TASK Write at least 3 descriptions of each item in the given table. Fiction DramaFak, Read the text below and answer the following: Inspiration is the biggest factor in the process of creativity; some things may be new and innovative, but they are mostly adaptations of something older and primitive. Yet inspiration does not slander the original idea that it creates, it almost glorifies the two ideas together to show off their similarities and differences. Many artists are compared against their idols because of their inspired style or method of creativity: however, this doesn't make their idols less important. It highlights the complex styles that were originally created and expanded even later in the future by another inspired creative. When this happens, it creates an easier method of understanding the artist work, Knowing where their inspiration and ideas formed from helps the viewer grasp the ‘meaning and time put into the piece they are analyzing. This extends more than just art pieces and musie, but also more ¢o in books. Authors find themselves inspired by snother before them with an interesting style or outlook on the way to express many things going on in society. The Irish novelist I've had the chance of studying all semester, James Joyce, helped me better see this relationship of inspiration with hhis most famous work Ulysses and its direct adaptation of the famous Homeric Bpie, The Odyssey, Ulysses ia a very obscure, yet clear tale of one person's entire day. The story is known for its length due to the inner monologuc that is the overall narration of the entire novel. This is a style of writing inspired by an older method with a few distinct ‘methods and details brought along with it. Ulysses is known for its mysterious sense of time and location because almost 2 pages worth of dialogue could only be two seconds in the narrative’s world. Joyce somewhat created a mathematical, poetic tone of writing picked up from the narration of the Odyssey, however, the plot style ofthe story is where most of the inspiration for Ulysses comes from. ‘The two tales are mapped out with similar characters and events, but told throughout two completely different stories, in completely different universes. However, reading the Odyssey helps while reading Ulysses because it shows the direct narrative in which the story is told and helps the reader get a better understanding of what's going on in the story of the novel. The flow of chapters in Ulysses, named after characters, locations, and events in the Odyssey is the exact same flow as the Homerie poem starting from front to beginning, With no prior knowledge of the many historic Irish points in Ulysses, i's more than helpful to have this story as @ guide to the plot and progression of the tale, With an in-depth, analysis of different chapters in Lilysses that coincide with the progression of the Odyssey, we can better understand the flow and process of Joyee’s tale and ite direct relationship to Homer's, Source: hips medium com /phakehnwnii/english trate. the clysey lyses one inthe same. bdabsseedenEXPLORE! ‘What is being compared in the text? What is the difference between Ulysses and Odyssey? If you were the were the writer of Ulysses, will you use Odyssey as a reference or inspiration in writing? je ‘What is Intertextuality? eye INTERTEXTUALITY Sometimes, a work of literature refers to another important work in subtle or direct ways. This is called intertextuality. It may be as simple as references to another text or the literary themes in that text, or it may build on what the reader already knows from the original text. Bither way, this is an important concept in literature. Importance of Intertextuality Even though it's a solitary activity, reading can actually be a shared experience. You and your favorite writers have read many of the same books. When an author and the reader have a common understanding of a text, this allows the author to communicate to the reader in terme of that original text. Intertextuality is important because it is another form of communication between the reader and the author. ‘What Are the Types of Intertoxtuality? Intertextuality can take many forms, and you will recognize many of them from your favorite books. Here are some types of intertextuality you may have encountered! ‘+ Ailusion - This literary device involves directly referving te something else, ‘often another literary text. Examples of allusion may be as simple as referting to a character or quoting a line + Parody - When one picce of writing uses many of the eame clements of another but does it in a new and funny way, this is an example of parody. ‘The parody may copy the setting, plot, characters, or other parts of the original work,Pastiche - A pastiche borrows elements from one or more works and reconfigures them to create something new. Itis generally a respectful type ‘of borrowing that gives eredit to the original and is not plagiasism, Examples of Intertextuality L James Jayce’s Ulysses was a deliberate retelling of Homer's Odyssey ‘but transplanted out of ancient Greece into modern-day Dublin, The various chapters in Joyce's novel correspon to the adventures of ‘Odysseus in Homer's epic poem. For Joyce, the point of this deliberate intertextuality was to show that ordinary people can experience something heroic in their everyday lives. Steven Pressfield’s novel The Legend! of Bagger Vance, which was adapted into a movie starring Will Smith, was originally written as a re-telling of the Hindu epic Bhagavad Gita ~ the name “Bagger Vance” is supposed to sound like “Bhagavad.” In the original Hindu epic, the god Krishna discusses the importance of enlightenment and warrior virtues with Prince Arjuna ~ the novel/movie transplants this ancient story onto the links of a golf course. ‘The actor Christopher Guest appeared in countless comedic movies in the 1980s, including such classics as The Princess Bride (1987) and This Is Spinal Tap (1984), In the earlier film, he plays heavy metal guitarist whose ‘amplifier, as we learn in one scene, can be turned up to 11 instead of the ‘ustial 10, Three years later, he appeared on screen again playing a man with 6 fingers on his right hand ~ the character had 11 fingers instead of 10. Fans have wondered ever since whether this was a deliberate reference to Spinal Tap or just an accident: deliberate or latent intertextuality? an fiction is a great example of deliberate intertextuality. In fan fiction, authors enter the fictional worlds of other authors and creste their own stories. For example, a Lord of the Rings fan fiction might tell the story of ‘minor characters of add new characters to the world of Middle Earth, Sometimes, fan fiction becomes extremely successful in ite own right ~ 50 Shades of Grey was originally written as Twilight fan fiction. Martin Luther King’s writing was heavily influenced by the work of Mohandas Gandhi, especially in the area of nonviolent resistance. Much of this intertextuality was deliberate, with King explicitly erediting Gandhi as cone of his influences. Scholars, however, have debated whether there might have been other aspects of Gandhi's writing, such as his aesthetic style, that also influenced King in a more latent way. Source: https: literarydevices.net/ntertextuality‘STAGING MODALITIES Staging is the process of selecting, designing, adapting to, or modifying the performance space for a play or film, ‘TYPES OF THEATER STAGES 1 PROSCENIUM Possesses an architectural frame, known as the proscenium arch, although not always arch in shape. The stage is gently sloped rising away from the audience. THRUST ‘As the name suggests, these projects or ‘thrust’ into the auditorium with the audience sitting on three sides. The thrust stage area itself is not always square but may be semi-circular or half a polygon with any number of sides. Such stages are often used to increase intimacy between actors and the audience. ‘THEATRES IN-THE-ROUND. ‘These have a central performance area enclosed by the audience on all sides. The arrangement is rarely ‘round’: more usually the seating is, in a square or polygonal formation. The actors enter through aisles or vomitories between the seating, Scenery is minimal and carefully positioned to cnsure it docs not obstruct the audience's view. ‘4. BLACK-BOX OR STUDIO THEATRES ‘These are flexible performance spaces which when stripped ta their basics are a single room painted black, the floor of the stage at the same level as the first audience row. PLATFORM ‘These usually consist of a raised rectangular platform at one end of a room. They can either have a level or raked sloping floor. The audience sit in rows facing the stage. The stage is open and without curtains, they are sometimes known as end stages or apen stages. 6. HIPPODROMES Similar to circuses and have a central arena surrounded by concentric tiered seating, Deep pits or low screens often separate the audience from the arena,7. OPEN AIR THEATRES ‘These outdoor theattes that do not have a roof although sometimes parts of the stage or audience seating will be covered. These stages may make use of the neutral light as it changes during the day, particularly sunset. 8, PROMENADE A promenade theatre is when people move around from stage to stage, It makes people feel like they are more of a part of the performance and is more of an experience than a play, It is used most of the time for plays that are set in the medieval era.Ee Task 4, Direction: Read “New Yorker in Tondo” by Marcelino Agana Jr. and answer the activities that follow. 1. Draw an appropriate staging modality that is appropriate to the play. 2. Discuss what the author is trying to communicate to the viewer/reader. NEW YORKER IN TONDO Marcelino Agana, Jr. SCENE: The parlor of the Mendoza house in Tondo. Front door is at right. Cartained is at left. Left side of stage is occupied by a rattan set sofa and two chairs flanking a table. On the right side of the stage, a cabinet radio stands agnnst a back wall Open doorway in center, background, leds into the rest of the house, MRS. Mt (As she walks toward the door) -Visitors, always visitors. Nothing but visitors All day long. Naku, I'm beginning to feel like a society matron. (She opens. door. Tony steps in, carrying a bouquet. Tony is 26, dressed to kill, and is, the suave type. Right now, however, he is feeling « trifle nervous. He starts slightly on seeing Mrs. Mendoza } MRS. M: Tony! I thought you were in the provinces. ‘TONY: (Startling) -Butis that you, Aling Atang? MRS. M: (Laughing) -- Of course. 1" I, foolish bay. Who did you think it was? "Carmen Rosales? ‘TONY: You ...you don look like Aling Atang. MRS. M: (shyly touching her boyish bob) -Thad my hair eut. Do I look ‘80 horrible? TONY: Ob, no, no ... you look just wonderful, Aling Atang, For a moment 1 ‘thought you were your own daughter. | thought you were Kikay. MRS. M: (Playfully slapping his cheek) --- Ob, you are as palikero as ever, Tony. But ‘Come in, come in. (She moves toward the furniture and Tony follows.) Here, sit down/Teny. How is your mother? TONY: (As he sits down, still holding the bouquet) —- Ob, poor mother is terribly homesick for Tondo, Aling Atang. She wants to cote back here at once. MRS. M: (Standing beside his char, putting onan apron) ~ How long have you yeen away? TONY: Only three months MR. M: Only three months! Three months is too long for a Tondo native to beaway from Tondo. Ay, my kumare, how bored she must be out there! TONY: Well, Aling Atang, you know how it is with us engineers. We must go ‘where our jabs eal us. But as soon as | have finished with that bridge in, Bulacan, nother and I are coming back here to Tondo, MRS. M: Yes, you must bring her back as soon as possible. We miss her whenever we play panguingue. ‘TONY: (Laughing) —- That is what she misses most ofall MRS. M: Now I understand how she feels! Your mother could never, never become ‘a provinciana, Tony. Once a Tondo gil, always a Tondo girl, I always say. (She pauses, struck by a thought). But I wonder if that's true after all. Look at my. Kikay; she waa over there in America for a whole year, and she says that she never, never felt homesick at all! ‘TONY: (Beginning to look nervous again) arrive, Aling Atang? MRS. M: Last Monday. ‘TONY: I didn't know she had come back froin New York until I read about it in the newspapers. MRS. M: (Plaintively) -- That gil arrived only last Monday and look at what has Happened to me! When she first saw me, she was furious; she said that 1 need a complete overhauling. She dragged me off to a beauty shop, and look, look what she hhaddone to met My hairis cut, my eyebrows are shaved, my nails are ‘manicured, and whenever I go to market, I must use lipstick and rouge! AIL ‘my kumares are laughing at me. People must think I have become a ... loose ‘woman! And at my age, fool But what can I do? You know how impossible it is to argue with Kikay. And she says that I must learn how to look and act like an Americana because I have a daughter who has been to America, Dios ‘mio, do Look like an American? ‘TONY: (Teo worried to pay much attention} —- You look just wonderful, Aling Atang, And ... and where is she now? MRS. M: (who's rather engrossed in her own troubles too) TONY: Kikay? Is she at home? MRS. M: (Snorting) — Of course she is at home. She'd still sleeping! TONY: (Glancing at his watch) -Still sleeping! MRS. M: She says that in New Yorke people do not walce up before twelve o'clock ‘TONY: (Glancing at his watch once more) --I’s only ten o’lock now. MRS. M: Besides, she has been very, very busy. Uy, the life of that git! since she ‘Came home! Welcome parties here and weleome pasties there and visitors all day long. That gil has been spinning around like a top! ‘TONY: (Rising disconsolately) -— Well, wil you just tell her I called... to welcome Her home. Oh, and will you please give her these flowers? MRS. Mt (Taking the Mowers) --- But surely, you're not going yet, Tony. Why, you ‘and She grew up together! Sit right down again, Tony. I will go and wake her When ... when did she, Kikay, Who? up. ‘TONY: Oh, please don't bother, Aling Atang. I can come back some other time. MRS. Mt (Moving away) -- You wait right there, Tony. Shell be simply delighted to See old childhood friend, And she'll want fo thank you in person for these flowers. How beautiful they are, Tony... How expensive they must be! TONY: (Sitting down again) —- Oh, they're nothing at all, Aling Atang. MRS. M: (Pausing, already at center doorway) — Oh, Tony TONY: Yes, Aling Atang? MRS. M: You musta't call me “Aling Atang.” 10TONY: Why not? MRS. M: Kikay doesn't like it. She says I must tell people to call me Mrs. Mendoza, She says it's a more civilized form of adress. So ... and especially in front of Kikay..., You must call me Mrs, Mendoza, ‘TONY: Yes, Aling ... I, mean yea, Mrs. Mendoza MRS, M: (Turning to go) — Well, wait just a minute and I will call Kikay. ‘TONY: (To himself as he sits down) -- Hah! MRS. M: (Turning around again) —- Oh, and Tony .. ‘TONY: Jumping up again} —- Yos, Aling ... mean yes, Mra. Mendoza. MRS. M: You must not call Kikay, “Kikay.” ‘TONY: Blankly) -- and what shall I call her? MRS. M: You must eall her Francesca. ‘TONY: Francisca? MRS. M: Not Francisea ... Fran..CES..ca. TONY: But why Francesca? MRS. M: She says that in New York, everybody calls her Fran-CES-ca,That is how all those Americans in New York pronounce her name. And all she wants veryborly here to pronounce it in the same way. She says it sounds so “chi- chi’, so Italian, Do you know that many people in New York thought she was fan Tialian...an Italian from California? So be sure and remember; do not call her Kikay, she hates that name ... call her Fran-CES-ca, ‘TONY: (Limply, sitting down again) -— yes, Mrs. Mendoza. MRS. M: (Turning to go again) ~ Now wait right here while I call Fran-CES-ca. (Somebody knocks at the front door. She turns around again.) Aie, Dios miot ‘TONY: (Jumping up once again) ~ Never mind, Mrs. Mendoza, [will answer it (He goes to open the door.) MRS. M: (As she exists) -- Just tell them to wait, Tony. (Tony opens door ‘and Totoy steps in, Totoy is the same age as Tony and is more clearly a ‘Tondo sheik. The one word that could possibly describe his attire is “spaoting”. Both boys extend their arms out wide on beholding each other) ‘TOIOY: Tonyt TONY: Totoy! (They pound each other's belies.) ‘TOTOY: You old son of your father! TONY: You big earabao, you! ‘TOTOY: Mayroon ba tayo diyan? TONY: You ask me that ... and you look like a walking goldmine! How many depots have you been looting, huh? TOTOY: Hoy, hoy, more slowly there ... It's you the police are out looking for TONY: impossible! I'm a reformed characteit ‘TOTOY: (Arms around each other's shoulders, they march across the room) —~ Make way for the Tondo boys ... Bang! Bang! ‘TONY: (Pushing Totoy away and producing a package of cigarettes) Good to see ‘you, old pal... here, have a smoke. ‘TOTO: (Taking a cigarette) -I thought you were in Bulacan, partner. TONY: I am. Ijust came to say hello to Kikay. ‘TOTOY: (As they light cigarette) —- Tony, Ive been hearing the most frightful things ‘About that git TONY: (Sinking into a chair) -— So have | ‘TOTOY: (Sitting down too) —- People are saying that she has gone crazy. TONY: No, she has only gone New York TOTOY: What was she doing in New York? TONY: Ob, studying, Hair culture and beauty science. She got a diploma. ‘TOTOY: Uy, imagine that! Our dear old Kikay! uTONY: Pardon me, but she’s not Kikay anymore ... she is Fran-CRS-ca, TOTOY: Fran-CES.ca? ‘TONY: Miss Tondo has become Miss New York. Our deat old Kikay is now an, American. ‘TOIOY: Kikay, an American? Don't make me laugh! Why, I knew that gisl when she Was still selling rice eakest (Stands up and imitates a gisl puto vendlon) Pato kayo diyan .. bilina kayo ng puto, ‘TONY: (Laughing) - Remember when we pushed her into the canal? ‘TOTOY: She chased us all around the streets, TONY: Naku, how that git] could fight! ‘TOTOY: (Fondly) — Dear old Kileay! (Knocking at the door. Totey goes to open it. Enter Nena, Nena is a very well possessed young lady of 24. | NENA: Why, it's Totoy! TOTOY: (Opening his arms) Nena, my own! NENA; (Binishing him aside as she walles into the room) ~ and Tony too! What's all this? A Canto boy Reunion? ‘TOTOY: (Following behind her) - We have come to greet the lady from New York. NENA: So, have I. Is she at home? TONY: Aling Alang is tying to wake her up. NENA: To wake her up! Is she still dreaming? MRS. M: (Appearing in the center doorway) ~ No, she is awake already. She is ‘changing. Good morning, Nena. Good morning, Totoy. (Totoy and Nena are staring speechless. Mrs. Mendoza is carrying a vase in which she has arranged Tony’s flowers. She self-consciously walks into the zoom and sets the vase on the table amidst the silence broken only by Totoy’s helpless wolf whistle.) MRS. Mt (Having set the vase on the table) Well, Totoy? Well, Nena? I said good ‘morning. Why are you staring at me like that? NENA: Is. is that you Aling Atang? TOTOY: Good God, itis Aling Atang! (He collapses into a chair) ‘TONY: Totoy, Aling Atang now prefers to be called Mrs. Mendoza. MRS. M: Ob, Tony’... you know it is not I but Kikay who prefers it. She was, delighted with these flowers, Tony. She thanks you very much. Nena, if you do not stop gaping at me, 1 pinch yout NENA: (Laughing) ~ How you used to pinch and pinch me, Aling Atang, when Iwas alittle gil MRS. M: You were a very naughty girl, always fighting with Kikay. You were all very naughty children, (She points at Totoy) ~ This one, especially, always sneaking into our backyard to steal mangoes from our mango tree. ‘TOTOY: Do you still have the mango tree? MRS. M: Yes, i's still out there in our backyard. ‘TOTOY: Jumping up) ~ Come on, Nena..let’s steal their mangoes! ‘MRS.M: Ah-ah, you just try! I still run as fast as ever. See if don't catch you again ‘And pull your pants off ‘TOTOY: (Gripping his pants) ~ ah, but I wear suspenders now, Mrs. Mendoza, MRS. M: Oh, you rascal! Come with me to the kitchen, TOTOY: Why? To pull my pants off MRS. M: No, idiot! I want you to help me carry something. NENA: Aling Atang, don't prepare anything for us. We're not visitors, And we're not ‘hungry. MRS. M: It's only orange juice, Nena. I was preparing some for Kikay. She takes ‘nothing else in the morning, She says that in New York nobody eats breakfast. Come along, Totoy (Exits Mrs, Mendoza and Totoy. Left alone, 2Nena and Tony are silent for a moment, Tony seated; Nena stands behind the sofa.) NENA: Well, Tony? TONY: You should not have come today, Nena, NENA: Ob, why not? TONY: I have not talked to Kikay yet NENA: You haven't talleed to Kikay yet..1 I thought you were going to come here ‘and tell her everything last night. ‘TONY: Lost my nerve. I did not come last night, NENA: Oh, Tony, Tonvt ‘TONY: (Irvitated, imitating her tons) - Oh, Tony, Tony! Use your head, Nena. Whoever heard of a man breaking off his engagement with a girl! I's not susuall And ... my God ...itis not easy! NENA: (Belligerentiy)~ Are you in love with Kikay or with me? TONY: Of course, I'm in love with you. 'm engaged to you, NENA: (Bitterly) "Yes...and you were engaged to Kikay, too! ‘TONY: But that was # year ago! NENA: (Flaring up) ~ Ob, you wolfl (She flounces away, furious) ‘TONY: Jumping up and following her) ~ Nena, Nena, you know I love you, only you! NENA: (Whirling around to face him) ~ How could you have the nerve to propose to ‘me when you Were sill engaged to Kikay? ‘TONY: I wish I had never told you. This is what I get for being honest! NENA: Honest! You call yourself honest? Getting me to fll in Jove with you when you still belonged to Kikay? TONY: |... I thought I didn't belong to Kikay anymore. It was only a secret Engagement anyway. [ proposed to her just before she left for America and she said we must keep our engagement a secret until she came back. But when she had been there a couple of months, she stopped answering my letters. So, considered myself a free man af NENA: (Sarcastically) - And you proposed to me, TONY: (Miserably) ~ Yes NENA: And then asked me to keep our engagement a secret! TONY: Because right afterwards, I found out that Kilay was coming back. NENA: Well, 'm tired of being secretly engaged to you! What fun is it being ‘engaged if you can tell everybody! TONY: Just give me a chance to talk to Kikay and explain everything to he ‘you and I will announce our engagement. NENA: Well, you better hurry. I'm getting impatient. TONY: The trouble is, how can I talk with Kikay now? NENA: Why not? ‘TONY: Well, you are here, and Totoy is here. You don't expect me to jilt Kikeay in Front of everybody, do you? NENA: You want me and Totoy to clear out? TONY: No...just give me a chance to be alone with Kikay for a moment. NENA: Il iake care of Totoy. ‘TONY: That is good. NENA: Just leave it to me. (Totoy appears in the doorway with tray on his head; lasses and a pitcher are on a tray.) ‘TOTOY: (Sailing in) - Puto kayo diyan, bilina kayo ng puto... (Mrs. Mendoza, ‘appears in the doorway, carrying a plate of sandwiches.) MRS. ME Listen everybody. here comes Kikay...but she prefers to be called Fran- CES-ca, (She moves away from the doorway and Kikay appears. Kikay is garbed in a trailing gown trimmed with fur at the neck and hemline, From, + Then, Bfone hand she dangles a lage sie handkerchief which she keeps waving fabout as she walks and talks. Inthe other hand, she carries a very Tong cigarette holder with an unlighted cigarette axed, Kikay’s manner ancl Appearance are {0 use a Hollywood expression »." chi-ehi mad) KIKAY; (Having pated along moment in the doorway, hands uplifted in surprise ‘and delight) ~ Ob, hello, hello. you darling, davling people! (She gles into the room, Everybody ele i to9 astonished fo move] Nena, my dear..but how caite youve become! (She kisses Nena) And Tony, my litle pal of the ‘alley. how are you? (She gives her hand to Tony} and Totoy...my, how rvithing you Tooke (She walks all azound the apprehensive Toto) goodness, Jou lool like a Tondo superproduction in Technicolor! But ait down everybody...do sit down and let me look at you. (Her three visitors sit down. She sees the tray with the glasses and pitcher on the table and throws her hands up in amtised horror} Oh, anasy,smansy! MRS. M: What isthe matter now? KIKAY: How many times must I fell you, mumay dearest, never, never serve fruit juice in water glasses! MRS. M: Teould not find those tall glasses you brought home. KIKAY: (Approaching and kissing her mother) ~ Ob, my poor iT mumnsy..she ‘so clumsy, no? But never mind, dearest; don't break your heart about it Here sit down, MRS. M: No, [must be going o the market. KIKAY: Oh, tmumey, don’ forget my celery to her visitors)~ 1 can five without celery, Tin Hike a rabbit. mumeh, tmunch all day. MRS. M.: Well, ifyou people will excuse me...Tony, remember me to your mother: {She moves away} KIKAY (Gesturing make up) ~and remember, mumsy... little bloom on the lip, a litte Blom on the cheeks. MRS. M: Oh, Kikay, do Ihave to? KIKAY : Again, mumsy? MRS. M; (Already in the center doorway) ~ Do I have to paint this old face of mine, Pran-CES-ca? KIKAY: (Breaking into laughter and turning towards the others) — But how ‘dreadfully She puta if Oh, mumey, mumay...what am going 1 do with you? MRS. M: (Ae she exits) 1 give upl KIKAY: (Still laughing) ~ Poor mumsy, she’s quite a problem. (She waves her cigarette) Oh, docs anybody have a ight? (Totay jumpa up and gives her Tight) KIKAY: Meri ‘TOTO: Huh? KIKAY: I seid merci, That means thank you... in French, ‘TOTOY: (As he sits down) ~ Mereil(Kikay poses herself on the arm of the sofa ‘where Nena is sitting and sipping orange juice. The two boys, also sipping juice and munching sandwiches, occupying the two chairs) NENA :Tell us about New York. KIKAY: (Pervently)~ Al, New York, New York! ‘TONY: How long did you stay there? KIKAY: (Ina trance) ~10 months, 4 days, 7 hours, and 21 minutes! ‘TOTOY: (Aside to the others) ~ ancl she's sil there inher dreamst KIKAY: With emotion choking her voie) ~ Yes, Teel as if I were sil there, as ‘thoughhad never left it, as though T had lived there all my life. But I Took around: ‘me (She bitterly looks arotind her at the three gaping visitors) and I realize ‘that no, no I'm not there. I'm not in New York... lam here, here! KIKAY: (She rises abruptly and goes to window where she stands looking out) I'm hhome,they tell me. Home! But which is home for me? This cannot be home becatise my heart aches with home sickness. I feel myself to be an cexile...yes, a spiritual exile. My spirit aches for its true home across the sea. ‘Ah, New Yorkd My own dear New York! [She is silent a moment, looking ‘across the horizon, her arms cross over her breast. Her visitors glanced uneasily at each other.) NENA: (To others) -I don’t think we ought to be here at all, boys, TONY: Yes, we shoulda’ disturb her. NENA: (With a languishing gesture) ~ And leave her alone with her memories. ‘TONY: (Glancing at the entranced Kikay)~ Is thet the gitl we used to go swimming Within the mud paddies? ‘TOTOY: (Crossing his arms over his chest) ~ Ab, New York! My own dear New York! KIKAY: (Whirling around, enraptured) - Listen... listen! Now, in New York, its ‘springtime...i’s spring in New York! The daisies are just appearing in ‘Central Park and out in Staten Tsland the grass is green again. (With a litte fond laugh) Ob, we have a funny custom in New York...an old, old and very dear cusiom. When spring comes around each year, we New Yorkers, we ‘make a sort of pilgrimage to an old tree growing down by the Battery. Oh, i's ‘an old tree. I's been growing there ever since New York was New York. Ané ‘we New Yorkers, we cal it “Our Tree”, Every spring we go down to say hello to it and to watch its first green leaves coming out. In a way, that tree is our ‘symbol for New York...undying immortal, forever growing and forever green! (She laughs and makes an apologetic gesture) But please, please forgive me! Here [am going sentimental and just mooning away over things you have no idea about, No, you can't understand this emotion I feel for our dear old tree lover there in New Yori NENA: Oh, but Ido, understand perfectly I feel that way too about *ous” tree KIKAY: (Blankly) ~ About what tree? NENA: Our mango tree, Kikay. Have you forgotten about it? Why you and Tused ‘To go climbing up there every day and gorging ourselves on green mangoes. How our stomachs ached afterwards! And then these bad boys would come ‘and start shaking the branches until we fell down! ‘TOTOY: Aling Atang once caught me climbing that tree and she grabbed my pants ‘And off they came! NENA; And Kikay and me, we were rolling on the ground, simply hysterical with laughter. And Totoy, you kept shouting,” Give ine back my pants! Give ‘me back my pantsl” (They were all shaking with laughter except Kileay who is staring blankly at this.) KIKAY: But wait a minute, wait a minute...what is this tree you're talking about? NENA: Our mango tree, Kikay. The mango tree out there in your back yard. KIKAY: (Flally) - Oh that tre. ‘TONY: What's the matter, Kikay? Don't you feel the same emotion for that tree as xyou do for the one in New York? KIKAY: (Tartly) ~ Of course not! They...they're completely different! I don’t feel any ‘emotion for this silly old mango tree. It doesn't awaken any memories for me at al! NENA: (Rising) - Well i does...for me. And such happy, happy memories! I really Must nin out to the backyard and say hello to it. (Imitating Kikay’s tone and manner) You know, Kikay, over here in Tondo, we have a funny custom...an ‘old, old and very dear custom. We make a sort of pilgrimage to silly old 6‘mango tee growing in a backyard. And for us here in Tondo, that tree is “our” tree. In a way, itis a symbol KIKAY: (Interrupting) - do not be silly, Nena. ‘TONY: Look who is talking KIKAY: (In amused despair) - Oh, you people cannot understand at alll TONY: Of course not. We have never been to New York. KIKAY: (Eamestly} — That's it exactly! Until youlve been to New York, you can't, ‘can't understand ever. Oh, believe me...not to have lived in New York is not ‘to have lived at alll That tree of oure over there... it doesn’ stand for kid stuff and childish foolishness. It stands for higher and finer things; for a ‘more vivacious, a morestreamlined, and a more daring way of life! stands for Freedom and for the Manhattan skyline and for the Copacabana And for Coney Island in summer and for Grant's Tomb on Riverside Drive and for Tuesday nights at Eddie Condons with Wild Bill Davidson working on that trumpet of his and for Saturday nights at Madison Square Garden with the crowds spiling all over the sidewalk and for the nickel ferry ride to Staten Island and for the St. Patzick's Day Parade down Fifth Avenue and for all (She stops, overcome with her memories) Oh, it’s impossible to make you see! ‘TONY: | still prefer a tree that grows in Tondo. ‘TOTOY: I second the motion NENA: So, do I. KIKAY: (Tolerantly, very much the woman of the world) ~ Oh you funny, funny children! NENA: [really must go and say hello to our tree. You dont mind, Kikay, do you? KIKAY: (Laughing) ~ Of course not, child. Do go. NENA: Totoy, will you come with me? ‘TOTOY: (Fervent, as he rises) ~ To the ends of the earth! NENA: (In the Kikay manner) ~ No darling...ust out to our dear little backyard ‘TOTOY: (Acting up too) ~ Oh, the backyard af Tondo, the barong-barongs of Maypabo, the streets of Sibakong... NENA: (In the center doorway) ~ Listen, idiot, are you coming with me or not? TOTOY: (Following her) - Anywhere, dream girl, anywhere at alll (Exits Nena and Totey) KIKAY: (Sitting down on the sofa) - Apparently, our Totoy stil has a most terrific ‘Crush on Nena. (Tony is silent) Do wake up, Tony... what are you looking so ‘miserable about? (Tony rises from his chair and site down beside Kikay on the sofa, He is nervous and cennotspeak, Kikay smilingly gazes at him.) ‘TONY: (Finally gathering courage) — Kikay...1 do not know just how to begin. KIKAY: Just call me Francesca... @ good beginning, ‘TONY: There is something I must tell you...something very important. KIKAY: Ob, Tony, can’t we just forget all about it? ‘TONY: Forget? KIKAY: Thats the New York way, Tony. Forget. Nothing must ever be so serious, ‘nothing must drag on too long. Tonight, give all your heart. Tomorrow forget. And when you meet again, smile, shake hands...just good sports, ‘TONY: What are you talking about? KIKAY: Tony, Twas only a child at that time, TONY: When? KIKAY : When you and I got engaged. Ive changed so much since then, Tony. TONY : That was only a.year ago. KIKAY: To me, it seems a century. So much has happened to me. 've become a ‘completely different person in just one year. After all, what's a year, what's a person? Just relative terms, More can happen to yout in just one year in New 16York than in all a lifetime spent anywhere else. Do you know... feel as if Ive always lived in New York. In spirit, Iam and have always been a native of Manhattan. When | first arrived there, | felt had come home at last. It's my. zeal home. Oh, listen, last summer it was really hot...one of the hottest summers we ever had. [d go riding on one of those double-decker buses just {0 cool off, and all those people from Kalamazoo and Peoria and other places like that would be wandering around the streets...sightaeeing, you J¢now...and there [would be on top of this bus looking down at them and feeling very amused at the way they gaped at the sley scrapers and the ws they gaped at the shop windows; but Td be feeling very proud too, becauise it was my city they were admiring, and Pd feel rather sorry for them living owt in the sticks... ‘TONY: Listen, I don't want to talle about New York... want to tall about our ‘engagement. KIKAY: And that’s what we cannot do. Tony. .not anymore, TONY: Why not? KIKAY : Tony, you got engaged to a girl named Kikay. Well, that girl doesn’t exist ‘anymore...she's dead. The person you see before mse is Francesca. Don't you ‘sce, Tony, Tim a stranger to you...we don't speak the samme language..and I feel so much, much older than you. Tm a woman of the world, you are only bboy. I hate to hurt you, Tony...but surely you see that there can between us ‘would be stark miscegenation! Imagine a New Yorker marrying a Tondo boy! ‘TONY: (Blazing) ~ Now look here. KKIKAY: (Very tolerantiy) ~ I'm sorry if Tve hurt you, Tony but { wanted you to ‘realize How ridiculous it would be to think that I could still be engaged to yout ‘TONY: (Leaping up) — I'm not going to sit here and be insulted. KIKAY: Hush, Tony, hush! Don't shout, don’t lose your temper..i's so uncivilized, People in New York don’t ose their temnper. Not people of the haute monde anyway! ‘TONY: (Shouting) ~ What do you want me to do..smile and say thank you for slapping ‘iy face? KIKAY: Yes, Tony, be a sport. Let's smile and shake hands and be just friends, huh? Be brave, Tony...forget: that’s the New York way, Find ‘another girl, There are other “girs” in the “esters”, as they aay in Brooklyn. Youll find somebody else...someone more proper for you ‘TONY: (Waving his fst) Ifyou weren't a woman, I'd... KIKAY: Hold it, Tony...you must never, never hit a woman. NENA: What is all this? KIKAY: Nothing...nothing at all TOTOY: What were you two quarreling about? KIKAY: We were not quarreling. Tony and I just decided to be good friends and nothing more NENA: Tony, is this true? ‘TONY: (Shouting) Yes! NENA: Oh good! Now we can tell them! KIKAY: Tell us what? ‘TOTOY: What is going on here, eh? NENA: (Taking Tony's hand) ~Tony and I are engaged. KIKAY: (Rising) - Engaged! ‘TOTOY: (At the same time} - Engaged! NENA: Yes! We have been secretly engaged for a month, KIKAY: A month! (Fiercely, fo Tony) ~ Why, you...ou, TONY: (Backing off) I did try to tell you, Kikay.. was trying to tell you. KIKAY: You unspeakable cad! vNENA: Hey, careful there...you are speaking to my fiancé. IKIKAY: He is not your fiance! NENA: Oh, no? And why not, ha? KIKAY: Because he was still engaged to me when he got engaged to you! NENA: Well, he's not engaged fo you anymore, you just said s0 yourself, KIKAY: Ah, but I didn’t know about all this. This treacherous business! Oh, the shame of it! Getting engaged to you when he was still engaged to mei Do | look like the kind of girl who'd let a man jilt her? (Moving towards Tony} Ob, you horrible, horrible monster! ‘TONY: (Backing off some more) ~ Now remember Kikay...i’s uncivilized to lose one’s ‘temper. People in New York: don't lose their temper. Not people of the haute monde anyway! KIKAY: I've never felt so humiliated in all my life! You beast! Il teach you to humiliate NENA: (Blocking her way) ~ I told you to leave him alone. He is my fiancé. KIKAY: And [tell you he's not! He is engaged to me until I release him ..and 1 haven't released him yet. NENA: You ought to be ashamed of yourself You're just being a dog in the manger! KIKAY: You ought to be ashamed of yourself..stealing my man behind my back! NENA: (Exploding) - WHAT! What did you say? TONY: (Keeping a safe distance) - Totoy, pull them apart KIKAY: (To Totoy, as he approaches) ~ You keep out of this or Til knock your head of ‘TOTOY: Naku, lumabas din and pagka Tondo! NENA: Shameless hussy! KIKAY: Man-eatert (They grapple and stagger. Tony and Totoy rush forward to separate them and finallysucceeded but not before Kikay has socked Nena, Nena, infusiated, breaks away from Tony...who's dragging her away. and ounces on Kikay...whom Totay is holding. Tony came ‘running but is too late to prevent Nena from socking Kikay. Kikay sags down, in Totoy's arms. Tony pulls Nena away.) TONY: (Furious) ~ How dare you sock her? NENA: What? She hit me first! TONY : Look what you've done to her! (Totoy has dropped the knocked out Kikay chair) NENA: Are you trying to defend her? You never defended mel TONY: SHUT UPI NENA: [ hate you! I hate you! ‘TONY: Shut up or Il bash your mouth off ‘TOTOY: (Deserting the reviving Kikay) ~ Hey, do not you talk to Nena that way. ‘TONY: You keep out of this! NENA: He is more of a gentleman than you are, he defends met ‘TOTOY: (To Tony) - You take your hands off her! TONY: I told you to keep out of this! (Totoy socks Tony. Tony drops to the Noor) NENA: (Running to Totey) ~ Oh Totoy, you've saved my life (Meanwhile, Kikay has run to Tony's side) KIKAY: (Kneeling beside Tony] ~ Tony, Tony ... open your eyes! TONY: (Sitting up and brushing her hands away) ~ Oh, get away from here. (Kikay rises and haughtily moves away. Tony continues to sit on the floor, in the attitude of Rodin’s “Thinker” NENA: Totoy, take me away from here!TOTOY: (Pointing to Tony) ~ Are you still engaged to hin? NENA: [ hate him! I never want to see him again in my lifet TOTOY: Good! Come on, let’s go. (He takes her arm and propels her to the door.) ‘TONY: (As they pass him) ~ Hey! NENA: (Pausing) ~ Do not you speak to me, you brute! TONY: (Still siting on the floor} ~ I wasn't talking to you. ‘TOTOY: Do not you speak to me either! You have insulted the woman | lovel NENA: (Beaming up at him) - Oh Totey, why have you never told me? ‘TOTOY: (Shyiy) ~ Well..now you know. ‘TONY: (Still on the floor} ~ Congratulations! NENA: (Colely) - Lets go darling...I don’t like the smell around here. (Exit Nena and Totoy. Tony rises and dusts himself, Kikay is on the floor on the other side of theroom, her haughty back to him.) ‘TONY: Now you've ruined my life. I hope you're satisfied. KIKAY: (Whirling around) ~I.. have ruined your life? You...have ruined maine! ‘TONY: (Advancing) ~ What you need is a good spanking. KIKAY: (Retreating) - Don't you come near me, you...you Canto Boy! ‘TONY: (Stopping) - Don't worry; I wouldn't touch you with a ten-foot pole. KIKAY: And Twouldn' touch you with a 20-foot pole. TONY: Just one year in New York and you forget your old fiends! KIKAY: Just one year that Tin in New York... and what do you do! But when we got ‘engaged, you swore to be true, you promised to wait for me. And I believed xyou, I believed you! (She begins to weep) Oh, your'e fickle, fickle! TONY: What are yon erying about? Be brave...forget...chat's the New York way. Nothing must ever be too serious, nothing must ever dragon too long. KIKAY: Oh Tony, I've been such a fooll 'm so sorry, Tony! TONY: Well, Pun not! Tm glad | found out what kind of a person you are! KIKAY: (Alarmed, approaching him) - Oh, Tony, you're wrong, you're wrong) Tm not that kind of a person at alll ‘TONY: Oh “person” is just a relative term, buh? KIKAY: Yes, Tony...that was Francesca saying all those silly things. But Francesca ‘exists no more, Tony. The girl standing before you is Kileay ‘TONY: In that silly dress? KIKAY: It’s true, Tony. I'm Kikay...cemember me? We used to go ewimming ‘together, when we were kids. Ive come back, Tony. ‘TONY: If] wore right, I was engaged to a girl named Kikey, KIKAY : Yes, and you're still engaged to her, Tony. ‘TONY: Welcome fiome, Kikay! How was the trip? KIKAY: Horrible! I couldn't wait to get back. ‘TONY: Liked it in New York? KIKAY: Uh-uh, Give me Tondo anytime. ‘TONY: Why didn’t you answer my letters? KIKAY: (After just a wee pause) ~ Francesca wouldn't let me waite, Tony. ‘TONY: That misty girl. Ti glad she’s dead! (Offstage Mrs. Mendoza is heard calling “Francesca, Francesca.” Tony and Kikay listen, then burst into laughter) MRS. M: (Appearing in doorway) ~ Frances...Oh, Tony, are you still here? Francesca don’t be angry, but I couldn’ live without it! TONY: (Moving towards the radio) ~ That was Francesca, Aling Atang, and Francesca Is dead. The girl standing before you is Kikay. MRS. M: (Dazed) ~ But Kikay is Francesca KIKAY: Oh no, Inay. Pm not Francesca...Pm Kikay. MRS. M: (After gazing from on to the other, throwing her hands up.) - [GIVE UPI 19(Exits) (Tony and Kikay burst into laughter. They have turned on the radio. It’s playing “Again” or some such silly song.) KIKAY: (Subsiding) ~ Sorry, darling, (She approaches him.) May I have this ‘Sjagaing jagging” with you, partner? ‘TONY: (Bowing) ~ Delighted, Madame. (They dance around the room as the CURTAIN FALLS.) Task 5 Direction: Write your reflection in your notebook by completing the unfinished statements below. ‘Today, Ihave learned that This lesson made me realize that, Tesson made me feel ‘This lesson will be useful when 20© rs Oe EE 2 ‘There thousands of Filipino overseas workers working in different parts of the world, What do you think will happen to the Filipinos if these people will bring in the Philippines the cultures and practices that they learned in other countries? aSELF-LEARNING HOME TASK (SLHT) Subject: CREATIVE WRITING Grade: 11/12 Level: SHS Quarter: 2ND Week: 3 ‘MELC: The learner explores the different staging modalities vis-i-vis envisioning the script ‘Competency Code: HUMSS CWIMPIic-18 Name Section Date ‘Schoo! District ‘A. ReadingwDiscussions Staging is very essential tothe play production as it gives the actors space to move and bbe seen by the audience even at an utmost end of the theaters. Moreover, it gives the audience ‘full view on the movements on stage and with all the sets, stage directions, costuming, props, music and sound effects ‘The different staging modalities ate the following: ‘© Arena theatres are lage scale auditoria and have a central stage area with audiences on all sides, similar to theatres | in-thestound, ‘The stage area is usually rectangular, more lke a sports arena, with tiered seating ~ Bluskcbox or dudio-theaters we Hexibe perform to their basies are a single room painted back, the floor of the stage at the same Tevel as the first audience row, Usually these spaces allow forthe temporary setup nee spaces which when stripped of seating in a mumber of different configurations to enable a wide variety of | productions to be presented.* Hippodrome theaters are similar to eiwuses and have a | central civeular arena surrounded by concentric Viered seating. Deep pits or low screens often separate the audience from the aren @ Tisthe-Tound theaters have @ central performance area enclosed by the audience on all sides. The arrangement is rarely ‘round’: more usually the seating is in a square ot polygonal formation. The actors enter through aisles Detween the seating. Scenery is minimal and carefully positioned to ensure it does not obstruct the audience's + Open air—Thenters are ‘outdoor theatres that do not have a roof, although sometimes parts of the stage for audience seating will be covered, These stages may ake use of the natural Fight 4s it changes during the day, particularly sunset.+ Phim _Theaters wsvally consist of a raised rectangular platfonm at one end of a room, They can either bave a level or raked sloping oor. The audience sits in rows facing the stage. Platform stages are offen used in multi-purpose halls where theatre is only one ofthe space’s uses. Where the stage 1 open and without curtains, they are sometimes known as end stages or open stages. + Promenade Theaters involves the audience moving fiom place to place following ii the actors and performance. Hane ‘+ Proscenium Theaters have ‘an architectural frame although rot always arched in shape. The stages are deep and sometimes raked, meaning the stage is gently sloped rising away ffomthe —anience, Sometimes the front of the stage extends past the proscenium — into. the auditorium, and it i often inchide an orchestra pit for live susie and a fly tower for the movement of scenery and lighting+ Sieapeciie Thies we ually performed in a non-traditional theatre space sich as a pub, home or warehouse, offen reflecting the history, atmosphere or experiences of «paticular location. + Timst Theaters ae auditoriums with the audience sitting on tree sides, The thrust stage area itself is not always square but may be semi- circular or half a polygon with any imumber ofsides, Such stages ate often used to increase intimacy between actors andthe audience. source: myn or sk aas atte ag ste de sae) yy (YY SY Ly oy t5) 1) i) 0s} 1) my a PEEGEEEEEELLL aeeeees aa, Assesemen/Appllcation Outputs Directions: Read he sentences, Identify the ten stage modalities of drama, Write your ser ona separate sect of peer ___1. The audience can move around. 2 This is usually use in role-play in the classcoom, 3. The theaters popula wi its ich achitectural form, 4, The kind of theater where audience seat on thee sides 5. Tis often use in circuses with acrobats and animal shows 6. Theactors utilize the audience side area in play production.