Creative Writing

Name of Learner:_____________________ Grade Level:__________________

Section:_____________________________ Score:_______________________
LEARNING ACTIVITY SHEET
STAGING MODALITIES

Background Information for Learners

Drama can be defined as a dramatic work

that actors present on stage. A story is dramatized,
which means the characters and events in the
story are brought to life through a stage performance
by actors who play roles of the characters in the story
and act through its events taking the story forward.

When you are devising a drama, you will need to think of how to stage your
performance, and what type of stage to use. With this, it is then necessary for you to
be knowledgeable about the different staging modalities which are helpful especially
in envisioning your script but before that let us define first what staging is.

WHAT IS STAGING?

 It is the process of selecting, designing, adapting to, or modifying the

performance space for a play or film.
 It is also used to mean the result of this process, in other words the spectacle
that a play presents in performance, its visual detail.
This can include the following:
 positions of actors on stage (often referred to as blocking)
 gestures and movements (also called stage business)
 scenic background
 props and costumes
 lighting and sound effects
Beside costumes, any physical object that appears in a play has the
potential to become an important dramatic symbol. The first thing that
the audience of a play sees is the stage set, the physical objects that
suggest the world of the play.
 In film, staging is generally called set dressing.

4 BASIC TYPES OF THEATER STAGES

1. Proscenium Stage
- The most traditional type for live theater, in which the audience sits in rows
facing the stage.
- The proscenium itself is the wall that separates the stage from the auditorium-
where the audience sits- and looks much like a picture frame around the
playing area.
- Some proscenium stages are “raked”, meaning the surface is slanted at an
angle to provide the audience with a better view of the “upstage” area- the
area furthest away from the audience.
[Type here]
 - The “wing” areas to the left and right of the stage, as well as the “fly loft”- the
space above the stage- are masked by the proscenium wall.

Image showing the proscenium arch at Sheffield Lyceum

2. Arena Stage
- The audience completely surrounds the playing area. Whether a square,
circle or rectangle, this type of stage places the audience in close proximity to
the playing area.
- It is also known as theater-in-the-round, this type of staging is similar to the
style used in Medieval times, where a platform was essentially plopped down
in the middle of an outdoor marketplace.
- Scenery must be minimal so as not to block the actors from surrounding the
audience although lighting changes can create the illusion of time passing
between scenes.
- This type of stage is ideally suited for plays in which an intimates feel is
required or the actors interact directly with the audience, as often happened in
Medieval plays

Image showing the in-the-round theater at the Stephen Joseph Theater,

Scarborough
3. Thrust Stage
- The audience sits on three sides of a rectangular stage that literally “thrusts”
into the seating are.
- A thrust stage may or may not be connected to a larger, proscenium stage.
- Thrust stages allow for realistic productions that subtly draw the audience into
the world of the play as the actors move onto, and off of, the thrust space.

Image showing the Thrust stage at the Gulbenkian, University of Kent

 4. Flexible Stage
- A flexible stage can take many shapes and forms, incorporating elements of
thrust, arena or proscenium stages.
- Flexible stages allow for a stylized realism in which the illusion of different
places is created from scene to scene by shifting the playing space rather
than moving scenery on and off the stage.
- Today’s productions of ancient Greek or Shakespearean plays often try to
“modernize” the material with present- day costuming and naturalistic acting.
- Flexible stages can help with such productions, bringing what may seem to
be overly lofty material down to a more accessible level, physically as well as
artistically.

Learning Competency with code

Explore different staging modalities vis-à-vis envisioning the script
HUMSS_CW/MPIjc-18 S1/2 Q2/4
Directions and Instructions: Hello, learner! You are about to check your learning/s on the
different staging modalities in a five-stage exploration (1-Load, 2-Engage, 3-Advance, 4-
Refine, 5-Nurture). Just follow the instructions given for every task.
Note: The texts of the plays needed for activities 2, 3 and 4b are found at the
Appendices Section of this learning material pp. 20-30.

LEARNING CONTRACT
AGREEMENT: By signing the contract, you are hereby accepting the responsibility to finish the activity
package and submit it to your teacher (____________________) on (____________________).

LOAD

Activity 1. Fill and Match

Directions: Fill in the crossword puzzle with the words that refer to its meaning at the
right side of the puzzle. Match the number of the meanings to the boxes placed across or
down the grid. If filled out correctly, the words will fit perfectly into the puzzle.
 ENGAGE

Activity 2: CAN YOU VISUALIZE ME?

Directions: Fill in the table with the necessary visual details in the play that you are
about to read on pp 20-24. List the details in the order that they appear in the play. Use the
data retrieval chart provided below for your answers.

Scenic background Gestures and Movements Props and

Costumes

ADVANCE

Activity 3. SKETCHING A STORY

Directions: Using the same play script on pp.20-24, sketch four scenes that represent the
theme of the play. Each sketch should be provided with a one sentence caption. The
following rubric will be used for scoring:
Content (relevance to the scenes)- 5
Illustrations- 10
Attractiveness-5
Total: 20 points

Scene 1 Scene 2

Scene 3 Scene 4

REFINE
 Activity 4. Staging the Play

A. Name these two types of stage:

1. _________________________ 2. _______________________

B. With reference to the extract of Act 1, Scene 1, in the play Romeo and Juliet of
William Shakespeare on pp.25-31, explain how you would use one of the stages
in question A to stage this play. In your answer refer to:
 your choice of stage including position of audience
 set

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The following rubrics will be used for checking:

Staging and design concept- 5 points

Detailed explanation of structure and style-5 points
Detailed description of the text in the extract- 5 points

Activity 5. MAKING PICTURES TALK

 A. Directions: Make a short script using the pictures below based on your personal
interpretations. The story should run for about 5-10 minutes. After doing the
script, answer the questions below it.

A B

C D

B. Questions:
1. What elements in the picture served as the basis of your interpretation?
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2. What were the things that you first considered when you wrote your script?
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3. What were the learnings and difficulties that you encountered in the course of
writing your script?
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4. What type of stage is best suited for your script? Why?

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Rubrics for Script Writing:

Content and Ideas-10
Interpretation- 10
Dialouge-5
 Grammar and Mechanics 5
Total: 30 points
Reflection:

Three things I have learnt about staging modalities are:

1.
2.
3.

I still feel that I need to work on….

I feel I have done well at:




I can still improve by:

Prepared by
MARVELYN M. CATUBAG MARISSA G. MALAMUG
Tuao Vocational and Technical School Itawes National High School

Answer Key:
Activity 1: Fill and Match
Across Down
1. visual detail 2. blocking
3. stage business 4. staging
6. thrust stage 5. Flexible stage
7. arena stage 9. Proscenium stage
8. stage set
10. drama

Activity 2: CAN YOU VISUALIZE ME?

Scenic background Gestures and Movements Props and

Costumes
Creating a busy tube train Closing doors Tube train
Sophie jumps in the tube.
Early mornings and late nights at Passengers moved to the rear Train and the platform
bank
Office where something unusual Doors open and passengers burst out and monitor
was seen at the monitor transform
Sophie occupies the top SOPHIE arrives at her desk and pick up the desk
desk, centre stage. atmosphere
Lucy giggles
Home SOPHIE enters her flat. She presses the button on phone
her
answer-phone.
A cat meows and Sophie picks it up, clicks off the cat
message and cuddles the cat
Bed at night Performers created bed. Sophie goes to bed Bed
Two insomniacs appear
Office Phil and Lucy look at each other Milk
The office transforms into a bed

As they begin to count sheep, in different

languages,
they walk and gradually arrive in the office.

All examine their desks. Sheep

Gradually the office dissolves. They can’t make
sense of
the office equipment – it all becomes foreign to
them.

Desks

Office equipment

Activity 3. SKETCHING A STORY

Answers Vary
Activity 4. Staging the Play
A.
1. Thrust Stage 2. Proscenium Stage
B. Answers Vary
Activity 5. MAKING PICTURES TALK
Answers Vary
APPENDICES
Reading Texts:

Activity 2: CAN YOU VISUALIZE ME?

100, Diene Petterle, Neil Monaghan and Christopher Heimann

This play had its first performance at the Edinburgh Fringe Festival in 2002.
The first professional performance of the published text was at the Soho Theatre, London in
2003
Sophie’s memory
Sophie
It was the beginning of a week like any other week. The performers create a busy tube train.
Voice
Mind the closing doors. SOPHIE jumps on the tube. The tube starts.
Sophie
Another week of early mornings and late nights.
Voice
The next station is Bank. On arrival the first set of doors will not open.
Passengers
in the first carriage please 5 move to the rear. Please mind the gap between the 5
train and the platform. Doors open, passengers burst out and transform into the
office. PHIL and JERRY are at their desks. LUCY approaches JERRY,
noticing he has something unusual on his monitor.
Phil
Jerry . . . send it over . . . send it over.
Jerry
OK, but you didn’t get it from me, alright?
Phil
Yeah, yeah. 10
Lucy
Oh that is utterly gross.ERRY hits the send key.
Phil
Oh whoa . . . (He clicks his mouse.) Enlarge . . .enlarge
Lucy
You two are crazy . . . she’ll be here in a minute.Phil Uh huh (Laughs.) 15
I gotta cc this to everyone.
(SOPHIE arrives at her desk. She now occupies the top desk, centre stage.)
Sophie
Good morning.
All
Morning. SOPHIE picks up on the atmosphere in the office.
Sophie
What’s going on? A beat

Phil
Jerry, I told you to stop sending me junk like this while I’m trying to work. 20
LUCY giggles. The office dissolves.
Sophie
Just an ordinary day. I worked late, got back on the tube
and went home. SOPHIE enters her flat. She presses the button on her
answer-phone.
Mother’s Voice
Sophie dear, it’s mum. I know this is terribly short notice but the Smiths
have invited us for dinner on Tuesday. During this message a cat meows.
She picks it up.
Sophie
Hi Stanley! 25
Mother’s Voice
Young Ned’ll be there too. He’s doing so well these days,
you really should . . .SOPHIE clicks off the message and cuddles the cat.
Sophie
Good night.
The other performers created the bed. SOPHIE goes to bed.
Sophie (narrates)
That night I found I couldn’t sleep. And I don’t mean it took me a long 30
time to sleep . . . I stared at the ceiling all night.The next night was the
same. I looked out the window only to see other people staring out of
their windows back at me.Two other insomniacs appear.
London became the city that never sleeps! 35
And that was when I noticed . . . people had started to
forgot the names of things.The other performers create the tube. SOPHIE
gets on the tube.
Voice
Mind the . . . Mind the . . .
Passenger
Gap?
Voice
Mind the gap 40
The office.
Sophie
I seem to have run out of . . .
Phil
Paper?
Sophie
No
Jerry
Paperclips?

Sophie
No! 45
Lucy
What then?
Sophie (struggles)
Staples?
Jerry
What?
Sophie
Staples . . . you know . . . for stapling er . .
Phil
Paper? 50
The two look at each other, this is scary.
The office transforms into the bed.
Sophie
And as darkness fell once more we dreaded the night. (frustrated)
We tried everything . . . (These actions areacted out.) Hot milky drinks.
That didn’t work.So wet ried exercise. That didn’t work! We even tried
counting sheep.
55
As they begin to count sheep, in different languages,they walk and
gradually arrive in the office.And because we had not slept we gradually
lost a senseof words and then a sense of meaning althogether.
The whole city had amnesia.

The office. SOPHIE looks at her colleagues.

Sophie
Who are these people (Trying to focus.) Work; I’m at
work. 60

All examine their desks.

What is my work?

Gradually the office dissolves. They can’t make sense of

the office equipment – it all becomes foreign to them.
What’s this thing for?
The performers discover each other.
(To colleague) Who are you? (Turning to another
colleague.) Who are you?
In this moment it was as if all our successes had been 65
wiped out, all our failures forgotten. Everything and
everyone was . . . (She searches for the right word.)
new.
The camera flashes. Blackout.
Activity 4 B. Staging the Play Ay, the heads of the maids, or their
Romeo & Juliet: Act 1, Scene 1 maidenheads, take it in what sense thou
Verona. A public place. wilt.
(Sampson; Gregory; Abram; Balthasar; GREGORY
Benvolio; Tybalt; Citizens; Capulet; Lady They must take it in sense that feel it.
Capulet; Montague; Lady Montague; SAMPSON
Prince Escalus; Romeo) Me they shall feel while I am able to stand,
Enter Sampson and Gregory, with swords and ’tis known I am a pretty piece of flesh.
and bucklers, of the house of Capulet. GREGORY
SAMPSON ’Tis well thou art not fish; if thou hadst,
Gregory, on my word, we’ll not carry coals. thou hadst been poor-John. Draw thy tool,
GREGORY here comes two of the house of
No, for then we should be colliers. Montagues.
SAMPSON Enter two other servingmen: Abram and
I mean, and we be in choler, we’ll draw. Balthasar.
GREGORY SAMPSON
Ay, while you live, draw your neck out of My naked weapon is out. Quarrel, I will
collar. back thee.
SAMPSON GREGORY
I strike quickly, being mov’d. How, turn thy back and run?
GREGORY SAMPSON
But thou art not quickly mov’d to strike. Fear me not.
SAMPSON GREGORY
A dog of the house of Montague moves No, marry, I fear thee!
me. SAMPSON
GREGORY Let us take the law of our sides, let them
To move is to stir, and to be valiant is to begin.
stand; therefore, if thou art mov’d, thou GREGORY
run’st away. I will frown as I pass by, and let them take
it as they list.
SAMPSON SAMPSON
A dog of that house shall move me to Nay, as they dare. I will bite my thumb at
stand! I will take the wall of any man or them, which is disgrace to them if they
maid of Montague’s. bear it.
GREGORY ABRAM
That shows thee a weak slave, for the Do you bite your thumb at us, sir?
weakest goes to the wall. SAMPSON
SAMPSON I do bite my thumb, sir.
’Tis true, and therefore women, being the ABRAM
weaker vessels, are ever thrust to the wall; Do you bite your thumb at us, sir?
therefore I will push Montague’s men from SAMPSON
the wall, and thrust his maids to the wall. Aside to Gregory
GREGORY Is the law of our side if I say ay?
GREGORY
Aside to Sampson
The quarrel is between our masters, and No.
us their men. SAMPSON
SAMPSON No, sir, I do not bite my thumb at you, sir,
’Tis all one; I will show myself a tyrant: but I bite my thumb, sir.
when I have fought with the men, I will be GREGORY
civil with the maids; I will cut off their Do you quarrel, sir?
heads.
GREGORY ABRAM
The heads of the maids? Quarrel, sir? No, sir.
SAMPSON SAMPSON
But if you do, sir, I am for you. I serve as Thou villain Capulet!—Hold me not, let me
good a man as you. go.
ABRAM LADY MONTAGUE
No better? Thou shalt not stir one foot to seek a foe.
SAMPSON Enter Prince Escalus with his Train.
Well, sir. PRINCE ESCALUS
Enter Benvolio. Rebellious subjects, enemies to peace,
GREGORY Profaners of this neighbor-stained steel—
Say “better,” here comes one of my Will they not hear?—What ho, you men,
master’s kinsmen. you beasts!
SAMPSON That quench the fire of your pernicious
Yes, better, sir. rage
ABRAM With purple fountains issuing from your
You lie. veins—
SAMPSON On pain of torture, from those bloody
Draw, if you be men. Gregory, remember hands
thy washing blow. Throw your mistempered weapons to the
They fight. ground,
BENVOLIO And hear the sentence of your moved
Part, fools! prince.
Put up your swords, you know not what Three civil brawls, bred of an airy word,
you do. By thee, old Capulet, and Montague,
Beats down their swords. Have thrice disturb’d the quiet of our
Enter Tybalt. streets,
TYBALT And made Verona’s ancient citizens
What, art thou drawn among these Cast by their grave beseeming ornaments
heartless hinds? To wield old partisans, in hands as old,
Turn thee, Benvolio, look upon thy death. Cank’red with peace, to part your cank’red
BENVOLIO hate;
I do but keep the peace. Put up thy sword, If ever you disturb our streets again
Or manage it to part these men with me. Your lives shall pay the forfeit of the
TYBALT peace.
What, drawn and talk of peace? I hate the For this time all the rest depart away.
word You, Capulet, shall go along with me,
As I hate hell, all Montagues, and thee. And, Montague, come you this afternoon,
Have at thee, coward! To know our farther pleasure in this case,
They fight. To old Free-town, our common judgment-
Enter three or four Citizens with clubs or place.
partisans. Once more, on pain of death, all men
CITIZENS OF VERONA depart.
Clubs, bills, and partisans! Strike! Beat Exeunt all but Montague, Lady Montague,
them down! and Benvolio.
Down with the Capulets! Down with the
Montagues! MONTAGUE
Enter old Capulet in his gown, and his Who set this ancient quarrel new
wife, Lady Capulet. abroach?
CAPULET Speak, nephew, were you by when it
What noise is this? Give me my long began?
sword ho! BENVOLIO
LADY CAPULET Here were the servants of your adversary,
A crutch, a crutch! Why call you for a And yours, close fighting ere I did
sword? approach.
CAPULET I drew to part them. In the instant came
My sword, I say! Old Montague is come, The fiery Tybalt, with his sword prepar’d,
And flourishes his blade in spite of me. Which, as he breath’d defiance to my
Enter old Montague and his wife, Lady ears,
Montague. He swung about his head and cut the
MONTAGUE winds,
Who, nothing hurt withal, hiss’d him in Is to himself (I will not say how true)
scorn. But to himself so secret and so close,
While we were interchanging thrusts and So far from sounding and discovery,
blows, As is the bud bit with an envious worm,
Came more and more, and fought on part Ere he can spread his sweet leaves to the
and part, air
Till the Prince came, who parted either Or dedicate his beauty to the sun.
part. Could we but learn from whence his
LADY MONTAGUE sorrows grow,
O, where is Romeo? Saw you him today? We would as willingly give cure as know.
Right glad I am he was not at this fray. Enter Romeo.
BENVOLIO BENVOLIO
Madam, an hour before the worshipp’d See where he comes. So please you step
sun aside,
Peer’d forth the golden window of the I’ll know his grievance, or be much denied.
east, MONTAGUE
A troubled mind drive me to walk abroad, I would thou wert so happy by thy stay
Where, underneath the grove of sycamore To hear true shrift. Come, madam, let’s
That westward rooteth from this city side, away.
So early walking did I see your son. Exeunt Montague and Lady.
Towards him I made, but he was ware of BENVOLIO
me, Good morrow, cousin.
And stole into the covert of the wood. ROMEO
I, measuring his affections by my own, Is the day so young?
Which then most sought where most might
not be found, BENVOLIO
Being one too many by my weary self, But new struck nine.
Pursued my humor not pursuing his, ROMEO
And gladly shunn’d who gladly fled from Ay me, sad hours seem long.
me. Was that my father that went hence so
MONTAGUE fast?
Many a morning hath he there been seen, BENVOLIO
With tears augmenting the fresh morning’s It was. What sadness lengthens Romeo’s
dew, hours?
Adding to clouds more clouds with his ROMEO
deep sighs, Not having that which, having, makes
But all so soon as the all-cheering sun them short.
Should in the farthest east begin to draw BENVOLIO
The shady curtains from Aurora’s bed, In love?
Away from light steals home my heavy ROMEO
son, Out—
And private in his chamber pens himself, BENVOLIO
Shuts up his windows, locks fair daylight Of love?
out, ROMEO
And makes himself an artificial night. Out of her favor where I am in love.
Black and portendous must this humor BENVOLIO
prove, Alas that love, so gentle in his view,
Unless good counsel may the cause Should be so tyrannous and rough in
remove. proof!
BENVOLIO ROMEO
My noble uncle, do you know the cause? Alas that love, whose view is muffled still,
MONTAGUE Should, without eyes, see pathways to his
I neither know it, nor can learn of him. will!
BENVOLIO Where shall we dine? O me! What fray
Have you importun’d him by any means? was here?
MONTAGUE Yet tell me not, for I have heard it all:
Both by myself and many other friends, Here’s much to do with hate, but more
But he, his own affections’ counsellor, with love.
Why then, O brawling love! O loving hate! A right fair mark, fair coz, is soonest hit.
O any thing, of nothing first create! ROMEO
O heavy lightness, serious vanity, Well, in that hit you miss: she’ll not be hit
Misshapen chaos of well-seeming forms, With Cupid’s arrow, she hath Dian’s wit;
Feather of lead, bright smoke, cold fire, And in strong proof of chastity well arm’d,
sick health, From Love’s weak childish bow she lives
Still-waking sleep, that is not what it is! uncharm’d.
This love feel I, that feel no love in this. She will not stay the siege of loving terms,
Dost thou not laugh? Nor bide th’ encounter of assailing eyes,
BENVOLIO Nor ope her lap to saint-seducing gold.
No, coz, I rather weep. O, she is rich in beauty, only poor
ROMEO That, when she dies, with beauty dies her
Good heart, at what? store.
BENVOLIO BENVOLIO
At thy good heart’s oppression. Then she hath sworn that she will still live
ROMEO chaste?
Why, such is love’s transgression. ROMEO
Griefs of mine own lie heavy in my breast, She hath, and in that sparing makes huge
Which thou wilt propagate to have it waste;
press’d For beauty starv’d with her severity
With more of thine. This love that thou Cuts beauty off from all posterity.
hast shown She is too fair, too wise, wisely too fair,
Doth add more grief to too much of mine To merit bliss by making me despair.
own. She hath forsworn to love, and in that vow
Love is a smoke made with the fume of Do I live dead that live to tell it now.
sighs, BENVOLIO
Being purg’d, a fire sparkling in lovers’ Be rul’d by me, forget to think of her.
eyes, ROMEO
Being vex’d, a sea nourish’d with loving O, teach me how I should forget to think.
tears. BENVOLIO
What is it else? A madness most discreet, By giving liberty unto thine eyes:
A choking gall, and a preserving sweet. Examine other beauties.
Farewell, my coz. ROMEO
BENVOLIO ’Tis the way
Soft, I will go along; To call hers (exquisite) in question more.
And if you leave me so, you do me wrong. These happy masks that kiss fair ladies’
ROMEO brows,
Tut, I have lost myself, I am not here: Being black, puts us in mind they hide the
This is not Romeo, he’s some other fair.
where. He that is strucken blind cannot forget
BENVOLIO The precious treasure of his eyesight lost.
Tell me in sadness, who is that you love? Show me a mistress that is passing fair,
ROMEO What doth her beauty serve but as a note
What, shall I groan and tell thee? Where I may read who pass’d that passing
BENVOLIO fair?
Groan? Why, no; Farewell, thou canst not teach me to
But sadly tell me, who? forget.
ROMEO BENVOLIO
Bid a sick man in sadness make his will— I’ll pay that doctrine, or else die in debt.
A word ill urg’d to one that is so ill! Exeunt
In sadness, cousin, I do love a woman.
Copyright ©2005-2020 by
BENVOLIO PlayShakespeare.com.
I aim’d so near when I suppos’d you lov’d. Visit
ROMEO http://www.playshakespeare.com/license
A right good mark-man! And she’s fair I for details.
love.
BENVOLIO