SHS

Creative Writing
Module 8: Exploring Various Staging
Modalities in relation with the
Drama Script
 Target

In the last module, you were made to conceptualize important elements in

drama like the characters, setting, and the plot. In the module, sets of activities
ignited your creativity and critical thinking in coming up with believable characters
and setting as well as in the crafting of potentially effective plots to hook your
audiences.

Now with those knowledge and skills you acquired, it’s high time for you to
take drama production into a deeper experience: the staging of your drama script!

In this module which you are about to tackle, you will be given the opportunity
to explore staging modalities of the drama.

After going through this module, you are expected to:

1. explore different staging modalities in relation to the drama script;

(HUMSS_CW/MPIj-IIc-18);

2. identify parts of a drama script;

2. construct a creative visualization of a drama stage based on a given one-act play

setting.

You may start now with the module. Be sure to follow all instructions and
try to understand all the lessons as best as you could.
Enjoy learning and good luck!
 EXPLORING VARIOUS STAGING MODALITIES
IN RELATION WITH THE DRAMA SCRIPT

In the previous module, you were asked to conceptualize characters, stetting,

and plot for a drama, specifically for one-act play.

In this module, you will learn more about drama and the different staging
modalities that you can use in the production and presentation of your drama
scripts.

Jumpstart

To jumpstart the lesson, do the following activities. Have fun and good luck!

Activity 1: 3…2…1…Curtains!
Directions: Read each item carefully and then choose the letter of the correct
answer. Place your answers on a separate sheet of paper.

1. What do you call a raised floor or platform, typically in a theater, on which actors,
entertainers, or speakers perform?
A. Elevation C. Juncture
B. Podium D. Stage
2. Into how any parts or sections is the acting area divided?
A. six C. eight
B. seven D. nine
3. In a conventional stage setup, what do call the section nearest to the audience?
A. upstage C. center stage
B. downstage D. forward stage
4. What do you call the position of the acting area in relation to the audience?
A. staging C. center stage
B. acting setup D. forward stage
5. What do you call the very exact middle of the acting area?
A. upstage C. center stage
B. downstage D. forward stage
6. Which among the three conventional stage styles has an architectural frame,
hence the call “picture frame stage”?
A. thrust C. proscenium
B. arena D. end stage
7. Which among the three conventional stage styles has an area that protrudes
forward and the audience is on the three sides?
A. thrust C. proscenium
B. arena D. end stage
8. What do you call the process of selecting, designing, adapting to, or modifying the
performance space for a play or film?
A. acting C. production
B. staging D. rehearsal
9. What do you call the non-conventional stage model wherein the audience sits on
two sides of the acting area?
A. avenue C. proscenium
B. arena D. end stage
10. What term is used to refer to the decisions about where actors enter, exit and
stand on the stage?
A. acting C. blocking
B. staging D. rehearsal

Were you able to answer them all correctly?

What you have just worked on is all about stage modalities and all other
important things to consider during the staging of a drama or play.

Now let us take the activity farther. Answer the next activity.

Activity 2: Stage Parade

Directions: Match the names of the different types of stage from their
corresponding illustrations. Write your answers on a separate sheet of paper.

_________ 1. Proscenium Stage _________ 2. Thrust Stage

_________ 3. Theaters in-the-Round _________ 4. Promenade Theater

_________ 5. Avenue

A. B. C.

D. E.

How many correct answers did you get this time?

If you got them all correctly, congratulations! You’ve got a great sense of
mental picture on what are the various staging modalities we have in drama
production and theater arts. Now let’s proceed to your lesson.
 Discover

By now, you already have a slight idea on what are the various staging
modalities in drama. In this part, you are going to read more about these staging
modalities. Also, you will learn more on other technical and production stuff of
drama production. Good luck!

STAGING MODALITIES

The drama script comes to life in the performance phase. This is now a critical
phase since all elements of drama are now intertwined: literary elements, technical
elements and the performance elements. The success of the drama depends on these
interconnections.

Choices which are made by concerned people on particular scenes in the

drama is called interpretation. Such process may sound simple yet it becomes
tedious when it is put into the stage. Considerable time and efforts are put into the
interpretation in order to come up with a successful staging.

Staging refers to the position of the acting area in relation to the audience.
But more than this, staging covers everything that performers do on stage (and even
technical crew and production staff at the backstage) to bring the drama to life and
give justice to the story. Staging then becomes a process of designing, adapting,
selecting, or even modifying the performance space for the play.

As part of the staging, directors (because there are several of them working
together: acting, lights, sound, effects, props, stage, stunt, etc.) usually brainstorm
regarding the acting area. This area refers to the available spaces to be occupied by
the set and to be used by the actors and actresses when performing. With this, the
stage becomes a battle ground to all the people of the drama production but most
especially to the performers.

THE STAGE

The stage, in simple definition, is the area designated for a performance. It

serves as space for the actresses and actors for the audience to watch them perform.
Taking the stage into consideration is very important. The stage spells out the
relationship to be made between the actors and actresses and the audiences. Always
remember that the inclusion of the audience is fundamental to the success of a
drama performance. Going back to basics: no audience, no drama!

Relative to the stage, the acting area is divided into nine sections: upstage
right (USR), upstage center (USC), upstage left (USL), center stage right (CSR), center
stage or the exact middle (CS), centerstage left (CSL), downstage right (DSR),
downstage center (DSC), and the downstage left (DSL).

An illustration below gives a more detailed explanation for you to understand

where these sections are located in relation to the position of the audience.
 The Nine Acting Areas

The downstage sections are the nearest to the audience while the upstage
sections are the farthest.

These sections in the acting area help the performers and other production
staff identify the different parts of the acting space. With it, they are able to place
with appropriateness the set and the props as well as the lights.

The blocking decisions for the actors and actresses also become clearer
through the use of these acting areas. The performers are able to identify where to
enter, to exit and where to stand while on the stage. In addition, the space on stage
can be used well and the director could give the best space for the performer and
best viewing experience for the audience.

TYPES OF STAGE FOR DRAMA PRODUCTIONS

The choice of staging modality of a drama depends on what kind of experience

you want your audience to experience. From the point of view of a writer and as a
part of the drama production team, do you want the audience to get a feel of the
drama and in the midst of the action or you simply want them settled from a distance
and observing the actions unfolding on stage? Wherever the audience may be placed
or seated, it is important that performers and the audiences keep an eye contact with
one another. This creates a sense of shared experience all throughout the play.

This brings you to the selection of appropriate staging modality. Below are the
common staging modalities in drama production.

A. PROSCENIUM STAGE
This type of stage has a built-in architectural frame called “proscenium arch”
(although it does not look curved in shape and does not even serve the purpose of
curved structural support). This proscenium arch makes the stage look like a ‘picture
frame’ hence the other call picture-frame stage.

This type of stage is deep and sometimes raked (gently sloped and rising away
from the audience). Modern proscenium stages nowadays have extended portion
outside the proscenium arch leading to the auditorium area. This part is called apron
or forestage. What makes proscenium stage fascinating is the availability of areas
for the live orchestra called orchestra pit and also fly towers for movements of lights
and sceneries.
 The illustration below gives you a better picture on how the proscenium stage
looks like.

An illustration of a Proscenium Stage

B. THRUST STAGE
This type of stage has its stage protruding to the auditorium giving the
audience sitting areas on three sides. The thrust stage area itself is not always square
or rectangular. The stage may semi-circular or half a polygon with any number of
sides. The purpose of the thrust stage is to increase level of closeness between the
performers and the audience.

An illustration of a Thrust Stage

C. THEATERS IN THE ROUND

In this style, the stage is an area enclosed by the audience on all sides. Though
it is called ‘round’, the seating arrangement of audience is rarely round. Common
seating arrangements usually come in a square or polygonal formation.

Since there are no wing sides which serve as entrance and exit of performers
like in the proscenium and the thrust styles, performers enter through the aisles or
vomitories between the seating. Also, there is minimal use of sceneries and these are
usually positioned in a manner that does not hinder the view of the audience.
 An illustration of a Theater in the Round Stage

D. BLACK-BOX or STUDIO THEATER

This is a non-conventional stage style. It is a flexible performance space
usually a single room painted in black. The floor of the stage is at the same level as
the first audience row. The rest of the rows at the back are gradually elevated in a
tiered position.

An illustration of a Black Box Theater

E. PROMENADE THEATER
There is no fixed stage setting. The performers move from place to place and
the audience follow. The ‘promenade’ could be made inside the different parts of the
theater itself or even outside in the streets (so long as there is permit and enough
security to handle the crowd).
The Filipino Cenakulo, when played on the streets, is an example of this type.
The Cenakulo performers move from one block of the street to another performing
different scenes. The audience follow the performers until they reach the crucifixion
part and the death of Christ scene.
 An illustration of a Promenade Theater

F. AVENUE STAGE
In this type of stage, the audience is made to sit on two sides of the acting
area. This makes it look like watching a fashion show but instead of models, you
have drama performers on stage.

An illustration of an Avenue Stage

THE SCRIPT

A drama is written in a format called a script. It is the text version of the

dialogues in the drama. When you look at a script, it is not written in the manner
like novels and short stories do. Though it is not written in paragraph from, the
content of the script still follows the standards of storytelling, that is, the parts of the
plot is still observed.

The script is consist of two main parts: the dialogues or the lines that
characters say and the stage directions or the instructions given to the actors and
actresses (as well as prompts on lights and sounds and special effects).

Aside from the two main parts, there are also other elements of significant
importance like title of the drama, the cast of characters and the scenery which
gives a description of the setting in every act. In the case of a one-act play, the scenery
will be written only once.

Here are some technical pointers to remember when writing the script.
1. The title is written at the topmost center of the paper (though other writers write
this flushed to the left).

2. The cast of characters follow right after the title. The names of the characters are
written then followed by a short description of their physical attributes and their role
in the drama.

3. The scene follows after the cast of characters. In this part, the setting is described.
The playwright has to use the acting area and place the set and props where they
are supposed to be before the act starts. It also indicates points of entrance and who
are the characters on-stage already even before the curtain opens. It also indicates
special effects (if needed) like smoke effect, lights or even the sounds. This part is
usually labelled with INT (interior) or EXT (exterior) to mean whether the scene is
happening inside a building or outside. This is used in dramas where there are
multiple acts which means various scenes. In a one-act play, the INT-EXT labels are
no longer needed.

4. The dialogues of characters will then follow. This indicates that the story has
officially started. The name of the character is written first then followed by a colon
to separate it from the dialogue. When another character is to tell his or her lines,
you start another line in the script.

5. Embedded into the dialogues are stage directions. These lines are usually written
in italics and are set-off by parentheses. This makes it easy to separate the dialogues
with the directions.

6. At the end of the script playwrights write “Close Curtains” which signifies the end
of the drama.

For your reference, study the sample script below.

 Explore

Here are some enrichment activities for you to work on to master and
strengthen the concepts you have learned from this lesson.

Enrichment Activity 1: Word Pool

Directions: Fill in the blanks to complete the idea in every statement. Look
for your answers in the Word Pool provided below. Use a separate sheet of
paper for your answers.

Stage Script Acting Area Audience

Interpretation Staging Apron Stage Direction
Orchestra Pit Blocking Thrust Picture Frame Stage

1. The _________________________ serves as space for the actresses and actors for the
audience to watch them perform.

2. Choices which are made by concerned people on particular scenes in the drama
is called _________________________.

3. What makes proscenium stage fascinating is the availability of areas for a live
orchestra called _________________________.

4. A drama is written in a format called _________________________.

5. The process of designing, adapting, selecting, or even modifying the performance

space for the play is called _________________________.

6. The process of identifying where performers enter, exit, and stand on the stage is
called _________________________.

7. The _________________________ refers to the available spaces to be occupied by the

set and the performers when performing on stage.

8. The proscenium stage is also called _________________________.

9. The extended portion of a proscenium stage is called _________________________.

10. In an avenue stage, the _________________________ is made to sit on two sides of

the acting area.
Enrichment Activity 2: Direct me, please?!
Directions: The diagram below represents the different sections in an acting
area for stage directions. Identify the section referred to by the numbers in
every item. Write you answers on a separate sheet of paper.

1. What is the correct stage direction for No.3?

A. Center stage C. Downstage Right
B. Upstage Left D. Centerstage Left

2. What is the correct stage direction for No.8?

A. Upstage Left C. Downstage Right
B. Upstage Right D. Centerstage Left

3. What is the correct stage direction for No.1?

A. Upstage Left C. Upstage Right
B. Upstage Center D. Centerstage Left

4. What is the correct stage direction for No.9?

A. Upstage Left C. Downstage Right
B. Upstage Right D. Centerstage Left

5. What is the correct stage direction for No.2?

A. Upstage Left C. Downstage Center
B. Upstage Right D. Centerstage Left

6. What is the correct stage direction for No.7?

A. Upstage Left C. Downstage Right
B. Upstage Right D. Centerstage Left

7. What is the correct stage direction for No.5?

A. Downstage Left C. Downstage Right
B. Upstage Right D. Centerstage Left

8. What is the correct stage direction for No.4?

A. Upstage Left C. Downstage Right
B. Upstage Right D. Centerstage Left

9. What is the correct stage direction for No.6?

A. Upstage Left C. Downstage Right
B. Upstage Right D. Centerstage Right
 Deepen

At this point, you are now ready to apply the new knowledge, concepts, and
skills which you have learned in this module. The succeeding activities would require
your creative and critical thinking. Further, you shall put into application the
concepts and skills you have learned.

Enrichment Activity 1. Where to go, Direk?

Directions: Given below is a part of a script of drama about a husband and
wife and their struggle to survive poverty. The stage directions have been
deleted. Your task is to place appropriate stage directions and actions inside
the parentheses. Be guided by all the concepts you have learned. Your score
will be based on the rubrics below. Write your answers on a separate sheet of
paper.

Criteria 5 pts 4 pts 3 pts 2 pts 1 pt

Learner has Learner has Learner has Learner has Learner has Learner has
written written very written highly written written fairly written poorly
appropriate highly appropriate satisfactorily appropriate appropriate
stage appropriate stage appropriate stage stage
directions stage directions stage directions directions
observing the directions observing the directions observing the observing the
acting area, observing the acting area, observing the acting area, acting area,
blocking and acting area, blocking and acting area, blocking and blocking and
staging blocking and staging blocking and staging staging
staging staging
Observance of Observed Observed Observed Grammar and Grammar and
grammar and grammar and grammar and grammar and mechanics of mechanics of
mechanics in mechanics of mechanics of mechanics of writing is writing is
writing writing with writing with writing with flawed and totally flawed
no errors at minimal faults some minor needs recall of and needs
all faults basic rules remediation
on basic rules

The Script:

Leandra: (____________________________________) Look at yourself, Anton!

(____________________________________) You come home reeking off alcohol
and then ask for food to eat? Maybe you would like to ask me first: Hello
darling! Have you eaten dinner already? I guess that is a more appropriate
arrival greetings? (____________________________________)

Anton: (____________________________________) Will you please shut up? The

neighbors! They can hear your loud mouth up until five block of the street!
(____________________________________)

Leandra: (____________________________________) I don’t care! This family is miserable

anyway! (____________________________________) You are jobless and good-
for-nothing drunkard! How I wish I could turn back time and married
Ricardo instead!
Anton: Oh?! Really? So you want that bigtime cockpit arena operator Ricardo, eh?!
(____________________________________) One more mention of Ricardo from
your mouth about the Ricardo and I’m gonna end up smashing your jaw into
pieces! (________________________________)

Leandra: Get your hands off me, you devil! (____________________________________) I

guess what they say about love is true! Love is indeed blind and how could
I be so blind to the truth that it was Ricardo who loved me truly!
(____________________________________) and you? You are one big piece of a
bad decision in my life! (____________________________________)

Anton: Take this! (____________________________________) You ugly wench! You call me

a bad decision? Huh! (____________________________________)

Leandra: Stop it, Anton! (____________________________________) Stop please! You’re

hurting me! Stop it please! (____________________________________)

Enrichment Activity 2. You set me up & played me too!

Directions: You are given teasers of dramas below. Your work is to create a
text of a scene to be placed on the script. Do not forget to observe the needed
elements in writing the scene. Place you answer on a separate sheet of paper.
You shall be given a score based on the rubrics provided below.
Criteria 5 pts 4 pts 3 pts 2 pts 1 pt
Learner has Learner has Learner has Learner has Learner has Learner has
written written a very written a written a written a written a poor
appropriate highly highly satisfactorily fairly scenery
scenery appropriate appropriate appropriate appropriate though
observing the scenery scenery scenery scenery observing the
the needed observing the observing the observing the observing the needed
elements. needed needed needed needed elements
elements elements elements elements
Observance of Observed Observed Observed Grammar and Grammar and
grammar and grammar and grammar and grammar and mechanics of mechanics of
mechanics in mechanics of mechanics of mechanics of writing is writing is
writing writing with writing with writing with flawed and totally flawed
no errors at minimal faults some minor needs recall of and needs
all faults basic rules remediation
on basic rules

1. Three friends go on a wacky journey when national hero Jose Rizal suddenly came
back to life and found himself in their midst after a blinding light appeared from the
sky. How will these teens handle a guy more a thousand years older than them and
how will our hero react to the modern day Philippines he fought for a thousand years
ago? It’s yours to find out in the musical “Si Rizal sa Gitna ng Millennials”!
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
2. Be careful with what you wish for, so they say! A young lady finds herself entangled
into mess and comic misadventures after discovering a magical lamp with a genie
who could grant all her wishes in life. Will it be a whole new world or a whole new
mess? Give yourself a whole new experience as you watch on stage “Ely and the
Magic Lamp”!
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________

3. What’s the extent of friendship when love and betrayal gets on the way? Two
friends come into a heart-breaking drama as they try to win the heart of a man they
have long been waiting for. Will they lose their man or their friendship? Do not lose
the chance of watching this live on stage! “My Friend and Her Lover”!
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________

Gauge

Direction: Read and understand carefully the statements in every item and
then choose the letter of your choice. Use a separate sheet of paper for your
answers.

__________1. What do you call the extended part of the proscenium stage?
A. apron C. home
B. wings D. couch

__________2. Which of the following best describes a proscenium stage?

A. It is where audience sits on three sides.
B. It is usually rectangular, more like a sports arena, with tiered
seating.
C. It has a central performance area enclosed by the audience in all
sides.
D. It is deep and sometimes raked, meaning the stage is gently sloped
rising away from the audience.

_________3. How would you describe a thrust stage?

A. It is usually rectangular, more like a sports arena, with tiered
seating.
B. It has a central performance area enclosed by the audience in all
sides
C. It usually consist of raised rectangular platform at one end of a
room.
D. It projects into the auditorium with the audience sitting on the
three sides.
__________4. Which of the following statements is TRUE about promenade theater?
A. It has a central circular arena surrounded by concentric tiered
seating.
B. It involves the audience moving from place to place following the
performances.
C. It does not have a roof, although sometimes parts of the stage or
audience seating will be covered.
D. It is usually performed in a non-traditional theatre space such as
pub, home or warehouse.

__________5. What is the theater facility where the audience surrounds all the stage
on all the sides?
A. thrust stage C. arena stage
B. proscenium stage D. baseball stage

__________6. What do you call the backstage area on either side of the stage, where
the actors and actresses cannot be seen?
A. apron C. home
B. wings D. center stage

__________7. What do you call the middle portion of the stage?

A. proscenium C. stage left
B. stage right D. center stage

__________8. What type of stage has an audience on three sides?

A. thrust stage C. arena stage
B. proscenium stage D. black-box stage

__________9. What type of stage has NO backstage area?

A. thrust stage C. avenue stage
B. proscenium stage D. black-box stage

__________10. Which theater type is similar to a studio?

A. thrust stage C. arena stage
B. proscenium stage D. black-box stage

__________11. What could be a potential problem for a promenade theater?

A. ugly set C. noisy audience
B. no back stage D. slight line issues

__________12. Which of the following is considered the DISADVANTAGE of a black-

box theater?
A. huge audiences
B. the lights get too hot
C. the audience is too close
D. cannot accommodate big audiences

__________13. What do you call the process of designing, adapting, selecting, or even
modifying the performance space for a drama?
A. blocking C. staging
B. interpreting D. acting
__________14. In what writing format is a drama written?
A. script C. calligraphy
B. narrative D. none of these

__________15. What part of the stage is farthest from the audience?

A. upstage C. center stage
B. downstage D. none of these

Great job! You are now ready to take the next module!
 EXPLORE
ENRICHMENT ACTIVITY 1
1. Stage
2. Interpretation
3. Orchestra Pit
4. Script
5. Staging
6. Blocking
7. Staging
8. Picture Frame Stage
9. Apron
10. Audience
ENRICHMENT ACTIVITY 2
1. A
2. C
3. B
4. D
5. C
6. B
7. A
GAUGE 8. A
1. A 9. D
2. D
3. D
4. B
5. C
6. B JUMPSTART
7. D ACTIVITY 1
8. A 1. D
9. D 2. D
10. D 3. B
11. C 4. A
12. D 5. C
13. C 6. C
14. A 7. A
15. A 8. B
9. A
10. C
DEEPEN ACTIVITY 2
ENRICHMENT ACTIVITY 1 1. A
ANSWERS MAY VARY 2. B
3. C
ENRICHMENT ACTIVITY 2 4. E
ANSWERS MAY VARY 5. D
Answer Key