help you in guiding the learners.

As a facilitator you are expected to orient the learners on how to use this module.
You also need to keep track of the learners' progress while allowing them to
manage their own learning. Furthermore, you are expected to encourage and assist
the learners as they do the tasks included in the module.

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For the learner:

Welcome to the Creative Writing (Fiction) Grade 11 Self-Learning Module (SLM)

on Staging Modalities.

The hand is one of the most symbolized part of the human body. It is often used to
depict skill, action and purpose. Through our hands we may learn, create and
accomplish. Hence, the hand in this learning resource signifies that you as a
learner is capable and empowered to successfully achieve the relevant
competencies and skills at your own pace and time. Your academic success lies in
your own hands!

This module was designed to provide you with fun and meaningful opportunities
for guided and independent learning at your own pace and time. You will be
enabled to process the contents of the learning resource while being an active
learner.

This module has the following parts and corresponding icons:

What I Need to Know This will give you an idea of the skills or
competencies you are expected to learn in
the module.

What I Know This part includes an activity that aims to

check what you already know about the
lesson to take. If you get all the answers
correct (100%), you may decide to skip this
module.

What’s In This is a brief drill or review to help you link

the current lesson with the previous one.

What’s New In this portion, the new lesson will be

introduced to you in various ways such as a
story, a song, a poem, a problem opener, an
activity or a situation.

What is It This section provides a brief discussion of

the lesson. This aims to help you discover
and understand new concepts and skills.

What’s More This comprises activities for independent

practice to solidify your understanding and
skills of the topic. You may check the
answers to the exercises using the Answer
Key at the end of the module.

What I Have Learned This includes questions or blank

sentence/paragraph to be filled in to process
what you learned from the lesson.

What I Can Do This section provides an activity which will

help you transfer your new knowledge or

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 skill into real life situations or concerns.

Assessment This is a task which aims to evaluate your

level of mastery in achieving the learning
competency.

Additional Activities In this portion, another activity will be given

to you to enrich your knowledge or skill of
the lesson learned. This also tends retention
of learned concepts.

Answer Key This contains answers to all activities in the

module.

At the end of this module you will also find:

References This is a list of all sources used in

developing this module.

The following are some reminders in using this module:

1. Use the module with care. Do not put unnecessary mark/s on any part of
the module. Use a separate sheet of paper in answering the exercises.
2. Don’t forget to answer What I Know before moving on to the other activities
included in the module.
3. Read the instruction carefully before doing each task.
4. Observe honesty and integrity in doing the tasks and checking your
answers.
5. Finish the task at hand before proceeding to the next.
6. Return this module to your teacher/facilitator once you are through with it.
If you encounter any difficulty in answering the tasks in this module, do not
hesitate to consult your teacher or facilitator. Always bear in mind that you are
not alone.

We hope that through this material, you will experience meaningful learning
and gain deep understanding of the relevant competencies. You can do it!

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 What I Need to Know

Hello, dear learners! The world around us is made more beautiful because
of creativity. The films that you watch on TV and cinema and even those plays at
the theatres are products of creative minds. Have you ever wondered how they
came up with such entertaining masterpieces? This module was designed and
written to develop practical and creative skills in you particularly in staging a
drama.

Developing creativity does not happen overnight, but the different enjoyable
activities in this module will help you build it gradually. You will explore the
various requirements when you mount a drama, understand how scripts influence
staging so that you can create a successful play from page to stage.

In this module, you will be able to:

• Explore different staging modalities vis-à-vis envisioning the script

(HUMSS_CW/MPIjc-18)

Specifically, you are expected to:

1. familiarize oneself with the different performance spaces when
staging a drama;
2. identify the different stage layouts;
3. determine different circumstances influencing staging.

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 What I Know

Choose the letter of the best answer. Write the chosen letter on a separate sheet of
paper.

1. This refers to where the action or performance of the drama takes place.
a. hall
b. stage
c. production
d. stadium

2. In this type of stage ,the audience occupies the three sides to view the
performance.
a. proscenium
b. thrust
c. theaters-in-the-round
d. arena theaters

3. This refers to the group of people at whom the drama is aimed

a. audience
b. activists
c. characters
d. playwrights

4. What type of stage is shown below:

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

5. What does linear structure mean?

a. The events are not dramatized in order.
b. The events are dramatized in chronological order.
c. The events unfold from the middle to the end.
d. The events are narrated by the performers.

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 6. If you want to show that the character is an important one-the main
character, which part of the stage he/ she will stand?
a. backstage
b. audience seats
c. downstage
d. upstage

7. These are the clothes and accessories that are worn by the characters of a
play.
a. props
b. setting
c. costume
d. scenes

8. What stage is shown in this illustration

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

9. This refers to the movement from one scene to the next.

a. A shift
b. A transition
c. A scene change
d. A scenery shift

10.This is the portion of the stage where the performers enter and exit the acting
area in a proscenium stage.
a. downstage
b upstage
c. center stage
d. downstage right

11. This tells you the relationship between the characters. For instance, when the
performers are close to each other, this implies that they have good relationship.
a. set
b. proxemics and levels
c. distance
d. placement

12. Which of the following statements best explains the word structure?
a. This tells the audience what the performers say in the play.
b. This shows the audience how good the performers are.
c. This is the order of actions or scenes in order to create a dramatic
effect.
d. This is the foundation of the stage.

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13. This is the form of writing in a play. This contains the dialogues of the
characters.
a. narrative
b. script
c. plot
d. story line

14. What stage is described in the statement “ The world is your stage”?
a. traverse
b. flexible
c. thrust
d. arena

15. Which of the following tells the audience about the time the drama is set?
a. set
b. scenery
c. plot
d. structure

Lesson Exploring Different Staging

4 Modalities Vis- a –Vis
Envisioning the Script

This lesson introduces you to various staging modalities, and other

circumstances that you need to consider when you stage a one-act play. This is one
step further to developing your creativity as you discover concepts that you can
make use in creating meaningful tasks.

What’s In

In your journey of discovering your creative skills and elevating them to a

higher ground, you have learned in Module 5 the different characters of and setting
for a one-act play. Right now, you must have envisioned yourself mounting a play
in your preferred setting and have perhaps decided the actors and actresses to
perform the different roles to bring the play to life. As you move on to your next
adventure and before you can present a full-blown one-act play, Module 6 will
prepare you to that exciting challenge. The lesson in this module includes the
different stages, stage layouts and other requirements that will make your work an
unforgettable creation.

Before that, try to recall the important concepts you have learned in Module
3 by doing the activity in the next page.

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Activity 1. Characters, Setting. Plot

Directions: In the clappers provided, give a brief description of the literary

elements of drama.

CHARACTER SETTING PLOT

A person or individual in the The time and place of the

drama that may have defined
personal qualities or histories
This is what happens in the
story or drama.
play. Plot refers to the action;
the basic storyline of the play.

Notes to the Teacher

This lesson is composed of several activities which can be
independently learned. Each of the activity is designed in a
manner that they discover the lesson themselves. However, you
may modify them to suit your learners’ learning styles and level of
difficulties.

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 What’s New

Staging Defined
Staging is the process of picking out, designing, changing or adjusting the
spaces for the performance for a play or a movie. This does not refer only to the
stage but it includes everything that you do in order to bring the drama to life.

Types of Performance Spaces

A. Hide and Seek
Directions: Check the word puzzle below and get the five words that refer to the
five performance spaces where you can have your one-act play performed.

T P R O S C E N I U M P
H K L T U K M W R C F T
R N M R I L K F R T Y H
U O R A O P L D G H D S
S P O V M R O V L F G U
T L M E N O P O T T H V
T Y D R L T Y M R Y J R
H V X S D F H R O U K T
E X P E R I M E N T A L
A R E N A T H E A T E R
T Y S Y L B C D W P L O
E L T N C M N K S O X Y
R M Y A T N Y L H L D T

VERTICAL HORIZONTAL
1____________________________
Thrust Theater 1.________________________________
Proscenium
2.___________________________
Traverse 2.________________________________
Arena Theater
3.________________________________
Experimental

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 Were you able to find all the words? That is a fantastic performance. Now, let
us go to another exploration. Below are the words that refer to the stage layout
when you mount your one-act play. I would like you to plot them in the box that
follows. The first two are done for you.

B. PLOT ME RIGHT

stage right downstage right downstage center

upstage right upstage left downstage left
stage center stage left

Backstage

Upstage right

Downstage left

Audience

Yes, you are ALMOST done! But the journey is not over yet. In the next activity,
you can see a word pool. These are important concepts that will help you put that
dream play into reality. But, they are mixed up. Your task is to write down the
words, inside a star , which you think are relevant.

C. ODD ONES OUT

scenery proxemics traveller scripts

dialogue props

structure audience awareness set

transition and flow blocking examination

survivor costume radio

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 What is It

The activities reveal that there are various performance spaces where we
can have our plays performed. Further, there are stage directions that we can
utilize in order to direct the performers on stage; and other influencing factors that
may help us produce a performance successfully.

1.Different Stages
a. Proscenium theater- the audience can view the performance through the fourth
wall or picture frame. This means that the house or the audience can see the actors
and actresses on the stage from a single view. In this type of stage, the audience
feels disconnected from the actions but it is easy to stage your work in this space.

STAGE

b. Arena stage- the audience can view the performance from all sides. This is also
called theater-in-the- round.

c. Thrust stage- the audience can view the performance in three sides, in this
stage , the audience feels being part of the actions and there is an intimate
atmosphere created. The performers can utilize the backstage.

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d . Traverse stage – the audience is in two sides of the stage and are facing each
other. They can see the work that happens on both sides but may see entirely
different shows

e. Experimental stage- this is also known as an informal stage or promenade

theater. The performance can be done in front of the store, in the forest,
supermarket, beach and others or indoor. The world is your stage as they say.

2. Stage Layouts/Directions

Audience

The nine positions on a stage above are from the performer’s perspective on a
proscenium stage. These are important because they will guide the performers as to
where they go. Also, this will tell you where to place the scenery , furniture and
other props.

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 a. Upstage - this means away from the stage front. In the proscenium stage,
this usually serves as the entrance or exit of the performers. It is where
crosses or counter crosses of the actors and actresses take place (see figure
1). When a performer is on the upstage, she/he can be seen as lesser
important than the one on the downstage.

FIGURE 1

b. Center stage- the center of the playing area

c. Downstage- the area closest to the audience, when a character is placed in this
area, this leaves the impression that he/she is an important character.

Note: downstage and upstage cannot be used in other types of stages but
proscenium only

3. The Script and other Influencing Circumstances on Staging a Play

a. Scenery- includes any non-costume visual element used in support of a

production. This is any nonpermanent two- or three-dimensional background or
environmental element that is placed on the stage so as to suggest the historical
period, locale, and mood of the play being performed. This relies on your
imagination and interpretation of the script.

b. Script - is a form of writing in the form of drama. It consists of dialogues and

information about the characters like their age, occupation and the relationship
of the characters.

c. Dialogues- are what the characters say to each other. This is central to a good
drama. To make it sound realistic, you need to read it aloud yourself. You have
to ask yourself these questions:

Where does this character come from?

What age are they?

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 What kind of person are they?
What mood are they in?
Who are they talking to?

Your grandfather speaks differently from your younger brother and an

Ilonggo from a Cebuano as well.

d. Structure - the order that action and scenes are placed for dramatic effect. This
can be linear and non-linear. When events in the play run from beginning to
end or in chronological order, you have a linear structure. When events unfold
from the present to the past or flashback, you have a non-linear structure.
Reading and understanding the script is vital to know in which manner the
events of the play happen.

e. Set- this is the scenery and the furniture on stage. You can choose between
elaborate and minimalist set. The current trend, however, is the minimalist set.

f. Props- are the items held or used by actors/actresses onstage to make the
action more realistic. When staging a drama always think of what is necessary.
Too many props can be very difficult for the performers to use and as they are to
be brought on stage and off stage, they can slow down the action.

g. Transition and Flow- this the movement from one scene to another. A messy
transition like interrupting the actions for costume change or to rearrange the
set ruins the attention of the audience.

h. Proxemics and Levels-this is how the characters are on a stage. The distance
or level between character/actors shows their relationships and feelings and give
clues of the situation or the people within the situation at that moment. For
instance, when characters stand close to each other, this gives the impression
that they have intimate relationship. If they are apart, you show the idea that
they must be strangers or no longer speaking to each other.

i. Costume- special kind of clothing's on the body of the characters on stage to

help in the dramatic action and the interpretation of the script contents. They
can be every day clothes or symbolical ones. You can add accessories such as
masks, walking sticks, necklaces and others.

j. Blocking- is not just the movement of the performers on a stage but this also
reveals the relationship of the actors and actresses between each other and one
and another. This communicates your interpretation of the key points of the
story in your script.

k. Audience awareness- along with interpreting the script, it is important to think

of who the audience is .This is a group of individuals gathered together at a
certain period and place for without any other purposes but to see the
performance.

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 What’s More

Let us get to know staging modalities, stage layout and other influencing
factors when we stage a one-act play more. Below are three activities you are to
perform so that the learning is deeply rooted.

Activity 1. In this activity, there are descriptions written for the different staging
modalities. Read them thoroughly and write T-for the descriptions that suit
TRAVERSE stage, Th for THRUST, P for PROSCENIUM, A for ARENA and E for
EXPERIMENTAL

DESCRIPTIONS
1. In this stage, the audience is given a good view of the performance
because the performers focus only on direction.

2. This stage creates intimacy among the audience and the performers
because the audience occupies the three sides of the place.

3.In this stage, the audience surrounds the performance place.

4.The audience occupies two sides of the audience seats.

5.This stage simplifies the hiding of unnecessary objects from the

audience ‘ view because they are hidden simply away from one main
window where the audience can see everything.

6.There is an increased rapport among the audience and the as they see
each other from two opposing sides.

7.In this stage, the audience can see two entirely different shows.

8.The audience feels included in the action and the performers can
utilize the backstage.

9.The play can be performed anywhere either indoor or outdoor.

10. There is a problem with logistics since the audience has to move from
place to another to follow the progress of the play.

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Activity 2. Fill out the missing parts. Using the map below, the information by
filling out the missing ideas. Some parts are done for you.

What I Have Learned

From the lesson on staging, I learned that:

1. There are several performance spaces like the 1._____________where the
audience can see the performance at a single angle, arena stage or theatre-
in-the-round where the audience 2._____________________________,3.
_____________in which the audience is in the three areas, 4.
______________the spectators are on both sides of the acting area and 5.
______________________ or promenade stage , the performance can be done
anywhere.

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 2. Moreover, I also understood that performance space like the proscenium is
divided into 6.___________areas. Generally, downstage 7.__________ and
_______are the major divisions. In the proscenium stage , if the character
plays an important role, she /he occupies the 8.______________. They also
enter and exit at the 9._______________ and they do crossing and counter
crossing at 10_____________________.

3. Finally, I learned some terms which also play great roles in staging my one-
act play. Write all the terms on your answer sheets. (See the example below)

1. Dialogue- what the performers say to each other. I should read the script
so that I can make variations on how the actors /actresses talk because
a young boy may speak differently from an old man.

What I Can Do

It has been a long journey, indeed! Now that you know the different staging
modalities, stage layout and other key terms important to mounting your one act
play, let us try to put them into use.

1. Think of other areas in your school campus or community that can be used
as a venue for your one-act play. Fill the table with the information.
Place in the Campus or Type of Stage I will use A. Reasons why the said
Community place is appropriate
B. Reasons why I want to
use ______stage

2. Draw and label a proscenium stage . See the example below: Imagine
that you are staging this story line:

It was dawn when he bade goodbye to his mother. He needed to leave

early so that he could sell all the sacks of charcoal he and his father
had collected for a week. He needed to do this so that he could come
home to bring some kilos of rice for his younger siblings. He waved
goodbye to his siblings and promised them bags of “pandesal”.

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 3. In staging the above story line, decide on the following:
a. costume
b. scenery
c. set (furniture)
d. props

Assessment

Write T if the statement is True and F if the statement is False.

_________1. The hall is the place where the actions of the drama take place.

_________2. In arena stage, the audience occupies all the sides of an acting area.

_________3. The characters are the individuals at whom the performance of a play is
aimed.
_________4. In a proscenium stage, the audience views the play at one angle.

_________5. In a linear structure, the events are not dramatized in order

_________6. The one standing at the upstage is the main character.

_________7. Costumes are the clothes and other accessories worn by the characters.

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________8. In a thrust stage, the audience is seated at two opposite sides.

________9. Transition is the movement from one scene to another.

________10. In the proscenium stage, the characters enter and exit at the
downstage.

________11. Proxemics and levels is the distance between and among characters
that reveal the relationship between and among them.

________12. Structure is the order of actions or scenes in order to create a dramatic

effect.

________13. The narrative is the form of writing in a play and contains the dialogues
of the characters.

_______14. In a promenade stage, the actions of the play can be performed

anywhere like the streets, markets and others.

_______15. The scenery tells about the time the play is set.

Additional Activities

Watch this one act play on You Tube

https://www.youtube.com/watch?v=jeKoCeDIt84 or watch one episode of “ Ang
Probinsyano” and do the following: Write as many as you can.

My Observation Table

The Type of Stage The Stage Layout Costume, Dialogues,

Scenery ,etc.

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 24
What I Know What's More Act.2 Assessment
1. Away from the
1.B 10.B front
1. F
2. Closest to the 2. T
2B 11.B 3. F
audience
3.A 12.C 3. Center 4. T
stage/stage 5. F
4.B 13.B left/stage right 6. F
4-6.Upstage 7. T
5.C 14.B left/upstage 8. T
right/upstage center 9. T
6.C 15.B
10.F
7-8.downstage
7.B 11.T
left/downstage right
12.T
8.D 8-10.stage left,stage 13.F
center/stage right 14.T
9.B 15.T
Answer Key
References

Audience Awareness and Blocking. Accessed November 17, 2020. Retrieved

from https://www.bbc.co.uk/bitesize/guides/zg9x34j/revision/11.
The Audience and the Theater. Accessed November 15, 2020. Retrieved
fromhttps://novaonline.nvcc.edu/eli/spd130et/audthea.htm#:~:text=The%2
0audience%20is%20most%20important,this%20definition%20comes%20fro
m%20Cameron%2F.
The Importance and Function of Costumes as an Inevitable Tool for the Promotion
and Development of Theatrical Performances. Accessed
November 20, 2020. Retrieved from
https://nairaproject.com/projects/4448.html#:~:text=Costume%20is
%20the%20clothes%20worn,aid%20dramatic%20actions%20and%20interpr
etations.
Proxemics. Accessed November 23, 2020. Retrieved from
https://irenedrama.wordpress.com/2014/09/15/proxemics/#:~:text
The%20proxemics%20is%20the%20usage,the%20situation%20at%20t
hat%20moment.
Scripts as a Stimulus. Accessed November 13,2020. Retrieved from
https://www.bbc.co.uk/bitesize/guides/zqwycdm/revision/6#:~:text=A%20
script%20is%20a%20piece%20of%20writing%20in%20the%20form%20of%2
0drama.&text=A%20script%20consists%20of%20dialogue,extract%20from%
20a%20play%20script
Stage Layouts. Accessed November 19, 2020. Retrieved from
https://www.bbc.co.uk/bitesize/guides/zg9x34j/revision/7
Staging Modalities: Accessed November 18, 2020. Retrieved from
https://www.academia.edu/41432555/Q_STAGING_MODALITIES
Structure. Accessed November 21, 2020. Retrieved from
https://www.bbc.co.uk/bitesize/guides/zg9x34j/revision/8
Taking the Stage. Accessed November 18, 2020. Retrieved from
http://www.alyve.org/chs/theatre/text/chap09.pdf
Technical Elements: Costume,Props and Set.Accessed November 16, 2020.
Retrieved
https://www.bbc.co.uk/bitesize/guides/zg9x34j/revision/12

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 DISCLAIMER
This Self-learning Module (SLM) was developed by DepEd SOCCSKSARGEN
with the primary objective of preparing for and addressing the new normal.
Contents of this module were based on DepEd’s Most Essential Learning
Competencies (MELC). This is a supplementary material to be used by all
learners of Region XII in all public schools beginning SY 2020-2021. The
process of LR development was observed in the production of this module.
This is version 1.0. We highly encourage feedback, comments, and
recommendations.

For inquiries or feedback, please write or call:

Department of Education – SOCCSKSARGEN

Learning Resource Management System (LRMS)

Regional Center, Brgy. Carpenter Hill, City of Koronadal

Telefax No.: (083) 2288825/ (083) 2281893

Email Address: region12@deped.gov.ph

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