SCHOOL YEAR 2021-2022

SUBJECT: CREATIVE WRITING/ MALIKHAING PAGSULAT

I. INTRODUCTION
This 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.

SECOND QUARTER: MODULE 1

“READING AND WRITING DRAMA”
A mode of fictional representation through dialogue and performance
A type of play which is written for theatre, 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
Its writer is known as a 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 types
of drama written nowadays.

1. COMEDY – this is known to be broad genre of film, television and literature. Nonetheless, its ultimate goal is but
simple – to make the audience laugh. In order to achieve such goal, a playwright often uses quaint circumstances, unusual
characters and witty remarks. What makes this category different from the other types is that its writer uses lighter tone.
Moreover, it is sometimes known to be sarcastic in nature as it has the tendency to make fun out of serious topics.
The following are the sub-genres of comedy:
a. Romantic Comedy – it focuses on light hearted, humorous plot lines which are often centered on romantic
ideas like how true love is able to overcome many obstacles.
b. Sentimental Comedy – it began in the 18 th 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.
c. 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.
d. 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 type of drama, tragedy is basically rooted on its literal meaning which connoted 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 though- 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:

a. 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 Sophocies, Euripides and Aeschylus.
b. Roman Tragedy – These are mostly adaptations of Greek tragedies. The Roman philosopher Seneca wrote nine
plays which still exist at present and adopted by Elizabeth and Jacobean playwrights during the late 16 th and early 17th
centuries.
c. Elizabeth and Jacobean Tragedy – Elizabethan tragedies which are not 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 de towards the end of the play. On the other hand, Jacobean tragedies usually have the
characteristic of revenge tragedies.
d. Revenge Tragedy – this types 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.
e. 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.
f. Domestic Tragedy – Unlike the Elizabeth period tragedy, it portrays a common man in a domestic setting as the
tragic hero in the story the best examples for this Henrick Ibsen’s A Doll’s House and Eugene O’Neill’s The Iceman
Cometh.

3. FARCE – This types 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 characteristics like
heroes, heroines, and villains who deal with sensational, romantic, and threatening situations. Examples of melodrama are
the play The Glass Menagerie by Tennessee Williams and Margaret Mitchell’s novel, Gone with the Wind.

5. OPERA – This type combines theatre, 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 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 theatre,
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 right at the very beginning or in the middle of
Exposition
the action. Regardless of the structure, this part shows the situations that involved the
characters to the conflict and sets the tone of the play.
This is where the challenges that the protagonist is about to face are presented. This
Conflict conflict may arise from various forces, 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
Rising Action or
tension between characters, giving the audience more details concerning them which were
Complication
not known in the introduction and conflict. This part also makes the conflict more
complicated.
Turning Point, Climax This part is where the audience finds out if the protagonist either wins or loses in the battle
or Crisis that he or she is struggling with. This is known as the highest point in a story.
At this point, the audience somehow gets a sense of the conclusion, but my still have some
Falling Action
unsettles questions at work within the plot.
This marks the ending of the play where we can see if the protagonist won against the
Denouement or
antagonist. It also show whether or not the order is brought back and the conflict has been
Resolution
resolved.

DRAMATIC ELEMENTS
While it is important for a playwright to understand the structure of drama, it is also necessary that he or she is fully aware
of the many different techniques and devices – dramatic elements – involved in making a play more effective, interesting
and meaningful. Here are some of them:
Action It refers to what the characters say or do to achieve their goals
Antagonist Refers to the character or situation that is in conflict with the protagonist
Arc Storyline of the play; something that the audience wants to find out
When actor speaks directly to the audience while the other actors on stage supposedly did
Aside
not hear a word he or she says.
Backstory Past events involved in the play
Complications Introduction of new characters, information or other events which often causes conflicts
Conflict Problems arise due to the opposing intentions of the protagonist and the antagonist
Discovery When the protagonist finally realizes the reality of the situation
Use of a subplot in moving towards and outside of the main plot. This is usually in
Double plots
Elizabethan drama.
Refers to what the audience intends to accept as true for the story’s sake. This may include
Dramatic Convention the actor acting to represent the characters of the story, the stage set up to appear realistic
in time and location and so on.
Uses description or enactment of what happened in the past which usually has something
Flashback
to do with the present conflict.
Foreshadowing Use of hints at the future just to create audience’s anticipation
Inciting Incident Refers to that occurrence which introduces the main character and gets the plot going.
In Medias Res Opening scene in the middle of the action
Intrigue A scheme created by one of the characters which often results in a more complicated plot.
Music Used on the stage to set the mood and tine of the play
Monologue Speech delivery of an actor in the presence of other actors who simply listens but not talk.
Protagonist Main character in the play who often comes with a mission or has a quest to conquer
Reversal When the protagonist either fails of succeeds.
These are portions of an act which let the audience relax briefly from the tension of the
Scenes
story.
Soliloquy Actor’s speech delivery to express thoughts at the same time when he or she is alone.
Stakes Refers 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.
Involves happenings that cause a sense if uncertainty about the things that will happen to
Suspense
the characters
2. SETTING – an effective playwright does not only consider the plot when writing drama. Equally important to that
matter is 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. CHARACTERS- refer 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
Superhero – character with supernatural powers
Antihero- a character who is more ordinary compared to traditional hero

4. DIALOGUE – among the components in a play, this is the most important. This is basic reason why the action of the
play moves. Since the nature of drama is formative, it is the dialogue which takes place between the characters, that of eal
the tone and the characters in the play.
When writing the dialogues, consider the following pointers:
Character 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

ACTIVITY 1: TRUE OR FALSE

Directions: Write true if the statement is true and false if it is not true.
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 exaggeration 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 serveral techniques and devices or
dramatic elements.
10. The setting of a play is always realistic.

LESSON 2: INTERTEXTUALITY AS A TECHNIQUE IN DRAMA

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
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.
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.

Your Guide on How to Analyze Allusion

Here is your step-by-step guide on how to analyze allusion:
Step 1: Read the passage to find out if there is a clear presence of allusion to a place, time, religion, myth or text
Step 2: Identify the examples that refer to something else, the type of allusion used and the reference of the allusion.
Step 3: Determine what the allusion suggests in the text.

2. PARODY - This type of intertextuality refers to the writer’s imitation of another text for the purpose of exposing and
discrediting one’s vice or follies. Often, a writer uses this type to mock its targets who are usually celebrities, politicians,
authors, a style or trend or any subject which arouses anyone’s interest at the moment or at a specific period of time.
Historically, the word “parody” comes from the Greek phrase parodia which is a type of poem that copied the
style of epic poems but with the characteristics of mockery and light comedy.
Examples of Parody: The following are some of the examples of this type of intertextuality:
Example 1:
“Your little sister puts on your father’s big shoes and stomps around in them, saying, ‘I need to make a business
call. I am very busy, very important businessman!’ ”
This example shows that the father was being imitated by the girl who knows that he works as a businessman.
The statements suggest to show the image of many businessmen as overly serious and acclaimed self-important.
Example 2:
“At the talent show, a group of boys wears matching outfits and prances around singing One Direction’s “Best
Song Ever.” They sing very poorly and overly dramatically.”
In this example, the boys are parodying the way a famous band dresses, sings, and performs in a humorous way,
commenting on how many pop stars are actually low-leveled in terms of talent.

3. QUOTATION - This is another common type of intertextuality which involves a direct reference to another text,
giving citation to the owner of the text. Quotation is known to be a device used for talking about language. It works in a
somehow tricky way that is, to make its referent perform or participate in the referring. Placing quotation marks around
a certain word produces a device which infers that very word.
The most vital function of quotation marks is to set off and represent the exact language which is either spoken
or written by somebody else. This means that any revision or edition of the exact statement or words defeats the purpose
of quoting.
Example 1:
In the end, Albert Einstein was right when he said, “Life is like a bicycle. You need to keep moving.”
Example 2:
Dr. King said, “I have a dream.”

4. APPROPRIATION - This type of intertextuality allows the writer to make a reworking or reimagination of a popular
text for the purpose of changing or extending its meaning. Typically, it creates a whole new product and domain away
from its originating source.
 One famous example of appropriation is L.H.O.O.Q, an artwork created by Marcel Duchamp, is an appropriation
of Mona Lisa which is created by Da Vinci. In his version, Dumchamp took a picture of Da Vinci’s artwork and added a
moustache on it.
Another example of appropriation is evident in Clueless where Emma appeared differently from that of the 1800’s
to a modernized version of her living in the 1990’s in America. The sets and scenery, dialogue and costumes are generally
different, too. The appropriation technique was also applied in the main character’s attribute in which she is now into
online youtube and blog to go with the latest trend of Emma working and blogging as a matchmaker online.

5. ADAPTATION - This type of intertextuality entails creating a film, TV drama or stage play based on a specific written
work. Perhaps one of the most common examples for this is the film adaptation of JK Rowling’s Harry Potter which was
originally, a written novel.
Historically, there are different reasons why a writer would want to employ adaptation in his or her work. One of
these is the desire to reconfigure a popular material into becoming a more acceptable guise or introducing to the audience
a whole new and fresh literary style. Another reason is to get around censorship and push boundaries.

SIGNIFICANCE OF INTERTEXTUALITY
While we are studying intertextuality in drama, you might as well wonder its significance to drama is or to the world of
literature as a whole. Below are some of the known reasons why intertextuality in drama is important:
• It provides readers with a much richer reading experience.
• It helps give new interpretations of literary works as it comes with a different context, idea, or story into the
text.
• It provides pleasure in terms of connection and continuity of cultures and texts.
• It invites readers to revisit the earlier text, but this time, with new insights and meanings relevant to the present
time.
• It causes readers and audiences to raise questions concerning the nature of authorship and originality of the text.
• It helps students write their own texts based on what they know from others.
• It portrays a connection between two texts with certain messages and ideas.
• It makes the readers think and re-interpret the meaning of the referenced text, as well as find common ideals,
issues or values embedded and discovered across the texts used.

INTERTEXTUALITY AND PLAGIARISM

In this world where anything can now be easily copied anytime over the Internet, plagiarism is definitely a no-no and is in
fact, considered a criminal offense. As intertextuality involves a purposeful use of someone else’s work without proper
citation, will it be considered as plagiarism?
By definition, plagiarism is the act of “using or closely imitating the language and thoughts of another author without
authorization.” This, in its sense, may include intertextuality. Nonetheless, it is the intention and the purpose for using
someone else’s work that excludes intertextuality from committing such offense.
Technically, intertextuality uses small excerpts of a hypotext which helps the readers or audience get into the new
hypertext’s original themes, characters or contexts. The writer makes use of a portion of another text and alters its
meaning by putting it into another context. Basically, this means that the writers are simply using the ideas of others in
order to develop or enrich their own ideas and not plagiarizing them.
In general, while plagiarism is simply copying the texts from one’s work and putting it into your own work, intertextuality
is basically grounded on the purpose of creating new ideas based on the researched ideas from others to confirm them.
Hence, intertextuality is not an act of plagiarism at all.

ACTIVITY 2: MATCHING TYPE

Directions: Match the word/s in column A with the descriptions in column B. Write the letter of your answer in your
notebook/paper.
COLUMN A COLUMN 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. adaption e. the act of “using or closely imitating the language and thoughts of another
6. quotation author without authorization
7. allusion f. “Reflecting on her cruel behaviour, Cinderella’s stepmother stood still
8. mythological allusion like a pillar of salt.”
9. plagiarism g. a writer creates a film, TV drama or play based on a written work
10. religious allusion h. He was a Nero.”
i. an indirect reference in one text to another text, place, historical period
or author
j. direct referencing with acknowledgment to the original author

V. NEW IDEAS
After going through this module, what Anthonian attitude did you develop? As an Anthonian, I develop
_____________________________.
VI. EVALUATION
Directions: Below is an example of parody song by Michael Bustos entitled, “Whole New World Parody”
showcasing the different tourist spots in the Philippines. The song has unique lyrics integrated with Filipino culture.
Now, compose your own parody song in any tune of your interest. Make sure to use any type of intertextuality in your
composition. Indicate your reference to avoid plagiarism.
Note: Refrain from using vulgar or offensive language.

Whole New World Parody

If Aladdin Were Filipino Mikey Bustos

A: I Can show you Pinas

(J: What's Pinas)

A: Short for Philippine islands

From the beaches to highlands
There's so much to see and find
Here's terraces of rice
In Banawe it's so cool
Now we fly over Bohol
Chocolate Hills, tarsiers' big eyes
Pilipinas
Bahay Kubos made of bamboo
I'm like a butiki
I'm so sticky
Our 3 seasons are hot, hotter & hottest

Pilipinas
This archipelago's so beautiful
Tropical paradise and handsome guys
What is this egg this guy's selling to you

It's a delicacy we call balut

Unbelievable seas
Full of beautiful corals
(A: That's Cebu)
Gorgoeus caves and volcanoes
And it's dark at 6PM
Karaoke Fun
(A: Don't you dare sing "My Way")
J: Intramuros so Spanishy
(A: Let us a ride a kalesa)
J: Underground river fun in Palawan

The sunset in Boracay Station 1

A: Pilipinas

(J: Batanes looks so nice)

A: Hundred Islands, Pangasinan
(J: Baguio City's cold weather)

I'll surf the wave I'm on in La Union

I love to share Pilipinas with you
J: Pilipinas
(A: Have some rice wine)
J: Aren't we late
(A: It's Pinoy time)
A: Just dont do drugs
(J: And you'll get hugs)

PARODY SONG RUBRIC

Excellent Good Fair Poor
Rhyme Parody version of the Parody version of the Parody version of the song Parody version of the song
song completely song mostly sometimes matches the doesn't match the rhyme
Scheme
matches the rhyme matches the rhyme rhyme scheme of the scheme of the original.
scheme of the original. scheme of the original. original.
Parody version of the Parody version of the Parody version of the song Parody version of the song
Rhythm song completely song mostly matches the sometimes matches the doesn't match the rhythm
matches the rhythm of rhythm of the original. rhythm of the original. of the original.
the original.
Overall theme of the Overall theme of the Overall theme of the parody Overall theme of the parody
Parody- parody has a clear, parody has a has a humorous message, is not discernible.
Theme humorous message. Humorous message. but at times is unclear or
 goes off topic.
Lyrics were carefully Lyrics were sometimes Lyrics were chosen with Lyrics were not chosen
Lyrics- chosen and assist in chosen carefully and basic care and get the carefully and appear to be
Word getting the overall assist in getting the general idea of the theme arbitrarily placed simply to
Choice theme of the parody overall theme of the across to the audience. fit rhythm or rhyme
across to the audience parody across to the scheme.
clearly. audience.