1

LEARNING RESOURCE

SPA-THEATER

GRADE 7

QUARTER 3

Source: Tanghalang Pilipino’s Mabining Mandirigma

2

LEARNING RESOURCE for Theater Arts

Elements of Drama in Contemporary Drama

Republic Act 8293, section 176 states that: No copyright shall subsist in any work of the Government of

the Philippines. However, prior approval of the government agency or office wherein the work is created

shall be necessary for exploitation of such work for profit. Such agency or office may, among other things,

impose as a condition the payment of royalties.

Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trademarks, etc.) included

in this Learning Resource are owned by their respective copyright holders. Reasonable efforts have been

exerted to locate and seek permission to use these materials from their respective copyright owners. The

publisher and authors do not represent nor claim ownership over them.

Published by the National Commission for Culture and the Arts

Development Team of the Learning Resource

Writers: Wilson Bong Billones Editors:

Reviewers: Lutgardo Labad, Jerrey Aguilar, Winna Gaspar

Illustrator: Ramchad Tiongson

Graphic Designer: Ramchad Tiongson

Management Team: Marichu Tellano and Henrietta Kangleon (NCCA), Tanya P. Lopez (PerfLab)

For inquiries or feedback, please write or call:

NATIONAL COMMISSION FOR CULTURE AND THE ARTS

633 General Luna Street, Intramuros, Manila

E-mail: info@ncca.gov.ph

Trunkline: (02) 85272192 • 8527-2202 • 8527-2210 • 8527-2195 to 97 • 8527-2217 to 18

3

INTRODUCTION

Elements of Drama as Applied in Philippine Contemporary Drama

Hello theater-makers!

In this Learning Resource Material, we will explore the different elements which compose the art of drama.

Understanding the elements of drama will help us look at the different ingredients that makes a beautiful

and effective play and understanding how each element works and relates to other elements. To better

understand them, we will find out how they are used in the writing and staging of some contemporary

dramatic plays.

To be successful in the field of theater, we should not only hone our performance skills but also equip

ourselves in using the different elements that will help us tell the story clearly and create the engaging

moment for the audience. The audience in theater will be hooked on to the performance if the visuals,

sound and dialogue and the whole story are affecting their senses and emotion. In this session, we will

study how to create more effective scenes in theater.

At the end of this lesson, you will all be able to:

1. Discover and analyze the different elements of drama

2. Explore scenes to identify the basic writing and directing principles

So, let’s jump in and explore!

4

TOPIC 1:

Basic Elements of Drama

Drama is used to express emotions and convey messages; and in return it elicits emotion from the

audience towards entertainment. Almost every form of current dramatic activity like theater, radio,

television and movie would contain these similar elements of drama that were formulated by the Greek

philosopher Aristotle. More than 2,000 years ago (384-322BC), Aristotle was the first to analyze and write

about the essential elements of drama. Although many of the interpretations and application of his ideas

have changed slightly over the years, we continue to discuss Aristotle's list of elements that makes for

great dramatic literature. His ideas remain accepted as the model for modern dramatic form.

Basic Elements of Drama are:

CHARACTER

One of the most important element of drama pertains to “Character” and its relations. At the center of all

play are the characters the journey with the story. We relate emotionally to the story whenever we

encounter characters that are played out very convincingly. Every character is presented by the silhouette

of the body, the voice, the dialogue and more importantly the relationship it presents to other characters

in the play. The character that we follow in the story is the ‘protagonist”. We see the relationship between

the protagonist to another character, or to a concrete idea, or even to a space or environment.

Every character must have clear purpose when going into the scene. Character interaction often has an

aspect of power relationship. This is an interplay between a higher status with a lower status. A rich

manager character would be in a different status in relationship to the status of the poor employee.

Although a rich but frustrated manager would now have a reverse status relationship to a happy,

contented, poor employee.

This topic section will allow us to discover the elements of

drama and how these elements work together particularly in

Philippine traditional and contemporary play.

5

Sigbin: Stories of the Region

Photo: Urich Calumpang Source: https://lostboy.blog/2019/10/23/beware-of-sigbin/

RAK PF AEGIS Source:https://www.metroscenemag.com/2021/04/peta-

rak-of-aegis-to-stream-online-july-2021.html

The young women of Salem (Antonette Go,

Lhorvie Nuevo, Blanche Buhia, Doray Dayao,

Monique Nellas, and Eunice Pacia) fall under a

spell in Ang Pag-uusig Source:http://theaterfansmanila.com/tanghalang-pilipino-

stages-filipino-version-of-the-crucible-with-ang-pag-uusig/

6

PLOT

This is the sequence of events unfolding in the performance starting from a beginning where most of the

characters and their objectives are presented, to the middle where the most important event in the story

will happen, up to the ending where all the problems are resolved. According to Aristotle, plot is the

foundation of drama because it makes the story interesting or if done wrongly, makes the story un-

interesting. There is not one correct way of sequencing the story, but a classic plot structure often presents

a “reversal of fortune”. The situation of the character starts from being bad to becoming good, or the other

way around, from good to becoming bad.

The plot first exposes the background of the lead and other characters. Then it slowly opens the opposing

ideas and objectives of the characters. An important element of drama is “Tension” which is the force that

drives the drama forward towards a resolution. In literary work, this is also called “Conflict”. In many plays,

tensions are brought to a heightened level and reaches a climax point which will then be slowly lowered

to a point of resolution. In recent contemporary plays, they use an anti-climax approach where the

dramatic tension is just allowed to deplete slowly until the point when the audience will realize that life

simply just continues even after the play has ended. Tension is like an energy which can be manipulated

by the visual used, sounds that are heard, movement of people, sets and even lighting.

ACTIVITY

Recite the following line from “Ang Paglilitis ni Mang Serapio” by Paul Dumol. Record yourself doing

the lines but imagine the you are person in control of the scene. Then record yourself again using the

same line but now imagine that you are being controlled by other characters in the scene.

Source:http://theaterfansmanila.com/review-ang-paglilitis-

ni-mang-serapio-is-excessive-experiential-theater/

Serapio:

“Kung talagang buhay ang anak ko, dalhin n’yo siya rito! Dudustain pa ninyo ang alaala niya.

Kailangan ba kayong makialam sa buhay ng may buhay?”

7

Source: https://www.storyboardthat.com/lesson-plans/romeo-and-

juliet-by-william-shakespeare/five-act-structure

8

THOUGHT OR NARRATIVE

This is the revolving theme of the drama. The idea or message which the writer of play would like to focus

on and which the story actually will revolves around. The character of the story would often discuss and

even question the theme to make the audience also realize it. This central idea in the play could

sometimes be clearly stated using the dialogue and action of the characters, or maybe summarized at the

end of the play.

ACTIVITY In the classic play “Romeo and Juliet”, identify the theme of the play. Present your reasons clearly in the space below.

______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

ACTIVITY We all know the story of “Pagong at ang Matsing” from our elementary years. Tell the same story in three sentences. Fill in the structure below. Noon / Once upon a time ____________________________________________________________ Tapos/ And then __________________________________________________________________ Hanggang sa / And finally ___________________________________________________________

9

DIALOGUE

Plays tell the story by using dialogues. The exchange of words and reasoning by and between character

helps narrate the story. Characters are defined by the words they use, their accent and tone, and even

the patterns of speech not only reveal the personality of the character but also their social status, history

and dreams. Sometimes instead on dialogues, writers use monologues or soliloquies to help present

ideas that are difficult to express through a dialogue of two or more people.

A dialogue can be delivered in many different ways according to the need of the scene and the intention

of the character. It can be delivered fast and forceful, slow and indirect, hard and emphatic high pitched,

and many other possible combinations. The choice does not only make good acting but more importantly

a good scene.

SPECTACLE

Audience must be able to imagine the time and the place where the drama is happening. The particular

era will inspire the appearance and action of the characters. The problems and tensions among characters

will also be affected – bullying today is very much different the bullying experiences by young people back

in the 1970’s. The location where the drama is happening also contributes to the visual imagination of the

audience. The December Christmas look in the Philippines is very different from the cold and snowy winter

places. The costumes, set pieces, background and even the sound will be very particular to the place.

Although there are instances when the setting is determined to be more neutral and ambiguous that it can

happen in any time and space. Place can be very specific and detailed like a realistic dining room with all

the intricate features or it can also be more unclear but symbolic, like a dark green forest. Time can be

set either in the present, the past or the future. Sometimes the drama can weave through different time,

the way we use “flashbacks” or “flashforwards”.

ACTIVITY

Imagine that you are a Covid-19 Medical front liner. Write a short monologue that will allow your

audience to understand and empathize with your difficulties, challenges and sacrifices as warrior in

the war against Covid-19.

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

10

ACTIVITY

Remember the balcony scene of ‘Romeo and Juliet” where the lovers first pledged their love for each

other. Imagine the scene happening in the contemporary 2021 Philippines, particularly in a busy

squatters’ area. Describe below how you will picture the scene, the set pieces, the costumes and

props of each character.

Description of the Set

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

Description of Romeo’s Costume and props

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

Description of Juliet’s Costume and Props

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

11

TOPIC 2:

Introduction to Playwriting and Directing

PLAYWRITING ELEMENTS AND PRINCIPLES

Play are written by playwrights or “dramatists” and performed in theaters. If the spelling of playwright looks

very intriguing, take note that “wright” is a word which means craftsperson or someone who builds.

Therefore, a playwright is someone who builds or crafts plays.

There are different types of Stage plays. Stage plays can be written depending on the type of space it will

be mounted on, either a proscenium, round, or even thrust stage. Play can also be written depending on

the target length of the performance. The usual play based on length are:

1. Ten-minute plays

2. One Act plays

3. Full-length plays.

Ten-minute plays are short and last no more than 10 minutes (as the name suggests). A play like this

would only involve a few scenes and characters. Good short plays are those that can fit a complete story

into that very short period.

One Act plays run with any dividing sections or in-between intermissions. One act plays are very common

especially for young and emerging theater makers because they are short, manageable and run for about

15 to 30 minutes. It also has a limited number of scenes and characters.

Full-Length plays include several acts which contains a number of scenes per act. A scene is often defined

by the characters and the setting involved. Often, a change of setting notes a change of scene. A change

in the mood of the story- from story setup, to story confrontation, to story resolution- means a change in

act.

This topic section will allow us to discover the elements

used by the writers and directors in developing and staging

the play by studying the scripts and conducting scene

studies from some contemporary plays.

12

Let us look further into one act plays. Although this is shorter than traditional full-length plays, it still has

the same responsibility of presenting a cohesive story and maintaining interest of the audience. Most

often, this type of plays has no more than 4 or even fewer characters that are developed in varying

degrees. If there are too many characters, it results to under development of some characters. Depending

on the story, there can be one or more main characters that are established and advanced through the

interplay of dialogue. One act plays are set in single location and usually set in a period of just twenty-

four hours to a few days. The story opens and ends in the same setting.

Plot of a one-act play

The plot as described in the previous topic is a sequence of events unfolding in the drama. The core of

the plot is the conflict which needs to be resolved in the end. Characters often encounter obstacles that

impede in achieving his objectives. These obstacles could either be internally personal to the character

or between other characters I the drama. The conflicts can be shown visually and physically through the

movement of the actors. Or it can be through the dialogue exchange between characters.

Though very compact, the plot of one-act plays still has a beginning, a middle and an end – an opening

or exposition, a rising action that builds the conflict, a climax of the tension, a falling action which slowly

bring down the conflict, and finally a resolution. Good plays are able to reveal its message and theme

clearly through the development of the story.

A play is divided into scenes. This is basic unit of drama which logically presents the development of the

settings, the characters and the obstacles encountered. The logical sequence of the scenes allows the

audience to understand the story progression. It helps show the flow of the mood and emotions. Each

scene is a preparation for the next scene.

ACTIVITY

Read any one-act play and divide the play into scenes. Try to give a title to every scene and describe

the objective and contribution of the scene to the whole drama.

Scene 1

________________________________________________________________________________

________________________________________________________________________________

Scene 2

________________________________________________________________________________

________________________________________________________________________________

Scene3

________________________________________________________________________________

________________________________________________________________________________

13

Character

When writing plays, characters must have a clear motive and has to confront different problems to build

up its motive. A play is often written from a specific characters’ point of view. This is the character which

will be followed in the whole play. The character encounters a series of problems and the story gradually

presents how these are overcome. Characters encounter other characters who wants something that runs

in conflict with the wants of the other. The audience should always be eager to know if the characters will

get what they want at the end of the story.

Characters must be very interesting and believable. Good writers always try to explore fresh and exciting

characters while trying to avoid “cliché” characters. Good writers also try to put in together a diverse type

of characters in one play to make the drama more interesting. Character must look, think and react

different from each other.

Dialogue

Dialogue is a conversation between characters. Dialogue reveal much of the character mental and

psychological status. The words used are as important as the thought of their sentences. Each character

speaks in a distinctive “voice” that will show the personality, behavior and role. Their manner of speaking

depends so much on the background of each character – where they live, the period of time they exist,

their age, their social status, etc.

The dialogue of the character must illuminate the character as well as advance the drama of the whole

play. It must flow naturally and should not be forced into the conversation. This usually happens when

writers want to inject a certain message making the character a simple talking head and no longer a

believable character. Dialogue must be heard as an expected reaction to a stimulus.

ACTIVITY

Explore the different persons in your household and/or immediate vicinity. Identify one interesting

person. Find time to talk to the person and ask as many questions as you can about the past and

present and dreams of the person.

1. Describe the person and determine what this person wants (in life)

2. Describe the obstacles that this person in confronting

3. Write interesting dialogues that this person would say to people around.

14

Written Stage Directions

Written plays are meant to be put on stage. Most scripts would have “stage directions” already suggested

in the text. These are notes written in parenthesis which guides the actors and directors. It guides them

on how to act including the necessary emotion, physical action and motivation assigned to the specific

dialogue. Actors will sometimes be confused as to who they will refer their dialogue to without a clearly

written “stage direction”. It also defines the scenery or location of the scene. It also provides information

about the context of the scenes such as the mood, weather, time of day, and period of the play. It can

also define the look of the actors including their props and costumes.

ACTIVITY

Imagine you are in a street scene walking together with other people. Suddenly you hear an explosion

a few blocks ahead in front of you. And then you see people are starting to run away.

1. If you are a street vendor, what would be your reaction dialogue?

2. If you are a policeperson, what would be your reaction dialogue?

3. If you are a parent holding on to groceries for your children, what would

be your reaction dialogue?

__________________________________________________________________________

ACTIVITY

Read the script and try to understand the intentions of each character

(from “Moses Moses” ni Rogelio Sicat)

ALKALDE: Napasyal kami, Misis. REGINA: Maupo kayo. ALKALDE: Misis, ang kasama ko nga ho pala'y si Konsehal Collas, Atty. Collas. ALKALDE: Magandang "apartment" ito, a. Tingnan mo ang "Japanese Painting" nila, konsehal. Di ba ganyan ang nakuhamo sa Tokyo? KONSEHAL: Masinop ang " apartment" nila, "Mayor". ALKALDE: Ito ang sasabihin ng "comadre" mo na "Cozy". Malaki siguro ang upa ninyo, Misis sa "apartment" na ito. REGINA: Sa amin ho ito, inaakupa lang namin ang unang pinto. ALKALDE: Tingnan mo nga naman, konsehal, sa kanila pala ito.

15

DIRECTING ELEMENTS AND PRINCIPLES

Interpretation and Communication

Directors help bring the written work into the stage. He is the main artistic conceptualizer and interpreter

of a play’s meaning. He is responsible to the playwrights to create a theatrical experience consistent with

the playwrights’ intention. Each director may have a different interpretation from the others. The classic

Romeo and Juliet by Shakespeare has be stage numerous times and has seen different variations of

interpretation.

The director is the main facilitator in the creative collective process. The director guides the actors and

the staff into finding the right interpretation of the characters, the dialogues and the scene. During

rehearsals, directors would often give notes to the actors to inspire them to discover the vision of the

director. Communication is a key task of the directly so that he can present what he wants and does not

want in the drama, but also listens and accepts the individual contribution of his collaborators in the play.

ACTIVITY continuation

Now read the script again with the defined stage directions

ALKALDE: Napasyal kami, Misis. REGINA: (bantulot na ituturo ang upuan) Maupo kayo. ALKALDE: (bago maupo) Misis, ang kasama ko nga ho pala'y si Konsehal Collas, Atty. Collas. (Bahagyang tatango ang konsehal. Mauupo sila. Mananatiling nakatayo si Regina. Nasa silid-kainan si Ana, nakahilig sa barandilya ng hagdan si Ben). ALKALDE: (lilinga-linga) Magandang "apartment" ito, a. Tingnan mo ang "Japanese Painting" nila, konsehal. Di ba ganyan ang nakuhamo sa Tokyo? KONSEHAL: Masinop ang " apartment" nila, "Mayor". ALKALDE: Ito ang sasabihin ng "comadre" mo na "Cozy". (Kay Regina) Malaki siguro ang upa ninyo, Misis sa "apartment" na ito. REGINA: Sa amin ho ito, inaakupa lang namin ang unang pinto. ALKALDE: (tatawa) Tingnan mo nga naman, konsehal, sa kanila pala ito.

Now describe the difference between how you imagine the scenes without the stage direction and with

the stage direction. How can the stage direction help actors and director and other theater staff such

as lights director, set designers?

16

Picturization and Stage Composition

The director’s role in the play is to bring the different ingredients from the script into the stage. Stage

composition or stage blocking is the justified placement of characters on a stage through the use of

emphasis, sequence, focus and balance to achieve a clear and beautiful staging.

The director’s first concern is selecting the “focus” character or elements upon whom the eyes of the

audience should rest immediately. This is determined by the importance of the character in the scene as

prescribed by the dialogues. The important actions and dialogues should be clearly seen as well as heard.

The stage composition should provide focus so that audibility of voice is reinforced by visibility of the

actors speaking it.

Whenever a segment of the stage composition is equal in weight with the other reverse segment, the

composition is said to have balance. Balance is an important feature in giving a satisfying and pleasant

feeling to the composition. When you look at the setting and furniture, it should be balanced in themselves

so that the balance of the actors will not be affected. The entire background of the actor should also

promote a sense of balance in itself.

The most important consideration in composing the stage is to present more meaning through symbolic

relationships. Stage blocking can show power relationship of character, social messages, and even

hidden or spiritual meaning. Picturization is the visual interpretation of each moment in the play. Even

without the use of dialogue or movement, the meaning and message of the story could already be

experienced. These are the images that, in turn, makes the audience understand, the inner meaning or

subtext.

ACTIVITY

Let us now practice some responsibilities of the play director.

1. Read the full script of “Ang Tao” in the attached appendix.

2. Study the script and identify 3 key characters.

3. Write down your directorial notes for the characters that will help the actor to perform it.

17

ACTIVITY

Observe the following pictures and describe the possible relationships and meaning that can be

perceived in the stage blocking.

1.

2.

3.

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

18

Movement and Rhythm

Movement is an essential element of directing. It is the stage picture in action. Movement includes all the

moments of picturization in its ever-changing state. Just as we learn the principles of composition and

picturization from painting, so we learn the contributions of movement to the stage play from the principles

of movement in the dance.

Rhythm is the regulation of attention, focus and empathy, though proper control of the flow of emotion

and action from strong to weak, from slow to fast, and vice versa. Rhythm connotes timing, pacing and

tempo of the play, the scenes, the actors’ movement, and the delivery of dialogue.

ACTIVITY

Since you have already read the full script of “Ant Tao” Let us now explore the sound component of

the play

.

1. Choose a scene in the play and imagine the background music for that scene.

2. Look for any instrument and record the sound and rhythm that you have imagined

3. Look for any instrumental music from your playlist or from the internet. Describe the music and

write the reasons why you think that particular instrumental music fits the scene.