9

English
Quarter 3 – Week 5:
One-Act Play
 Topic
One-Act Play

This module aims to give you a simple, elaborative and concrete

Features of One Act on
understanding playhow
are: a one-act play works. It consists of a brief and concise
One act plays
 explanation are the
about the plays thatand
frequent are commonly asked
What questions for students like you.
is an act play?
confined in one act only.
This module will help to improve your reading, comprehension, and analytical skills on
An act
the following activities and task. Enjoy this Self-Learning is a part
Module, of a play
“A Closer Lookdefined
at
 The scenes may be multiple and in by elements such as rising action,
One-Act Play”.
variations. climax, and resolution. To be more
 The write up of the plays are concise
specific, the elements that create
and written precisely. the plot of a play and divide it into
acts include the exposition, which gives
 The aim of the plays is intended information, setting up the rest of the
towards producing one effect. story.

 The scenes are dominated by a single What is plot in one-act play?

situation.
 It has a beginning, a middle and an
end, like the dramas.
Plot:
 The plot in terms of literary genre
refers to the sequence or series of
events. The events together form the
plot. It is a part of storytelling.
What is the importance of one act
play?
Like all fiction, the primary
purpose of drama is to entertain, evoke
feelings, and teach the audience a
lesson about life. What is a One-Act
Play? The one-act play is to the full-
length play what the short story is to
the novel.
For a full-length play, the plot is
the series and sequence of events that
lead the hero (and the audience) on the
journey. In a one-act play, there is really
only time for one significant event. This is
the determining place for the hero, where
all is won or lost.
What is a one-act play called?
In recent years, the 10-minute play
known as "flash drama" has emerged as a
popular sub-genre of the one-act play,
especially in writing competitions. The
origin of the one-act play may be traced
to the very beginning of drama: in ancient
Greece, Cyclops, a satyr play by
Euripides, is an early example.

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How do you start a one-act play?
Develop the action first, then variety of ways, for example through
compose the dialogue before you physical, verbal or psychological means.
decide anything else. Keep the plot
simple for a one act play and it should Plot Diagram
move consistently throughout
the play. Develop the characters. A. The plot diagram shows how the main
Write out a character sketch events in the play are organized
beforehand to help you flesh out your
characters and bring them to life.
into a plot. Come up with a plot diagram
What are the six elements of one
as to the presentation of the character’s
act?
thoughts, feelings and actions.
In a one act play, all elements
Climax
that are mentioned are usually
present. There is a setting, a plot, a
structure, characters, conflict, theme,
and the type of atmosphere present. In
one act plays, there is only one setting
and the plot or conflict of the story is
rather simple.

What is the difference between act and

a scene?
Exposition Resolution
Both an act and a scene are part
of a play or performance. The

main difference between the two is

length and depth of each.
A. Introduction or Exposition: explains
An act consists of several scenes and
the situation with which the story begins.
can run for a long length in
It introduces the characters and
a performance. On the other hand,
describes the setting.
a scene features a brief situation of
action and dialogue. B. Rising Action: complication is
presented.
What is conflict in one-act play?
C. Climax: highest point of interest,
Conflict generally occurs when a
usually a question is raised.
character cannot achieve an objective
due to an obstacle. This obstacle may D. Falling Action: solutions to the
be internal or external – between problem is presented.
characters or between characters and
their environment. Conflict can be E. Conclusion: situation with which the
shown in a story end

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 A. READING TASK

Have you ever been tempted to pretend that you were someone else? Do you
think people will respect you more if they think you are rich? Can you judge people
by their appearance? In this short one-act play, adapted from the classic short story
by O. Henry, a young man and woman meet in a public park and instantly fall for
one another but neither of them is what they seem. Read the text below and answer
the questions that follow:

WHILE THE AUTO WAITS

by O. Henry

adapted for the stage by Walter Wykes

CHARACTERS GIRL
YOUNG MAN WAITRESS
CHAFFEUR

TIME 1920s

[Twilight. The quiet corner of a city park. A GIRL in gray sits alone on a bench,

reading her book. A large-meshed veil hangs over her face, which nevertheless

shines through with a calm and unconscious beauty. When she turns a page,

the book slips from her hand, and a YOUNG MAN, who has been hovering

nearby, pounces upon it. He returns it to her with a gallant and hopeful air.]

GIRL: Oh, thank you.

YOUNG MAN: [Eagerly.] Are you sure? I don’t
YOUNG MAN: Nice weather we’re having. want to interrupt your reading.

GIRL: Yes. GIRL: Really, sit. I would like very much to

have you do so. The light is too bad for
YOUNG MAN: Well … reading. I would prefer to talk.

GIRL: You may sit down, if you like.

YOUNG MAN: Well, if you insist. [He slides
hopefully onto the seat next to her.] You

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know, you’ve got to be the most stunning
girl I’ve ever seen. Honest. I had my eye on
you since yesterday.
GIRL: Yesterday?
YOUNG MAN: Didn't know somebody was
bowled over by those pretty lamps of yours,
did you, honeysuckle?
GIRL: Whoever you are, you must
remember that I am a lady. I will excuse the
remark you have just made because the
mistake was, doubtless, not an unnatural
one—in your circle. I asked you to sit down;
if the invitation must constitute me your
honeysuckle, consider it withdrawn.
YOUNG MAN: Sorry. I’m sorry. I didn’t
mean to offend you. I just thought… well, I
mean, there are girls in parks, you know—
that is, of course, you don't know, but—
GIRL: Abandon the subject, if you please. Of
course I know.
YOUNG MAN: Right.
GIRL: Now, tell me about these people
passing and crowding, each way, along
these paths. Where are they going? Why do
they hurry so? Are they happy?
YOUNG MAN: It is interesting to watch
them—isn’t it? The wonderful drama of life.
Some are going to supper and some to—er
— other places. One can’t help but wonder
what their histories are.
GIRL: Yes! How fascinating they seem to me
—rushing about with their petty little
dreams and their common worries! I come
here to sit because here, only, can I be near
the great, common, throbbing heart of
humanity. My part in life is cast where its
beating is never felt. Can you surmise why I
spoke to you, Mr.—?
YOUNG MAN: Parkenstacker. And yourr
name…?
[He waits, eager and hopeful, but she only
holds up a slender finger and smiles
slightly.]
GIRL: No, you would recognize it
immediately. It is simply impossible to keep
one's name out of the papers. Or even one's
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portrait. This veil and this hat—my maid’s,
of course—are my only protection. They
furnish me with an incog. You should have
seen the chauffeur staring when he thought
I did not see. Candidly, there are five or six
names that belong in the holy of holies, and
mine, by the accident of birth, is one of
them. I spoke to you Mr. Stackenpot
YOUNG MAN: Parkenstacker.
GIRL: Mr. Parkenstacker, because I wanted to
talk, for once, with a natural man—a real
man—one unspoiled by the despicable gloss
of wealth and supposed social superiority.
Oh! You have no idea how weary I am of it—
money, money, money! And of the men who
surround me, dancing like little marionettes
all cut from the same pattern. I am sick of
pleasure, of jewels, of travel, of society, of
luxuries of all kinds!
YOUNG MAN: I always had the idea that
money must be a pretty good thing.
GIRL: A competence is to be desired,
certainly. But when you have so many
millions that—! [She concludes the sentence
with a gesture of despair.] It is the monotony
of it that palls. Drives, dinners, theatres,
balls, suppers, balls, dinners, more balls,
followed of course by dinners and suppers,
with the gilding of superfluous wealth over it
all. Sometimes the very tinkle of the ice in my
champagne glass nearly drives me mad.
YOUNG MAN: You know …I’ve always liked to
read up on the habits and customs of the
wealthy class. I consider myself a bit of a
connoisseur on the subject. But I like to have
my information accurate. Now, I had formed
the opinion that champagne is cooled in the
bottle and not by placing ice in the glass. [The
GIRL gives a musical laugh of genuine
amusement.]
GIRL: You must understand that we of the
non-useful class depend for our amusement
upon departure from precedent. Just now it is
a fad to put ice in champagne. The idea was
originated by a visiting Prince of Tartary while
dining at the Waldorf. It will soon give way to
some other whim. Just as, at a dinner party
this week on Madison Avenue, a green kid
glove was laid by the plate of each guest to be
put on and used while eating olives.
YOUNG MAN: [Humbly.] I see.
GIRL: These special diversions of the inner
circle do not become familiar to the
common public, of course.
YOUNG MAN: Of course. It’s all quite
fascinating. I’ve always wanted
participate in, or at least witness first hand,
the rituals of the elite.
GIRL: We are drawn to that which we do
not understand.
YOUNG MAN: I guess that’s true.
GIRL: For my part, I have always thought
that if I should ever love a man it would be
one of lowly station. One who is a worker
and not a drone. But, doubtless, the claims
of caste and wealth will prove stronger than
my inclination. Just now I am besieged by
two suitors. One is Grand Duke of a
German principality. I think he has, or has
had, a wife, somewhere, driven mad by his
intemperance and cruelty. The other is an
English Marquis, so cold and mercenary
that I prefer even the diabolical nature of
the Duke. What is it that impels me to tell
you these things, Mr. Packenwacker?
YOUNG MAN: Parkenstacker.
GIRL: Of course.
YOUNG MAN: I don’t know why you should
bare your soul to a common man like me,
but you can’t know how much I appreciate
your confidences. [The girl contemplates him
with the calm, impersonal regard that befits
the difference in their stations.]
GIRL: What is your line of business, if you
don’t mind my asking?
YOUNG MAN: A very humble one. But I
hope to rise in the world someday.
GIRL: You have aspirations?
YOUNG MAN: Oh, yes. There’s so much I
want to do.
GIRL: I admire your enthusiasm. I, myself,
can find very little to be enthused about,
burdened, as I am, by the constant
pleasures and diversions of my class.
YOUNG MAN: Did you really mean it, before,
when you said you could love a man of lowly
station?
GIRL: Indeed, I did. But I said “might.”
YOUNG MAN: Why only “might?”
to
GIRL: Well, there is the Grand Duke and the
Marquis to think of, you know.
YOUNG MAN: But you’ve said yourself—
they’re so cold.
GIRL: I am sure you understand when I say
there are certain expectations of a young lady
in my position. It would be such a
disappointment to certain members of my
family if I were to marry a commoner as we
like to call them. You simply cannot imagine
the scandal it would cause. All the magazines
would remark upon it. I might even be cut off
from the family fortune. And yet … no calling
could be too humble were the man I loved all
that I wish him to be.
YOUNG MAN: I work in a restaurant. [The girl
shrinks slightly.]
GIRL: Not as a waiter? Labor is noble, but
personal attendance, you know— valets and
—
YOUNG MAN: Not a waiter. I’m a cashier in
… in that restaurant over there.
GIRL: [With a strange, suspicious look.] That
… that one there? [He nods.] That one?
YOUNG MAN: Yes.
GIRL: [Confused.] Are you sure?
YOUNG MAN: Quite sure.
GIRL: But— [Suddenly the GIRL consults a
tiny watch set in a bracelet of rich design upon
her wrist. She rises with a start.]
GIRL: Oh!
YOUNG MAN: What is it? What’s wrong?
GIRL: I … I am late for an important
engagement.
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YOUNG MAN: An engagement?

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GIRL: Yes!
YOUNG MAN: Some sort of ball or—
GIRL: Yes, yes!
YOUNG MAN: Will I see you again?
GIRL: I do not know. Perhaps—but the
whim may not seize me again. I must go
quickly now. There is a dinner, and a box at
the play—and, oh! The same old round!
Perhaps you noticed an automobile at the
upper corner of the park as you came. One
with a white body.
YOUNG MAN: [Knitting his brow strangely.]
And red running gear?
GIRL: Yes. I always come in that. Pierre
waits for me there. He supposes me to be
shopping in the department store across
the square. Conceive of the bondage of the
life wherein we must deceive even our
chauffeurs. Goodnight.
YOUNG MAN: Wait! It’s getting dark, and
the park is full of questionable characters.
Can’t I walk you to your—
GIRL: [Quickly.] No! I mean … no. If you
have the slightest regard for my wishes, you
will remain on this bench for ten minutes
after I have left. I do not mean to question
your intentions, but you are probably aware
that autos generally bear the monogram of
their owner. Again, good-night.
[Suddenly a WAITRESS approaches, wearing
a soiled, dirty uniform— evidently just
coming off her shift.
WAITRESS: Mary-Jane! Mary-Jane Parker!
What on earth are you doing out here?
Don’t you know what time it is?!
GIRL: [A little flustered.] To whom are you
speaking, Madame?
WAITRESS: To whom am I … to you! Who
do you think, you ninny?!
GIRL: Then I’m sure I don’t know what
you’re talking about.
WAITRESS: You’re shift started fifteen
minutes ago! Mr. Witherspoon’s in a rage!
This is the third time this month you’ve
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been late! You’d better get yourself over
there and into uniform before he cuts you
loose for good!
GIRL: I—
WAITRESS: Go on, now! I know you can’t
afford to miss a paycheck!
GIRL: [Attempting to maintain her dignity.] You
must have me confused with—with someone
else.
WAITRESS: Confused with—why, Mary Jane
Parker, we’ve known each other for three
years! We swap shifts! Have you been
drinking?! Why are you wearing that
ridiculous hat?!
GIRL: [To the YOUNG MAN.] I … I’m sorry,
Mr. Porkenblogger—
YOUNG MAN: Parkenstacker.
GIRL: Parkenstacker.
WAITRESS: Parkenstacker?
YOUNG MAN: Yes, Parkenstacker.
WAITRESS: As in The Parkenstackers?! From
the society pages?!
GIRL: The society pages?
YOUNG MAN: If only I were so fortunate.
GIRL: You … you must excuse me. My
chauffeur is waiting.
WAITRESS: Chauffeur?! What kind of crazy
airs are you putting on? You’ve never had a
chauffeur in your life! You don’t even own an
automobile!
GIRL: I do so!
WAITRESS: Since when?!
GIRL: Since … Oh, get away from me! I don’t
know you!
WAITRESS: Don’t know me?! You have been
drinking! I’m going to tell your mother!
[The GIRL rushes off, followed closely by the
WAITRESS. The YOUNG MAN picks up her
book where she has dropped it.]
YOUNG MAN: Wait! You forgot your— [But
they are gone. After a few moments, a
CHAUFFEUR approaches cautiously.]
CHAUFFEUR: Begging your pardon, sir.
YOUNG MAN: Yes, Henri?
CHAUFFEUR: I don’t mean to intrude, but
your dinner reservation—shall I cancel or—
YOUNG MAN: No … I’m coming.
CHAUFFEUR: Very good, sir. The auto is
waiting.
[The CHAUFFEUR exits and leaves the YOUNG
MAN standing alone for a moment as the lights
fade.]

A. Process Questions:

1. Who met at the park? Describe how the characters reacted on their
first meeting.

2. What do you think are the intentions of the characters for not revealing
their true status in life?

3. Would you consider the situations of the characters a “white lie?” Why
or why not?

4. What does the last sentence of the story tell us about the young man?

5. What do you think is the implication of the story to human lives?

6. If you were the author how would you end the play?

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B. Play in Process
Direction: Complete the story grammar below by writing the details about the play,
“While the Auto Waits”.

While the Auto

Waits

Characters Setting Characters Conflict

Episodes
Time? When?
Who? 1.
2.
3.
4.
Location? Where?

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C. Character Analysis
Fill out the character analysis sketch to give characterization to the characters of the
play, “While the Auto Waits”.

1
0
1.Traits
Part of the play
Characterit was revealed
Evidence

Traits Part of the play it was revealed

2.Character

Evidence

3.
Traits
Character
Part of the play it was
revealed.

Evidence

4.
Traits
Character
Part of the play
it was revealed.

Evidence

1
1
A. Process Questions
1. The girl in gray named Mary Jane Parker and the young man, Mr. Parkenstacker met at
the quiet corner bench of the Park. The girl was offended at first on the young man for
calling her his honeysuckle. The young man was stunned to the beauty of the girl who was
reading books on the bench.

2. The girl pretended to belong to a wealthy and classy family in order to gain respect and
have suitors who are financially wealthy. The young man did not reveal that he is wealthy
in order to impress the girl and hoped that he could have a dinner with her.

3. Pretending to be someone else is never been a good idea because in the in the end the
truth will always prevail and you need to face the shame out it. Although on this one-act
play nothing really harmful or bad happened to the characters. For the part of the girl, she
was denying that she was working on the restaurant as a waitress and continuously
pretending to be someone who is wealthy, although she was already caught in the act. For
the young man he did not reveal his true identity in order to impress the girl and hoping
to get an admiration from her.

4. The young man is in despair for the revelation of the waitress about the girl he admires
and they left him standing alone and confused.

5. It is important in our lives to be true to ourselves and to other people. We don’t need to
pretend to be someone else just to impress other people in order to gain some love and
respect. People will love you the way you are on how you treat them.

6. Answers may vary depending on the resolution or ending story of the student in the
one- act play.

B. Play in Process

Characters

 Girl named Mary Jane Parker

 Young Man named Mr. Parkenstacker
 Waitress
 Chauffeur
Time:
When?
 1920s
Location
Where?
 The quiet corner of a city park.

Setting
Episodes

 Episodes may depend on how the student understands the details of the one-act
play, “While the Auto Waits”

Conflict

 The conflict happened in the one-act play is a man vs. himself because the
characters are pretending to be someone else just to impress other people. When
the waitress accidentally revealed the true identity of the girl named Mary Jane
Parker that she was working as a waitress in the restaurant. The girl felt ashamed
of herself on what she did.
C. Character Analysis

1. Character 1 – Girl / Mary Jane

Parker Traits – Dishonest, Liar, Proud
Evidence – Her fellow waitress revealed who she is calling by her that it is time for
her shift at the restaurant.
Part of the play it was revealed. – When the waitress called her name Mary Jane
Parker and scolding her that she was 15 minutes late for her shift at the restaurant.

2. Character 2 – Young Man / Mr. Parkenstacker

Traits – Simple with Good Sense of Humor,
Liar
Evidence – He pretended to be a common person who wanted to attract the
stunning girl reading at quiet corner of the bench.
Part of the play where it was revealed. – The waitress was able to recognize Mr.
Parkenstacker as one of wealthiest person in the city.

3. Character 3 – The Waitress

Traits – Friend of Mary Jane Parker who was mad at her because she was late for
her working shift at the restaurant.
Evidence – She called her friend Mary Jane Parker, informing her that she was late
for her shift.
Part of the play where it was revealed. – She was confused why her friend is
pretending not to know her in front of Mr. Parkenstacker.

4. Character 4 – The Chauffeur/ Henri

Traits – Patiently waiting for Mr. Parkenstacker
Evidence – He approached Mr. Parkenstacker when the waitress and the girl left
him alone.
Part of the play where it was revealed. – He asked Mr. Parkenstacker if he would
cancel the dinner reservation or he would be coming.
 WORK SHEET IN ENGLISH – 9
QUARTER 3 – MODULE 5 –WEEK 5
Name: Date:
Grade/Section: Score:

Topic: One-Act Play

Most Essential Learning Competency: Judge the validity of evidence listened to.
K to 12 BEC CG: EN9LC-IVh-2.15

A. Direction: (Modified TRUE OR FALSE). Write True if the statement is correct, if False
change the underlined word/words to make the statement correct. Write your answer
on the provided space.

1. A one-act play is a play that has only one act, as distinct

from plays that occur over several acts.
2. The origin of the one-act play may be traced to the very
ending of drama: in ancient Greece.
3. A play is division or unit of a drama.
4. One-act plays may consist of one or more scenes.
5. An act is a dramatic performance.
6. The most exciting and important part of a play is the climax.
7. Exposition is the part of the story’s plot line in which the
problem of the story is resolved.
8. The simplest or essential parts of drama are the elements.
9. Introduction or Exposition explains the situation with which
the story begins. It introduces the characters and describes
the setting. .
10. Falling Action is where complication is presented.
11. The plot in terms of literary genre refers to the sequence or
series of events.
12. The write up of the plays are concise and written precisely.
13. Like all fiction, the primary purpose of drama is to entertain,
evoke feelings, and teach the audience a lesson about life.
14. An act is a part of a play defined by elements such as rising
action, climax, and resolution.
15. The aim of the plays is intended towards producing one
effect.
 16. In a one-act play there is really only time for one significant
event.
17. Both an act and a scene are part of a play or performance.
18. Conflict generally occurs when a character cannot achieve
an objective due to an obstacle.
19. Conflict can be shown in a variety of ways, for
example through physical, verbal or psychological means.
20. A play features a brief situation of action and dialogue.

B. MATCHING TYPE: Match column A to column B. Write your answer on the space provided.

A B

_ 21. It is where complication is presented. a. Plot

_ 22. It is a play with only one act. b. Resolution
_ 23. It consists of several scenes and can run for a c. Elements
long length in a performance. d. One-Act
Play
_ 24. In terms of literary genre, it refers to the sequence e. Setting
or series of events. f. Play
_ 25. The most exciting and important part of a play g. Exposition
_ 26. A dramatic performance h. Characters
_ 27. People involved in the story i. Climax
_ 28. The part of the story’s plot line in which the j. Act
problem of the story is resolved. k. Falling Action
_ 29. The simplest or essential parts of drama. l. Rising Action
_ 30. Place where the story happened.

C. ENUMERATION

31-35. The different parts of a plot in a

drama 36-41. The six elements of one-act

D. Direction: Draw the plot diagram of a drama and briefly explain each part. (42-50)