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Quarter 2: Drama TOPIC 3: Dramatic Conventions and Role Internalization

Time Frame: 20 days

Stage 1

Content Standard: The learner understands that dramatic conventions and role internalizations are essential in presenting a dramatic monologue.

Performance Standard: The learner presents a sterling dramatic monologue.

Essential Understanding: Dramatic conventions such as masks, indigenous music, chants, and internalization drills all contribute to a sterling performance of a dramatic monologue.

Essential Question: What is the importance of dramatic conventions and role internalization in the presentation of a dramatic monologue?

Learners will know:

• dramatic conventions and role internalization

• various dramatic conventions such as masks, chants, indigenous music, and authentic materials

• concepts and principles of different dramatic conventions

• various conventions applied in Afro-Asian drama

• appropriate author’s choice and use of dramatic conventions

• verbal nouns in expressing specific ideas, feelings, and thoughts is essential in performing a dramatic monologue

• guideposts in presenting dramatic monologues.

Learners will be able to:

• explain how characterization, plot structure, and lines are enhanced by dramatic conventions.

• describe how various dramatic conventions such as masks, chants, indigenous music, and authentic materials enliven the performance of a dramatic monologue.

• illustrate drama conventions of Afro-Asian countries

• critic drama conventions and role internalization drills.

• translate drama themes and character description to conventions and delivery of lines.

• exhibit various Afro-Asian plays presented on stage via DVD presentation

• make sense of lines by using words expressing specific ideas like verbal nouns.

• exhibit knowledge in internalizing roles

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• compare and contrast quality of performance.

• analyze diversity of drama themes among Afro-Asian nations.

• critic a dramatic monologue presented.

• recognize the value of dramatic monologue in enriching the content of Afro-Asian drama

Stage 2

Product or Performance Task: A sterling dramatic monologue

Evidence at the level of understanding The learner should be able to demonstrate understanding covering the six (6) facets of understanding : Explanation

• Prove that dramatic conventions and role internalization are requisites to a dramatic monologue presentation.

• Describe how various dramatic conventions such as masks, chants, indigenous music, and authentic materials enliven the performance of a dramatic monologue

• Explain how characterization, plot structure, and lines are enhanced by dramatic conventions.

• Justify the appropriateness of the author’s choice and use of dramatic conventions.

Evidence at the level of performance The learner presents a dramatic monologue based on the following criteria:

• Interpretation

• Voice Projection

• Facial Expressions

• Pronunciation

• Stage deportment

• Dramatic conventions

• Diction

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Interpretation

• Evaluate concepts and principles of different dramatic conventions.

• Document various conventions applied in Afro-Asian drama.

Application

• Produce insights from the lines and roles of characters.

• Perform the roles to be played after the internalization drills.

• Exhibit own style in delivering a dramatic monologue.

Perspective

Infer character traits based on the dialogs/lines.

Empathy

• Consider the dominant feeling of a character through a dramatic monologue.

• Relate with the message of the play by revisiting lines and plot structure.

Self-knowledge

Assess one’s performance in a dramatic monologue

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Stage 3 Teaching/Learning Sequence:

1. EXPLORE

Suggested Activities

1. EXPLORE Walk, Do Not Talk

• Ask the students to walk around the room for three minutes.

• While walking, they should observe other students without speaking to them.

• They may use gestures, eye contact or facial expressions but they must not talk.

• They should develop, either mentally or on a paper, five impressions of each person they observe.

• After the walk, the class will be divided into five and discuss their impressions within the group.

• Let them correct themselves if there are any misconceptions.

• Process the activity by asking the following questions: 1. Were most of the impressions accurate? Why? Why not? 2. Were any accurate clues given nonverbally? 3. Do you find it difficult not to talk? Why? Why not? 4. Would you have been more comfortable when you’re allowed to talk? 5. What does this reveal about drama?

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 dramatic conventions.

• Have the students understand how dialogues play a very important role in a play.

• Introduce the Essential Question.

• Gain some ideas on the different styles of dramatic monologue. • Inform the learners of their major output, that is, a dramatic monologue and that they will be assessed

based on the given set of criteria.

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My Kind of Guy/Gal

• Ask the students to form five groups.

• Tell them to recognize each of the figures below.

• Allow them to create a chart like the one shown below to study the figure assigned to them.

Character Expressions Gestures Physical Appearance

Influence Field of expertise

1 2

3 4 5

• Process the activity by asking the following questions:

1. How important is studying the character’s ways and appearance before assuming this/her role? 2. What does this reveal about drama? character?

• Use the activity to activate prior knowledge.

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Backwards, Rewinds and Reverse Scenes

• Ask the students to form groups of five.

• Each member of the group is considered a scene actor and will tell a story backwards.

• They will not be talking backwards, or moving in reverse, but they will present the components of the scene from the 'end' to the 'beginning.'

• The first actor starts with an ending to a story.

• Then each actor must ask himself what happens immediately before this event and then make him portray the most likely thing that will occur.

• Actors will find themselves frequently asking themselves, "he just said...so I would have."

BANG BANG Game

• Tell the students that in this game all the players on stage will be telling a story.

• Each player is responsible for the story while the director, who happens to be the teacher, is pointing at them.

• When the director switches from one player to another, the other player must pick up the story without stuttering, repeating words, or making grammatical errors.

• If any of the players fumbles or makes such an error the audience should yell BANG!!

• The players should tell a story through action, and not waste time having the character think about other things.

• The director should change from player to player slowly at first, allowing a logical story to build.

• As the game goes on the teacher can switch from one player to another, faster and faster.

• Use this activity as springboard for EQ.

• Introduce the EQs such as “What is the importance of dramatic conventions and role internalization in the presentation of a dramatic monologue?”

• Have them answer EQs

• Make them aware of the desired output, that is, a dramatic monologue.

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2. FIRM UP

Market! Market!

• Group the class into three.

• Ask each group to describe the situation in a market through the following: � Group I: What I Hear: Describe what they hear in the market place � Group 2: What I See. Describe what they see in the market � Group 3: What I do. Describe what they do in the market.

• Encourage the class to provide visuals to emphasize their topics.

• Ask the class to comment on the presentation of their classmates.

Freeze-Tag

• Ask the students to form a big circle.

• By drawing lots, the first two actors are selected and start acting out a situation.

• A student who would like to cut the story and continue it to with a twist must shout “freeze” and the first two actors will stop immediately.

• The next player in the line immediately tags one of the players that is frozen on stage and assumes his/her exact position.

• For this exercise, the player must assume the exact physical position of the player they chose to tag out.

• Ask the students to describe about their experiences.

• Provide feedback.

At this stage, the teacher should be able to do the following: • Hook the attention of the students to the lesson for this phase

• Have them understand the background of African play

• Make them aware of the author’s background.

• Have them understand the concept of role internalization • Make them aware of the different dramatic conventions employed by the author.

• Experience for themselves the role of the characters in the chosen play. • Provide feedback for understanding.

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Reflection

• Ask everyone to find a partner.

• One of the players in the pair begins to gradually move.

• The other player imitates the movements of the other player.

• Initially one player is leading the other and then the lead switches. Eventually there is no way to tell which player is leading the exercise the focus is being shared rather than taken by one player or the other.

• Process the activity by asking the following questions:

1. How important is following directions? 2. What makes this activity difficult on the part of the player who imitates his reflection? 3. Does practicing in front of a mirror help you internalize a role effectively?

Role Ferris Wheel

• Ask the students to form a big circle.

• Allow the students to enter the circle one at a time.

• A student assumes his/her role as soon as he/she leaves her spot in the circle.

• The student acts out, speaks out and internalizes the assumed role until another student approaches him to assume his post.

• Do these steps repeatedly until everyone is done performing. Massacre Module

• Ask the students to find a spot in the room or outside the room and lie down the floor.

• As they lie down, ask them to close their eyes, listen to a sad music and imagine the situation the teacher is about to narrate.

• Use the stimulus entitled “AM I TO BE BLAMED?”

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AM I TO BE BLAMED?

They’re chasing me, they’re chasing, no they must not catch me, I have enough money now, yes enough for my starving mother and

brothers.

Please let me go, let me go home before you imprisoned me. Very well, officers? take me to your headquarters. Good morning captain!

no captain, you are mistaken, I was once a good girl, just like the rest of you here. Just like any of your daughters. But time was, when

I was reared in slums. But we lived honestly, we lived honestly in life. My, father, mother, brothers, sisters and I. But then, poverty

enters the portals of our home. My father became jobless, my mother got ill. The small savings that my mother had kept for our

expenses were spent. All for our daily needs and her needed medicine.

One night, my father went out, telling us that he would come back in a few minutes with plenty of foods and money, but that was the

last time I saw him. He went with another woman. If only I could lay my hands on his neck I would wring it without pain until he

breaths no more. If you were in my place, you’ll do it, won’t you Captain? What? you won’t still believe in me?. Come and I’ll show

you a dilapidated shanty by a railroad.

Mother, mother I’m home, mother? mother?!. There Captain, see my dead mother. Captain? there are tears in your eyes? now pack this

stolen money and return it to the owner. What good would this do to my mother now? she’s already gone! Do you hear me? she’s

already gone. Am I to be blamed for the things I have done?

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Conventions

• Group the students into five.

• Ask them to read Kanadehon Chushingura, a play from Japan.

• Instruct them to lift the dramatic conventions established by the characters, the setting, the conflict, the actions and pauses, costumes and props and the story line used in the play.

• Discuss within the groups these conventions and ask a representative to report the groups output.

• Process the activity by asking the following questions: 1. How are dramatic conventions important in a play? 2. In what way do these conventions give Afro-Asian drama its own identity? 3. What conventions are common among the drama presentations that you have already seen or read and that of

the Kanadehon Chushingura’s?

Kanadehon Chūshingura (Treasury of Loyal Retainers)

(An excerpt)

Act 1

"The same holds true of a country at peace: the loyalty and courage of its fine soldiers remain hidden, but the stars, though invisible by

day, at night reveal themselves, scattered over the firmament. Here we shall describe such an instance..." --Narrator[

The shogun Ashikaga Takauji has put down the Genko uprising led by the nobleman Nitta Yoshisada, and has built a shrine to the kami

of war Hachiman to commemorate his victory. Its chief trophy will be the helmet of the dead Yoshisada, but there is confusion as to

which of the 47 helmets found by his body is really his.

The shogun's brother & deputy, Ashikaga Tadayoshi, convenes a conference to discuss the issue. Attending is the governor of Kamakura,

Lord Moronao (Kira), Wakanosuke, and Lord Enya (Asano). Moronao objects to preserving the helmet, even though Yoshisada was a

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noble descendant of the Genji, a mistake would be embarrassing, and there were many loyal retainers descended from the Genji anyway.

Enya and Wakanosuke support the helmet's preservation.

Tadayoshi summons Enya's wife, for as a maiden in the imperial palace, she saw the helmet presented to Yoshisada. She verifies the

correct choice. As the conference ends, Moronao, who has been tutoring Enya's wife in classical waka poetry, presses upon her a love

letter. She rejects it entirely, and Moronao is embittered with hatred for Enya.

Act 2

Enya sends his retainers a message that he and Moronao have been charged with the welcoming of Tadayoshi the next day.

Wakanosuke, aware of Moronao's rejection, tells his fellow retainer Honzō of his plan to assassinate Moronao before Moronao can attack

or provoke their master Enya. Honzō applauds the plan, suggests that Wakanosuke take a nap first, and immediately departs to find

Moronao first to bribe him.

Act 3

Honzō finds Moronao at Tadayoshi's palace, and delivers his handsome bribe in the guise of thanks for etiquette instruction. Moronao

accepts it and invites Honzō to an audience.

After an interlude in which a minor retainer of Enya, Kampei, gives into temptation to leave his post with his lover, Wakanosuke arrives.

When Wakanosuke encounters Moronao, Moronao's attitude is so welcoming and apologetic that Wakanosuke confusedly abandons his

murderous intentions - as Honzō planned.

Unfortunately, when Enya arrives, he comes bearing a note from his wife to Moronao; it is a poem from the Shin Kokin Wakashū which

indicates her definitive rejection of Moronao's love.

Angered, Moronao takes exception to Enya's tardiness and begins mercilessly insulting & verbally abusing Enya. Provoked beyond his

limits, Enya draws and slashes Moronao. He does not kill Moronao as he is held back by Honzō (who hopes to lessen Enya's

punishment).

Outside, Kampei hears the commotion and rushes to the back gate, only to realize his failure as a samurai: he dallied and was not there

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when his master needed him.

Act 4

Enya is placed under house arrest. The retainers and women discuss his fate, and Enya's wife, Kaoyo, reveals Moronao's motives.

The shogun's envoys arrive with Enya's sentence: seppuku, confiscation of Enya's estate, and the reduction of his men to rōnin.

Enya's chief retainer, Yuranosuke, rushes in just as Enya is pulling the dagger across his stomach; Enya charges him with seeking

vengeance. Yuranosuke orders the men to not commit seppuku nor barricade the mansion & die fighting the shogunate, but likewise to

seek vengeance.

Act 5

Kampei, long after the expulsion, has become a hunter. One rainy day, he meets on the highway a fellow rōnin. The conversation reveals

that Yuranosuke and the others did not immediately assault Moronao's extremely well-guarded mansion, but dispersed peacefully, and

that Yuranosuke & his son have fallen into decadent seeking of pleasure. Kampei mentions rumors he has heard that 40 or so of the

rōnin are conspiring to kill Moronao. The other rōnin categorically denies this: the meetings and solicitations are for the charitable

purpose of raising funds for a fitting memorial for Enya's grave. Kampei resolves to acquire money to donate towards the memorial.

Later, an old man comes along the road with the large sum of 50 ryō in his wallet, earned by selling his daughter - Kampei's wife - to a

brothel. He is accosted and then killed by Sadakurō the highwayman.

No sooner has Sadakurō hidden the body and counted the money than he is accidentally shot by Kampei, hunting a boar. Kampei does

not see clearly the body in the dark, but takes the money as a gift from heaven and hurries home with his donation to find the other

rōnin.

Act 6

At Kampei's home, his wife and mother-in-law await the return of the old man; their money will enable Kampei to become a samurai

again. But he has yet to return when the pimp comes to claim Kampei's wife. While the pimp argues with them and describes his

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transaction with the old man, Kampei arrives with the tell-tale wallet. He is accused of murdering his father-in-law, and because it was

dark, even Kampei believes it.

While Kampei gives his account of events, he commits seppuku. His fellow rōnin arrive, and tell how they inspected the body of the old

man more carefully - he had died of a sword, not a gun. But it is too late for Kampei. Impressed by his dying sincerity, they accept the

donation and allow Kampei to sign in blood the written oath of vengeance to become the 46th member.

Act 7

"It's quite true that I felt a certain amount of indignation - about as big as a flea's head split by a hatchet - and tried forming a league of

40 or 50 men, but what a crazy notion that was! ... Oh, when I hear the samisens playing like that, I just can't resist." --Yuranosuke

Kudayū, now a spy for Moronao, arrives at a teahouse in the pleasure quarter of Gion - Yuranosuke's favorite haunt. He intends to learn

whether Yuranosuke is indeed dissipated.

3 rōnin are also there on a similar mission: when Yuranosuke disavows revenge, they plan to kill him as a warning to the others not to

waver. But they decide to let him sober up first.

While waiting, Yuranosuke receives a letter from Kaoyo to the effect that Moronao is leaving for the provinces and they will need to

strike soon.

Just then, Kudayū interrupts and accuses Yuranosuke of being wanton as a deceptive stratagem. But seeing Yuranosuke casually break a

taboo & eat octopus on the anniversary of Enya's death, and looking at how rusty his sword is, Kudayū is almost convinced - but he hides

under the veranda to spy on the letter, to make sure. He is shortly stabbed to death by Yuranosuke.

Act 8

An act in the michiyuki style, a standard short act written poetically, describing the gloomy thought of Konami, daughter of Honzō and

fiance of Rikiya, as she travels with her mother to Rikiya and Yuranosuke's house. They hope the marriage will be carried out, though all

presume it broken off when Rikiya & Yuranosuke became rōnin.

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Act 9

Konami arrives at Yuranosuke's house, and her mother asks Yuranosuke's wife to permit the marriage's consummation. She is rebuffed

because of Honzō's bribery of Moronao and restraining Enya from killing him. The mother and daughter resolve to commit seppuku,

impressing Yuranosuke's wife, who consents if Honzō's head is brought to her as a wedding gift. Honzō unexpectedly appears, insults

Yuranosuke & Rikiya as debauchees, provoking Yuranosuke's wife to attack him with a lance. Honzō disarms & pins her, when Rikiya

enters and stabs Honzō with the discarded lance - just as Honzō planned.

Honzō provides the ground plans for Moronao's mansion and expires, having atoned for his prudence.

Act 10

The merchant Gihei of the port of Sakai is loading onto a ship his highly illegal cargo: more than 40 sets of samurai armor and weapons.

2 rōnin visit to inquire about the preparations. Later, he is surrounded by dozens of police who threaten to kill his son if he doesn't

confess. The merchant scorns them and makes to strange his son. Yuranosuke bursts out: it was a test, and the rōnin are impressed.

They will use his shop name as a password. (Of course, since he was born a merchant, he cannot join the raid no matter how much he

sacrifices.)

Act 11

The 46 rōnin (the dead Kampei making 47) stage an amphibious assault with rowboats. A party scales the walls, captures the

nightwatchman, and open the front & back gates. A fierce battle ensues. The neighboring mansions attempt to interfere, but when the

rōnin's mission is explained, they applaud and return home. Moronao is soon captured and hacked to death by all the men, Yuranosuke

striking first. They offer up his head with incense to Enya's memorial tablets and withdraw to Enya's family temple to await their fates.

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Conventions on the Go

• Ask the students to form five groups.

• Provide each group with a copy of the play Yoshitsune Senbon Zakura.

• Ask them to identify the conventions of the play.

• Allow them to compare and contrast the conventions of this play with the plays seen in the Philippines.

• Process the activity by asking the following questions: 1. What conventions are revealed in the play Yoshitsune Szenbon Zakura? 2. How are these conventions similar or different from the plays in the Philippines? Kanadehon

Chushingura? 3. What do these conventions reveal about Japanese society in general? 4. What do the comparisons imply about Afro-Asian drama?

Yoshitsune Senbon Zakura ( Yoshitsune and the Thousand Cherry Trees)

(An excerpt)

Act One

The play opens at the Imperial Palace, where Yoshitsune and his faithful retainer, the warrior monk Benkei meet with Fujiwara no

Tomokata, a court minister. They discuss the consequences of the battle of Yashima[2], and the fact that the bodies of several members of

the Taira clan, who were supposed to have died in the battle, have not been found.

Tomokata also presents Yoshitsune with a drum, called "Hatsune", supposedly used several hundred years earlier by the Emperor

Kammu, and thus a precious, rare, and powerful object. The minister describes the symbolism of this imperial gift, explaining that the

two drumheads represent Yoshitsune and his brother Yoritomo. The Emperor orders that Yoshitsune strike at his brother, as he would

strike the head of the drum.

The following scene introduces Wakaba no Naishi, wife of Taira no Koremori, and her young son Rokudai. The pair are explained to be in

hiding in a monastic hermitage near the town of Saga, and enter along with a nun who has been sheltering them in her home. A man

comes to the house and is soon revealed to be Kokingo Takesato, a Taira retainer. He explains, to their surprise, that Koremori still lives,

and that he has come to escort the pair to be reunited with him. Another man then arrives, this one an agent of the Court, seeking the

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wanted Naishi and Rokudai. Kokingo, in his disguise as a wandering hat seller, along with the nun, attempts to discourage him and turn

him away; though the Imperial agent sees through the ruse, Kokingo strikes the man with a wooden pole and makes his escape, along

with his two wards.

Scene three takes place at Yoshitsune's mansion in the capital, where his mistress, Shizuka dances for Yoshitsune's wife Kyō no Kimi and

his closest retainers. She expresses her apologies on behalf of Benkei, who made some uncouth and inappropriate remarks to the

Imperial agents at the presentation of the drum. Though Benkei is portrayed as cool, collected, eloquent, and quite clever in other plays,

in this one he is loud, obnoxious, and violent, leaping to action without thinking. A guard enters and informs the group of an impending

attack upon the mansion by forces belonging to Yoritomo, and Benkei immediately leaps to face them, but is held back by Shizuka.

Yoshitsune discusses with Kawagoe Tarō Shigeyori, advisor to his brother Yoritomo, the circumstances surrounding the falling-out

which has occurred between him and the shogun. He explains that he reported to his brother that several Taira generals, actually still at

large, had been killed, in order to help ensure peace and stability for the new shogunate; he also explains that though he has received the

Emperor's drum, he has not struck it, and has thus symbolically not acknowledged any intention to attack his brother. This situation

resolved, Kawagoe announces that he will call off the attack on Yoshitsune's mansion, but before he is able to do so, the impetuous

Benkei has already leapt into action and killed one of the shogunal commanders.

The act ends with Benkei's realization that Yoshitsune and Shizuka have fled. He presumes they have gone to Yoshino, and chases after

them.

Act Two

Act two opens at the Fushimi Inari Shrine, where Benkei catches up to Yoshitsune, Shizuka, and the four retainers. The group has fled

the capital, seeking to escape retribution for Benkei's careless attack. The monk apologizes, and is forgiven by his lord, at the suggestion

of Shizuka. However, Benkei then offers that since their journey will be long and dangerous, a lady such as her should not be subjected

to such things and should be escorted back to the capital. She refuses, and in order to prevent her following them, or killing herself in

grief, they tie her to a tree, along with the drum Hatsune, and leave her.

She is found by agents of the shogun, who cuts her free and tries to drag her away. Yoshitsune's retainer Tadanobu suddenly shows up

and rescues her, in a flamboyant and vigorous swordfight. He is then commended by his lord, who bestows upon him his own

(Yoshitsune's) suit of armor, and his name, Genkurō[3]. The group then continue on their journey, leaving Tadanobu to escort Shizuka

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back to the capital.

The second scene takes place at the Tokaiya, a home near Daimotsu Bay where the commoner merchant Ginpei runs a shipping

business, living with his wife Oryū and daughter Oyasu. Yoshitsune's party has made their lodgings here while they wait for good

weather to continue their journey by boat. While talking to Oryū, Benkei steps over the sleeping Oyasu as he makes his way from the

room; just at that moment, accompanied by dramatic drumming, he feels a pain in his leg.

Shortly after Benkei leaves, Sagami Gorō, a retainer of the shogunate, sent here to seek out and attack Yoshitsune, arrives. Not knowing

that Yoshitsune is in that very home, Sagami demands of Oryū that he be provided a boat in order to pursue his quarry. She replies that

their only boat is already promised to their other guests, and a small scuffle occurs between the two as the warrior accuses the woman

of harboring Taira fugitives and seeks to enter the room where Yoshitsune and his retainers remain. Just then, the merchant Ginpei

makes his first entrance, carrying an anchor over his shoulder, a strong symbolic reference to his true identity as the fugitive general

Taira no Tomomori. He argues briefly with Sagami, and throws the warrior out of his house.

Ginpei is then introduced to his guests, who were taken in by Oryū while he was out, and immediately recognizes Yoshitsune.

Introducing himself briefly, and expounding on his identity as a boatman and merchant, he then suggests that they set sail, despite the

weather. As Yoshitsune and his retainers dress and prepare for the journey, Ginpei has an aside in which he dramatically reveals himself

to the audience as the Taira general Tomomori[4].

Tomomori declares to the audience the story of faking his own death at Dan-no-ura and escaping with the young Emperor Antoku and

his wet nurse Tsubone, living for the last several years as Ginpei, his daughter Oyasu and wife Oryū. He explains to Tsubone that he

intends to kill Yoshitsune while out at sea, the rain and dark of night obscuring the battle. He heads out to the boat, as Tsubone and the

Emperor change clothes, removing their disguises.

The battle is not seen on stage, but reflected through narration, the reactions of Tsubone, as she watches from the shore, and the report

of Sagami Gorō, the shogunal officer who is revealed to have actually been in Tomomori's service. After some time, the clash is perceived

to have ended with Tomomori's death. Tsubone takes the Emperor to the seashore, and prepares to have them both drown, sacrificing

themselves. But they are pulled back by Yoshitsune as he returns to the shore, and assured of their safety; he has no intentions of

capturing or killing the Emperor of Japan. Tomomori, not killed, returns just a few moments after Yoshitsune, and is appalled that his

schemes have fallen apart so quickly and easily.

Tsubone kills herself, seeing that she cannot serve Tomomori any longer, and the general, recognizing the futility of his schemes, his

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failure to slay his enemies, and the doom wrought upon his entire clan by the evil actions of his father Taira no Kiyomori, throws himself

into the sea, tied to an anchor.

Act Three

Act Three opens as Wakaba no Naishi, her retainer Kokingo and son Rokudai pause at a tea shop along their journey to find her husband,

Taira no Koremori. They sit down to rest, and a young man in traveling clothes, by the name of Gonta, joins them soon afterwards. He

talks to them briefly, helps them get nuts from the tree, and then leaves, taking Kokingo's travelling pack instead of his own. Kokingo

notices a few moments later, and Gonta returns, apologizing for his mistake. The two go through the contents of the baskets, to make

sure the other hasn't stolen anything, but Gonta then claims that there's twenty ryō missing from his basket.

Gonta, attempting to swindle the samurai, accuses him of being a thief, and a battle very nearly breaks out. Though aggressive with

words, he is no match for the samurai in a fight, and hides behind a bench while Kokingo only grows more angry and brandishes his

sword. Naishi attempts to calm him down, but Gonta only eggs him on until, finally, the samurai pays him twenty ryō and leaves, along

with Naishi and Rokudai.

Gonta is thus left alone with Kosen, the proprietess of the teahouse, who it turns out is his wife. She scolds him for being a swindler and

a gambler; in his response, he explains his life story. The son of Yazaemon of the Tsurube sushi shop, he became a swindler, thief and

gambler in order to support himself and his love for Kosen. Disowned and kicked out of his house, he struggled to earn money to buy

Kosen out of indenture. Though he describes his intent to rob his mother that night, he is talked out of it by Kosen, and they return

home.

The next scene focuses on Kokingo, Rokudai and Naishi, pursued by Imperial officers. Already wounded, Kokingo fights off one of the

officers, Inokuma Dainoshin, and then sinks to the ground, exhausted. As Naishi weeps over him, he claims he cannot go on, and

implores Naishi and her son to forget about him, and to continue on to see Koremori. He promises to follow them after he regains his

strength. The pair leave him then, and exit, continuing on their journey. The warrior then dies, just as a group of townsmen, including

the sushi shop owner Yazaemon, come upon him. After saying a prayer for the dead, Yazaemon cuts off Kokingo's head and takes it with

him, returning home.

Yazaemon's sushi shop is the setting for the third scene, which opens with his daughter Osato and his wife preparing and selling sushi to

visitors while they talk. A young man named Yasuke has been living with them for some time, and is due to be married to Osato as soon

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as Yazaemon returns. Yasuke enters with some sushi tubs, and talks briefly with the two women as they work, before they are

interrupted by the arrival of Gonta, Osato's brother.

Gonta explains to his mother that he is leaving for good, to turn himself around and make something of his life, but asks for some money,

claiming that he was robbed on the road on his way there. She places several silver kanme coins in a sushi tub for him and sends him off.

Just then, Yazaemon returns; fearing that he should learn that his wife stole from the shop to give to Gonta, they hide the sushi tub

among the others. Yazaemon then comes in, calls out for his family, and hides the head of Kokingo, wrapped in his cloak, in one of the

other tubs.

Meeting up with Yasuke, Yazaemon then reveals to the audience Yasuke's identity as the general Taira no Koremori, father of Rokudai

and husband of Naishi, who he came across in Kumano and took into his home. He explains to Koremori that he just came across

Kajiwara no Kagetoki, an agent of the shogunate, who suspected him of harboring the general, and that for his safety he might flee the

area.

As Osato and Yasuke (Koremori) lay on their wedding bed, preparing to consummate their relationship, he confesses to her not his true

identity, but that he has a wife and child in another province, and asks that she release him from his pledge to marry her. By coincidence,

the wandering Wakaba no Naishi then arrives at that same house, seeking lodging for the night. Koremori glances outside, realizes who

they are, and welcomes them in. He attempts to explain his infidelity to his wife, his romance with Osato coming from a desire to repay

Yazaemon for taking him in; Osato overhears, and bursts into sobs. She welcomes Rokudai and Naishi into her home, offering them the

seats of honor, and explains her side of the story, asking for forgiveness from Naishi. She fell in love with this gentle man, she explains,

whom her father brought home, not knowing that he was secretly a noble. Upset at Koremori's duplicity and at his leaving her, she

weeps and is comforted by Naishi.

Word comes of the arrival of shogunal officers, and Koremori, his wife and child exit. Gonta arrives, then, declaring to Osato that he

intends to turn over the three to the authorities in exchange for a reward. His sister begs him not to, and he grabs the sushi tub with the

silver coins and flees after the three.

Soldiers then appear, along with Kajiwara, and surround Yazaemon. They accuse him of lying to them, and harboring Koremori; but

thinking quickly, he tells them that he's already had a change of heart and killed Koremori himself. He brings the men inside, and

reaches for the sushi tub with Kokingo's head in it, but is stopped by his wife, who is thinking of the money she stole from him to give to

Gonta. A shout is heard from outside, as Gonta returns with a woman and child, tied up and being dragged behind him. He explains to the

soldiers that he has captured Rokudai and Naishi, and shows them the tub containing Kokingo's head, claiming it to be Koremori's.

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Kajiwara offers to spare Yazaemon's life in exchange for this deed, but Gonta, hoping to gain from this himself, declares that he wants

monetary compensation; Kajiwara therefore gives him his cloak, which previously belonged to Yoritomo, and which would be symbolic

of the reward owed him by the government.

As Kajiwara leads the prisoners away, Yazaemon finds the opportunity to viciously stab his son, bitter at Gonta's betrayal. Yazaemon

curses his son as he aggravates the wound, but as he dies, Gonta explains to his father that his deceptions were for good intentions all

along. He claims that he intended to give the silver to Koremori for traveling expenses. Knowing that his father intended to play off

Kokingo's head as Koremori's, and knowing that the head was no longer in the house, he returned in order to rescue his father's plan,

and his family therefore. He then reveals that the woman and child turned over were not Naishi and Rokudai but his own wife and child,

Kosen and Zenta, who willingly and voluntarily sacrificed themselves to save the nobles.

Koremori, Naishi, and Rokudai then return, alive and safe, disguised as tea merchants. Koremori finds a poem on Yoritomo's cloak which

indicates that something is inside it; cutting it open, he finds a Buddhist monk's robe. Seemingly, Kajiwara intended all along to spare

Koremori, and granted him in this indirect way a disguise with which to safely escape.

Koremori cuts off his topknot, becoming a lay monk, and separating from both his families for the final time. Yazaemon offers to

accompany Rokudai and Naishi, and Osato stays with her mother, loyally maintaining the home and the shop in her father's absence.

The act ends with Gonta's death, one of the most famous examples in Japanese traditional drama of the interference of the affairs of

nobles and samurai into the lives of common people, and the death and destruction it brings.

Act Four

The fourth act begins with a michiyuki dance scene, which follows Shizuka as she seeks to catch up with Yoshitsune and his party. The

journey is narrated by an offstage narrator, in the bunraku style, and there is very little dialogue.

As she travels through the countryside, Shizuka decides to play the Hatsune Drum, in order to entice birds to follow her, not knowing the

magical or metaphorical significance of the drum. As soon as she does so, a white fox emerges, romps across the stage and then

disappears behind a low hill, from which emerges Tadanobu.

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Placing the drum atop Yoshitsune's armor, granted Tadanobu in the second act, the two dance, their gestures and motions mimicking

the actions of the narration. The narration indicates their desire to follow Yoshitsune to Yoshino, and then drifts into a retelling of the

events of the battle of Dan-no-ura, ending with the pair's arrival at a Buddhist temple, the Zaō Hall in Yoshino.

After a very brief scene showing the pair's arrival, attention is shifted to Kawatsura Hōgen, head of the temple, who discusses with his

fellow monks what stance they should take towards Yoshitsune. Several of the monks here are known to be enemies of Yoshitsune, and

a letter has just arrived from the capital asking them to hunt him down. The monks discuss, and even those normally hostile to

Yoshitsune decide that as monks it is their duty to aid people in need. Hōgen, however, even after admitting that he thinks Yoshitsune

blameless, fires an arrow at a distant peak, smaller than its neighboring peak, and thus representing the younger brother (Yoshitsune).

Thus he declares his stance alongside the shogunate, for the safety of the temple.

Hōgen encourages his monks to do what they think is right: to welcome Yoshitsune in and grant him asylum if he should arrive and

request it. But he also assures them that he intends to kill the warrior should they do so. The monks interpret their master's words to

mean that he is already harboring Yoshitsune, and that he intended to throw them off and prevent their interference; they decide to find

and attack the warrior that night.

Hōgen returns to his mansion, where he is indeed harboring Yoshitsune, and declares to his wife that he has turned against his guest,

and intends to stand with the shogunate. Yoshitsune speaks briefly with Hōgen, thanking him for his hospitality and aid, and is then

informed that his retainer, Satō Tadanobu has arrived and wishes to speak with him. Tadanobu is asked by his lord about his

stewardship of Shizuka and replies, confused, that he has been in his home province with his ailing mother since the end of the war, and

has not seen Shizuka. Two of Yoshitsune's other retainers appear, pointing swords at Tadanobu and demanding an explanation when

the temple's gatekeeper announces that Satō Tadanobu has arrived with Lady Shizuka.

Shizuka is reunited with her lord, but the Tadanobu who had been escorting her seems to vanish. The first Tadanobu explains to Shizuka

that he has not been escorting her and has not seen her in some time; the other retainers confirm that this second Tadanobu is nowhere

to be found in the building. She then notices that this Tadanobu is wearing somewhat different clothing, and comes upon the idea of

beating the Hatsune Drum to summon her escort. She explains that the drum always attracted her escort, and made him behave

strangely. The scene ends as she bangs the drum, and Tadanobu is taken away by Yoshitsune's retainers.

The final scene thus begins with Shizuka beating the drum, and a fox rushes into the room, becoming Tadanobu, who bows before her.

Shizuka then suddenly pulls a sword and slashes at Tadanobu, who dodges the attack. Mesmerized by the drum, Tadanobu still manages

to avoid continued attacks as Shizuka demands that he reveal his identity.

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He then tells his story, revealing in the process that he is a kitsune, a fox spirit. The drum was made hundreds of years earlier from the

skins of his parents, powerful kitsune whose magic was employed to bring rain. A costume quick-change transforms Tadanobu into his

kitsune form, who explains that though he has lived a very long time and gained magical powers, he has been unable to ever care for his

parents. Failing to fulfill acts of filial piety prevents him from gaining respect or status among the kitsune, and so for centuries he has

sought out this drum. He was unable to get at the drum when it was kept in the imperial palace, he explains, since the palace is guarded

against spirits by many gods (kami), but once it was removed from the palace and given to Yoshitsune, he saw his chance.

Shizuka and Yoshitsune speak to the fox for a time, and decide to grant him the drum. Thus released, he exits in grand style. Originally

this would have been done through a particular style of dance called kitsune roppo (fox six-steps) along the hanamichi (the pathway that

cuts through the audience from stage to the rear of the theatre). However, more recently it has become the practice, encouraged by

Ichikawa Ennosuke III who often plays the fox Genkurō to exit by flying out over the audience, in a technique known as chūnori (riding

the sky).

The real Tadanobu then offers to take his lord's place in facing the doom that awaits him at the hands of the monks. The kitsune's magic

hampers the monk's schemes, and Kakuhan, the one monk who most strongly opposed the samurai lord, is revealed to be Taira no

Noritsune, the third surviving Taira general, in disguise. Noritsune and Yoshitsune clash swords several times before Emperor Antoku

appears from the next room. Noritsune, of course, bows low to his Emperor, and both explain how they survived their supposed deaths

at the battle of Yashima, and came to be at this monastery. Noritsune then begins weeping, announcing his failure to his clan and to his

Emperor.

Hōgen and two of Yoshitsune's retainers come in with bloody blades and holding the severed heads of the other monks who followed

Noritsune. They seek to fight, but their hearts are calmed by the fox's magic, and Noritsune announces that he shall once again become

Yokawa no Kakuhan, a loyal servant to the Emperor.

Act Five

As is quite standard for Japanese traditional dramas, the final act is short, swift, and serves to wrap up any major loose plot threads.

Here, it opens on a mountaintop, with Tadanobu, dressed as Yoshitsune, calling out a challenge to those who side with Yoritomo and the

shogunate.

A number of warriors come at him, and he cuts them down. Noritsune then appears, as the monk Kakuhan, who claims to have foregone

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all his old grudges, and his warrior ways. Tadanobu declares his true identity to his foe, and the two clash in a complex choreographed

fight scene. Finally, Noritsune pins his opponent to the ground, but a second Tadanobu rushes in and stabs the Taira general, the body

below him disappearing and leaving only a suit of armor. Yoshitsune explains that they saw through Noritsune's promises of peace, and

the fox Genkurō aided them in subduing him.

Kawagoe, an agent of the shogunate, then appears, along with Fujiwara no Tomokata, who he has tied up. He reveals that the Imperial

order which came with the drum, ordering Yoshitsune to oppose his brother, along with that to exterminate the Taira clan, came not

from the Emperor, but from the machinations of Tomokata. Hearing this, Noritsune kills the defenseless Tomokata, and then turns to

Yoshitsune, challenging his foe to kill him. Yoshitsune states that Noritsune died long ago, that he has since become Kakuhan, and that it

is to Tadanobu to kill him.

The play thus ends with the last of Yoshitsune's foes slain, and a return to the peace and auspiciousness with which the play began.

Details and Side Screen of the Play

• Instruct the class to go into the details of the play Yoshitsune Senbon Zakura.

• Have them dissect and look for the details that the author used to make the drama appealing and effective to the readers.

• Group the class into five and ask them to look for the details of the following. � Group 1: The dialogues delivered by the characters � Group 2: The setting of the story � Group 3: The production design of the play � Group 4: The costumes and props in the play � Group 5: The style of the author in presenting the message of the play

• Facilitate the group activities by asking or suggesting some important points on the different dramatic conventions used by the author in the play

• Have the groups present the output in front

• Encourage the class to raise some questions related to the dramatic devices used by the authors.

• Clarify some concerns about dramatic conventions employed by the writer in the play

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Using Verbal Nouns

• Instruct the students to read the sentences on the board.

• Ask the class what they notice with the word in bold letters.

• Encourage them to determine how the words are used in the sentences.

• Introduce verbal nouns to the class.

• Make the learners revisit the EQ, and check their tentative answers.

• Emphasize with them the importance of dramatic conventions in a play.

1. Selling meat is his main source of income. 2. The sanitary inspector’s duty is to ensure the cleanliness and safety of food. 3. The woman’s intention is to haggle for the price of meat. 4. One rule to follow is securing a sanitary permit and a license to sell meat. 5. The vendor annoys his customer by making faces and imitating her acts.

Verbal Nouns These are verbs in form but nouns in terms of function.. There are two kinds of verbal nouns. These are:

1. Gerund – is a form of a verb that acts as a noun. It always ends with –ing. Examples: Subject: Cooking is one of my hobbies. Direct Object: The vendor considered consulting his fellows on his problems with sanitary inspectors. Indirect Object: His attitude gives selling a bad name. Predicate Nominative: One effective way to get discount is haggling. Object of a Preposition: After a long hour, the vendor was tired of shouting. Appositive: I have a new hobby, baking.

2. Infinitive - is a form of a verb that generally appears with the preposition to and act as a noun, an adjective, or an adverb. Examples: Subject: To apologize takes courage and humility. Direct Object: Annoyed and angry, the vendor wants to shout at the inspector. Predicate Nominative: The customer’s demand is to lower the price. Object of a Preposition: He had no choice except to bribe the inspector. Appositive: His plan, to extort the vendor, was never realized.

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3. DEEPEN

Too Emotional

• Prepare five (5) pieces of paper. • On each paper write sample lines from familiar movies or teleseryes. Refer to the examples below.

4. “ I never said that I love you” – Maging Sino Ka Man 5. “You’re nothing but a second rate trying hard copy cat” – Bituing Walang Ningning. 6. “I was never your partner, I’m just you’re wife” – Madrasta 7. “Can you please stop being proud of me?” – Dekada 70 8. “You want war? I’ll give you war. I’ll be there in my red Stiletto” – Makaribal.

• Call students to deliver the line using the following emotions/theme:

At this stage, the teacher should be able to do the following: • Make a meaningful understanding of the drama selection and dramatic conventions employed by the author.

• Relate to real life situations some scenes and lessons of the play.

• Make them internalize some lines for the portrayal of lines.

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

• Engage them in meaningful evaluation.

• Provide them with feedback for understanding.

Afraid Excited

Bothered Thrilled

Worried Hurt

Angry Begging

Happy Surprised

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Dubbing Game

• Inform the students that in this exercise, there will be two actors offstage and two actors on-stage.

• Actor A's (on-stage) voice will be supplied by actor B (offstage) and actor C's (on-stage) voice will be supplied by actor D (offstage).

• However the actor's supplying the voices (B and D) will not be able to see what the other two actors (A and C) are doing .The actors supplying the voices must make distinctly different voices.

• It is also important that the actors that are being dubbed move their mouths like they are speaking when the dubbers are talking.

• It is important to have an activity and to justify what is being said through activity.

Challenge the Character

• Ask the students to form a big circle.

• Inform them that each one of them will have his/her turn to perform the activity.

• The order of performance is determined by drawing of lots.

• The first student to perform must dress, act and speak like the character she/he assumes.

• The teacher will act as the interrogator and will ask challenging questions to the student.

• The student must answer the question without losing the personality of the chosen character.

• The rest of the students will act as judges who will show “thumbs up” if the role internalization is convincing enough and “thumbs down” if otherwise.

Dramatic Teacher

• Ask the students to think of a person they idolize.

• Give them at least three minutes to imagine the person: his/her ways, words, physique, and etc.

• Tell them that they are to imitate that person in front of the class.

• Three students will also be chosen to act as judges to provide comment on the performance of their classmates.

• Provide feedback.

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

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4. TRANSFER+++ Looking Back

• Ask the class what important lessons they have learned about dramatic conventions.

• Remind them of the importance of dramatic conventions and internalization of roles in delivering their lines.

• Divide the class into five groups.

• Ask each group to come up with their own synthesis of what important lessons they have learned in this topic.

• Facilitate the discussions being done by the students.

• Have each group take turns in presenting their synthesis Delivering Your Lines

• Ask the class to choose any of the characters in the drama “Shakuntala”, “Ramayana” etc.

• Tell the class that they are going to present their own dramatic monologues.

• Have them come up with their own lines as if they are one of the characters in the play.

• Remind them to observe the correct usage of verbal nouns in their lines.

• Encourage the class to elicit feedback from their classmates regarding the lines they have written.

• Group the class into five teams.

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

• Clarify some misconceptions on how to determine the dramatic conventions used by writers in drama or play.

• Synthesize the important features of the lesson.

• Have the students transfer their understanding through their culminating performance.

• Make independent applications of their knowledge of dramatic conventions and role internalization as essentials in presenting a dramatic monologue.

• Have them see the connection between the tasks and the world. • Evaluate the presentation and check it against the criteria set in rubrics.

• Provide feedback for understanding.

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• Ask the students to deliver their lines within their own group.

• Have them choose the best performers in their groups to be their representative. Dramatic Monologue

• Come up with a mini-stage presentation of characters.

• Let the best performers from the groups compete among themselves.

• Present to them the criteria to be considered in assessing their performance.

• Encourage them to suggest other components of the rubrics.

• Choose the best performers with the help of a selection board as represented by a member from each group.

• Provide incentives to the winner.

• Have the class reflect on the feedback they get after their performance.

• Assess the learners’ performance of a dramatic monologue by using the given set of criteria. As of January 26, 2011