Objectives :

1. Identify the various elements, techniques, and literary

devices in drama;
2. understand intertextuality as a technique of drama;
3. conceptualize a character/setting/plot for a one-act
play;
4. explore different staging modalities vis-à-vis envisioning
the script, and;
5. write at least one scene for one-act play applying the
various elements, techniques and literary devices.
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 LESSON 2 :

INTERTEXTUALITY AS
A TECHNIQUE IN
DRAMA
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 Intertextuality
is the process through which one
text affects another,
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 Intertextuality
was first defined by a Frenchwoman named Julia
Kristeva in the 1960s. The Latin word intertex, which
means "to intermingle while weaving," is where it
got its name. According to Kristeva, every piece of
contemporary literature that is produced has an
intertextual relationship with earlier literary
productions.
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 Intertextuality
described as the "complex interplay
between a text and other texts recognized
as basic to the development of
interpretation of the text" in the
Merriam-Webster dictionary.
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 Two Common Application of Intertextuality

➢ 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.
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 Types of Intertextuality

Allusion
It describes an indirect allusion in one
text to another work, location, historical
era, or author in order to deepen or
expand meaning.
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 Historical Mythological
refers back to a historical refers to a mythological
event or period. figure or story.

Example: “He was a Nero” Example: “She ran faster

than Hermes.”
This statement enables the
audience to connect the
The character's capacity for
character's alarming conduct
running is contrasted with that
to that of the infamous Roman
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of Hermes, the Greek Gods'

emperor.
messenger.
 Literary
refers to a literary text or
figure.
Example: “No matter how Dorian
adjusted the electric blanket it
was either too hot or too cold,
never just right.”
The statement is taken from
the lines of the famous figure,
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Goldilocks.
Religious
refers to a religious text,
story, or figure.
Example: “Reflecting on her
cruel behavior, Cinderella’s
stepmother stood still like a pillar
of salt.”
The text is referenced from
the religious figure, Lot’s wife.
 Types of Intertextuality

Allusion
It describes an indirect allusion in one
text to another work, location, historical
era, or author in order to deepen or
expand meaning.
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 How to Analyze an 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.
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 Types of Intertextuality

Parody
Refers to the writer’s imitation of another
text for the purpose of exposing and
discrediting one’s vice or follies.
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 Types of Intertextuality

Parody
The word "parody" is derived historically from the Greek word "parodia,"
which refers to a particular kind of poem that mimicked the form of epic
poems but incorporated mocking and light humor.

- used by writers to criticize their intended audience, who are typically

celebrities, politicians, authors, a style or trend, or any topic that is
currently or was formerly of interest to anybody.
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 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 a very busy, very
important businessman!”
This illustration demonstrates how the daughter, who is
aware of the father's occupation as a businessman,
copied the father. The words imply that many
businesspeople have an image of being extremely
serious and hailed as self-important.
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 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 illustration, the boys are humorously mocking the
manner in which a well-known band acts, sings, and
dresses while making a statement on how few pop
artists are genuinely talented
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 Types of Intertextuality

Quotation
- involves a direct reference to another text, giving citation
to the owner of the text.
- A device that implies a certain term is created by
enclosing it in quotation marks. The primary purpose of
quote marks is to distinguish and convey the precise
phrase used in another person's speech or writing.
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 Example 1 :

In the end, Albert Einstein was right

when he said, “Life is like a bicycle.
You need to keep moving.”
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 Example 2 :

Dr. King said, “I have a dream.”

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 Types of Intertextuality

Appropriation
- It allows the writer to make a
reworking or reimagination of a
popular text for the purpose of
changing or extending its meaning.
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 Example 1 :
Marcel Duchamp's artwork
L.H.O.O.Q, - an imitation of Da Vinci's
Mona Lisa. Dumchamp created his
version by photographing a piece of
Da Vinci's artwork and adding a
mustache to it.
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 Example 2 :
Emma appeared differently in Clueless (The
Movie) than she did in the 1800s, a modernized
Emma who lived in America in the 1990s.
Additionally, the clothing, speech, and settings
are often different. The primary character's
attribute, that she is now 19 and active on
YouTube and her blog to follow the most recent
trend of Emma working and blogging as an online
matchmaker, was also appropriated.
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 Types of Intertextuality

Adaptation
- It entails creating a film, TV drama or stage
play based on a specific written work.
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 Significance of Intertextuality
● richer reading experience
● Fresh interpretations of literary works
● enjoyable due to continuity and interconnectedness of texts and cultures.
● It encourages readers to revisit the older material, with fresh perspectives
and interpretations that are relevant to the present time.
● It makes the students and readers wonder about the authorship and
originality of the content.
● Produces original texts based on what they have learned from others.
● It suggests a relationship between two texts that each include certain
thoughts and concepts.
● It challenges readers to reexamine the meaning of the cited work and look
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for themes, concerns, or values that are shared by all the texts utilized.
 Intertextuality & Plagiarism

Plagiarism
- defined as "using or closely replicating the
language and thinking of another author
without license."
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 Intertextuality & Plagiarism

However, intertextuality is not guilty of

such wrongdoing because it does not
have the aim or purpose to use another
person's work.
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 Intertextuality & Plagiarism

In general, intertextuality is primarily founded on the

objective of producing new ideas based on the
investigated ideas from others to confirm them,
whereas plagiarism is just copying the texts from one's
work and putting it into your own work. Therefore,
intertextuality is not at all a kind of plagiarism.
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 A B
a. allows the writer to make a reworking or reimagination
of a popular text
b. “She is as beautiful as Venus.”
___ 1. Parody c. to intermingle while weaving
___ 2. Appropriation d. used by the writer to mock its target
___ 3. Historical allusion e. the act of “using or closely imitating the language and
___ 4. Intertexto thoughts of another author without authorization
f. “Reflecting on her cruel behavior, Cinderella’s
___ 5. Adaptation
stepmother stood still like a pillar of salt.”
___ 6. Quotation g. a writer creates a film, TV drama or play based on a
___ 7. Allusion written work allusion
___ 8. Mythological h. “He was a Nero.”
___ 9. Plagiarism i. an indirect reference in one text to another text, place,
___10. Religious allusion historical period or author
j. direct referencing with acknowledgment to the original
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author
― Irene M. Pepperberg
 LESSON 3 :

CHARACTER/
SETTING/ PLOT FOR
A ONE-ACT PLAY
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 What is a
One-Act Play?
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 In the 18th and 19th centuries, one-act plays
were performed for the audience's enjoyment
either before the major drama begins, known
as "The Curtain Raisers," or immediately when
the actual drama concludes, known as "The
After Pieces." However, because the duration
of a one-act play is only a few minutes, players
do not need to dress up in elaborate sets or
costumes.
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 Characteristics of a One-Act Play
(by Shaurya,2015 in riashaurya.wordpress.com)

1. Has only one act but may consist of one or more

scenes.
2. Usually written in a concise manner.
3. Deals with a single dominant situation aiming at
producing a single effect.
4.One theme developed through one situation to one
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climax in order to produce the maximum effect.

 Characteristics of a One-Act Play
(by Shaurya,2015 in riashaurya.wordpress.com)

5. Solves the problems of everyday life such as

marriage, punishment for crimes, labor conditions,
divorce, etc.

6. Should have a beginning, a middle and an end : The

Exposition, The Conflict, The Climax and The
Denouement.
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 Characteristics of a One-Act Play
(by Shaurya,2015 in riashaurya.wordpress.com)

❖ The exposition is usually brief, and serves as an

introduction to the play.
❖ The conflict is where the action of the drama develops.
It is the very backbone of the one-act play.
❖ Climax is the turning point of the drama.

❖ The Denouement is very brief and often overlaps with

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climax.
 Characteristics of a One-Act Play
(by Shaurya,2015 in riashaurya.wordpress.com)

7. Action begins right at the start of the play.

8. There are no breaks in the action, that is, it is

continuous since it’s a short play; no intervals.

9. Given that the play is brief and the action happens

quickly, anything extraneous must be rigorously
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avoided. To cut down on the duration of the action

itself, complex stage directions are introduced.
 Characteristics of a One-Act Play
(by Shaurya,2015 in riashaurya.wordpress.com)
10. The creation of mood, or atmosphere is indispensable to its
success.

11. Three dramatic units :

●unity of time
●unity of place
●unity of action

12. It aims at simplicity of plot. It does not rely on spectacular

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effects and common dramatic tricks of old.

 Characteristics of a One-Act Play
(by Shaurya,2015 in riashaurya.wordpress.com)

13. The characters are limited in number. Generally, there

are not more than two or three principal characters.
14. Character development is not complete. Only one or
two prominent character traits are highlighted, and they
are brought out by giving the characters diverse contexts
and events. By highlighting a pivotal moment in the life of
a character, the author alludes to the character's history
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and suggests their future.

 Characteristics of a One-Act Play
(by Shaurya,2015 in riashaurya.wordpress.com)
15. There is an influence of realism. It depicts characters that
seem to be real and related to everyday life.

16. It must present a question.

17. Its straightforward syntax makes it easy to understand. The
conversation must have a purpose. Make an effort to
communicate your message in the fewest words feasible. The
dialogue's language should be straightforward, condensed, and
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simple to follow. Long discussions, speeches, and phrases would

be out of place and reduce the play's appeal and intrigue.
 by major dramatists stated by Shaurya (2015) :
➢ Anton Chekhov - A Marriage Proposal (1890)
➢ August Strindberg - Pariah (1889)
➢ Motherly Love (1892)
➢ The First Warning (1892)
➢ Thornton Wilder - The Long Christmas Dinner (1931)
➢ Eugene Ionesco - The Bald Soprano (1950)
➢ Arthur Miller - A Memory of Two Mondays (1955)
➢ Samuel Beckett - Krapp’s Last Tape (1958)
➢ Israel Horovitz - Line (1974)
➢ Edward Albee - The Goat, or Who is Sylvia? (2002)
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 WHAT TO LOOK FOR IN DRAMA?
Structure Of One-Act Play

1. DIALOGUE
Plays are written in script or lines of dialogue rather than
paragraph form like novels or short stories are. The script is
condensed into acts (the play's primary divisions), and
each act is further broken into scenes (smaller divisions
within the act).
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 WHAT TO LOOK FOR IN DRAMA?
Structure Of One-Act Play

2. SCRIPT

A script will also provide stage directions in addition to

the dialogue. These notes—often in parenthesis or
italics—help the actors explain the scenario to the
audience.
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 WHAT TO LOOK FOR IN DRAMA?
Structure Of One-Act Play

ROSE
Jesus, I want you to protect me
As I travel on my way.
(To TROY.) Morning. You ready for breakfast? I can fix it as soon as I finish
hanging up these clothes?

TROY
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I got the coffee on. That'll be all right. I'll just drink some of that this morning.
 WHAT TO LOOK FOR IN DRAMA?
Structure Of One-Act Play

3. CHARACTERS / CHARACTERIZATION

In a playscript, the author frequently introduces the

cast of characters before the dialogue. Each
character, important and small, is often included
along with a succinct summary of the individual's
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function in the plot.

 WHAT TO LOOK FOR IN DRAMA?
Structure Of One-Act Play

3. CHARACTERS / CHARACTERIZATION

This list is typically provided to them on a

printed playbill, or program, as they enter
the theater.
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 WHAT TO LOOK FOR IN DRAMA?
Structure Of One-Act Play

4. PLOT

The play's story structure is quite similar to that of

prose. An introduction, a rising action, a climax, a
falling action, and a resolution are all present.
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 WHAT TO LOOK FOR IN DRAMA?
Structure Of One-Act Play
5. TYPE
Classify the play whether it is tragedy, comedy or
is it a combination of different elements.
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 WHAT TO LOOK FOR IN DRAMA?
Structure Of One-Act Play
6. SETTING
Consider where that play takes place, and if
the background or the scenery of the play
contributes to the story, that makes the audience
feel that they are actually on the scene as well.
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 WHAT TO LOOK FOR IN DRAMA?
Structure Of One-Act Play
7. THEME
Identify the central idea of the play.

8. PERSONAL APPEAL
The story must appeal to the audience as what
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you may be able to recommend others to watch.

 The radio play is an invention that
comprises many forms of drama created
especially for the needs of the sizable
radio listening audiences.
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 Guidelines:

(a) It needs to grab people's attention right

away by getting off to an exciting or fantastic
start.

(b) The storyline ought to be straightforward and

make sense. The plot should be advanced
without any extraneous information.
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 Guidelines:

(c) It must be straightforward in expressing

thinking, sentiment, and emotion and shouldn't
ask the audience to visualize anything too
complicated.

(d) Character complexity and quantity are not

restricted, but voices must be distinct and
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consistent with the participants' overall vision.

 Guidelines:

(e) The skill of the narrator is important in

establishing scene, atmosphere, and mental
images of the background.

(f) Both frequent scene changes and a diversity of

scenarios are possible. Changes in the ambient
music and sound effects may be a sign of them.
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 Guidelines:

(g) Music can be used to set the tone or ambiance,

underline, support, or remark on an emotion or scenario, or
even to symbolize stage business because the radio play is
fully audio-based.

(h) The use of sound must be clear-cut; when it serves no

dramatic purpose, it should be altogether skipped.
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 LESSON 4 :

DIFFERENT STAGING
MODALITIES vis-à-vis
ENVISIONING THE SCRIPT
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 A. What is Staging?
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 Staging
The act of staging a play or drama
refers to its presentation on a stage.
Understanding how to experiment with various staging modes in
relation to visualizing the script is crucial since they have a
significant influence on the performance. As a result, the stage's
design must match the play's or drama's narrative.
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 Staging
According to Roberts (2017), plays were presented in
amphitheaters or arena theaters in ancient Greece that
could hold up to 25,000 spectators. Actors had to deliver
their lines in a declamatory manner because
microphones weren't yet in use at the time. The
architecture of stages has greatly affected and
contributed to the style of theater throughout history, and
vice versa.
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 TYPES OF STAGING MODALITIES
PROSCENIUM STAGE

known as a “picture frame stage”.

The conventional style of staging, where a curtain

emphasizes the separation between the audience
and the players. In this style of performance, only
the stage is lit up while the audience is kept in the
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dark.
 TYPES OF STAGING MODALITIES
TRAVERSE STAGE

“alley/corridor/catwalk
staging”

The spectators are seated

to the sides of the stage,
facing one another like on a
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catwalk.
 TYPES OF STAGING MODALITIES
THRUST STAGE

“employed to bring actors and viewers closer

together”.

These protrude into the auditorium, as their name

implies, with the audience seated on all three
sides.
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 TYPES OF STAGING MODALITIES
THEATERS-IN-THE-ROUND
“feature a central performance space that is
surrounded on all sides by the audience ”.
.

It is typically arranged in squares or polygons. The

performers enter through the seating's aisles or
vomitories. The modest scenery is placed with care
so that it won't block the audience's perspective.
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 TYPES OF STAGING MODALITIES
ARENA THEATERS
“Similar to theaters in-the-round, arena theaters are
enormous auditoriums with a central stage area and
audiences on all sides. ”.
.

Typically, the stage space is rectangular and

has tiers of seating, much like a sports arena.
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 TYPES OF STAGING MODALITIES
BLACK BOX / STUDIO THEATERS

These adaptable performance spaces consist of a

single, black-painted chamber with the stage's floor
level with the front row of the audience.

These venues often provide the temporary

installation of seating in a variety of layouts to
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enable the presentation of a wide range of shows.

 TYPES OF STAGING MODALITIES
PLATFORM STAGES

“frequently referred to as end stages or open stages

when the stage is transparent and devoid of curtains”.

They often consist of an elevated rectangular

platform. Either a flat or raked sloping floor is an
option. In rows facing the stage, the audience is
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seated.
 TYPES OF STAGING MODALITIES
HIPPODROMES

Similar to circuses, hippodromes have a

center circular arena surrounded by
concentric tiers of seats. The crowd is
frequently separated from the arena by
deep pits or low screens.
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 TYPES OF STAGING MODALITIES
OPEN AIR THEATERS

These are theaters without roofs, however

occasionally the stage or spectator seating
will be partially covered. The natural light
may be used at these stages since it varies
throughout the day, especially after dusk.
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 TYPES OF STAGING MODALITIES
SITE-SPECIFIC THEATER

Typically presented in a non-traditional

theater setting, such as a bar, a house, or a
warehouse, and frequently reflects the
background, environment, or experiences of
a given area.
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 TYPES OF STAGING MODALITIES
PROMENADE

Following the performers and performance,

the audience moves from location to
location in this scenario.
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 B. Staging of a Play
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 TYPES OF STAGING MODALITIES
KEY PERSONELS

1. THE PLAYWRIGHT. He is the creator of the scenario

or tale he wants to tell on stage. In addition to
supplying all stage instructions for the producer to
interpret, he frequently also lays out some
production notes or offers guidance on stage props,
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costumes, lighting, etc.

 TYPES OF STAGING MODALITIES
KEY PERSONELS

2. ACTOR. He is the participant on stage

who is most important among all the
others.
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 TYPES OF STAGING MODALITIES
KEY PERSONELS

3. PRODUCER. In school plays, the producer is

typically dropped, and the performer is in charge of
all rehearsals and the performance itself. To ensure
that stage motions adhere to the playwright's
specifications, he or she should work closely with the
stage manager. In commercial theater, the producer
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is in charge of selecting the director and every other

member of the production team.
 TYPES OF STAGING MODALITIES
KEY PERSONELS

4. STAGE MANAGER. Is in charge of all operations on

stage and has total authority over every element of the
performance. He should have diagrams ready that
demonstrate the specifics and locations of all sets and
be well-versed in the needs of each play. His duties
include advising the producer on the necessary sets for
the program and supervising the lighting and
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scene-shifting.
 TYPES OF STAGING MODALITIES
KEY PERSONELS

5. BUSINESS MANAGER. Responsible for organizing

the printing of all programs, posters, tickets, and
other materials. Additionally, he will be in charge of
overseeing theater reservations, box office
strategies, and the creation of a final balance sheet.
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 TYPES OF STAGING MODALITIES
KEY PERSONELS

6. HALL MANAGER. His work and the stage

manager's are almost usually tightly related. He
is in charge of overseeing seating
arrangements, hiring usherettes, distributing
students after each show, and controlling
dressing rooms in general.
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 TYPES OF STAGING MODALITIES
KEY PERSONELS

7. MAKE-UP MANAGER. This is a very crucial role

since the person in it will instruct others on how to
get the students ready for the stage when the stage
manager asks them to.
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 TYPES OF STAGING MODALITIES
KEY PERSONELS

8. LIGHTS MANAGER. The producer and stage

manager will be in charge of the lighting manager's
duties. Again, proper timing is crucial in this situation,
needing a thorough understanding of each
production.
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 TYPES OF STAGING MODALITIES
KEY PERSONELS

9. PROMPTER. This role calls for a keen hearing ear,

a loud, piercing voice, and a quick response to any
acting stutters. When hesitancy or omissions occur,
he is in charge of providing the players the
appropriate cue in a way that won't impede the
play's smooth flow.
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 C. HOW TO WRITE
A ONE-ACT PLAY?
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 How to Write a One-Act Play
8 Steps on HOW TO :

1. Choose a Subject
A short tale works well for covering a topic in a
one-act play that is only a few scenes long. To make
the one-act play a comprehensive tale, don't forget
to give it the required storyline, action, and
characters.
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 How to Write a One-Act Play
8 Steps on HOW TO :

2. Develop the Action, Then the Dialog

Keep the storyline short for a one act play and it
should flow continuously throughout the play.
Develop the action first, then compose the
conversation before you determine anything else.
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 How to Write a One-Act Play
8 Steps on HOW TO :

3. Develop the Characters

Create a character sketch before you start writing
to help you flesh out and give life to your characters.
Give your characters a reason to live (or not) and
raise the tension by forcing them to deal with a
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dilemma. Any plot must revolve around this.

 How to Write a One-Act Play
8 Steps on HOW TO :

4. Generate the Setting

The location for a one-act play will be one scene,
but you must still create the scene so that the
audience can fully understand the plot. As many of
the five senses as you can should be used.
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 How to Write a One-Act Play
8 Steps on HOW TO :

5. Add in Stage Directions

After you've written the action, add the stage
directions and make notes about how each
character should react and the objects you'll need.
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 How to Write a One-Act Play
8 Steps on HOW TO :

6. Find Performers for Each Part

Hold auditions to locate actors and actresses who
are the ideal match for each role. Tell them up front
if this is a paid or volunteer position.
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 How to Write a One-Act Play
8 Steps on HOW TO :

7. Make Copies for Cast Members

The play should be printed out once for each
actor and saved in case further copies are required.
Give each stagehand a copy of the one-act play
and handle the props as well.
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 How to Write a One-Act Play
8 Steps on HOW TO :

8. Practice the Play

Ask for input from everyone engaged in the play
as you practice it. Additionally, seek or hire an
expert to assist with the production. Hold one more
practice before the show's start. This ought to be a
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dress test.
 Additional Terms Used in DRAMA
A word that refers to the general
ATMOSPHERE mood, feelings, or surroundings of
the play.

A part of the plot where a

CRISIS complication occurs that has a
far-reaching effect on the play as a
whole.
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 Additional Terms Used in DRAMA
Originally it meant the change that produced the
CATASTROPHE falling action in a play, but now relates only to the
last part of the falling action.

This refers to a situation in a play where events

have more significance for the audience than for
DRAMATIC IRONY
the players concerned

The words of a player that serve as an indication for

another in the cast to begin speaking, to enter or
CUE
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do something on the stage.

 Additional Terms Used in DRAMA
A passage at the end of the play, where the
climax has passed and explanations are given
EPILOGUE for events directly associated with the plot.

A term that refers to any introductory speech

given at the commencement of a play.
PROLOGUE
A quality of drama where the reader or
audience is left in a state of doubt or expectancy
SUSPENSE as to the final outcome of the situations or
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events.
 Additional Terms Used in DRAMA
Originated from Aristotle referring to the time,
place and action of the plot.
UNITIES
A device in drama first used by the ancient Greeks,
which permits one or more individuals to make
CHORUS explanations about the
story or characters before the commencement of
the play.
A word used in a drama denoting a "sole speech."
Its purpose is to allow the actor to think aloud, thus
SOLILOQUY
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revealing to the audience his inner feelings and

conflicts
 Let’s Talk About It…

“What do you think is the main reason why

there are young Filipinos who are not
interested in writing plays, poetry and
drama?”
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