NOTRE DAME OF NEW ILOILO, INC.

A Diocesan School
NEW ILOILO, TANTANGAN, SOUTH COTABATO
Tel. No. (083) 229 – 1113
Email Address: notredamenewiloilo@gmail.com

SUBJECT: CREATIVE WRITING GRADE LEVEL: TWELVE

QUARTER: TWO WEEK: THREE (November 9-27, 2020)

I - OBJECTIVES: At the end of the lesson, you are expected to:

1. Identify the various elements, techniques, and literary devices in drama;
2. Describe intertextuality as a technique of drama;
3. Conceptualize plots and dialogues for a play;
4. Write at least one scene for a play applying the various elements, techniques, and
literary devices.

II - PRE-ASSESSMENT
Direction: Read and understand the question below and answer it on a separate sheet
of paper.
1.

III - CONTENT/ DISCUSSION/ INFORMATION

Playwriting
All kinds of Dramas, All kinds of Plays
Before you enter the world of drama, let’s make sure to review all the basic concepts
that you have learned and heard before.

Drama, which Is often used interchangeably with play, is a more theatrical term and
deals with the art of play production. It is more collaborative in the scene that it deals
with the stage, the hall, the costumes, the music, the synchronization of music and
dialogue, and such things to bring the written play to a theatrical performance. If you
are skilled in the production of a play, you are called dramatist. A playwright can
also be a dramatist, but not all dramatists are playwrights. Some directors do not write
plays; so they are not playwrights, but are certainly dramatists, too.
Play, is a literary genre written by a playwright, usually consisting of dialogues
between characters intended for a theatrical performance rather than just reading. You
may use the term straight play for plays like Hamlet by William Shakespeare, or The
Passion of Jovita Fuentes by Peter Solis Nery, or Death of a Salesman by Arthur
Miller) in contrast to a musical play (like Annie, or Miss Saigon) that has music,
dance, and songs sung by the characters. Sometimes, the term playlet is used for a
short play (think of your kinder school Nativity play).

According to Theme
Tragedy is a play that is more serious and deals with darker themes, usually marked
by a sad and depressing ending (think of Shakespeare’s Romeo and Juliet, or
Sophocles’s Oedipus Rex, or Miller’s Death of a Salesman). Comedy, on the other
hand, is play that is meant to be humorous with a happy and vivacious ending (think
of Shakespeare’s A Midsummer’s Night Dream, and The Taming of the Shrew).
You may have already heard some of the subgenres of comedy:

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 NOTRE DAME OF NEW ILOILO, INC.
A Diocesan School
NEW ILOILO, TANTANGAN, SOUTH COTABATO
Tel. No. (083) 229 – 1113
Email Address: notredamenewiloilo@gmail.com
 Satire is a comedy play that takes a comic look at people and current events
while at the same time attempting to make a political or social statement like
pointing out corruption. (For example, Bertolt Bretch’s The Resistible Rise of
Auturo Ui which satirizes Hitler and the Nazi Party’s rise in Germany.)
 Burlesque is a comedy play that tries to make people laugh by caricaturing the
spirit of serious works, or by the ridiculous treatment of their subjects. (For
example, Tom Stoppard’s Travesties uses real-life characters like James joyce,
Tristan Tzara, Vladimir Lenin, and Henry Carr; but instead of predictable
historical biography, these characters are interpreted through the maze of Carr’s
distracted memory.)
 Farce is a generally nonsensical, overacted comedy play that often uses
slapstick humor. (Think of Shakespeare’s The Comdey of Errors.)
 Comedy of manners is a comedy play that satirizes the manners and
pretentiousness of a social class or several classes, and often uses stereotypes.
(Think of Oscar Wilder’s The Importance of Being Earnest that, while working
within the social conventions of late Victorian London, has for its theme the
triviality of its treatment of a serious institution like marriage.)

As for the subgenres of tragedy, you may have heard of the following:
 Melodrama is a tragedy where you exaggerate sensational and romantic topics
to play with your readers’ feelings and emotions. (For example, Noel Coward’s
one-act play Still Life, later made into the movie Brief Encounter, which is about
the unrequited love of a married woman and a doctor she meets once a week on
the same train station where they first met.)
 Tragicomedy is a literary genre that blends aspects of
both tragic and comic forms. Most often seen in dramatic literature, the term can
describe either a tragic play which contains enough comic elements to lighten
the overall mood or a serious play with a happy ending.
According to Length
If you want to make a full-length play, a.k.a. evening-length play, your work, when
performed, must run from 70 or 80 minutes to about two hours, enough to be an
evening on its won, but not very long enough to push your audience to suicide.
The Play's the Thing
The stage is a magical place. Live actors and a live audience make for an immediacy
no other art of the written word can duplicate. The ancient Greeks and Romans
believed that the dramatic "poet" (that's us) had the power and the duty to "teach and
to please," and it's a tradition that lives on to this day. Sounds great. But how do you
do it?
Before your play can teach and please anyone, you have to write it, rewrite it
(probably over and over again), submit it to theaters and hope that one of them will
want to produce it. It can be a long road, particularly because now more than ever,
plays tend to get plenty of development (i.e. readings and workshops) before getting
fully produced. Good playwrights typically have patience and perseverance to spare.

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 NOTRE DAME OF NEW ILOILO, INC.
A Diocesan School
NEW ILOILO, TANTANGAN, SOUTH COTABATO
Tel. No. (083) 229 – 1113
Email Address: notredamenewiloilo@gmail.com
Types of Plays:
Plays come in all shapes and sizes. Here are the most common ones:
1. Ten-Minute Plays
Ten-minute plays have become very popular in recent years with the advent of The
Actors Theatre of Louisville contest. A good ten-minute play is not a sketch or an
extended gag, but rather a complete, compact play, with a beginning, middle and end.
It typically takes place in one scene and runs no more than ten pages. In fact, because
many contests disqualify entries with more than ten pages, it's a good idea to adhere
to that page limit religiously.
2. One-Act Plays
One-acts can run anywhere from fifteen minutes to an hour or more. While
technically, the one-act gets its name from having only one act (however long that
might be), it's more commonly thought of as a play that isn't long enough to constitute
a full evening. Arguably the most popular length for one-acts is around a half-hour.
At this length, a play can fit on a bill with a pair of other one-acts, and if your play is
suitable for high school production, thirty minutes is a good length for a competition
play.
A good one-act focuses on one main action or problem; there's not time to get into
complicated layers of plot. And for practical reasons, it's a good idea to keep your
play to one set and as few scenes as possible. Why? Let's say that your one-act is on a
bill with two other one-acts, a common scenario. Let's further say that your one-act
has two distinct settings, requiring two different sets and a set change in the middle of
an already short play. Not a good thing. Each of the other one-acts already has its own
set requirements, so suddenly the theater is faced with building four different sets for
one evening. Not likely to happen.
Another common situation is that a one-act precedes a play that's not quite long
enough to be an evening unto itself. My play The White Pages opened for Steve
Martin's Picasso at the Lapin Agile and had to make use of largely the same set, with
canvases painted like bookcases and a desk brought on to make it look more like a
bookstore. So the moral of the story is to write your one-act with the most minimal set
and technical demands possible.
3. Full-Length Plays
Full-length plays are also called evening-length plays, because they're long enough to
be their own evening. How long is that? Anywhere from around seventy or eighty
minutes and up. How up is up? These days, with TV shrinking our attention spans,
you'd better have a very good reason to keep an audience in the theater for much
longer than two hours. And it's always a good idea to write your play so that it can be
produced, if necessary, with minimal set and technical requirements. This doesn't
mean that an ambitious designer can't go to town on your script if that possibility
exists, but if producing your play requires eight set changes or filling the stage with
water, most theaters will not be able to afford you.
4. Musicals
Musicals can run the gamut in length from ten minutes (though these are rare, because
it's not very cost effective to assemble a band to play for only ten minutes) to three
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 NOTRE DAME OF NEW ILOILO, INC.
A Diocesan School
NEW ILOILO, TANTANGAN, SOUTH COTABATO
Tel. No. (083) 229 – 1113
Email Address: notredamenewiloilo@gmail.com
hours. Again, the middle ground - somewhere between ninety minutes and two hours,
is probably the one to shoot for.
According to Modality
Closet drama is a play that is not intended to be performed onstage, but read by a
solitary reader or sometimes out loud in a small group. The contrast between closet
drama and classic "stage" dramas dates back to the late eighteenth century. Although
non-performative in nature, the literary historian Henry A. Beers considers closet
drama, "a quite legitimate product of literary art."
Monodrama is a theatrical or operatic piece played by a single actor or singer,
usually portraying one character.

Street play, a.k.a. Street theatre is a form of theatrical performance and presentation

in outdoor public spaces without a specific paying audience. These spaces can be
anywhere, including shopping centres, car parks, recreational reserves, college or
university campus and street corners. They are especially seen in outdoor spaces
where there are large numbers of people.

A puppet play uses puppets (think bunraku of Japan) of many types including glove
or hand puppets, rod puppets, or the marionette on strings (think guignol puppet plays
of France).

A dance drama, a.k.a. dance play, is a drama conveyed by dance movements and
sometimes accompanied by dialogue.

A shadow play uses, well, shadows. You already know what a musical play is: it has
songs, dances, and music.

According to Medium
A play performed on stage is a stage play; a play meant to be made into a movie is a
screenplay; a play which is meant to be made for television is a teleplay; and a play
that which is meant for radio broadcast is called a radio play.

TECHNIQUES AND LITERARY DEVICES

a. Intertextuality
Intertextuality is the shaping of a text's meaning by another text. It is the
interconnection between similar or related works of literature that reflect and
influence an audience's interpretation of the text. Intertextuality is the relation
between texts that are inflicted by means of quotations and allusion. Intertextual
figures
include: allusion, quotation, calque, plagiarism, translation, pastiche and parody.
Intertextuality is a literary device that creates an 'interrelationship between texts' and
generates related understanding in separate works. These references are made to
influence the reader and add layers of depth to a text, based on the readers' prior
knowledge and understanding. The structure of intertextuality in turn depends on the
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 NOTRE DAME OF NEW ILOILO, INC.
A Diocesan School
NEW ILOILO, TANTANGAN, SOUTH COTABATO
Tel. No. (083) 229 – 1113
Email Address: notredamenewiloilo@gmail.com
structure of influence. Intertextuality is a literary discourse strategy utilised by writers
in novels, poetry, theatre and even in non-written texts (such as performances and
digital media) Examples of intertextuality are an author's borrowing and
transformation of a prior text, and a reader's referencing of one text in reading
another.

Obligatory intertextuality in when the writer deliberately invokes a comparison or

association between two (or more) texts. Without this pre-understanding or success to
‘grasp the link’, the reader’s understanding of the text is regarded as inadequate
(Fitzsimmons, 2013). Obligatory intertextuality relies on the reading or understanding
of a prior hypotext, before full comprehension of the hypertext can be achieved
(Jacobmeyer, 1998).

Optional intertextuality has a less vital impact on the significance of the hypertext.
It is a possible, but not essential, intertextual relationship that if recognized, the
connection will slightly shift the understanding of the text (Fitzsimmons, 2013).
Optional Intertextuality means it is possible to find a connection to multiple texts of a
single phrase, or no connection at all (Ivanic, 1998). The intent of the writer when
using optional intertextuality, is to pay homage to the ‘original’ writers, or to reward
those who have read the hypotext. However, the reading of this hypotext is not
necessary to the understanding of the hypertext.

Accidental intertextuality is when readers often connect a text with another text,
cultural practice or a personal experience, without there being any tangible
anchorpoint within the original text (John Fitzsimmons). The writer has no intention
of making an intertextual reference and it is completely upon the reader’s own prior
knowledge that these connections are made (Wöhrle, 2012).

Industry Standard Format

You’ve been writing short stories in Unit 1, and you know that they’re written in
sentences and paragraphs. You’ve also written poems before, and you know that
they’re usually written in lines-unless you are writing a prose poem. Well, plays are
written in a script format, and there are certain rules because the script is intended for
producers, directors, designers, and actors who will bring your play to life; and
therefore, you want to give your play in a format that these theater people understand
and prefer.

If formatted correctly, your script should result in a ratio of one page equals (roughly)
one minute of time on stage. This is useful in estimating your play’s playing or
running time. Other typological devices will also alert actors, designers, and other
production personnel to quickly find the information that they need. Some of these
theater people are so traditionalist that when your script does not follow the industry
format, they would think that you do not know anything about theater, and that can
lead them to doubt the value of your play.
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 NOTRE DAME OF NEW ILOILO, INC.
A Diocesan School
NEW ILOILO, TANTANGAN, SOUTH COTABATO
Tel. No. (083) 229 – 1113
Email Address: notredamenewiloilo@gmail.com

What to do? Begin with a piece of 8.5” x 11” paper, 1” margin on top, right, and
bottom, 1.5” margin on the left to allow for binding later. The title page will contain
the title, centered, and in all capital letters, and underlined; plus a statement about the
length of the play (for example, A One-Act Play or A Three-Act Play, or A Ten-
Minute Play. The author’s name, centered, is under the title.

The second page lists the Cast of Characters (names, brief descriptions, and
relationships if they are pertinent); and brief descriptions of Time and Place. These
three titles are written in all caps, underlined, and centered. For a play with several
acts, describe the time and place for each act.
CHARACTERS

DAN – writopia instructor

Rebecca – instructor

TIME

The time is the present.

PLACE

A town in Iloilo, Philippines.

Now, on the script itself, your stage directions are indented to the right half of the
page, and are typed single-spaced. They are not put in parenthesis. You are to use all
caps to call attention to special design effects such as lights and sound.
Identify your speakers by typing the characters’ names-centered, all caps, before their
dialogues. Use a double space to separate each name from the preceding materials,
whether a stage direction or another dialogue.

Use all caps when the character name appears in stage directions (to alert your actor),
but use caps and lowercase when the name appears in dialogues. Actor directions are
short phrases intended for actors playing the role; place them under the character
name or somewhere in the actor’s dialogue, centered, and in parenthesis.

See the following:

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 NOTRE DAME OF NEW ILOILO, INC.
A Diocesan School
NEW ILOILO, TANTANGAN, SOUTH COTABATO
Tel. No. (083) 229 – 1113
Email Address: notredamenewiloilo@gmail.com
Scene 1
Writopia Lab, New York City. Day.
DAN, a tall writopia instructor, sits on the couch. He munches on a bunch of potato chips, crumbs fall on
his lap. He brushes them off into the crevasses of the couch. REBECCA enters the room with her coat
on.
REBECCA
Dan?
DAN
What?
REBECCA
Did you just brush off your crumbs in the couch?
DAN
shrugging
No.
REBECCA
You’re lying. And now I have to sweep them up.
DAN gets up and walks up to REBECCA.
DAN
Don’t worry about it. I’ll do it.
REBECCA and DAN freeze, staring at one another as the lights on them dim down. Lights come up
from behind the couch, where a large chip crumb named NORMAN breaks out into song.
NORMAN THE CRUMB
Dan won’t sweep me up, he will forget about me. I’m so lucky — here at Writopia with instructors like
Dan!
Blackout.

b. Conceptualization of modality
Nowadays modality is one of the most studied phenomena in linguistics. Like most
linguistic concepts it is of ambiguous nature, and modern Ukrainian and foreign
scientists treat modality differently. First of all, this trend is due to the fact that the
notion of modality is multidisciplinary. For example, as L.P Voinalovych noted, the
notion of modality was used by Aristotle in his work “Metaphysics” regarding logic.
The notion of modality is widely used in philosophy, where it is determined as the
existence of any object or occurrence of a phenomenon (ontological modality) or way
of understanding, opinions about the object, phenomenon or event (epistemological or
logical modality). The ambiguity of modality points to the necessity of its studies in
linguistics. Moreover, modality is rather peculiar to advertising texts which makes it a
very topical phenomenon.

In modern linguistic encyclopaedia modality (from Lat. Modus – “measuring

method”) – is a functional - semantic category, which expresses different kinds of
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A Diocesan School
NEW ILOILO, TANTANGAN, SOUTH COTABATO
Tel. No. (083) 229 – 1113
Email Address: notredamenewiloilo@gmail.com
opinions related to reality, and various kinds of subjective qualifications messages. In
English glossary of linguistic terms by Eugene E. Loos, comparing
the mood and modality, the linguist provides the following definition of the studied
notion: “Modality is the limit illocutionary force, defined by grammatical means (e.g.
mode of action), reflecting the illocutionary point or the general intention of the
speaker, or expression likelihood, desire, commitment or reality of his judgment”. It is
also stated that modality is synonymous to illocutionary force (illocutionary force).
Illocutionary force – is a type of speech act, which the speaker intends to make at the
time of the statements’ pronunciation: orders, questions, requests, statements,
promise, etc.
Since there are various views on modality, there are also different approaches to its
classification. Nevertheless, the most classic one is defined by V.V. Vinogradov,
i.e. objective and subjective modality, which specifies the modal expression of reality
and speaker.

Objective modality is a relation of what is said by speaker to the reality.

Subjective modality depicts the attitude of the speaker to the content of.

In addition to the above listed types of modality foreign scientists also distinguish
degrees of modality, namely high (strong), medium, low (weak) modality. For
example, Sigrid Norris argues that the degree of modality types determine modal
intensity.

For example:
might go - could possibly go - should go - will go - will definitely go
It could be hot outside. - It is probably hot outside. - It is hot outside
The diversity of views on modality and its typology leads to different approaches to
the means of its implementation.

However, the following means were determined:

1) phonetic (accent, intonation)
2) lexical (words with modal value)
3) lexical and grammatical (modal verbs)
4) grammar (mood)

Phonetic means play an important role in creating an emotional component of

advertising. The presence of modality in an expression is one of the ways to convey
speaker's attitude to what is being said and provoke emotional reaction to the
message. Phonetic means of modality representation refer subjective and logical
phrase accent and intonation. It should also be noted that advertising texts often use
onomatopoeia, interjections, wordplay at the phonetic level and so on.

For example: 

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 NOTRE DAME OF NEW ILOILO, INC.
A Diocesan School
NEW ILOILO, TANTANGAN, SOUTH COTABATO
Tel. No. (083) 229 – 1113
Email Address: notredamenewiloilo@gmail.com
“Ya, but how do you know it hurts?” “That's why we insure women”; “Stained in a
dash, gone in a flash”, “A powerful acne cleanser could not possible smell delicious.
Scratch that thought. Sniff it”.

The vast majority of linguists (FR Palmer, W. Frouli, F. de Haan, J. Hladki, I.V.
Korunets, I.V. Sokolov, D.V. Veselovska etc.) state that words with modal meaning
belong to lexical means of expressing modality. These words include adverbs,
particles, verbs and nouns with modal meanings. For example: “Affective is too a
word!”, “Probably the best dog training school”, “Apple. Think different”,
“Human bodies are made of 70% water, the other 30% should be responsibility”.

Modal verbs represent the lexical grammatical means of expressing modality. Unlike
other verbs, modal verbs do not indicate an action or state, they indicate the
relationship of the speaker to the action. In English modal verbs express possibility,
probability or improbability, obligation, necessity, desirability, doubt, i.e. everything
that has to do with the modality. In advertising texts modal verbs are used to
emphasize certain characteristics of products or services, and encourage consumers to
an action. For example: “A small faulty screw once crashed an airliner taking 219
lives. Your body is machine 10X more complex. Smoking can damage any single part
of it”; “You can read the news. Or read Newsweek”, “Now the colours of life can
last a lifetime. Valspar Paints”.

Grammatical means of modality are represented by mood. After analysis of about 800
advertising slogans, it was found that most of them contain a verb in an imperative
form. For example: “Take control of your finances. Continental savings Bank”,
“Make $ 300 the easy way”, “Love it. Hate it. Just do not forget it. Marmite”, “Take
a break from the usual. KitKat”, “Buy new private apartments”,
“Keep your feet on the ground. Petlas Tires”. This is mainly due to the fact that the
main task of advertising text is to encourage potential buyers to purchase the product
or use the service.

All in all, it can be concluded that modality is a multidisciplinary concept that in

linguistics expresses different types of statements that are related to reality. Thus,
scholars distinguish subjective and objective modality. In advertising texts modality is
expressed using phonetic, lexical, grammatical and lexical grammatical means. The
use of such a wide range of means is explained by the necessity of advertising texts of
conveying its communicative purpose in short sentences or even phrases.

MODELLING FROM WELL-KNOWN LOCAL AND FOREIGN

PLAYWRIGHTS

The famous filipino playwrights

1. Francisco Balagtas y de la Cruz was born on April 2, 1788 in Panginay, Bigaa,
Bulacan and died on Feb 20, 1862 of pnuemonia. He was also known as Francisco
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 NOTRE DAME OF NEW ILOILO, INC.
A Diocesan School
NEW ILOILO, TANTANGAN, SOUTH COTABATO
Tel. No. (083) 229 – 1113
Email Address: notredamenewiloilo@gmail.com
Baltazar his best known work is Florante at Laura. Francisco Balagtas was the
youngest of the four children of Juan Balagtas, a blacksmith, and Juana de la Cruz. He
studied in a prochial school in Bigaa and later in Manila. During his childhood years.
Francisci worked as houseboy in Tondo, Manila. Balagtas learned write from Jose de
la cruz( huseng sisiw), one of the most famous poets of Tondo. It was dela Cruz
himself who personally challenged Balagtas to improve his writing.
In 1835, Balagtas moved to Pandacan, where he met maria Asuncion Rivera who
served as the muse for his future wors. She is referenced in Florante at Laura as
"Celia" and "mer"
Balagtas is so greatly revered in the Philippines that the term for filipino debate in
extemporaneous verse in named after him: Balagtasan and one of the greatest literary
awards in the Philippines is also named after him

2. Severino R. Reyes
" Father of the tagalog Zarzuela"
A filipino Artist, dramatist and play wright, Reyes was highly acclaimed as one of the
giants of tagalog literature.
In 1902, Reyes founded and directed the Grand Compania de Arzuela Tagala.

on June 14, 1902. the company staged his play Walang Sugat ( No Wounds), a
drama set against the historical events in Bulacan during the philippine Revolution.

In 1923, Reyes co-founded the Liwayway, a Tagalog literary weekly which published
a series of fairy tales titled Mga kwento ni Lola Basyang written by Reyes. 
Severino R. Reyes died on September 15, 1942, when the Philippines was under the
Japanese regime.

Top Five Foreign Playwrights

1. William Shakespeare
William Shakespeare was an English poet, playwright, and actor, widely regarded as
the greatest writer in the English language and the world's pre-eminent dramatist.
The G.O.A.T. without a doubt. If you disagree, just name some Beckett trained actors,
or some Ibsen or Miller trained actors. I'll name off a ton of Shakespearean trained
actors.
Sad so many think Shakespeare is boring. There has been no other playwright who so
understood man's strengths and weaknesses. And his command of the English
language! I was recently at a performance of the Scottish play, I was laughing at one
part and no one else got the humor (which was pure word-play). He was really good
at comic relief to break the tension in an intense drama, and then building up the
dramam again.
All his plays grasp the human spirit in many ways, and his characters are so
memorable that many of us think of them as real people or archetypes of people.
Directors of his plays have interpreted them in various ways, and actors have played

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Tel. No. (083) 229 – 1113
Email Address: notredamenewiloilo@gmail.com
the characters in various ways. The pleasures and enlightenments he gives us are
endless and flexible and adaptable to any age and point of view.
He possessed a diverse understanding of people or a clear, realistic perspective of a
cross-range of society. His expression when writing from these individual
perspectives is so fresh that the audience begins to draw out characteristics they too
see in people, this anthropological representation is still vivid over 400 years later. A
TITAN OF THE OF THE PEN!

2. Samuel Beckett
Samuel Barclay Beckett (13 April 1906 – 22 December 1989) was an Irish avant-
garde novelist, playwright, theatre director, and poet, who lived in Paris for most of
his adult life and wrote in both English and French. He is widely regarded as among
the most influential writers of the 20th century.
His philosophical insights are simplistic, but he deserves credit for creating a vivid,
cartoonlike dramatization of intellectual despair.
The heir to Joyce and one of very few writers to master both the dramatic and epic
forms - a nonpareil playwright and novelist.
Never tire of his offbeat wit. I could read and watch his plays over and over and come
away with a different feeling every time.
Beckett, the analyzer, displayed a mastery of the human condition outmatched only
by Tolstoy and Shakespeare.

3. Henrik Ibsen
Henrik Johan Ibsen (20 March 1828 – 23 May 1906) was a major 19th-century
Norwegian playwright, theatre director, and poet. He is often referred to as "the father
of realism" and is one of the founders of Modernism in theatre.
There's a great bias against Ibsen in the U.S. , where he is known primarily for A Doll
House and Hedda Gabler, with his many other fine plays (Peer Gynt, An Enemy of
the People, The Wild Duck, The Master Builder, etc. ) mostly forgotten. Globally,
however, he is one of the most respected--and produced--playwrights. By their own
admissions, Arthur Miller and George Bernard Shaw would have been nobodys had it
not been for Ibsen.
Henrik Ibsen, the father of modern drama. Creator of "A Doll's House", "An Enemy
of the People", "The Wild Duck". Who influenced Anton Chekhov, George Bernard
Shaw, August Strindberg deserves a higher position on this list.
P.S.
Why does August Strindberg is not on this list
It is outrageous that a vicious old charlatan like Henrik should have achieved such
hallowed status. His effigy should be burnt in public squares throughout the civilized
world.
Ibsen's works are the second most played in the world, only second to Shakespear. To
this day, philosophers and writers study his works for their deep, exsistensial
characters and are considered the best interpetation of Kirkegaardian philosophy.
How is he not higher on the list?
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NEW ILOILO, TANTANGAN, SOUTH COTABATO
Tel. No. (083) 229 – 1113
Email Address: notredamenewiloilo@gmail.com

4. Arthur Miller
Arthur Asher Miller (October 17, 1915 – February 10, 2005) was an American
playwright, essayist, and figure in 20th-century American theater. He was often in the
public eye, particularly between the late 1940s and early 1960s. During this time, he
was awarded the Pulitzer Prize for Drama, testified ...read more.
In all my years of high school education (currently a Junior), Arthur Miller has been
an excellent choice for projects in my AP American Lit class. His books flow like
Nutella, unlike the banal, monotone literature received from more "elevated" and
"scholarly" playwrights such as Shakespeare.
The Crucible is an absolutely brilliant work. All of Arthur Miller's plays are. I have
not read a playwright that I appreciate the way I appreciate him. Even Shakespeare,
who I do passionately love, has not affected me the way Miller has.
I like!
It's so much good! Also, There are many plays and good things about it and acting
character insight also directing and theme flow plot subtext and beauty.
All My Sons, one undereconized but will always be poignant as long as there is war

5. Jean Racine
Jean Racine, baptismal name Jean-Baptiste Racine (22 December 1639 – 21 April
1699), was a French dramatist, one of the three great playwrights of 17th-century
France (along with Molière and Corneille), and an important literary figure in the
Western tradition.
Known by contemporaries as 'the Clean Racine'.
He has long hair
Truly the greatest neo-classical writer. His myth-inspired plays ally great sparseness
and economy of form with purity and simple elegance of language in wrenching
tragedies inspired by the tremendous passions of heroes and gods. His greatest plays,
Athalie, Phèdre, Iphigénie, Andromaque, Bérénice, all portraits of major female
figures of Greek and Hebraic legend, showcase vibrant energy and magnificently
contained emotion.
Not as good as Moliere

IV - ASSESSMENT
A – Direction: Answer the following questions/statement carefully
and write your answers on a separate paper.
1. What is a comedy of manners?
2. What is the ideal length of a full-length play? Why?
3. What popularized the ten-minute play?
4. What is dramatic structure? Why is it important?
5. Differentiate tragicomedy and melodrama.

B – PLAYWRITING: One-act Play. Write your answer on a separate

sheet of paper.
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 NOTRE DAME OF NEW ILOILO, INC.
A Diocesan School
NEW ILOILO, TANTANGAN, SOUTH COTABATO
Tel. No. (083) 229 – 1113
Email Address: notredamenewiloilo@gmail.com
1. Write at least one scene for one-act play applying the various
elements, techniques, and literary devices.

V - FEEDBACK
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