Creative Writing

Name of Learner:_____________________ Grade Level:__________________

Section:_____________________________ Score:_______________________

LEARNING ACTIVITY SHEET

STAGING MODALITIES

Background Information for Learners

Drama can be defined as a dramatic work

that actors present on stage. A story is dramatized,
which means the characters and events in the
story are brought to life through a stage performance
by actors who play roles of the characters in the story
and act through its events taking the story forward.

When you are devising a drama, you will need to think of how to stage
your performance, and what type of stage to use. With this, it is then
necessary for you to be knowledgeable about the different staging modalities
which are helpful especially in envisioning your script but before that let us
define first what staging is.

WHAT IS STAGING?

 It is the process of selecting, designing, adapting to, or modifying

the performance space for a play or film.
 It is also used to mean the result of this process, in other words the
spectacle that a play presents in performance, its visual detail.
This can include the following:
 positions of actors on stage (often referred to as
blocking)
 gestures and movements (also called stage business)
 scenic background
 props and costumes
 lighting and sound effects
Beside costumes, any physical object that appears in a play has
the potential to become an important dramatic symbol. The first
thing that the audience of a play sees is the stage set, the
physical objects that suggest the world of the play.
 In film, staging is generally called set dressing.

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 4 BASIC TYPES OF THEATER STAGES

1. Proscenium Stage
- The most traditional type for live theater, in which the audience sits in
rows facing the stage.
- The proscenium itself is the wall that separates the stage from the
auditorium- where the audience sits- and looks much like a picture
frame around the playing area.
- Some proscenium stages are “raked”, meaning the surface is slanted
at an angle to provide the audience with a better view of the “upstage”
area- the area furthest away from the audience.
- The “wing” areas to the left and right of the stage, as well as the “fly
loft”- the space above the stage- are masked by the proscenium wall.

Image showing the proscenium arch at Sheffield Lyceum

2. Arena Stage
- The audience completely surrounds the playing area. Whether a
square, circle or rectangle, this type of stage places the audience in
close proximity to the playing area.
- It is also known as theater-in-the-round, this type of staging is similar
to the style used in Medieval times, where a platform was essentially
plopped down in the middle of an outdoor marketplace.
- Scenery must be minimal so as not to block the actors from
surrounding the audience although lighting changes can create the
illusion of time passing between scenes.
- This type of stage is ideally suited for plays in which an intimates feel is
required or the actors interact directly with the audience, as often
happened in Medieval plays

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 Image showing the in-the-round theater at the Stephen Joseph
Theater, Scarborough

3. Thrust Stage
- The audience sits on three sides of a rectangular stage that literally
“thrusts” into the seating are.
- A thrust stage may or may not be connected to a larger, proscenium
stage.
- Thrust stages allow for realistic productions that subtly draw the
audience into the world of the play as the actors move onto, and off of,
the thrust space.

Image showing the Thrust stage at the Gulbenkian, University of Kent

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 4. Flexible Stage
- A flexible stage can take many shapes and forms, incorporating
elements of thrust, arena or proscenium stages.
- Flexible stages allow for a stylized realism in which the illusion of
different places is created from scene to scene by shifting the playing
space rather than moving scenery on and off the stage.
- Today’s productions of ancient Greek or Shakespearean plays often try
to “modernize” the material with present- day costuming and
naturalistic acting.
- Flexible stages can help with such productions, bringing what may
seem to be overly lofty material down to a more accessible level,
physically as well as artistically.

Learning Competency with code

Explore different staging modalities vis-à-vis envisioning the script
HUMSS_CW/MPIjc-18 S1/2 Q2/4

Directions and Instructions:

Hello, learner! You are about to check your learning/s on the different staging
modalities in a five-stage exploration (1-Load, 2-Engage, 3-Advance, 4-Refine, 5-
Nurture). Just follow the instructions given for every task.
Note: The texts of the plays needed for activities 2, 3 and 4b are found at the
Appendices Section of this learning material pp. 20-30.

LEARNING CONTRACT
AGREEMENT: By signing the contract, you are hereby accepting the responsibility to finish the activity package
and submit it to your teacher (____________________) on (____________________).

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LOAD

Activity 1. Fill and Match

Directions: Fill in the crossword puzzle with the words that refer to its
meaning at the right side of the puzzle. Match the number of the meanings to the
boxes placed across or down the grid. If filled out correctly, the words will fit perfectly
into the puzzle.

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 ENGAGE

Activity 2: CAN YOU VISUALIZE ME?

Directions: Fill in the table with the necessary visual details in the play that
you are about to read on pp 20-24. List the details in the order that they appear in
the play. Use the data retrieval chart provided below for your answers.

Scenic background Gestures and Movements Props and

Costumes

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ADVANCE
Activity 3. SKETCHING A STORY

Directions: Using the same play script on pp.20-24, sketch four scenes that
represent the theme of the play. Each sketch should be provided with a one
sentence caption. The following rubric will be used for scoring:

Content (relevance to the scenes)- 5

Illustrations- 10
Attractiveness-5
Total: 20 points

Scene 1 Scene 2

Scene 3 Scene 4

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REFINE

Activity 4. Staging the Play

A. Name these two types of stage:

1. _________________________ 2. _______________________

B. With reference to the extract of Act 1, Scene 1, in the play Romeo and
Juliet of William Shakespeare on pp.25-31, explain how you would use
one of the stages in question A to stage this play. In your answer refer to:
 your choice of stage including position of audience
 set

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The following rubrics will be used for checking:

Staging and design concept- 5 points

Detailed explanation of structure and style-5 points
Detailed description of the text in the extract- 5 points

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Activity 5. MAKING PICTURES TALK

A. Directions: Make a short script using the pictures below based on your
personal interpretations. The story should run for about 5-10 minutes. After
doing the script, answer the questions below it.

A B

C D

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 B. Questions:

1. What elements in the picture served as the basis of your interpretation?

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2. What were the things that you first considered when you wrote your script?
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3. What were the learnings and difficulties that you encountered in the course
of writing your script?
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4. What type of stage is best suited for your script? Why?

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Rubrics for Script Writing:
Content and Ideas-10
Interpretation- 10
Dialouge-5
Grammar and Mechanics 5
Total: 30 points

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Reflection:

Three things I have learnt about staging modalities are:

1.
2.
3.

I still feel that I need to work on….

I feel I have done well at:




I can still improve by:

Prepared by:

MARVELYN M. CATUBAG MARISSA G. MALAMUG

Tuao Vocational and Technical School Itawes National High School

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References:

Ward, Peter (1996). “Picture Composition for Film and Television” . Focal Press.
Retrieved January 31, 2017.

Electronic Resources:
http://www.playshakespeare.com/license
http://vl-theatre.com/list14.shtml
www.bbc.co.uk

Other Resources:

Albert-Ludwigs-Universitat: Types of Stage

Kids Who Care, Inc.: Theater Terms
Pearson Edexcel Level 1/Level 2 GCSE (9-1) in Drama – Sample Assessment
Materials 13 Issue 3 – December 2019 © Pearson Education Limited 2019
WJEC CBAC Ltd.

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 Answer Key:
Activity 1: Fill and Match
Across Down
1. visual detail 2. blocking
3. stage business 4. staging
6. thrust stage 5. Flexible stage
7. arena stage 9. Proscenium stage
8. stage set
10. drama

Activity 2: CAN YOU VISUALIZE ME?

Scenic background Gestures and Movements Props and

Costumes
Creating a busy tube train Closing doors Tube train
Sophie jumps in the tube.
Early mornings and late Passengers moved to the rear Train and the
nights at bank platform
Office where something Doors open and passengers burst out monitor
unusual was seen at the and transform
monitor
Sophie occupies the top SOPHIE arrives at her desk and pick up desk
desk, centre stage. the atmosphere
Lucy giggles
Home SOPHIE enters her flat. She presses the phone
button on her
answer-phone.
A cat meows and Sophie picks it up, cat
clicks off the message and cuddles the
cat
Bed at night Performers created bed. Sophie goes to Bed
bed
Two insomniacs appear
Office Phil and Lucy look at each other Milk
The office transforms into a bed

As they begin to count sheep, in different

languages,
they walk and gradually arrive in the
office.
Sheep
All examine their desks.

Gradually the office dissolves. They can’t

79
 make sense of
the office equipment – it all becomes Desks
foreign to them.

Office equipment

Activity 3. SKETCHING A STORY

Answers Vary

Activity 4. Staging the Play

A.
1. Thrust Stage 2. Proscenium Stage

B. Answers Vary
Activity 5. MAKING PICTURES TALK

Answers Vary

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APPENDICES
Reading Texts:

Activity 2: CAN YOU VISUALIZE ME?

100, Diene Petterle, Neil Monaghan and Christopher Heimann

This play had its first performance at the Edinburgh Fringe Festival in 2002.
The first professional performance of the published text was at the Soho Theatre,
London in 2003

Sophie’s memory
Sophie

It was the beginning of a week like any other week. The performers create a busy
tube train.
Voice

Mind the closing doors. SOPHIE jumps on the tube. The tube starts.
Sophie

Another week of early mornings and late nights.

Voice
The next station is Bank. On arrival the first set of doors will not open.
Passengers
in the first carriage please 5 move to the rear. Please mind the gap between the
5
train and the platform. Doors open, passengers burst out and transform into the
office. PHIL and JERRY are at their desks. LUCY approaches JERRY,
noticing he has something unusual on his monitor.

Phil
Jerry . . . send it over . . . send it over.

Jerry
OK, but you didn’t get it from me, alright?

Phil

Yeah, yeah. 10

Lucy
Oh that is utterly gross.ERRY hits the send key.

Phil
Oh whoa . . . (He clicks his mouse.) Enlarge . . .enlarge

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Lucy
You two are crazy . . . she’ll be here in a minute.Phil Uh huh (Laughs.) 15
I gotta cc this to everyone.

SOPHIE arrives at her desk. She now occupies the top desk, centre stage.

Sophie
Good morning.

All
Morning. SOPHIE picks up on the atmosphere in the office.

Sophie
What’s going on? A beat

Phil
Jerry, I told you to stop sending me junk like this while I’m trying to work. 20
LUCY giggles. The office dissolves.

Sophie
Just an ordinary day. I worked late, got back on the tube
and went home. SOPHIE enters her flat. She presses the button on her
answer-phone.

Mother’s Voice
Sophie dear, it’s mum. I know this is terribly short notice but the Smiths
have invited us for dinner on Tuesday. During this message a cat meows.
She picks it up.

Sophie
Hi Stanley! 25

Mother’s Voice
Young Ned’ll be there too. He’s doing so well these days,
you really should . . .SOPHIE clicks off the message and cuddles the cat.

Sophie
Good night.
The other performers created the bed. SOPHIE goes to bed.

Sophie (narrates)
That night I found I couldn’t sleep. And I don’t mean it took me a long 30
time to sleep . . . I stared at the ceiling all night.The next night was the
same. I looked out the window only to see other people staring out of
their windows back at me.Two other insomniacs appear.
London became the city that never sleeps! 35
And that was when I noticed . . . people had started to
forgot the names of things.The other performers create the tube. SOPHIE

82
gets on the tube.
Voice
Mind the . . . Mind the . . .

Passenger
Gap?

Voice
Mind the gap 40

The office.
Sophie
I seem to have run out of . . .

Phil
Paper?

Sophie
No

Jerry
Paperclips?

Sophie
No!
45
Lucy
What then?

Sophie (struggles)

Staples?

Jerry
What?

Sophie
Staples . . . you know . . . for stapling er . .

Phil
Paper? 50
The two look at each other, this is scary.
The office transforms into the bed.

Sophie
And as darkness fell once more we dreaded the night. (frustrated)
We tried everything . . . (These actions areacted out.) Hot milky drinks.
That didn’t work.So wet ried exercise. That didn’t work! We even tried
counting sheep.

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 55
As they begin to count sheep, in different languages,they walk and
gradually arrive in the office.And because we had not slept we gradually
lost a senseof words and then a sense of meaning althogether.
The whole city had amnesia.

The office. SOPHIE looks at her colleagues.

Sophie
Who are these people (Trying to focus.) Work; I’m at
work. 60

All examine their desks.

What is my work?

Gradually the office dissolves. They can’t make sense of

the office equipment – it all becomes foreign to them.
What’s this thing for?
The performers discover each other.
(To colleague) Who are you? (Turning to another
colleague.) Who are you?
In this moment it was as if all our successes had been 65
wiped out, all our failures forgotten. Everything and
everyone was . . . (She searches for the right word.)
new.

The camera flashes. Blackout.

84
Activity 4 B. Staging the Play
Romeo & Juliet: Act 1, Scene 1
Verona. A public place. The quarrel is between our masters,
(Sampson; Gregory; Abram; Balthasar; and us their men.
Benvolio; Tybalt; Citizens; Capulet; SAMPSON
Lady Capulet; Montague; Lady ’Tis all one; I will show myself a tyrant:
Montague; Prince Escalus; Romeo) when I have fought with the men, I will
Enter Sampson and Gregory, with be civil with the maids; I will cut off
swords and bucklers, of the house of their heads.
Capulet. GREGORY
SAMPSON The heads of the maids?
Gregory, on my word, we’ll not carry SAMPSON
coals. Ay, the heads of the maids, or their
GREGORY maidenheads, take it in what sense
No, for then we should be colliers. thou wilt.
SAMPSON GREGORY
I mean, and we be in choler, we’ll They must take it in sense that feel it.
draw. SAMPSON
GREGORY Me they shall feel while I am able to
Ay, while you live, draw your neck out stand, and ’tis known I am a pretty
of collar. piece of flesh.
SAMPSON GREGORY
I strike quickly, being mov’d. ’Tis well thou art not fish; if thou hadst,
GREGORY thou hadst been poor-John. Draw thy
But thou art not quickly mov’d to strike. tool, here comes two of the house of
SAMPSON Montagues.
A dog of the house of Montague Enter two other servingmen: Abram
moves me. and Balthasar.
GREGORY SAMPSON
To move is to stir, and to be valiant is My naked weapon is out. Quarrel, I will
to stand; therefore, if thou art mov’d, back thee.
thou run’st away. GREGORY
How, turn thy back and run?
SAMPSON SAMPSON
A dog of that house shall move me to Fear me not.
stand! I will take the wall of any man or GREGORY
maid of Montague’s. No, marry, I fear thee!
GREGORY SAMPSON
That shows thee a weak slave, for the Let us take the law of our sides, let
weakest goes to the wall. them begin.
SAMPSON GREGORY
’Tis true, and therefore women, being I will frown as I pass by, and let them
the weaker vessels, are ever thrust to take it as they list.
the wall; therefore I will push SAMPSON
Montague’s men from the wall, and Nay, as they dare. I will bite my thumb
thrust his maids to the wall. at them, which is disgrace to them if
GREGORY they bear it.

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ABRAM BENVOLIO
Do you bite your thumb at us, sir? I do but keep the peace. Put up thy
SAMPSON sword,
I do bite my thumb, sir. Or manage it to part these men with
ABRAM me.
Do you bite your thumb at us, sir? TYBALT
SAMPSON What, drawn and talk of peace? I hate
Aside to Gregory the word
Is the law of our side if I say ay? As I hate hell, all Montagues, and thee.
GREGORY Have at thee, coward!
Aside to Sampson They fight.
No. Enter three or four Citizens with clubs
SAMPSON or partisans.
No, sir, I do not bite my thumb at you, CITIZENS OF VERONA
sir, but I bite my thumb, sir. Clubs, bills, and partisans! Strike! Beat
GREGORY them down!
Do you quarrel, sir? Down with the Capulets! Down with
the Montagues!
ABRAM Enter old Capulet in his gown, and his
Quarrel, sir? No, sir. wife, Lady Capulet.
SAMPSON CAPULET
But if you do, sir, I am for you. I serve What noise is this? Give me my long
as good a man as you. sword ho!
ABRAM LADY CAPULET
No better? A crutch, a crutch! Why call you for a
SAMPSON sword?
Well, sir. CAPULET
Enter Benvolio. My sword, I say! Old Montague is
GREGORY come,
Say “better,” here comes one of my And flourishes his blade in spite of me.
master’s kinsmen. Enter old Montague and his wife, Lady
SAMPSON Montague.
Yes, better, sir. MONTAGUE
ABRAM Thou villain Capulet!—Hold me not, let
You lie. me go.
SAMPSON LADY MONTAGUE
Draw, if you be men. Gregory, Thou shalt not stir one foot to seek a
remember thy washing blow. foe.
They fight. Enter Prince Escalus with his Train.
BENVOLIO PRINCE ESCALUS
Part, fools! Rebellious subjects, enemies to
Put up your swords, you know not peace,
what you do. Profaners of this neighbor-stained
Beats down their swords. steel—
Enter Tybalt. Will they not hear?—What ho, you
TYBALT men, you beasts!
What, art thou drawn among these That quench the fire of your pernicious
heartless hinds? rage
Turn thee, Benvolio, look upon thy With purple fountains issuing from your
death. veins—

86
On pain of torture, from those bloody
hands
Throw your mistempered weapons to
the ground,
And hear the sentence of your moved
prince.
Three civil brawls, bred of an airy
word,
By thee, old Capulet, and Montague,
Have thrice disturb’d the quiet of our
streets,
And made Verona’s ancient citizens
Cast by their grave beseeming
ornaments
To wield old partisans, in hands as old,
Cank’red with peace, to part your
cank’red hate;
If ever you disturb our streets again
Your lives shall pay the forfeit of the
peace.
For this time all the rest depart away.
You, Capulet, shall go along with me,
And, Montague, come you this
afternoon,
To know our farther pleasure in this
case,
To old Free-town, our common
judgment-place.
Once more, on pain of death, all men
depart.
Exeunt all but Montague, Lady
Montague, and Benvolio.
MONTAGUE
Who set this ancient quarrel new
abroach?
Speak, nephew, were you by when it
began?
BENVOLIO
Here were the servants of your
adversary,
And yours, close fighting ere I did
approach.
I drew to part them. In the instant
came
The fiery Tybalt, with his sword
prepar’d,
Which, as he breath’d defiance to my
ears,
He swung about his head and cut the
winds,
Who, nothing hurt withal, hiss’d him in
scorn.
While we were interchanging thrusts
and blows,
Came more and more, and fought on
part and part,
Till the Prince came, who parted either
part.
LADY MONTAGUE
O, where is Romeo? Saw you him
today?
Right glad I am he was not at this fray.
BENVOLIO
Madam, an hour before the worshipp’d
sun
Peer’d forth the golden window of the
east,
A troubled mind drive me to walk
abroad,
Where, underneath the grove of
sycamore
That westward rooteth from this city
side,
So early walking did I see your son.
Towards him I made, but he was ware
of me,
And stole into the covert of the wood.
I, measuring his affections by my own,
Which then most sought where most
might not be found,
Being one too many by my weary self,
Pursued my humor not pursuing his,
And gladly shunn’d who gladly fled
from me.
MONTAGUE
Many a morning hath he there been
seen,
With tears augmenting the fresh
morning’s dew,
Adding to clouds more clouds with his
deep sighs,
But all so soon as the all-cheering sun
Should in the farthest east begin to
draw
The shady curtains from Aurora’s bed,
Away from light steals home my heavy
son,
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And private in his chamber pens ROMEO
himself, Ay me, sad hours seem long.
Shuts up his windows, locks fair Was that my father that went hence so
daylight out, fast?
And makes himself an artificial night. BENVOLIO
Black and portendous must this humor It was. What sadness lengthens
prove, Romeo’s hours?
Unless good counsel may the cause ROMEO
remove. Not having that which, having, makes
BENVOLIO them short.
My noble uncle, do you know the BENVOLIO
cause? In love?
MONTAGUE ROMEO
I neither know it, nor can learn of him. Out—
BENVOLIO BENVOLIO
Have you importun’d him by any Of love?
means? ROMEO
MONTAGUE Out of her favor where I am in love.
Both by myself and many other BENVOLIO
friends, Alas that love, so gentle in his view,
But he, his own affections’ counsellor, Should be so tyrannous and rough in
Is to himself (I will not say how true) proof!
But to himself so secret and so close, ROMEO
So far from sounding and discovery, Alas that love, whose view is muffled
As is the bud bit with an envious worm, still,
Ere he can spread his sweet leaves to Should, without eyes, see pathways to
the air his will!
Or dedicate his beauty to the sun. Where shall we dine? O me! What fray
Could we but learn from whence his was here?
sorrows grow, Yet tell me not, for I have heard it all:
We would as willingly give cure as Here’s much to do with hate, but more
know. with love.
Enter Romeo. Why then, O brawling love! O loving
BENVOLIO hate!
See where he comes. So please you O any thing, of nothing first create!
step aside, O heavy lightness, serious vanity,
I’ll know his grievance, or be much Misshapen chaos of well-seeming
denied. forms,
MONTAGUE Feather of lead, bright smoke, cold
I would thou wert so happy by thy stay fire, sick health,
To hear true shrift. Come, madam, Still-waking sleep, that is not what it is!
let’s away. This love feel I, that feel no love in this.
Exeunt Montague and Lady. Dost thou not laugh?
BENVOLIO BENVOLIO
Good morrow, cousin. No, coz, I rather weep.
ROMEO ROMEO
Is the day so young? Good heart, at what?
BENVOLIO
BENVOLIO At thy good heart’s oppression.
But new struck nine. ROMEO

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Why, such is love’s transgression. A right fair mark, fair coz, is soonest
Griefs of mine own lie heavy in my hit.
breast, ROMEO
Which thou wilt propagate to have it Well, in that hit you miss: she’ll not be
press’d hit
With more of thine. This love that thou With Cupid’s arrow, she hath Dian’s
hast shown wit;
Doth add more grief to too much of And in strong proof of chastity well
mine own. arm’d,
Love is a smoke made with the fume From Love’s weak childish bow she
of sighs, lives uncharm’d.
Being purg’d, a fire sparkling in lovers’ She will not stay the siege of loving
eyes, terms,
Being vex’d, a sea nourish’d with Nor bide th’ encounter of assailing
loving tears. eyes,
What is it else? A madness most Nor ope her lap to saint-seducing gold.
discreet, O, she is rich in beauty, only poor
A choking gall, and a preserving That, when she dies, with beauty dies
sweet. her store.
Farewell, my coz. BENVOLIO
BENVOLIO Then she hath sworn that she will still
Soft, I will go along; live chaste?
And if you leave me so, you do me ROMEO
wrong. She hath, and in that sparing makes
ROMEO huge waste;
Tut, I have lost myself, I am not here: For beauty starv’d with her severity
This is not Romeo, he’s some other Cuts beauty off from all posterity.
where. She is too fair, too wise, wisely too fair,
BENVOLIO To merit bliss by making me despair.
Tell me in sadness, who is that you She hath forsworn to love, and in that
love? vow
ROMEO Do I live dead that live to tell it now.
What, shall I groan and tell thee? BENVOLIO
BENVOLIO Be rul’d by me, forget to think of her.
Groan? Why, no; ROMEO
But sadly tell me, who? O, teach me how I should forget to
ROMEO think.
Bid a sick man in sadness make his BENVOLIO
will— By giving liberty unto thine eyes:
A word ill urg’d to one that is so ill! Examine other beauties.
In sadness, cousin, I do love a woman. ROMEO
’Tis the way
BENVOLIO To call hers (exquisite) in question
I aim’d so near when I suppos’d you more.
lov’d. These happy masks that kiss fair
ROMEO ladies’ brows,
A right good mark-man! And she’s fair Being black, puts us in mind they hide
I love. the fair.
BENVOLIO He that is strucken blind cannot forget

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The precious treasure of his eyesight
lost.
Show me a mistress that is passing
fair,
What doth her beauty serve but as a
note
Where I may read who pass’d that
passing fair?
Farewell, thou canst not teach me to
forget.
BENVOLIO
I’ll pay that doctrine, or else die in
debt.
Exeunt

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