Institution Name of Institution Date Last Revised

Logo College Name Revision Date

Department Semester Adopted

Vision Mission

College Goals

Program Outcomes

Disciplinal Knowledge: Apply evidence-based practices derived from the social sciences and humanities in teaching and learning

Pedagogical Practices: Apply multidisciplinary knowledge and skills in culture, arts and design in the teaching-learning practice anchored on the meanings of values of human
creativity in changing life-worlds

Competency and Proficiency in the Creative Expressions: Demonstrate competence in the planning and development of market and non-market oriented visual arts, music,
drama and dance productions in local, regional, and global settings

Professional Accountability and Responsibility: Practice professional and ethical standards for teachers as well as principles and guidelines governing arts production, research
and publication

Class Information Instructor’s Information

Section Instructor’s
Name
Schedule Office
Designation
Time Office Hours

Venue Office
Telephone
Term E-mail
Address
Course Information

The Philosophical & Educational Foundations of Creative Drama 1

Course Name Principles and Practice of Teaching Drama Course Code
Pre-requisite Drama 1 - Principles and Practice: The Philosophical & Course Credit 3 units
Subject Educational Foundations of Creative Drama
Drama 2 - Introduction to the Basic Elements of Drama and
Theater Production
Drama 3 - Principles and Practice: Dramaturgy and Aesthetics
in Philippine and Non-Philippine Theater Classics
Course Requirement
Grading System

Course Description

This course will teach students the principles, strategies and approaches in teaching theater in the context of K-12. The students will be taught various form of classroom
theater exercises and application to local setting. It will also teach students on various methodologies on the use of drama in education.

Course Outcomes

Demonstrate an understanding of the principles, strategies and approaches in teaching theater (CO1)

Apply various forms of theater exercises and methodologies for classroom setting through the development of teaching modules for drama (CO2)

Exhibit competence in teaching drama using the modules (CO3)

Show appreciation on the importance of reviewing and critiquing one’s work and the work of others (CO4)

Term end project: Teaching Modules for Drama

The Philosophical & Educational Foundations of Creative Drama 2

COURSE OUTLINE AND TIMEFRAME

Week Course Content / Subject Matter

I. COURSE ORIENTATION
A. Discussion of Institutional Vision and Mission, and College and Departmental Goals and Objectives
B. Grading System
C. Course Requirements
Week 1 - 3 II. Key Concepts in Theater / Drama Education
A. Learning, Teaching, Curricula and Teacher Education
B. Aesthetics and Ethics
C. Identity, Culture and Community
D. Drama Strategies and Conventions
III. Drama-Based Pedagogy/ Drama-Based Instruction
A. Introduction to Drama-Based Pedagogy
B. Effective Pedagogies for Learning Drama
C. Principles of Teaching and Learning Drama in Primary and Secondary
D. Student Well-Being for Teaching Through Drama
E. Creative Drama for Emotional Support
Week 4- 11
a. Activities and Exercises for Use in the Classroom
b. Exploration and Exercises in devising, mask-work, play
c. Acting and Traditional Theater Games
d. Workshop Procedures
e. Side-Coaching

IV. Teaching Drama Across Curriculum

a. Character Development
b. Music
c. Storytelling
d. Adapting Literature
e. History/ Social Studies

The Philosophical & Educational Foundations of Creative Drama 3

 V. Teaching Drama Techniques
A. Dramatic Practices and Pedagogic Principles
B. Storytelling and Role-play
C. Reading and Writing Plays in an Electronic Classroom
D. Performing Scripted Plays
E. Devising Drama
F. Integrating Practice: The Practitioner and the Dramatic Text
G. Teaching Theater Practitioners
Week 12 -15 VI. Module and Lesson Plan Writing for Teaching Drama
Week 16-18 VII. Demonstration Teaching / Presentation and Critiquing of Modules for Drama

Alignment of Course Outcomes with Summative Assessment Task

Course Objectives Summative Assessment Task Details

Demonstrate an understanding of
the principles, strategies and
approaches in teaching theater
(CO1)
Portfolio (e-portfolio or scrap Students are required to compile all class outputs in a portfolio for submission at the end of the
book) semester. (Please refer to the suggested rubrics for assessment.)
Journal Students are required to write a journal per major topic on new knowledge gained and learned.
(Please refer to the suggested rubrics for assessment.)

Prelim and Midterm Students are required to take written prelim and midterm examinations, to evaluate the students’
Examinations knowledge and understanding of concepts and principles of teaching drama.
Apply various forms of theater Preparation of modules for The final task is the development of Teaching Modules for Drama using various forms of theater
exercises and methodologies for teaching drama exercises and methodologies designed for classroom learning and teaching. (Please refer to the
classroom setting through the suggested rubrics for assessment.)
development of teaching modules
for drama (CO2)
Exhibit competence in teaching Teaching demonstration Students are required to demonstrate their modules/lesson plans based on the teaching modules for
drama using the modules (CO3) critiquing and enhancement. (Please refer to the suggested rubrics for assessment.)

Show appreciation on the Reflective essay Students are required to write reflective essay about the importance of self-critiquing and self-review
importance of reviewing and of their own work and the work of others.
critiquing one’s work and the work of (Please refer to the suggested rubrics for assessment.)
others (CO4)

The Philosophical & Educational Foundations of Creative Drama 4

 Time Intended Learning Outcomes (ILO)
Allotment
Week 1 - Gain understanding on the nature of
2 the course.
Discuss key concepts in theater/ drama
education as strategies for developing
critical and creative thinking
(CO1)
Week Discuss various practices in teaching
3–6 drama using content knowledge and its
applications within and across
curriculum area (CO1)
Perform short classroom drama pieces
incorporating various methods in
improving support for learner
participation (CO2)
Develop appreciation on the use of
drama to inspire and build self-esteem
in the establishment of learning
environments that are responsive to
community contexts (CO4)
Content Suggested Teaching Learning Activities Suggested
Assessment
I. COURSE ORIENTATION Teacher-Managed: Lecture
A. Discussion of Institutional Vision and Provide VMGO and an overview of the Discussion
Mission, and College and Departmental Goals subject and syllabus content of Principles
and Objectives and Practice of Teaching Drama
B. Grading System
C. Course Requirements
II. KEY CONCEPTS IN THEATER/ DRAMA Teacher-Managed: Quiz
EDUCATION Lecture and interactive discussion on the Recitation
A. Learning, Teaching, Curricula and Teacher topic; theater games and exercises Journal
Education
B. Aesthetics and Ethics Student-Managed:
C. Identity, Culture and Community Reading of books; group discussion; paper
D. Drama Strategies and Conventions activity
III. DRAMA-BASED PEDAGOGY/ DRAMA-BASED Teacher-Managed: Recitation
INSTRUCTION Lecture and class discussion on the topic; Quiz
A. Introduction to Drama-Based Pedagogy Mask exercises; Mimed activity; Individual / Group
B. Effective Pedagogies for Learning Drama Storytelling performance
C. Principles of Teaching and Learning Drama Journal
in Primary and Secondary
1. Develop and Become Autonomous
Practitioners in Drama
a) personal and social abilities
b) performance skills Student-Managed:
c) knowledge and understanding of Role playing; Demonstration; Journal
theatrical ideas and concepts writing
2. Approaches and Methodologies
a) Make-believe play to process
drama
b) Approaching a drama activity
c) Descriptions of Successful Drama
Activities
The Philosophical & Educational Foundations of Creative Drama 5

Week Discuss the different drama-based
7-9 pedagogies as professional reflection
and learning to improve practice (CO1)
Demonstrate appreciation of the
principles of learning and teaching
drama in a fair learning environment
(CO4)
D. Student Well-Being for Teaching Through
Drama
1. Physical Well-being
2. Emotional Well-being
E. Creative Drama for Emotional Support
1. Activities and Exercises for Use in the
Classroom
2. Exploration and Exercises in devising,
mask-work, play
3. Acting and Traditional Theater Games
4. Workshop Procedures
5. Side-Coaching
IV. TEACHING DRAMA ACROSS CURRICULUM Teacher-Managed: Quiz
A. Character Development Lecture and interactive discussion on the Recitation
1. Drama and Poetry for Play topic; Video showing; Theater games and Journal
2. Carnival Characters in the Classroom exercises Individual / Group
3. Props, Photos, and Cartoons as performance
Prompts
B. Music
1. Music and Dramatic Play Student-Managed:
2. Using Music and Movement to Role Playing (Individual or Group);
Develop Character and Illustrate Demonstration; Writing of journals
Conflict Resolution
C. Adapting Literature
1. Developing Literature Through Drama
2. Peer Teaching Through Performances
3. Using Drama with Literature
D. Storytelling
1. Poetry to Drama
2. Using Storytelling to Help Students
Find Their Voice
E. Good Ideas
1. Using Drama to Inspire Self-Esteem
The Philosophical & Educational Foundations of Creative Drama 6

Week Discuss the different drama techniques
10-11 considering learner’s linguistic, cultural,
socio-economic and religious
backgrounds (CO1)
Demonstrate appreciation of the value
of doing drama in the management of
learner behavior (CO4)
Week Write modules and lesson plans for
12-15 teaching drama (CO3, CO4)
2. Using Drama to Illuminate Language
Differences
F. History/ Social Studies
1. Exploring History’s Human Dimension
with Process Drama
2. Using Drama in the Social Studies
Classroom
3. Bridging the Gap between Writing
and Oral History through Research
and Drama
V. TEACHING DRAMA TECHNIQUES Teacher-Managed: Recitation
A. Dramatic Practices and Pedagogic Lecture and interactive discussion on the Quiz
Principles topic; Talk show; Video showing Individual / group
B. Storytelling and Role-play performance
C. Reading and Writing Plays in an Electronic Student-Managed: Journal
Classroom Storytelling; Role Playing (Individual or
D. Performing Scripted Plays Group); Montage showcase
E. Devising Drama
F. Integrating Practice: The Practitioner and
the Dramatic Text
G. Teaching Theater Practitioners
VI. MODULE AND LESSON PLAN WRITING FOR Teacher-Managed: Teaching modules
TEACHING DRAMA IN THE CONTEXT OF K-12 Lecture and writeshop on module and Lesson Plans
lesson plan writing

Student-Managed:
Module and lesson plan writing
Present teaching modules and lesson VII. DEMO TEACHING AND PRESENTATION AND Teacher-Managed: Individual
plans for teaching drama in the CRITIQUING OF MODULES FOR DRAMA Critiquing of modules / lesson plans presentation and
classroom (CO3) (FINAL EXAMINATION) teaching
Week Student-Managed: demonstration
16-18 Demonstrate appreciation of the Teaching demonstration
process of scaffolding of lessons in
teaching drama (CO4)

The Philosophical & Educational Foundations of Creative Drama 7

 Suggested List of References

References
Baldwin, P. & Fleming K. (2003) Teaching literacy through drama: Creative approaches. New York, NY: RoutledgeFalmer
Bedore, B. (2004). 101 Improv Games: For children and adults. Alameda, CA: Hunter House. Inc.
Boal, A. (2000). Theater of the oppressed. London, United Kingdom: Pluto Press
Boal, A. (2002). Games for actors and non-actors. New York, NY: Routledge.
Callery, D. (2001). Through the body: A practical guide to physical theatre. New York, NY: Routledge.
Chalmers, D. (2007). Drama 3-5. A practical guide to teaching drama to children in the foundation age. New York, NY: Routledge.
Diamond, D. (2007). Theater for living. The art and science of community-based dialogue. Victoria, BC: Trafford Publishing.
Dowdy, J. et al. (2011). Teaching drama in the classroom: A toolbox for teachers. Rotterdam, The Netherlands: Sense Publishers
Levy, Gavin. (2005 ). 112 Acting games: A comprehensive workbook of theater games for developing acting skills. Colorado, CO: Meriwether Publishing Ltd.
Mc Cullough, C. (1998). Theatre praxis: Teaching drama through practice. New York, NY: St Martin’s Press, Inc.
Neelands, J. (1990). Structuring drama work: A handbook of available form in theater and drama. Cambridge, United Kingdom: Cambridge University Press.
Nicholson, H. (2007). Teaching drama 11-18. New York, NY: Continuum
O’Toole, J. et. al. (2009). Drama and curriculum: A giant at the door. Victoria, Australia: Springer.
Penny, MF. (2012). Creative drama for emotional support: Activities and exercises for use in the classroom. London, United Kingdom: Jessica Kingsley Publishers
Rainer, J. & Lewis, M. (2005). Teaching drama and theatre in the secondary school. New York, NY: Routledge
Schechner, R. (1994). Environmental theater. New York, NY: Applause Books
Schonmannn, S. (2011). Key concepts in theatre / drama education. Rotterdam, The Netherlands: Sense Publishers
Spolin, V. (1999). Improvisation for the theater. Illinois, USA: Northwestern University Press
Taylor, P. (2003). Applied theatre: Creating transformative encounters in the community. Portsmouth, NH: Heinemann
Taylor, P. (2006). Researching drama and arts education: Paradigms and possibilities. New York, NY: Routledge

Additional Readings
Arnold, S. (1998). The Creative Spirit An Introduction to Theatre. Mountain View, CA: Mayfield Publishing House
Bedore, B. (2004). 101 Improv games for children and adults. Alameda, California, USA: Hunter House Inc., Publishers.
Brown, J.R. (1995). The Oxford Illustrated History of Theatre reissued 2001. Oxford, OX2 6DP: Oxford University Press
Cohen, R. (2000). Theatre Brief Version 5th edition. Mountain View, CA: Mayfield Publishing Company
Diamond, D. (2007). Theatre for Living: The Art and science of community-based dialogue. Victoria, Canada: Trafford Publishing.
Fernandez, S.P. (2010). Making theatre: The craft of the stage. Iligan City: IPAG-ARM
Fernandez, S.P.. (2009). The Human Image in the Arts. Introduction to the Humanities. Iligan City: IPAG-ARM
Levy, G. (2005). 112 Acting Games. A comprehensive workbook of theater games for developing acting skills. Colorado, USA: Meriwether Publishing Ltd.
Perez, E. (2007). LIKHANDULA Improbisasyon sa Sining Pantanghalan. Manila: NCCA

The Philosophical & Educational Foundations of Creative Drama 8

PETA Theater Workshop Manual Series 1. BITAW (Basic Integrated Theater Arts Workshop). Manila: PETA
Schechner, Ri, (2013). Performance Studies: An Introduction. New York, NY: Routledge.
van de Water, M., McAvoy, M., & Hunt, K. (2015). Drama and Education Performance Methodologies for Teaching and Learning. New York, NY: Routledge
Wainscott, R. & Fletcher, K. (2004). Theatre Collaborative acts. Boston, MA: Pearson

Online References
Creative Drama as a Tool for Teaching Texts https://www.youtube.com/watch?v=81JI0vtcquk&feature=share&fbclid=IwAR3V3-Ce_FRki5WIcU-
XH77vuTcAC6WVuGTU66ZHd78z3uSCuTwlq_Oik8w
Dawson, K. & Lee, B. (2019, December 11). Drama-based pedagogy: Activating learning across the curriculum. Retrieved from
https://www.creativedrama.com/2019/12/11/drama-based-pedagogy-activating-learning-across-the-curriculum-by-kathryn-dawson-and-bridget-kiger-lee-book-
review/
Introduction to drama in the classroom. (n.d.) TAG Citizens Theatre. https://www.citz.co.uk/images/uploads/files/Intro_to_Drama_Resource_Pack_v2.pdf
The Stationery Office. (1999). Drama. Arts education. Teacher Guidelines. https://www.curriculumonline.ie/getmedia/7fff6e7b-4877-4759-9519-
4a43388735f9/PSEC04b_Drama_Guidelines.pdf
Gerould, Daniel. (Editor) (2000) THEATRE/THEORY/THEATRE The Major Critical Tecxts from Aristotle and Zeami to Soyinka and Havel. Applause Theatre and Cinema Books.
Guidote-Alvarez, Cecile (2003). Theater for the Nation A Prospectus for the National Theater of the Philippines. De La Salle University Press Inc.
Guidote, Cecile. Theater for the Nation (ibid).
PETA Theater Series: (Get from PETA exact publication details):
• Invitation to Growth by Lutgardo Labad and Cecilia Garrucho
• Towards a People’s Theater by Lutgardo Labad (0A0)
• PETA and Brecht by Lutgardo Labad
• Aesthetics of Poverty by Brenda Fajardo
Hontiveros-Avellana, Daisy (2009). The Drama Of It. A Life on Film and Theater. Anvil Publishing Inc and NCCA.
Ileto, Reynaldo. (1979) Pasyon and Revolution: Popular Movements in the Philippines, 1840-1910. Ateneo de Manila University Press.
Juan, Anton Ph.D. Editor. (2000). The LIkhaan Book of Philippine Drama 1991-1996. Creative Writing center-University of the Philippines Press.
Kott, Jan. (1984) The Theater of Essence. Northwestern University Press.
Lumbera, Bienvenido. (2003) Sa Sariling Bayan Apat na Dulang May Musika. De La Salle University Press.
Maramba, Asuncion David . Editor ( 2006). Early Philippine Literature from Ancient Times to 1940. Anvil Publishing Inc.
Mojares, Resil B. (1985). Theater In Society Society in Theater. Social History of a Cebuano Village (1840-1940). Ateneo de Manila University Press.
Mora, Manolette (2005). MYTH, MIMESIS, and MAGIC in the MUSIC of the T’BOLI , PHILIPPINES. Ateneo de Manila Press.
Muyco, Maria Christine. (2016). SIBOD. Ideology and Expressivity in Binanog Dance, Music, and Folkways of the Panay Bukidnon. Ateneo de Manila Press.
National Commission for Culture and the Arts. (n.d.) Order of National Artists. Retrieved from https://ncca.gov.ph/
Nono, Grace. (2013) Song of the Babaylan. Living Voices, Medicines, Spiritualities of Philippine Ritualist-Oralist-Healers. Grace Nono and Institute of Spirituality in Asia.
Nono, Grace.(2008) The SHARED VOICE. Chanted and Spoken Narratives from the Philippines. Anvil Publishing. Findacion Santiago.

The Philosophical & Educational Foundations of Creative Drama 9

Pagusara Don, Alburo Erlinda, Mojares Resil. (Translators) (1997) DULAANG CEBUANO. Ateneo de Manila Press.
Pambid, Manny (2015). CANUPLIN at iba pang mga akda ng isang manggagawang pangkultura. University of the Philippines Press.
Peralta, J. (2013). PINAGMULAN Enumerations from the Philippine Inventory of Intangible Cultural Heritage. Manila: National Commission for Culture and the Arts and the
International Information and Networking for Intangible Cultural Heritage in the Asia-Pacific Region under the auspices of UNESCO.
PETA Library: 1967-1972 Programs, Brochures, Posters, Plays and Scripts (Ang Tao, Bayaning Huwad, Larawan, Theater of the Absurd, Dona Clara, Good Woman of Setzuan,
Alamang, Aidao, Paglilitis ni Mang Serapio, Tatay Mong Kalbo, Dulaang Laboratoryo, Dulaang Bukang Liwayway, Balintataw Teleplays)
Reyes, Severino and Toentino, Fulgencio. Walang Sugat .(1994). CCP Sarswela Series.SEntro Pangkultura ng Pilipinas.
Riggs, A. S. (1905). The Filipino Drama (1905). Manila: Intramuros Administration
Rivera-Mirano Elena. (1997). Ang Mga Tradisyonal na Musikang Pantinig sa Lumang Bauan Batangas. NCCA.
Rivera, F. (2006). Halik sa kampilan (Dulang-kambayoka). Manila: UST Publishing House
Sadler, A.L. (2010) Japanese Plays: Classic Noh, Kyogen and Kabuki Works. Tuttle Publishing Co.
Samson L., Fajardo B., Garrucho C., Labad L., Santos-Cabangon Aa. G. (2008). A Continuing Narrative on Philippine Theater: THE STORY OF PETA (Philippine Educational Theater
Association). PETA
Samson Laura., Fajardo Brenda., Garrucho Cecilie., Labad Lutgardo., Santos-Cabangon Ma. Gloria (Writers). (2008). A Continuing Narrative on Philippine Theater: THE STORY OF
PETA (Philippine Educational Theater Association). PETA
Schechner, Richard. (2001) Performance Studies. An Introduction. Second Edition. Routledge.
Scott, William Henry (1984). Pre-hispanic Source Materials for the Study of Philippine History. New Day Publishers.
Tiatco, Anril Sir Pineda (2015) ENTABLADO Theaters and Performances in the Philippines. University of the Philippines Press.
Tiatco, S.A. (2015). Entablado theaters and performances in the Philippines. Quezon City: UP Press
Tiongson, N. (1991). Tuklas Sining Essays on the Philippine Arts. Manila: Cultural Center of the Philippines.
Tiongson, Nicanor G. (1999). Philippine Theatre: History and Anthology Volume II Komedya. University of the Phiilippines Press
Tiongson, Nicanor G. (1999). Philippine Theatre: History and Anthology Volume III Sinakulo. University of the Phiilippines Press
Tiongson, Nicanor G. Editor (1991). Tuklas Sining Essays on the Philippine Arts. Sentrong Pangkultura Ng Pilipinas CCP
Van Erven, Eugen. Philippine Political Theater and the fall of Ferdinand Marcos The Drama Review.
Van Erven, Eugen. The Playful Revolution: Theater and Liberation in Asia. Indiana University Press.
Wetmore, Kevin, Siyuan Liu. (2014). The Methuen Anthology of Modern Asian Plays. Methuen Drama
Willett John. (1964) BERTOLT BRECHT.Brecht On Theater. The Development of an Aesthetic. Methuen Random House UK Limited
Worthen, W.B. (1993). The HBJ ANTHOLOGY OF DRAMA. Harcourt, Brace and Company

Online References
Philippine “Seditious Plays” https://www.asj.upd.edu.ph/mediabox/archive/ASJ-12-1-1974/rodell-philippine%20seditious%20plays.pdf
Seditious and Subversive: Theater of War https://ncca.gov.ph/about-culture-and-arts/in-focus/seditious-and-subversive-theater-of-war/
The Emergence of Modern Drama in the Philippines https://scholarspace.manoa.hawaii.edu/bitstream/10125/15241/3/OP-
1.%20The%20Emergence%20of%20Modern%20Drama%20in%20the%20Philippines%2C%20Hernandez.pdf

The Philosophical & Educational Foundations of Creative Drama 10

https://scholarspace.manoa.hawaii.edu/bitstream/10125/15241/3/OP-
1.%20The%20Emergence%20of%20Modern%20Drama%20in%20the%20Philippines%2C%20Hernandez.pdf
National Artist for Theater Daisy Avellana dies https://newsinfo.inquirer.net/407533/national-artist-for-theater-daisy-avellana-dies-96
Filipino Drama during Japanese Period https://www.scribd.com/presentation/279714111/Filipino-Drama-in-Japanese-Period
14 essential plays on Martial Law https://lifestyle.inquirer.net/239853/14-essential-plays-on-martial-law/
A HISTORY OF THE PHILIPPINE POLITICAL PROTEST https://www.officialgazette.gov.ph/edsa/the-ph-protest-appendix/
Behn Cervantes’ seminal contributions to activist theater recalled–and affirmed https://entertainment.inquirer.net/194232/behn-cervantes-seminal-contributions-to-activist-
theater-recalled-and-affirmed
https://up-diliman.academia.edu/SirAnrilPinedaTiatco
https://scholar.google.com.ph/citations?user=3TdyeygAAAAJ&hl=en

Suggested Course Requirements

1. Regular attendance to classes

2. Active participation to class activities
3. Completion and compilation (portfolio) of all class exercises, researches, assignments, projects and other group work activities
4. Passing grade in all quizzes and major examinations
5. Satisfactory evaluation in the module preparation and teaching demonstration
Suggested Grading System

Prelim / Midterm Grading Period Final Grading Period

30% --- Performance in role playing / montage showcase / small plays 50% --- Teaching demonstration and modules presented and submitted
20% --- Written long exam (Prelim / Midterm) 30% --- Portfolio of class outputs
20% --- Journal papers 20% --- Class Standing (active class participation, attendance etc.)
30% --- Class standing (quizzes, recitation, active class participation, attendance)

The Philosophical & Educational Foundations of Creative Drama 11

 Suggested Classroom Policies

All students who are enrolled in this course should conform to the following class policies:
A. Attendance
1. A student will be marked “late” if he / she enters the class 5 minutes after the indicated time. A student who comes to class 15 minutes after the scheduled time shall
be marked “absent”.
2. All students are responsible for fulfilling the essential requirements of course, including class attendance.
3. No one is allowed to attend a class unless officially enrolled.
4. Students who fail to attend classes for three (3) consecutive days, or absences of maximum total of six (6) class days without justifiable reasons will be dropped from
class.
5. Should a student miss a term exam, he/she should notify the instructor by writing satisfactory explanation of such absence. A special examination shall only be
administered when such absence is proven to be valid.
6. Students who are excused from classes to participate in university-approved events or competitions (whether in-campus or off-campus) must present a letter signed by
Director of Student Affairs and faculty adviser/coach.
7. Students who face emergencies, such as death or serious illness of family members, court appearances, hazardous weather or emergency situations beyond their
control should inform the instructor immediately to be excused from the class.
8. Students without notification of their absences will not be allowed to submit course requirements or assignments.

B. Use of Electronic Devices in the Classroom

Mobile phones and other electronic devices are only allowed inside the classroom for instructional purposes as permitted by the instructor. Students using these gadgets
for non-instructional purposed will be directed to put these devices away.

C. Class Participation and Behavior

1. Active class participation is measured through asking questions, presenting reactions, reflections or insights to the topics being discussed inside the class.
2. Any student who committed any form of academic dishonesty shall be given disciplinary action based on the Student Handbook.
3. If a student is disruptive, the instructor may ask the student to stop the disruptive behavior and warn the student that such can result in academic or disciplinary action.

The Philosophical & Educational Foundations of Creative Drama 12

 Suggested Rubrics for Assessment
Portfolio (Scrap book, E-Portfolio)

CATEGORY 4 3 2 1
Shows excellent content, visual Shows very good content, visual Shows satisfactory content, visual
presentation and design, and presentation and design, and presentation and design, and The portfolio did not satisfactorily
PORTFOLIO
evidences of documentation of all evidences of documentation of all evidences of documentation of all present evidences of course works.
course works course works course works
The content, organization, The content, organization, language
Content, organization, language skills,
language skills, and voice provide skills, and voice provide a clear
JOURNAL PAPER and voice are present, but do not There is no content at all.
a clear, strong statement of the statement of the author's position
make the author’s position clear.
author's position on the topic. on the topic.
Present complete drama Present drama modules, with good Present drama modules, with
modules, with exceptional logical logical flow and presentation as satisfactory logical flow and
The submitted drama modules
TEACHING MODULES flow and presentation as shown shown in the submitted lesson plans presentation as shown in the
need total revision.
in the submitted lesson plans / / modules, with suggestions for submitted lesson plans / modules,
modules minor revisions with suggestions for major revisions
ROLE PLAYING / SCENE Shows excellent demonstration Shows satisfactory demonstration
Shows very good demonstration of Shows good demonstration of
WORKS / MONTAGE of concepts in performance as of concepts in performance as
concepts in performance as shown concepts in performance as shown in
SHOWCASE / GROUP shown in the mastery of the shown in the mastery of the
in the mastery of the execution. the mastery of the execution.
PERFORMANCE execution. execution.
Shows excellent understanding of Shows sufficient understanding of
Shows very good understanding of Shows good understanding of parts of
the topic, as well as excellent parts of the topic, and not very
REPORT the topic, as well as very good the topic, and good command of the
good command of the language good command of the language
command of the language used. language used.
used . used.

Prepared by

FELIMON B. BLANCO, MC (La Salle University, Ozamiz City)

MA. ROSALIE A. ZERRUDO, MA (University of San Agustin, Iloilo City)
SHIRLEY N. MALOLES, EdD (Bicol University, Legazpi City)

The Philosophical & Educational Foundations of Creative Drama 13