Creative Writing

Fourth Quarter Week 5 and 6

Exploring Various Staging Modalities in relation with the
Drama Script
Drama and the different staging modalities that you can use in the
production and presentation of your drama scripts.
STAGING MODALITIES
The drama script comes to life in the performance phase. This is now a critical
phase since all elements of drama are now intertwined: literary elements, technical
elements, and the performance elements. The success of the drama depends on these
interconnections.
Choices which are made by concerned people on scenes in the drama is called
interpretation. Such process may sound simple, yet it becomes tedious when it is
put into the stage. Considerable time and efforts are put into the interpretation to
come up with a successful staging.
Staging refers to the position of the acting area in relation to the audience.
But more than this, staging covers everything that performers do on stage (and even
technical crew and production staff at the backstage) to bring the drama to life and
give justice to the story. Staging then becomes a process of designing, adapting,
selecting, or even modifying the performance space for the play.
As part of the staging, directors (because there are several of them working
together: acting, lights, sound, effects, props, stage, stunt, etc.) usually brainstorm
regarding the acting area. This area refers to the available spaces to be occupied by
the set and to be used by the actors and actresses when performing. With this, the
stage becomes a battle ground to all the people of the drama production but most
especially to the performers.
THE STAGE
The stage, in simple definition, is the area designated for a performance. It
serves as space for the actresses and actors for the audience to watch them perform.
Taking the stage into consideration is very important. The stage spells out the
relationship to be made between the actors and actresses and the audiences. Always
remember that the inclusion of the audience is fundamental to the success of a
drama performance. Going back to basics: no audience, no drama!
Relative to the stage, the acting area is divided into nine sections: upstage
right (USR), upstage center (USC), upstage left (USL), center stage right (CSR), center
stage or the exact middle (CS), centerstage left (CSL), downstage right (DSR),
downstage center (DSC), and the downstage left (DSL).
An illustration below gives a more detailed explanation for you to understand
where these sections are in relation to the position of the audience.

The Nine Acting Areas

The downstage sections are the nearest to the audience while the upstage
sections are the farthest.
These sections in the acting area help the performers and other production
staff identify the different parts of the acting space. With it, they can place with
appropriateness the set and the props as well as the lights.
The blocking decisions for the actors and actresses also become clearer using
these acting areas. The performers can identify where to enter, to exit and where to
stand while on the stage. In addition, the space on stage can be used well and the
director could give the best space for the performer and best viewing experience for
the audience.
TYPES OF STAGE FOR DRAMA PRODUCTIONS
A. PROSCENIUM STAGE
This type of stage has a built-in architectural frame called “proscenium arch”
(although it does not look curved in shape and does not even serve the purpose of
curved structural support). This proscenium arch makes the stage look like a ‘picture
frame’ hence the other call picture-frame stage.
This type of stage is deep and sometimes raked (gently sloped and rising away
from the audience). Modern proscenium stages nowadays have extended portion
outside the proscenium arch leading to the auditorium area. This part is called apron
or forestage. What makes proscenium stage fascinating is the availability of areas
for the live orchestra called orchestra pit and fly towers for movements of lights and
sceneries.
The illustration below gives you a better picture on how the proscenium stage
looks like.

An illustration of a Proscenium Stage

B. THRUST STAGE
This type of stage has its stage protruding to the auditorium giving the
audience sitting areas on three sides. The thrust stage area itself is not always square
or rectangular. The stage may semi-circular or half a polygon with any number of
sides. The purpose of the thrust stage is to increase level of closeness between the
performers and the audience.

An illustration of a Thrust Stage

C. THEATERS IN THE ROUND
In this style, the stage is an area enclosed by the audience on all sides. Though
it is called ‘round’, the seating arrangement of audience is rarely round. Common
seating arrangements usually come in a square or polygonal formation.
Since there are no wing sides which serve as entrance and exit of performers
like in the proscenium and the thrust styles, performers enter through the aisles or
vomitories between the seating. Also, there is minimal use of sceneries and these are
usually positioned in a manner that does not hinder the view of the audience.
 An illustration of a Theater in the Round Stage
D. BLACK-BOX or STUDIO THEATER
This is a non-conventional stage style. It is a flexible performance space
usually a single room painted in black. The floor of the stage is at the same level as
the first audience row. The rest of the rows at the back are gradually elevated in a
tiered position.

An illustration of a Black Box Theater

E. PROMENADE THEATER
There is no fixed stage setting. The performers move from place to place and
the audience follow. The ‘promenade’ could be made inside the different parts of the
theater itself or even outside in the streets (so long as there is permit and enough
security to handle the crowd).
The Filipino Cenakulo, when played on the streets, is an example of this type.
The Cenakulo performers move from one block of the street to another performing
different scenes. The audience follow the performers until they reach the crucifixion
part and the death of Christ scene.

An illustration of a Promenade Theater

F. AVENUE STAGE
In this type of stage, the audience is made to sit on two sides of the acting
area.

An illustration of an Avenue Stage

 THE SCRIPT
A drama is written in a format called a script. It is the text version of the
dialogues in the drama. When you look at a script, it is not written in the manner
like novels and short stories do. Though it is not written in paragraph from, the
content of the script still follows the standards of storytelling, that is, the parts of the
plot are still observed.
The script is consisting of two main parts: the dialogues or the lines that
characters say and the stage directions or the instructions given to the actors and
actresses (as well as prompts on lights and sounds and special effects).
Aside from the two main parts, there are also other elements of significant
importance like title of the drama, the cast of characters and the scenery which
gives a description of the setting in every act. In the case of a one-act play, the scenery
will be written only once.
Here are some technical pointers to remember when writing the script.
1. The title is written at the topmost center of the paper (though other writers write
this flushed to the left).
2. The cast of characters follow right after the title. The names of the characters are
written then followed by a short description of their physical attributes and their role
in the drama.
3. The scene follows the cast of characters. In this part, the setting is described. The
playwright must use the acting area and place the set and props where they are
supposed to be before the act starts. It also indicates points of entrance and who are
the characters on-stage already even before the curtain opens. It also indicates
special effects (if needed) like smoke effect, lights or even the sounds. This part is
usually labelled with INT (interior) or EXT (exterior) to mean whether the scene is
happening inside a building or outside. This is used in dramas where there are
multiple acts which means various scenes. In a one-act play, the INT-EXT labels are
no longer needed.
4. The dialogues of characters will then follow. This indicates that the story has
officially started. The name of the character is written first then followed by a colon
to separate it from the dialogue. When another character is to tell his or her lines,
you start another line in the script.
5. Embedded into the dialogues are stage directions. These lines are usually written
in italics and are set-off by parentheses. This makes it easy to separate the dialogues
with the directions.
6. At the end of the script playwrights write “Close Curtains” which signifies the end
of the drama.
Activity 1: Word Pool
Directions: Fill in the blanks to complete the idea in every statement. Look
for your answers in the Word Pool provided below. Use a separate sheet of
paper for your answers.

Stage Script Acting Area Audience

Interpretation Staging Apron Stage Direction
Orchestra Pit Blocking Thrust Picture Frame Stage
1.The serves as space for the actresses and actors for the audience to watch them
perform.
2.Choices which are made by concerned people on scenes in the drama is called .
3.What makes proscenium stage fascinating is the availability of areas for a live orchestra
called .
4.A drama is written in a format called .
5.The process of designing, adapting, selecting, or even modifying the performance space
for the play is called .
6.The process of identifying where performers enter, exit, and stand on the stage is called
7.The refers to the available spaces to be occupied by the set and the performers when
performing on stage.
8.The proscenium stage is also called .
9.The extended portion of a proscenium stage is called .
10.In an avenue stage, the ________is made to sit on two sides of the acting area.