Learning Activity Specialized

SheetSubject

G11
Regional Office No. VIII - Eastern Visayas
Department of Education
Schools Division Office of Biliran
Larrazabal, Naval, Biliran
SENIOR HIGH SCHOOL

Creative (Q4-Week 3)

Writing

Name: ___________________________
LE

Grade & Section: ________________

SA
OR

Adviser: _________________________
TF

Subject Teacher: Samuel S. Celino

NO
Conceptualize a character/setting/plot for a one- Let’s Try This!:
act play. Score: ______________
Done? [ ] Yes [ ] No
HUMSS_CW/MPIj-IIc-17 Let’s Explore and Apply:
Score: ______________
Done? [ ] Yes [ ] No

Note of Guidance (To be filled out by the subject

teacher for feedback of learner’s performance):
______________________________________________________
______________________________________________________
______________________________________________________
______________________________________________________

This module was designed and written with you in

mind. It is here to help you conceptualize a
character/setting/plot for a one-act play. The scope of this
module permits it to be used in many different learning
situations. The language used recognizes the diverse
vocabulary level of students. The lessons are arranged to
follow the standard sequence of the course. However, the
order in which you read them can be changed to
correspond with the textbook you are now using.

Shutterstock.com . 117201466

.
 Directions: Fill in the blank by choosing the missing word from the
word pool. Write your answers on the blank. Note that the items below
are from your previous lessons.

ACTS DRAMA ELEMENTS

CHARACTERS PLOT

1. _________ is a mode of fictional representation through dialogue and performance.

2. Literary, technical, and performance are the three main ________________ of drama.
3. The people, sometimes animals or ideas, portrayed by the actors in the play are called
_______________.
4. _____________ are the basic storyline of a play.
5. _____________ are long sections of a play, made up of multiple scenes, usually designed to
separate the play into its main parts

DRAMA, THEATER and PLAY DIFFERENTIATED

The terms drama, theater and play are not interchangeable, but
dependent of each other. The term drama (from Greek theatron which
means – a place of seeing) consists of characters in conflict and in action
Theater is the arena for the action and the sensory experience of that action. While play is
the performed written material, or script, together with all the other elements like stage
direction, lighting, sets, sceneries, characters, action, etc. The writers who write for the stage
are called playwrights.

DEFINITION OF A PLAY

A play is a structured and unified story, comic or dramatic, complete in itself with a
beginning, middle, and end, that expresses the playwright’s passion and vision of life, shows
unfolding conflict that builds to a climax, and deals with dimensional lifelike humans who
have strong emotions, needs, and objectives that motivate them to take action. It is
constructed with a plausible and probable series of events, written to be performed and
therefore told with speeches and actions plus silences and inactions, projected by actors
from a stage to an audience that is made to believe the events are happening as they watch.

CHARACTERIZATION

Characterization is the way an author presents a character.

• DIRECT CHARACTERIZATION - When the playwright TELLS the audience what the
personality of a character is. It is usually found in character description under “Cast
of Characters”. Example:

Cast of Characters
ANNA: An early teen, on the cusp of change; strong and determined with overcompensating swagger.
JOHN: In his 30’s, lost in a broken world, hardened by the road; a father learning to talk to his daughter.

• INDIRECT CHARACTERIZATION - When the playwright SHOWS the audience things

that reveal the personality of the character. It can be described by the STEAL method.
(STEAL stands for Speech, Thoughts, Effect on others, Actions, Looks)

1
 Examples of Characterization:
Speech – characterization is revealed Thoughts – characterization is revealed
through their speech. through their thoughts.

ANNA: Maybe the water’s still on. JOHN: No. I’ll go. Wait here.
JOHN: Don’t get your hopes up.
ANNA: Yeah. [JOHN EXITS. ANNA finds picture of their
JOHN: Plenty of water in the ocean though. family and stares longingly at photo.]

Effects on others – characterization is Actions – characterization is revealed

revealed through how other characters
react to their speech and actions.
JOHN: The whole world is different.
ANNA: Think the ocean’s still there?
JOHN: [JOHN stands.] Maybe. There’s only one
way to find out. [JOHN and ANNA shoulder
their packs and EXIT.]
through their actions
ANNA: It’s all different now. What happened before
doesn’t matter. We aren’t those people anymore.
[ANNA tears up paper and lets the pieces fall to the
ground.]

Looks – characterization is revealed through their physical appearance.

ANNA and JOHN ENTER, DOWNSTAGE of proscenium, STAGE LEFT. They are dressed in
travel-worn clothes and carry large packs.

TYPES OF CHARACTERS

 Dynamic – A dynamic character is one who changes over the course of the story.
 Round – Closely related to a dynamic character, a round character is a major character
who shows fluidity and the capacity for change from the moment we meet them.
 Static – A static character does not noticeably change over the course of a story.
 Stock – A stock character is an archetypal character with a fixed set of personality traits.
 Symbolic – A symbolic character represents a concept or theme larger than themselves.
They may have dynamic qualities, but they also exist to subtly steer an audience’s mind
toward broader concepts.

SETTING

Setting is an environment or surrounding in which an event or story takes place. It may

provide particular information about placement and timing, such as Intramuros, Manila, in
the year 1820. Setting could be simply descriptive, like a lonely cottage on a mountain. Social
conditions, historical time, geographical locations, weather, immediate surroundings, and
timing are all different aspects of setting.

There are three major components to setting: social environment, place, and time.
Moreover, setting could be an actual region, or a city made larger than life, or, it could be a
work of the author’s imagination.

Types of Setting
There are two main types of setting:

• Backdrop Setting – Backdrop setting emerges when it is not important for a story, and it
could happen in any setting. For instance, A. A. Milne’s story Winnie-the-Pooh could take
place in any type of setting.
• Integral Setting – It is when the place and time influences the theme, character, and
action of a story. This type of setting controls the characters. By confining a certain
character to a particular setting, the writer defines the character.

2
CONFLICT

A conflict is a literary device characterized by a struggle between two opposing forces. Conflict
provides crucial tension in any story and is used to drive the narrative forward. It is often
used to reveal a deeper meaning in a narrative while highlighting characters’ motivations,
values, and weaknesses. There are six main types of literary conflict, each of which is detailed
below.

Internal vs. External Conflict

All conflict falls into two categories: internal and external.

• Internal conflict is when a character struggles with their own opposing desires or beliefs.
It happens within them, and it drives their development as a character.
• External conflict sets a character against something or someone beyond their control.
External forces stand in the way of a character’s motivations and create tension as the
character tries to reach their goals.

Many stories contain multiple types of conflict, but there is usually one that is the main
focus.

1. Character vs. Self – This is an internal conflict, meaning that the opposition the
character faces is coming from within. This may entail a struggle to discern what the moral
or “right” choice is, or it may also encompass mental health struggles. All other types of
conflict are external—meaning that a character comes up against an outside force that
creates the conflict.

2. Character vs. Character – This is a common type of conflict in which one character’s
needs or wants are at odds with another’s. A character conflict can be depicted as a
straightforward fist fight, or as intricate and nuanced as the ongoing struggle for power in
the GMA series “Encantadia”.

3. Character vs. Nature – In a nature conflict, a character is set in opposition to nature. This
can mean the weather, the wilderness, or a natural disaster.

4. Character vs. Supernatural – Pitting characters against phenomena like ghosts, gods, or
monsters raises the stakes of a conflict by creating an unequal playing field.

5. Character vs. Technology – In this case, a character is in conflict with some kind of
technology, like a robot, a mobile app, or a computer virus.

6. Character vs. Society – A character vs. society conflict is an external conflict that occurs
when the protagonist is placed in opposition with society, the government, or a cultural
tradition or societal norm of some kind. Characters may be motivated to take action
against their society by a need to survive, a moral sense of right and wrong, or a desire for
happiness, freedom, justice, or love. Learn more about character vs. society conflict in our
complete guide here.

How to Create Conflict in Your Writing

To create conflict for your protagonist, you’ll need forces of antagonism that work
against them. In genre writing, antagonists are usually arch-villains, but they don’t have to be
people—they can be any oppositional element that thwarts your character’s main desire. In
crafting this conflict, it’s helpful to remember some basic principles of antagonism.

• The stronger the forces of antagonism are, the more well-developed your character will
become.
• The conflict should be tailored to your protagonist’s main desire.
• Antagonism has to increase with time, or you’ll lose the reader’s interest. 3
 THE SIX STAGES OF PLOT

Plot has a specific structure. It follows a format that sucks readers in; introduces characters,
character development, and world building; and compels readers to keep reading in order to
satisfy conflict and answer questions.

Plot is about cause and effect, but, most importantly, plot is about choice, a character’s
choice.

In other words, it’s not just a recitation of facts; the facts you include in your plot each have a
purpose, putting a character into a situation where they must make a decision and pulling
the story toward its conclusion.

So how do you build a plot with this cause-and-effect thing? Fortunately, the answer is
simple: you break plot down into its components.

1. Exposition
At the beginning of the story, the exposition establishes characters and setting. Not all
your world-building happens here, but this is where you show your readers what “normal”
is for your characters. That way, readers will know what’s wrong when we hit the next
step.

2.Inciting Incident
The inciting incident is an event in a story that throws the main character into a
challenging situation, upsetting the status quo and beginning the story’s movement,
either in a positive way or negative. This movement culminates in the climax and
denouement.

3. Rising Action
This is the largest part of the story, and where most of the conflict takes place. You know
that quote about getting your characters up a tree, then throwing rocks at them? This is
rock-throwing time. Here’s where you raise the stakes and begin building up to the story’s
climax. It’s crucial that your readers know what’s at stake here; it’s also critical that they
clearly understand the conflict.

4. Dilemma
This is the most important element, what you’ve been building toward, the moment when
a character is put into a situation where they must make an impossible choice.

5. Climax
This is the big moment! The character’s choice from the dilemma drives the outcome of the
conflict. If you did it right, this is the worst (i.e. best) moment of tension in the whole
story, setting your readers on edge.

6. Denouement/ Resolution
Now, at the end of the story, you’re establishing “normal” all over again—but the new
normal, incorporating the changes and experiences of your characters. Your readers can
sit with your characters a little in their new normal, emotionally wrapping everything up
so your reader can put the book away without flipping back through the pages to see what
they missed. It’s a scene-closure with enough finality to deserve those two words: The
End.
Let’s Try This: 1. Drama 3. Character 5. Acts
2. Elements 4. Plot

4
 Read below the script of a one-act play entitled “The Boy Who Cried
Genie”. On a separate sheet, answer the guide questions below.

(INT. Computer Lab. Day. DIRK, a cool, confident guy,
enters the lab. JESI, a shy, nerdy gal, looks like she
wants to talk to him but can only manage a whisper)
JESI: Hi.
(DIRK doesn't hear her and goes to a computer to start
work. JESI rushes out all embarrassed. DIRK finds a
cd stuck in the computer. It comes out and it is glowing
[Light shines on it]. He looks at it and rubs it. A puff of
smoke [fog machine] flows in and a GENIE steps in
with it)
GENIE: What do you want?
DIRK: What? Who are you?
(DIRK lowers the cd and sees the GENIE)
GENIE: I'm a genie.
(She waves her hands and more smoke appears)
DIRK: A genie? So... does that mean I get three
wishes?
GENIE: Yeah, yeah. You know the drill.
DIRK: Cool. Oh, I know what I want. I want the
perfect girl.
GENIE: As you wish...
(GENIE disappears into the smoke [exits] and GIRL
appears, acting very young, licking a lollipop and
jumping up and down excited)
GIRL: Hi, let's play.
(DIRK turns looking for the GENIE)
DIRK: No, no, no.
(DIRK appears and makes GIRL disappear [exits])
GENIE: You did ask for a girl.
DIRK: I want someone much older than that.
GENIE: As you wish...
(GENIE disappears [exits] and ZOMBIE appears)
DIRK: Not that old!
(GENIE makes ZOMBIE disappear [exits])
GENIE: You're down to one wish... make it good.
DIRK: What? Oh, man. Okay. I want the perfect
woman is my age, beautiful and sharp.
GENIE: You got it.
(GENIE disappears and a beautiful WOMAN appears. She
comes up to him and he smiles. She crosses behind him.
She pushes back her hair and we see her pointed ears
and she bares her fangs)
WOMAN: Want to neck?
(DIRK smiles big and turns and sees her fangs come at
him. He screams)
DIRK: Genie!
(WOMAN disappears and GENIE appears and sighs)
DIRK (cont.): You ruined all my wishes!
GENIE: Wishes are not the key to your happiness.
(GENIE disappears and DIRK falls into a chair. JESI
returns. She nervously approaches DIRK and touches him
on the shoulder and he jumps)
JESI: I'm sorry. Have you seen my keys?
DIRK: Keys?
JESI: Here they are.
DIRK: Hey, what's your name?
JESI: Jesi. And you're DIRK.
DIRK: You work in the lab in the mornings huh?
JESI: Uh-huh. You want my email? In case you need to
ask me something... about the lab.
DIRK: No one ever comes in the lab during my shift. You
want to stay and hang out?
JESI: Sure, I'd like that.
(GENIE appears on the computer screen and winks [this
can be a video on a large computer screen or a projected
image onto a screen - if neither of these are possible you
can end on the above line])
JESI (cont.): What was that?
DIRK: Some computer virus.
JESI: I know this great anti-virus software... let me show
you. It works like magic.
END OF SCRIPT

1. Who are the characters? _____________________________________________________________

2. What type of characterization is used? ______________________________________________
a. Why do you say so? ___________________________________________________________
________________________________________________________________________________
_
3. What is the setting? _________________________________________________________________
a. Describe how you will setup the set on stage. _________________________________
________________________________________________________________________________
________________________________________________________________________________
__
4. What type of conflict is present on the play? Explain. _______________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
5. What’s the plot of the play? Discuss each stage of the plot on this one-act play.
_______________________________________________________________________________________
_______________________________________________________________________________________
5
 Directions: In an effort to make everything easier for you, please
answer the following questions as your way to let us know about
your feedback. You can answer in English, Tagalog, Bisaya or
Waray-Waray.

Guide Questions Comment

What did you like about this

Learning Activity Sheet
(LAS)?

What would you like to

improve in this LAS?

What were your challenges in

accomplishing this LAS?

How can we help you

overcome the challenges you
mentioned?

What do you commit to do in

your other Learning Activity
Sheets?

Reid, R. (n.d.). What Is Plot? The 6 Elements of Plot and How to Use

Them. The Write Practice. Retrieved May 5, 2021, from
https://thewritepractice.com/plot/
Setting. (n.d.). Literarydevices. Retrieved May 5, 2021, from
https://literarydevices.net/setting/
MasterClass Staff. (2021, March 25). What Is Conflict in Literature? 6 Different Types of
Literary Conflict and How to Create Conflict In Writing.
https://www.masterclass.com/articles/what-is-conflict-in-literature-6-different-types-
of-literary-conflict-and-how-to-create-conflict-in-writing#internal-vs-external-conflict
Larson, D. M. (n.d.). THE BOY WHO CRIED GENIE. Free Drama. Retrieved May 6, 2021, from
https://freedrama.net/boywhocriedgenie.html

DISCLAIMER

This Learning Activity Sheet (LAS) was developed by the Senior High School teachers and passed the
Quality Assurance processes of the Schools Division Office of Biliran with the paramount objective of preparing
and addressing the new normal. The contents of this LAS were based on the Department of Education’s Most
Essential Learning Competencies (MELC) and SDO-Biliran’s Budget of Lessons (BOL). The borrowed materials (i.e.,
stories, articles, photos, brand names, trademarks, etc.) included in this LAS are owned by the respective
copyright holders. This is a supplementary material to be used by all Senior High School learners (Grades 11 and
12) of SDO-Biliran.

Republic Act 8293, Section 176 states that: No copyright shall subsist in any work of the Government
of the Philippines. However, prior approval of the Government agency or office wherein the work is created shall be
necessary for exploitation of such work for profit. Such agency or office may, among other things, impose as a
condition the payment of royalties.

Thus, the teachers who wrote, created, compiled, and collected the information herein do not represent
nor claim ownership over them. We highly encourage comments, feedbacks, suggestions and recommendations.

SY 2020-2021

SAMUEL S. CELINO, T-I

Writer, Cabucgayan NSAT