2010 Secondary Education Curriculum English II

Quarter 2: DRAMA

Topic 4: The AFRO-ASIAN PLAYLET

Time Frame: 20 days

Content Standard: The learner demonstrates understanding of drama that mirrors the values, beliefs, cultures and events of the AfroAsians through careful analysis and artistic presentation of the playlet. Enduring Understanding(s): Drama reflects the beliefs, values, cultures, and events in the lives of the Afro-Asians through stage performances and aesthetic skills. Learners will know: Drama features, elements, and conventions needed in playlet presentation Playlet production aspects Preparation and production of an original Afro-Asian storyline Requisites of a successful playlet performance Staging and Critiquing of an original Afro-Asian playlet Infinitives used as Adjectives and Adverbs

Stage 1 Performance Standard: The learners present an original playlet.

Essential Question(s): How does drama reflect the beliefs, values, and cultures of the AfroAsians? Why should drama be staged? Learners will be able to: utilize all possible resources (human, technological etc. ) that lead to an interesting playlet presentation apply the principles in the planning, preparing, rehearsing, and staging of an original Afro-Asian playlet establish connections among the committees needed in the production of a playlet make appropriate and meaningful contributions by assuming various roles at the course of playlet production apply various theatrical conventions to enrich the playlets educational and aesthetic values respond in various ways to express understanding of an AfroAsian playlet depict real life experiences to fully understand the story line and thematic content of an Afro-Asian playlet draw insights on main and sub issues presented in a playlet use infinitives and infinitive phrases as adjectives and adverbs in the production of an effective playlet script 1

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Product or Performance Task: Presentation of an original playlet.

Stage 2 Learners should be able to demonstrate understanding by covering the six (6) facets of understanding: Explanation Explain the significance of drama elements, features, and conventions in the light of a stage performance. .Accurate .Credible .Coherent Insightful Recognize the various play production aspects that are needed in staging a drama. Accurate Coherent Predictive Discuss how a playlet presentation depicts the authentic experiences of the Afro-Asians. Credible Justified Insightful Interpretation Represent an enticing story line through a playlet. Illustrative Insightful Meaningful Make meaning of a play production based on the various aspects to be considered. Illustrative

Evidence at the level of performance Performance assessment of an interesting playlet using the following criteria Acting Delivery of lines Interpretation Stage Deportment Conventions

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Illuminating Meaningful Insightful Watch and listen critically to a playlet. Insightful Meaningful Significant Application Participate and responsibly assume role in a playlet. Efficient Fluent Effective Exhibit competencies in planning, rehearsing, and presenting a playlet. Adaptive Fluent Effective Decide on matters like technicalities and stage performance to give life to the playwright masterpiece. Credible Insightful Plausible Perspective Analyze the development of events in a playlet. Credible Insightful Revealing Criticize stage performance in the light of the set criteria. 3

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Insightful Revealing Credible

Empathy Relate with the characters sentiments as events gradually unfold in the playlet presentation. Insightful Perceptive Open Compare the customs, traditions, beliefs and culture of Afro-Asian people based on the playlet presentation. Insightful Receptive Perceptive Self-knowledge Conduct self-evaluation by reviewing the playlet presented. Metacognitive Mature Reflective Self-adjusting

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Stage 3

Teaching/Learning Sequence:

EXPLORE
At this stage, the teacher should be able to do the following:

Make the learners aware of the desired result, that is, for him/her to demonstrate understanding of drama that mirrors the values, beliefs, cultures and events of the Afro-Asians through careful analysis and artistic presentation of a playlet. Decode the Essential Questions (EQs),How does drama reflect the beliefs, values, and cultures of the Afro-Asians? and Why should drama be staged? Make them answer the questions as exhaustively as possible and cue them into the big ideas by activating their prior knowledge or past experiences. Inform the students of how they will be assessed. Their major output after the lesson is the presentation of an original Afro-Asian playlet.

1.

SPIELS! Group the learners by twelve (12) Play clips of Afro-Asian playlets with emphasis on spiels Let the group identify the country where the playlet originated Allow them to explain the clues that enable them to arrive at the answers (bases could be intonation, physical features etc.) Reveal the source of the clips as learners check their answers Have them read the background information of the Afro-Asian playlets you have presented.

2. PEEK & PICK Instruct the learners to stay in their respective groups. 5

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Post the essential question and play some excerpts of Afro-Asian playlets. Let the learners answer the essential question by filling out the chart below: How does DRAMA reflect the beliefs, values and culture of the Afro-Asian people? Values Culture

Beliefs

Have the learners present their answers.

3. PLAYLET LOOP Group the learners by fourteen (14) Post a playlet loop which the learners will fill out and explain Assign the groups to do the following tasks to recount the essentials of playlet production. Loop1-Gr. 1 Elements, features, themes of Afro-Asian dramas Loop2Gr.2 Concepts and mechanics of stage directions Loop3Gr.3 Dramatic conventions and role internalizations in a dramatic monologu

Playlet Loop (Example) Call the group to share their answers with the rest of the class. Make them aware of the major output, that is an original playlet, and the criteria for evaluation/assessment

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FIRM UP
At this stage, the teacher should be able to do the following: Make the learners illustrate or crystallize their knowledge of the playlet essentials that will enable them to appreciate more the richness of Afro-Asian plays. Concretize the knowledge of the learners on the playlet presentation requisites. Lead the learners in mastering the grammar lesson about the Adjectival and Adverbial functions of Infinitives. Have all these things contained in the varied activities you will provide them. Engage them in meaningful and challenging activities that will enrich what they have learned.

1. TwOgether

Let the learners work in pairs. Have them watch an excerpts of a contemporary Afro-Asian playlet Allow the pair to draw out the two significant properties of playlet (Elements and Features) based on what they have seen. Ask the pair to present their answers in the class. Process the learners answers.

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. 2. PLAYTECH

Post the phrase playlet convention and ask the learner about its meaning. Remind the learners that conventions are indicators of the way in which time, space and human presence can interact and be imaginatively shaped to create different kinds of meanings present in a playlet. Post three terms on the board: Mime, Still-images and Improvisations. Divide the class in groups of three and have them provide a list of terms related to a specific playlet convention technique and its meaning. Group 1 : Mimed Activity Group 2 : Still Images Group 3 : Improvisations Instruct the learners to share their listing with the rest of the class. Process the learners answer.

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3.D.O.P.E .(Doing Of Playlet Entrap) Instruct the learners to stay in their respective groups. Encourage them to recall the various playlets they have learned in the previous quarters. Let them choose one among the playlets they have learned and select a scene to be performed through the assigned task indicated in the previous activity. Have the learners perform the activity. Give feedbacks and suggestions.

4. PPA (Playlet Production Aspects) Provide the learners with background information on various Afro-Asian playlets. Group the learners by seven (7); each group is shown a playlet from a particular Afro-Asian country Group 1 Korea Group 2 India Group 3 Japan Group 4 Bangladesh Group 5 China Group 6 Africa Group 7 Philippines Challenge each group to fill out the playlet production matrix below: Country:__________________________________________________________________________________________ Title of Playlet:______________________________________________________________________________________________ Aspects of Playlet Production
1. Research and thorough study of the playlet (interrelationship among elements and features) 2. Character internalization and development 3. Set design and set up 4. Costumes, lighting, sound and make up

People Involved

Responsibilities

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5. 6.

Give the group ample time to present the complete matrix supplemented by explanation. Process the learners answers. VANTAGE POINTS Instruct the learners to stay in their respective groups. Direct them to focus on the vantage point/s which the playlet of the country assigned to them is centered on. Have the group discuss what the vantage point/s reveal about the country. Give comments and feedback. CHARR..ACTERS ++

Divide the class in seven (7) groups Let the class decide on any playlet character/s they wish to focus on. Assign each group a playlet technique in developing characters and enriching characterization. Group 1 ALTER EGO -This involves a student other than the one playing the character as an extension of that character. The alter-egos main function is to express the feelings of the character. Very effective when used in conjunction with Hot Seating. Group 2 Choral Speaking -a monologue or speech, is divided up and vocalized and physicalized by small groups. The groups come together for class performance that allows all to participate in the monologue or Speech. 10

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Group 3 - Collective Character - character is improvised by a group of students any one of them can speak as the character. In this way the whole class can be involved in a dialogue for instance by half the class taking on one of the characters involved. Group 4 - Hot-Seating: Characters are questioned about their values, motives, relationships and actions by other members of the group. This is a very effective rehearsal technique that helps an actor to flesh out and discover new facets of their character through the responses they make to the questions. There can be added tension if the character is questioned at a moment of stress, or at a turning point in their lives. Group 5 Interviews: The Interrogations Characters are interviewed by 'reporters' or interrogated by an authority figure in order to question their motives, values, beliefs or to elicit more facts about a given situation. Group 6 - Private Property: A character is introduced, or constructed, through carefully chosen personal belongings - objects, letters, reports, costume, toys, medals etc. The private property forms a sub-text to the characters words and actions. Group 7 - Re-enactments: In order to examine a situation in more detail a scene or an event, that has already happened', may be re-enacted. Group 8 - Role on the Wall: A record of a character is kept in the form of a large outline of a figure in which students might write key lines, phrases, ideas or feelings about the character. The outline is kept and re-edited as students discover more about the character Group 9 - Thought Tracking: The inner thoughts of a character are revealed either by the person adopting that role or by the others in the group. This is a particularly useful way of slowing down and deepening a drama especially it used in conjunction with Still Photographs. A further development of this is to have the participants draw the distinction between what a character says; what it thinks and what it feels.

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7.

DEAR RECTOR

Call a learner to read an open letter written by a playlet enthusiast. Emphasize that the letter is addressed to the theatre arts adviser of the school. Remind the class that the letter sender wishes to have his request granted. Prompt the learners to pay close attention to details and complexity of the tasks assigned to them. Let them draft notes on the important details taken from the letter.

Dear Rector, I am a certified playlet lover. As a fifteen year old guy, I have developed the fetish for theatrical performances. I wish to see a contemporary playlet version of the Dragonwings which is written by my favorite ChineseAmerican playwright, Laurence Yep. Confident about your theatrical ability, I look forward to watching my favorite play courtesy of your production. I Hope to see you soon as the curtain rises! Taking a bow, ACT Thor

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Orient the class on the text of the Dragon wings and the play production committees to ensure a superb performance. Tap the expertise of the class members in accomplishing the following sub tasks and let each group present their output. THE CENTERSTAGE CENTERSTAGE a. Costume Designer Group

In charge of setting the characters tone and style, indicating time and place, indicating character, relationship, and meeting performers needs. There is a need to understand the elements of costume design and their collaborators like make up, hairstyles, accessories, and masks. b. Scenic Designer Group

in charge of the tone and style of the stage background across performances, establishing locale and period, 13

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delivering a concept, providing a central draft which coordinates with the other elements. The props needed per scene must be considered. c. Lighting and Sound Committee

In charge of providing visibility, establishing time and place, creating mood, reinforcing style, providing focus, must employ the elements of stage lighting like intensity, color, direction, form, movement, also the types of stage lightings, controls, technology. The aspects of sound must also be incorporated like sound reproduction and reinforcements, effects, microphones, recordings and special effects. D. Script Committee

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In charge of producing the script and cues while the performance is going on. It must be made clear that the dominant emotions expressed in the various lines are incremental to achieving the desired mood. Note: On top of the play production is a competent director who decides on the implications of the various aspects of play production in achieving the desired result. The director also monitors the blocking scheme and the rehearsals. 8. Infinite Description Present to the learners a biography of the Khushwant Singh, an Indo-Anglian playwright. (http://biography.jrank.org/pages/4740/Singh-Khushwant.html) or let them watch Singh at http://www.youtube.com/watch?v=9kQqFY3mDwE Call some learners to explain the role of the featured playwright and why his work is adapted in various playlet presentations. Ask the learners the following prompts: * What did Khushwant Singh do to become an unconventional novelist? To become an unconventional novelist, ________________________________________________________________. *What did the novelist ensure the readers for the latter to appreciate his works? To appreciate his work,_____________________________________________________________________________ *How can a teenager like you be as excellent as Singh as a playwright? To be an excellent playwright like Singh, _______________________________________________________________ Call the attention of the learners on the structure of the phrase which begins with the word to followed by a verb. Let them explain how the structure is called through immediate recall. Ask the learners to formulate questions and responses using the structure presented. Note: Teachers have the prerogative to choose the playwright/s they wish to highlight and whose biographies they intend to share with the learners.

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9. INFINITIVE EXPLORATIONS Divide the class in two groups. Challenge the learners to use their ICT background. Have them search for the script of Karma written by Khushwant Singh. Instruct the group to write on a piece of paper the infinitive constructions they found in the script. Assign a separate task for each group (Infinitive constructions must be used in each task) Group 1 - Documentary: The events of the play are translated into a documentary format. Or characters are established through documentary evidence. Group 2 Scene Stiller: A character is introduced, or constructed, through carefully chosen dialogs using the infinitives. Write Infinitive constructions and explain what such reveal about the story or the characters personality.

10. MODifiers Have the learners watch a short lecture of infinitive at http://www.youtube.com/watch?v=ntpigQ_AwdY Call them to illustrate how infinitives are used as adjectives and adverbs by constructing sentences other than the examples given by the lecturer. Allow the learners to look for an Afro-Asian playlets which cover the uses of infinitives as adjectives and adverbs. Let them complete the Infinitive Table below. 16

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Titles of Afro-Asian Plays

The Sentence that contains the Infinitives (location)

How the Infinitive is used (Adjective or Adverb)

Meaning of the sentence that contains the Infinitives

2.__________________________________________________________________________________________________________ Invite them to revisit the EQ, and check their tentative responses. Impress upon them the importance of playlet essentials.

DEEPEN
At this stage, the teacher should be able to do the following: Provide learners with thought-provoking questions that will make them reflect, revisit, rethink, and revise their earlier assumptions about Afro- Asian playlets. Challenge the learners logical and creative abilities by providing activities that encourage playlet planning, production and preparation. Address the learners uniqueness, their strengths and weaknesses by providing them with differentiated instruction as needed. Provide them with meaningful and challenging activities that will reinforce what they have learned. Engage them in meaningful self evaluation.

1. PLAYLET SELECT 17

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Give the learners ample time to search for well-acclaimed Afro Asian playlets. Let them present the shoplist of playlet titles from Afro-Asian nations. Allow them to finalize the list of best Afro-Asian playlet based on : a. Thematic content b. Story line c. Readers reception d. reviews THE PLAN VIEW

2.

Note: A plan view is a design or scheme of arrangement needed to start a playlet production. 18

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Let the class conduct a meeting for the holding of the Afro-Asian playlet production. Have them draft the committees and the key persons involved in the various aspects of play production. Prompt the committee chair to formulate their job description and set the time frame for the production. Have each committee organize their group members and do the listing of materials needed within the coverage of the production cost. Call the key persons to present their plan view with the rest of the class. Give comments and feedback.

3. THE THEATRICAL PHASE a. SCRIPT TUNE Entice the class playwright to prepare an original playlet script. Assign a day for the validation of the playlet script. Bring out the characteristic of the Afro- Asians which are reflected in the script. Give suggestions and feedback. Provide the class with the final copy of the playlet script. B. Story Conference

Delegate the playlet director assigned to conduct a story conference after the script is polished. Stress that the conference is based on the perusal of the playwright. Task committee key persons to react and offer suggestions. Give feedback. C. The TALENTADOS 19

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Conduct an audition headed by the playlet director. Have the adaptation of Talentadong Pinoy mechanics like snappy acting performance sequence and straightforward juror commentaries. Hold the audition based on the availability of the committee chairpersons and dramatics/ theatre arts adviser. Assign roles in the playlet to the qualified auditionees. Draw the qualifiers to various role internalization activities. D. Lets Get Physical! 1. The stage designers and the props men

Orient the persons assigned on the various scenes in the playlet , as well as the time and place to be depicted. 20

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Let them prepare the materials for the stage production and provide the needed props. Monitor the development in the preparation of the stage design, draft and the props. 2. The lights and sounds crew

Provide the persons involved with the sequence of scenes. Have the members discern when sounds and light effects are needed. Let them present to the class the lighting strategies to be employed as well as the music to be used in the playlet. Give suggestions and feedback.

3. The Costume and the Make- up Experts Assign a day for the make-up artists and costume designers for their demonstration. Let them explain how each character needs to look to highlight his/ her roles. Enable them to discuss in full details accessories needed, the hairstyle and the make up requirements for each character. Have them explain how costumes will be produced and how characterization can be highlighted through make up enhancement. Encourage the class to explain how this aspect of playlet presentation may affect the quality of the presentation. Give comments and feedback.

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E. Mastery through Practice

Allot a rehearsal period based on the directors matrix. Monitor the rehearsal conducted by the playlet director based on the following aspects: THE VOCALICS Instruct the stage performers to perform vocalization exercises. The following may be useful :http://www.youtube.com/watch?v=jZ_RwV52DMw&feature=&p=14A6520E66872996&index=0&playnext=1 http://www.youtube.com/watch?v=q8Xjm9kIcGE Draw the learners attention to exercises that enrich the speaking prowess (intonation, stress, diction, and phrasing) Choose lines from the playlet which will highlight the vocal range and audibility of the stage performers. Provide criticisms that will challenge the performers to improve the way they sound.

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THE DEPORTMENT & THE BLOCKING Let the director provides entrance and exit cues per scene. Comment on how deportment is executed. Offer suggestions on how audience patronage can be achieved through courteous deportment. Scrutinize how blocking is best observed in each scene. Pinpoint how effective blocking contributes to the clarity of scenes and effectiveness of dialogue delivery. Give feedback. THE DRESS REHEARSAL Assign the class to schedule a dress rehearsal Videotape the rehearsal to play back and scrutinize flaws. Remind the committees that the dress rehearsal coincides with the holding of the playlet production from the start to end. Prepare a checklist of items to be observed during the playlet presentation. Take down aspects which still need to be improved and the contingency plan in case problems arise. Monitor the play production aspects and comment on each. Brief the director and the committee chairmen on the strength and weaknesses observed. F. The Grammar Link Play the video taped dress rehearsal for open criticism. Prompt the learners to recall the infinitive patterns studied in the firm up phase. Let them write the infinitive constructions used as adjectives and adverbs in the playlet dialogues. Have them use the written list of infinitives in constructing a scene subtext which may be considered an extension of the playlet. Design another activity wherein the infinitive structure is used as an opening line of their own play and task them to write their own story line. Call the learners to present the story line in class Choose the best story line and commend the participants for their creativity and linguistic ability. Check the mastery of the learners on the essential understanding and the content standard.

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TRANSFER +++
At this stage, the teacher should be able to do the following: Let the learners make independent applications of the various processes (playlet planning, story line drafting, script writing, role auditioning, stage production designing and playlet staging plus critiquing) they have learned. Make learners do independent performance and class project using varied and complex assessment procedures. Have them see the connections between tasks and the world. Instill to the learners the enduring significance of concepts learned which they may apply in various real life situations.

THE AFRO- ASIAN PLAYLET PRESENTATION 1. RSVP Challenge the learners to create an promotional brochure that will elicit enthusiasm for people to watch the playlet. Remind them to make the brochure unconventional and must be linked with the depiction of Afro-Asian cultures. Schedule the distribution of the playlet brochure to determine the initial reception of the community on the staging of the playlet. 2. SAMPLE! SAMPLE! Encourage the performers to promote the playlet to their schoolmates. Class visit the different sections in the various year levels to convince that the playlet is a must-see presentation. 24

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Challenge the performers to share their talents as they promote the play or deliver few lines through character portrayal.

3. Book those Faces Challenge the promotion staff to design a facebook account or create a blog for the current and upcoming playlet productions. Enrich the web blog or facebook account by highlighting the details of the play production from the planning phase, the audition stage, the rigorous rehearsals, the promotion highlights etc. 4. THE PLAYLET DEBUT Hold the playlet in a venue where audience can see the happenings on the stage. Monitor the things needed before the play. Demand coordination among the chairpersons assigned in various committees to ensure that everything is well coordinated. Watch the play intently paying attention to the most applauded part. Distribute a survey to the audience to figure out the strengths and weaknesses of the playlet production. Conduct a post conference with the class. Lead the learners in raisings pointers to improve for the next playlet production.

5. MEET OR MISS ? Lead the class in evaluating the playlet presentation in the light of the set criteria. Let the learners determine the criteria they have met and the ones they have missed to achieve. Enable them to develop a program for progress to be adopted in the next playlet season. Assess the learners major output, that is, an original playlet based on the given set of criteria.

As of January 26, 2011

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