Eng Narrative Q2 Topic 2

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Quarter 2: Drama Topic 2: Concepts and Mechanics of Stage Direction Time Frame: 20 days Stage 1 Content Standard: The learner demonstrates understanding of the concepts and mechanics of stage direction through the strategies and competencies to be employed in making a stage plan. Performance Standard: The learner produces a creative stage plan/ design. Essential Understanding: Stage directions enhance characterization, setting, plot and moods in a play. Essential Question/s: Why are stage directions important in a play? What is a play without stage directions? Learners will know: various style of designing a stage for Afro-Asian drama context of culture and the prescribed setting ways of making a stage plan themes and setting of a drama based on the existing stage design importance or meaning of a play necessary materials and equipment needed in making the stage design how to use single word adverbs to express similarities and differences. Learners will be able to: explain how stage directions enhance characterization, setting, plot and moods in a play. demonstrate a clear distinction among dominant themes and story lines in Afro-Asian drama make a clear and interesting explanation about Afro- Asian people and their literary heritage illustrate several ways of making a stage plan based on the preferences of Afro - Asian people show the importance or meaning of a play as revealed by the stage design exhibit knowledge in making a stage design produce the necessary materials and equipment needed in making the stage design compare and contrast variety of stage designs analyze the elements of Afro-Asian plays with emphasis on the technical aspect critique a stage design presented express opinions on similarities and differences using single- word adverbs consider suggestions which may help in making a stage plan/

Transcript of Eng Narrative Q2 Topic 2

Page 1: Eng Narrative Q2 Topic 2

Quarter 2: Drama Topic 2: Concepts and Mechanics of

Stage Direction

Time Frame: 20 days

Stage 1

Content Standard:

The learner demonstrates understanding of the concepts and

mechanics of stage direction through the strategies and

competencies to be employed in making a stage plan.

Performance Standard:

The learner produces a creative stage plan/ design.

Essential Understanding:

Stage directions enhance characterization, setting, plot and moods in

a play.

Essential Question/s:

Why are stage directions important in a play?

What is a play without stage directions?

Learners will know:

• various style of designing a stage for Afro-Asian drama

• context of culture and the prescribed setting

• ways of making a stage plan

• themes and setting of a drama based on the existing stage design

• importance or meaning of a play

• necessary materials and equipment needed in making the stage design

• how to use single word adverbs to express similarities and differences.

Learners will be able to:

• explain how stage directions enhance characterization, setting, plot and moods in a play.

• demonstrate a clear distinction among dominant themes and story lines in Afro-Asian drama

• make a clear and interesting explanation about Afro- Asian people and their literary heritage

• illustrate several ways of making a stage plan based on the preferences of Afro - Asian people

• show the importance or meaning of a play as revealed by the stage design

• exhibit knowledge in making a stage design

• produce the necessary materials and equipment needed in making the stage design

• compare and contrast variety of stage designs

• analyze the elements of Afro-Asian plays with emphasis on the technical aspect

• critique a stage design presented

• express opinions on similarities and differences using single-word adverbs

• consider suggestions which may help in making a stage plan/

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design

• create a stage plan based on the guidelines.

• consider the merits of a play based on the context of artistic presentation, and technicalities

• recognize the value of stage design in depicting the theme and the plot scenario of a play

Stage 2

Product or Performance Task:

A creative stage plan/ design.

Evidence at the level of understanding

The learner should be able to demonstrate

understanding covering the six (6) facets of

understanding :

Explanation

• Describe various styles of designing a stage for Afro-Asian plays.

Interpretation

• Illustrate how stage design helps

unravel characterization, setting, plot

and moods in the play.

Application

• Design a stage within the context of culture and the prescribed setting.

• Create a stage design by applying the appropriate technical and aesthetic skills.

• Exhibit competency in considering the appropriate materials and lights in designing the stage.

Perspective

• Analyze a stage design in terms of

aesthetic quality and authenticity of

Evidence at the level of performance

The learner produces a creative stage design

based on the following criteria:

• Organizational Planning

• Thematic accuracy

• Color scheme

• Craftsmanship

• Use of space

• Collaboration and teamwork

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culture.

Empathy

• Consider various ideas in putting up a

stage design of a play.

Self-knowledge

• Recognize the distinctive style and

authenticity of context reflected in the

stage plan.

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Stage 3

Teaching- Learning Sequence:

Explore:

Suggested Activities

Drama Bingo

• Ask the students to prepare a draft of a BINGO card.

• Ask them to write in each of the boxes all the objects related to drama that they know.

• Regardless of letters, they may assign objects to any of the boxes.

• Ask them to make their own list of objects, come up with a pattern and play bingo.

• An example is provided below.

B I N G O mask lights camera costume flowers furniture fan curtain frame Smoke

machine fixture ropes FREE speakers amplifiers backdrop props Head

dress screen ladder

chairs tables ceiling lever boxes

• Use this activity to activate prior knowledge

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

• Make the learner aware of what is expected of them in this lesson.

• Activate and verify the background knowledge of the students on Afro-Asian stage design.

• Introduce the Essential Question.

• Gain some ideas on the different styles of Afro-Asian stage.

• Inform the learners of their major output, that is, a creative stage plan and that they will be assessed on a given set of criteria.

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The Magic Chair

• Ask the students to form groups of five.

• Assign a leader who will act as director and the rest will act as the members.

• Ask the group to form a circle.

• Place a chair at the middle of each group.

• The leader will ask each member “just” to sit on the chair.

• Process the activity by asking the following questions.

1. What is the task all about?

2. Do you have any member who has done something other than just sitting on the chair?

3. What are the unnecessary movements made by your classmates?

4. What do you think the purpose of the activity?

5. How important is following directions in performing a play?

• Use this activity as springboard for EQ

Mirror on the Wall

• Ask students to find a partner.

• Ask student A to act as the mirror and student B as the actor.

• Ask the actor to perform actions which the mirror has to imitate.

• Give each student two minutes before they take turns.

• Process the activity by asking relevant questions.

Concepts Ahead

• Ask the students to make a description of or at least guess what the following stage direction concepts mean to them.

• Use the graphic organizers that follow.

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• Introduce the Essential Question “How does stage direction enhance characterization, setting, plot and mood in a play?

• Invite them to give tentative answers.

First Impression

• Show the poster of Mahabharata.

• Ask the students to make impressions on the play based on the picture.

• Use the chart that follows:

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Observation indicators Impressions

Costume Character’s Costumes Character’s position/action Number of people Letter’s designs Shade at the upper part of the poster Props used by the characters

• Make them aware of the desired result, that is, to demonstrate stage plan.

• Inform them of their major output that is, a creative stage plan/design.

2. FIRM UP

Directors on the Move

• Divide the class into five groups.

• Ask each group to watch a video of Mahabharata thru this link http://www.youtube.com/watch?v=TCTYKVHxpgA&feature=fvst.

• After viewing, discuss within the group the following: 1. Tension 2. Pressure 3. Forelook 4. Blockings 5. Leveling

• Ask the each group to present their outputs.

Director’s Cut

• Group the class into five groups.

• Ask each group to research on directing styles as specified below.

• Make a short description on the styles of theater directors.

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

• Make the learners recognize the importance of stage design in motivating the characters.

• Make the students focus on gaining insights on various stage designs.

• Engage them in meaningful and challenging activities that will enrich what they have learned.

• Make the students view the video clips about various stage designs of Afro-Asian countries.

• Provide feedback for understanding.

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• Use the chart below.

Directing Styles Description Strength Weakness Dictator Negotiator Creative Artist Confrontationalist

Blocking Forms

• Ask the students to read the following notes about blocking forms:

Blocking forms convey blocking moves to chorus and leads. They should have the following characteristics:

• Form has a sketch outline of the set footprint. This is not necessarily to scale, but relative dimensions should be reflected.

• It should include any additional set pieces such as benches or chairs.

• The form should be oriented to show the set as the cast sees it, not from the audience in view point and on the bottom half on the

page.

• Blocking notes can be written in text above the set footprint picture. Text can be as detailed as necessary to get the idea across. The

motions should be shown graphically on the set footprint with circles, arrows, whatever.

• Notations for individual cast members have been shown as blocks with the cast member's initials or such designations as Couple

1/Couple 2 etc. and the blocks moved around appropriately.

It is recognized that this is an extremely time-consuming activity for the director, but it greatly reduces time spent at rehearsal lining

people up, fitting in people who are missing, eliminating errors in cast members, making notes, etc.

A set of blocking forms should be made for both the Lighting Designer and the Stage Manager. It has proved very useful to them

in the design of the lights and knowing the exits/entrances of the cast. It is also advantageous to make the completed blocking forms

available on the web site so cast members can print the forms themselves or retrieve lost copies. (an excerpt, http://search.yahoo.com/search?fr=yhs-

avg&type=yahoo_avg_hs2-tb-web_us&p=blocking+forms).

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Look at the following example of a blocking form:

• After reading the notes, divide the class into four groups.

• Ask groups 1 and 3 to assume the role of the Lighting Designer and draw the blocking form of the first scene of the play seen on the video

through http://www.youtube.com/watch?v=TCTYKVHxpgA&feature=fvst.

• Groups 2 and 4 will assume the role of the Stage Manager and draw the blocking of the last scene of the play seen on video through

http://www.youtube.com/watch?v=TCTYKVHxpgA&feature=fvst.

• The following code may help you draw the play’s blockings:

• Let the students study the following abbreviations on stage directions:

C: Center

D: Downstage

DR: Downstage Right

DRC: Downstage Right Center

DC: Downstage Center

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DLC: Downstage Left Center

DL: Downstage Left

R: Right

RC: Right Center

L: Left

Left Center:

U: Upstage

UR: Upstage Right

URC: Upstage Right Center

UC: Upstage Center

ULC: Upstage Left Center

UL: Upstage Left

• Process the activity using the following questions:

1. How did you feel while drawing the blockings?

2. Was it a hard task? Why? Why not?

3. What are the advantages of a good blocking form?

4. How is blocking form related to the audience’s understanding and appreciation of the play?

Pressured on Tension

• Ask the students to read about tension in drama and its specific functions.

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• Recall the play “Mahabharata”.

• Identify the scenes that reveal tension in drama.

• Do the same for pressure.

• Process the activity by asking the following questions:

1. How is tension different from pressure?

2. How are these concepts integrated in drama?

3. How do they shape dramatic plays?

4. What meaning do they communicate to the audience?

Unparalleled is Better

• Divide the class into five groups.

• Give information on leveling in stage directions.

• Present the following pictures.

• Let the students describe how leveling helps enhance stage directions

Question per Question

• Divide the class into five groups.

• Give each member of the group five (5) minutes to prepare questions for an interview of director.

• The questions must revolve around the processes and mechanics of stage directing.

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• Their background of “Mahabharata” video can be used as reference.

• After five minutes, ask the leader of the group to collect all the questions and rewrite them on a clean sheet.

• Duplicate questions must be eliminated.

• Then ask them to number the questions according to importance.

A Day with the Director

• Ask the students to remain in their respective groups.

• Allow them to interview the director of the school’s theater arts group.

• Use their list of questions for the interview.

• Process the activity using the following questions:

1. Did you enjoy the interview?

2. What did you discover about the director during the interview?

3. What can you say about the director’s personal experiences as extracted from the interview?

4. Which of your expectations were met by the interviewee?

Adverbs Role Play in a Play

• Divide the class into five groups.

• Ask each group to choose particular dialogues from the play (Dramask Drum) that contain single word adverbs.

• Opposite the adverb, indicate the word it modifies.

• Process the activity by asking the following questions:

1. What is the function of adverbs in the play?

2. How do they help enhance characterization and setting of moods in the play? (Dramask Drum).

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Gallery Walk Through

• Present to the class pictures of the ff:

• Ask the class what things come to mind while looking at the said pictures.

• Group the class into four

• Assign each group a task of re-discovering their stock knowledge or experiences about Japanese Noh Drama

• Tell the class to share their ideas and knowledge to their groupmates.

• Ask them to differentiate Japanese Noh drama from other forms of drama.

Staging the Theme

• Make a short introduction of stage designs to the class.

• Highlight to them that stage designs vary according to the theme of the play.

• Divide the class into five.

• Assign each group a theater design which can be seen on the next page.

• Let them identify the theme/s that would best fit the theater design assigned to them.

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Group 1 Group 2 Group 3 Group 4 Group 5

• Recall and revisit the EQ, and check their tentative answers.

• Impress upon them the concepts and mechanics of stage directions, as well as the uses of adverbs.

3. DEEPEN

• Refer to the picture below:

• Ask the students to extract the blocking form using the following code:

C: Center

D: Downstage

DR: Downstage Right

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

• Provide the students with thought provoking questions that will make them reflect, rethink, and revise their assumptions about various stage design of the different Afro-Asian drama, importance of planning and designing in making comparison and contrast using a single word adverb

• Address the learners’ unique qualities and strength as well as their weak traits by providing them with differentiated instruction as needed.

• Engage them in meaningful, challenging and differentiated activities that will reinforce what they have learned about concepts and mechanics of stage directions and stage plan.

• Engage them in meaningful self evaluation.

• Provide feedback to check for understanding.

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DRC: Downstage Right Center

DC: Downstage Center

DLC: Downstage Left Center

DL: Downstage Left

R: Right

RC: Right Center

L: Left

Left Center:

U: Upstage

UR: Upstage Right

URC: Upstage Right Center

UC: Upstage Center

ULC: Upstage Left Center

UL: Upstage Left

A Stage in Place

• Ask the students to study the sample Chinese theater design below (Figure A)

• Draw an arrow from the parts of the theater and label them.

• Discuss these parts in class and describe how they contribute to the over-all production of the play.

• Show them the sample stage plan and let them study the compartments.

• Process the activity by asking the following questions: 1. How helpful is a well planned stage play presentation? 2. What problems may be anticipated and aided with a very good stage plan? 3. Does a stage design help enhance the over-all play production? How?

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A. Design B. Plan

Feeling the Text

• Ask the class to think about a time in their life when they behaved badly toward someone.

• Instruct them to spend two to three minutes quickwriting to describe what happened and any lessons they learned from the experience.

• Ask the class to share one’s experience with a partner.

• Instruct the class to read “The Damask Drum”.

AYA NO TSUZUMI

(THE DAMASK DRUM)

(An excerpt)

PERSONS

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A COURTIER.

AN OLD GARDENER.

THE PRINCESS.

COURTIER.

I am a courtier at the Palace of Kinomaru in the country of Chikuzen. You must know that in this place there is a famous pond called the Laurel

Pond, where the royal ones often take their walks; so it happened that one day the old man who sweeps the garden here caught sight of the Princess.

And from that time he has loved her with a love that gives his heart no rest.

Some one told her of this, and she said, "Love's equal realm knows no divisions," 1 and in her pity she said, "By that pond there stands a laurel-tree,

and on its branches there hangs a drum. Let him beat the drum, and if the sound is heard in the Palace, he shall see my face again."

I must tell him of this.

Listen, old Gardener! The worshipful lady has heard of your love and sends you this message: "Go and beat the drum that hangs on the tree by the

pond, and if the sound is heard in the Palace, you shall see my face again." Go quickly now and beat the drum!

GARDENER.

With trembling I receive her words. I will go and beat the drum.

COURTIER.

Look, here is the drum she spoke of. Make haste and beat it!

(He leaves the GARDENER standing by the tree and seats himself at the foot of the "Waki's pillar.")

GARDENER.

They talk of the moon-tree, the laurel that grows in the Garden of the Moon. . . . But for me there is but one true tree, this laurel by the

lake. Oh, may the drum that hangs on its branches give forth a mighty note, a music to bind up my bursting heart.

Listen! the evening bell to help me chimes;

But then tolls in

A heavy tale of day linked on to day,

CHORUS (speaking for the GARDENER).

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And hope stretched out from dusk to dusk.

But now, a watchman of the hours, I beat

The longed-for stroke.

GARDENER.

I was old, I shunned the daylight,

I was gaunt as an aged crane;

And upon all that misery

Suddenly a sorrow was heaped,

The new sorrow of love.

The days had left their marks,

Coming and coming, like waves that beat on a sandy shore . . .

CHORUS.

Oh, with a thunder of white waves

The echo of the drum shall roll.

GARDENER.

The after-world draws near me,

Yet even now I wake not

From this autumn of love that closes

In sadness the sequence of my years.

CHORUS.

And slow as the autumn dew

Tears gather in my eyes, to fall

Scattered like dewdrops from a shaken flower

On my coarse-woven dress.

See here the marks, imprint of tangled love,

That all the world will read.

GARDENER.

I said "I will forget,"

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CHORUS.

And got worse torment so

Than by remembrance. But all in this world

Is as the horse of the aged man of the land of Sai; 1

And as a white colt flashes

Past a gap in the hedge, even so our days pass. 2

And though the time be come,

Yet can none know the road that he at last must tread,

Goal of his dewdrop-life.

All this I knew; yet knowing,

Was blind with folly.

GARDENER.

"Wake, wake," he cries--

CHORUS.

The watchman of the hours--

"Wake from the sleep of dawn!"

And batters on the drum.

For if its sound be heard, soon shall he see

Her face, the damask of her dress

Aye, damask! He does not know

That on a damask drum he beats,

Beats with all the strength of his hands, his aged hands,

But bears no sound.

"Am I grown deaf?" he cries, and listens, listens:

Rain on the windows, lapping of waves on the pool

Both these he hears, and silent only

The drum, strange damask drum.

Oh, will it never sound?

I thought to beat the sorrow from my heart,

Wake music in a damask drum; an echo of love

From the voiceless fabric of pride!

GARDENER.

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Longed for as the moon that hides

In the obstinate clouds of a rainy night

Is the sound of the watchman's drum,

To roll the darkness from my heart.

CHORUS.

I beat the drum. The days pass and the hours.

It was yesterday, and it is to-day.

GARDENER.

But she for whom I wait

CHORUS.

Comes not even in dream. At dawn and dusk

GARDENER.

No drum sounds.

CHORUS.

She has not come. Is it not sung that those

Whom love has joined

Not even the God of Thunder can divide?

Of lovers, I alone

Am guideless, comfortless.

Then weary of himself and calling her to witness of his woe,

"Why should I endure," he cried,

"Such life as this?" and in the waters of the pond

He cast himself and died.

(GARDENER leaves the stage.)

Enter the PRINCESS.

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COURTIER.

I would speak with you, madam.

The drum made no sound, and the aged Gardener in despair has flung himself into the pond by the laurel tree, and died. The soul of

.such a one may cling to you and do you injury. Go out and look upon him

PRINCESS (speaking wildly, already possessed by the GARDENER'S angry ghost, which speaks through her).

Listen, people, listen!

In the noise of the beating waves

I hear the rolling of a drum.

Oh, joyful sound, oh joyful!

The music of a drum,

COURTIER.

Strange, strange!

This lady speaks as one

By phantasy possessed.

What is amiss, what ails her?

PRINCESS.

Truly, by phantasy I am possessed.

Can a damask drum give sound?

When I bade him beat what could not ring,

Then tottered first my wits.

COURTIER.

She spoke, and on the face of the evening pool

A wave stirred.

PRINCESS.

And out of the wave

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COURTIER.

A voice spoke.

(The voice of the GARDENER is heard; as he gradually advances along the hashigakari it is seen that he wears a

"demon mask," leans on a staff and carries the "demon mallet" at his girdle.)

GARDENER'S GHOST.

I was driftwood in the pool, but the waves of bitterness

CHORUS.

Have washed me back to the shore.

GHOST.

Anger clings to my heart,

Clings even now when neither wrath nor weeping

Are aught but folly.

CHORUS.

One thought consumes me,

The anger of lust denied

Covers me like darkness.

I am become a demon dwelling

In the hell of my dark thoughts,

Storm-cloud of my desires.

GHOST.

"Though the waters parch in the fields

Though the brooks run dry,

Never shall the place be shown

Of the spring that feeds my heart."

So I had resolved. Oh, why so cruelly

Set they me to win

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Voice from a voiceless drum,

Spending my heart in vain?

And I spent my heart on the glimpse of a moon that slipped

Through the boughs of an autumn tree.

CHORUS.

This damask drum that hangs on the laurel-tree

GHOST.

Will it sound, will it sound?

(He seizes the PRINCESS and drags her towards the drum.)

Try! Strike it!

CHORUS.

"Strike!" he cries;

"The quick beat, the battle-charge!

Loud, loud! Strike, strike," he rails,

And brandishing his demon-stick

Gives her no rest.

"Oh woe!" the lady weeps,

"No sound, no sound. Oh misery!" she wails.

And he, at the mallet stroke, "Repent, repent!"

Such torments in the world of night

Abōrasetsu, chief of demons, wields,

Who on the Wheel of Fire

Sears sinful flesh and shatters bones to dust.

Not less her torture now!

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"Oh, agony!" she cries, "What have I done,

By what dire seed this harvest sown?"

GHOST.

Clear stands the cause before you.

CHORUS.

Clear stands the cause before my eyes;

I know it now.

By the pool's white waters, upon the laurel's bough

The drum was hung.

He did not know his hour, but struck and struck

Till all the will had ebbed from his heart's core;

Then leapt into the lake and died.

And while his body rocked

Like driftwood on the waves,

His soul, an angry ghost,

Possessed the lady's wits, haunted her heart with woe,

The mallet lashed, as these waves lash the shore,

Lash on the ice of the eastern shore.

The wind passes; the rain falls

On the Red Lotus, the Lesser and the Greater.

The hair stands up on my head.

"The fish that leaps the falls

To a fell snake is turned,”

_________________

In the Kwanze School this play is replaced by another called The Burden of Love, also attributed to Seami, who writes (Works, p. 166): "The Burden

of Love was formerly The Damask Drum." The task set in the later play is the carrying of a burden a thousand times round the garden. The Gardener

seizes the burden joyfully and begins to run with it, but it grows heavier and heavier, till he sinks crushed to death beneath it.

I have learned to know them;

Such, such are the demons of the World of Night.

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"O hateful lady, hateful!" he cried, and sank again

Into the whirlpool of desire.

Reference link: http://www.sacred-texts.com/shi/npj/npj23.htm

• Remind them to find out what happens to one character when she behaves badly toward someone else.

• Let the class read the background before reading the play.

• Encourage them to read the selection silently.

• Divide the class accorfing to the number of characters in the play. � A courtier � An old gardener � The Princess � The gardenr’s ghost � Chorus

• Have the class do an oral reading of the play.

• Encourage the class to have their personal response to the outcome of the play.

• Ask them to explain their response in a group of five.

• Check the comprehension by asking the following questions: 1. What is the “new sorrow” that is “heaped” upon the gardener? 2. Describe the task that the princess gives the gardende? 3. Why does the gardener’s charcter leave the stage, and in what form does it appear? 4. What emoton does the gardener express when he reappears on the stage in a new form? 5. What is the princess forced to do at the end of the play?

Getting Into Details of the Play

• Divide the class into 3 groups and assign the following tasks: Group 1: Focus on the gardener

Remind the group to consider the ff:

� their opinion on the gardener’s character � the gardener’s task � his love for the princess � reasons that give him inability ti have peace

Group 2: Focus on the princess.

Remind the group to consider the ff:

� their opinion of the princess’ character

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� the response of the princess to the love of the gardener � lessons learned by the princess

Group 3: Focus on the most interesting structure of the play.

Remind the class to consider the ff:

� the scene, dialogue or plot of the story

• Have each group present in front of the class.

• Encourage other students to give comments or opinions about the performance of the groups.

Thinking Ahead

• Divide the class into five.

• Ask the students to make a checklist of what they will need in staging a play.

• Let them accomplish the checklist as they prepare for the play.

• Check the mastery of the learners on the content standard and the essential understanding.

• Give feedback.

4. TRANSFER

Group Dynamics

• Divide the class into three groups and assign the following tasks: � Creative Writing Group: Write a brief dialogue in which the princess tells the courtier her side of the story and he

responds. Think of the reasons why the princess might not want to become involved with the gardener. � Literature Group: Discuss the question within the group. “Is the princess solely responsible for the gardener’s death or

does the author suggests that the gardener is partly to blame?” Have each member of the group present his or her opinion, using details from The Danmask Drum. Let the group come up with a conclusion to be shared with the class.

� Performing Group: Ask the group to choose a section of The Danmask Drum and practice for a choral reading in the class. Remind the group about correct pausing, pacing, picth level, volume and projection.

• Let each group present the output to the class.

• Have the other students give comments and reactions on the presentation made.

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

• Clarify some concerns and issues on the different stage design of a play

• Have the students realized the importance of stage plan/design in revealing character traits, moods and tones.

• Have them produce a creative stage design

• Have them instill the value of planning and designing one’s future to achieve dreams and aspirations in life

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As of January 26, 2011

• Encourage the class to reflect on the comments and suggestions of their classmates.

• Ask the class about the expected output they need to produce.

• Have the class share ideas on the knowledge they have gained. Group Stage Design

• Group the class into four and instruct each group to produce their own stage design or plan if they are going to present The Danmask Drum.

• Let the class read the criteria set for the assessment of their output.

• Give them enough time to examine and clarify the components of the criteria.

• Allow them to modify the criteria set if deemed necessary.

• Have an exhibit of their outputs.

• Encourage the class to invite their teachers and friends to view the exhibit.

• Let each group be graded by their classmates or their invited teachers.

• Provide incentives for the winning group.

• Before declaring the winner, inform the class on the feedback given by their classmates or their guest teachers.

• Encourage the class to reflect on the feedback they get.

• Instruct them to put in their portfolios the reflections they’ve written.

• Encourage the class to relate to their lives the knowledge that they have gained in this lesson.

• Give comments and suggestions.

Required Readings:

The Danmask Drum by Seami Motokiyo

Suggested Readings:

• The Classic Noh Theater of Japan by Ezra Pound

• The No Plays of Japan by Arthur Waley

• The Wave by Pearl S. Buck Resources:

Chin, Beverly Ann. et.al (2000). Literature: The Reader’s Choice. Mcgraw Hill, Inc: New York.

Materials/Equipment Needed: Graphic organizer, computer/Internet, art materials