Unit 3-Lesson 1

UNIT 3
THE WORLD
BEYOND Life is multi-faceted. One must not be bound to the confines of his own self, hence
needs to see others and that of their undertakings and shortcomings. At times, things
YOU!
may seem disagreeable for an individual, but must closely look at every reason to
develop an understanding of how other’s feel about the circumstance they are
undergoing. Humanity must start to disentangle the long-time perpetration of horses’
blinkers in their perspectives to fully see the unseen struggles, desperation and
frustration of others, hence start to see every bit of details within their periphery. It is
time to see the world beyond yourself for the world does not revolve around you, it
does in every person and it is only one’s acceptance to other’s capriciousness can he/
she embrace other’s limitations and the beauty that lurks within an individual.
In this unit, you will be expected to demonstrate understanding of how Anglo-

American Literature and other text types serve as a means of connecting to the world;
also how to use ways of analyzing one act-play and different forms of verbals for him or
her to skillfully perform in a one-act play.
LESSON 1
Seeing the unseen
At the end of this lesson, you will be able to:
1. analyze literature as a means of connecting to the world;

2. identify the distinguishing features of Anglo-American One
Act Play;
3. get familiar with the technical vocabulary for drama and
theater like stage direction;
4. interpret the message conveyed in a material viewed;
5. analyze one- act play;
6. explain how the elements specific to a one-act play
contribute to the development of the theme;
7. reflect on the ideas of the speaker;
8. compose forms of literary writing;
9. use verbals;
10. express appreciation for sensory images used;
11. explain the literary devices used;
12. determine the tone, mood technique and purpose of the
author; and
13. provide critical feedback to the idea presented in the
material viewed.
Have you ever tried to lose a person? How did you feel when this person came back? Did you accept him back? Why or why not?
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Click the link that follows for a short sneak peek to the life and works of Robert Frost.
https://www.biography.com/writer/robert-frost
Unlock the following words in red based on the sentences provided.
1. I think he came back because many coax him to do so for if he does not, nobody will take care of him.
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2. He came back to ditch the ground for him to finish the drainage system of the farm.
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3. A wide green meadow is enough for the farm animals to run around.
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4. His sudden disappearance made Warren holds a grudge against him for he did not fulfill the contract between them.
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6. After retirement, we will all live a plain and simple life, hence becoming pantaloons.
7. When people die, they get lost and seemingly fall into an oblivion until no one even remembers them.
8. Many of the guests were asking for Jackie’s husband as she went to the party sans him.
READ ME
Unlock the mystery of one’s unexpected return to the life of those whom he left and how they receive his
comeback.
THE DEATH OF THE HIRED MAN

Robert Frost
[Evening. A porch. MARY sits musing on the moon. When she hears steps, she rises quickly. Enter WARREN, carrying
groceries.]
MARY: Warren!
WARREN: What is it? What’s wrong?
MARY: [Looking back towards the door.] Shhh!
WARREN: What’s going on?
MARY: He’s back.
WARREN: Who?
MARY: Silas.
WARREN: Silas?
MARY: Yes.
WARREN: He’s back?
MARY: Yes.
WARREN: Godammit.
MARY: Be kind.
WARREN: When was I ever anything but kind to him?
[She takes the market things from Warren’s arms and sets them on the porch, then draws him down to sit beside her on
the wooden steps.]
MARY: I know. It’s just that—
WARREN: I won’t have him back. I told him so last haying, didn’t I?
MARY: You did.
WARREN: If he left then, I said, that ended it.
MARY: I know, but—
WARREN: I can’t keep … I mean, what good is he? At his age—
MARY: Who else will harbor him?
WARREN: That’s not our problem. What help he is there’s no depending on. And when I need him most, off he goes
every time!
MARY: He thinks he ought to earn a little pay.
WARREN: Oh, does he?
MARY: Just a little. Enough at least to buy tobacco, so he won’t have to beg and be beholden. [Warren sighs and
lowers his head. MARY puts a hand on his arm.] It doesn’t have to be much.
[Pause.]
WARREN: All right. But I can’t afford to pay any fixed wages.
MARY: I don’t think he expects that this time.
WARREN: I wouldn’t mind his bettering himself if that’s what it was. But you can bet when he starts off like that it’s
just someone trying to coax him off with a little pocket-change. Then every winter he comes back. I’m done, I tell you.
This is the last—
MARY: Shhh! Not so loud. He’ll hear you.
WARREN: Good. I want him to hear. He’ll have to sooner or later.
MARY: Not now. He’s worn out.
WARREN: Where is he?
MARY: Asleep by the stove.
WARREN: By the stove?
MARY: When I came up from Rowe’s I found him here, huddled against the barn-door. He was a miserable sight. It
scared me. Don’t smile like that—I didn’t recognize him. I wasn’t looking for him, and he’s changed. Wait till you see.
WARREN: Where did you say he’d been?
MARY: He didn’t say. I practically dragged him to the house, gave him tea and tried to make him smoke. I tried to
make him talk about his travels, but nothing would do—he just kept nodding off.
WARREN: Probably drunk.
MARY: No.
WARREN: No?
MARY: I’ve seen him drunk. This was different.
WARREN: And he didn’t say anything?
MARY: Not much.
WARREN: Not much?
MARY: Hardly a word.
WARREN: There’s something you’re not telling me. What is it? [Pause.]Mary, confess. He said he’d come to ditch the
meadow for me—didn’t he?
MARY: Warren!
WARREN: Did he or didn’t he? I just want to know.
MARY: Of course he did. [WARREN laughs.] What would you have him say? Surely you wouldn’t grudge the poor
old man some humble way to save his self-respect.
WARREN: I just thought maybe he’d come up with something new this time.
MARY: He added, if you really care to know, he meant to clear the upper pasture.
WARREN: I’ve heard that one too.
MARY: Warren, I wish you could have heard the way he jumbled everything. It shook me up. I stopped to look two or
three times to see if he was talking in his sleep. He ran on and on about Harold Wilson—you remember Harold? The
boy you had haying about four years ago?
WARREN: Sure. I remember.
MARY: He’s finished school and now he’s teaching in some college somewhere.
WARREN: Good for him.
MARY: Silas says you’ll have to have him back.
WARREN: I guess Silas is running the place now.
MARY: He says the two of them will make a fine team for work—says they’ll lay this farm smooth! The way he mixed
that in with other things … he seemed so confused.
WARREN: A little rest will cure that.
MARY: He liked young Wilson, I guess.
WARREN: You never would have known it the way they fought all through July in the blazing sun, Silas up on the cart
to build the load, and Harold alongside to pitch it on. I took care to keep well out of earshot.
MARY: Well, those days trouble Silas like a dream.

WARREN: Strange how some things linger.
MARY: Harold’s young college-boy assurance, you know, it got under his skin. After so many years, he still keeps
finding good arguments he might have used.
WARREN: I sympathize. I know just how it feels to think of the right thing to say too late. Happens every time I argue
with you.
MARY: It’s more than that.
WARREN: What do you mean?
MARY: He asked me what I thought of Harold’s saying he studied Latin like the violin because he liked it.
WARREN: Good a reason as any.
MARY: He said he couldn’t make the boy believe he could find water with a hazel prong—said that proved how much
good school had ever done him. He thinks if he could have one more chance to teach him how to build a load of hay—
WARREN: I know, that’s Silas’ one accomplishment. He bundles every forkful in its place, then tags and numbers it
for future reference, so he can find and easily dislodge it in the unloading. Silas does that well. He takes it out in
bunches like big birds’ nests. And you never see him standing on the hay when he’s trying to lift, straining to lift
himself.
MARY: He thinks if he could teach him that, he’d be some good perhaps to someone in the world—says he hates to see
a boy the fool of books. He’s so concerned for other folk, and nothing to look backward to with pride.
WARREN: Nothing to look forward to with hope, either.
MARY: His whole life like that. Then, and now, and never any different.[Silence. MARY stares up at the
moon.] Warren, I think … I think he’s come home to die. You needn’t be afraid he’ll leave you this time.
WARREN: [Gently mocking.] Home?
MARY: Yes. What else but home?
WARREN: It all depends on what you mean by home, I guess.
MARY: Of course he’s nothing to us, any more than the old hound that came a stranger to us out of the woods, all
broken and worn out from the trail. I think home is the place where, when you have to go there, they have to take you
in.
[WARREN leans out and takes a step or two—picks up a little stick and brings it back. He breaks it in his hand and
tosses it aside.]
WARREN: Silas has a better claim on us, you think, than on his brother? Just thirteen miles up the road. You can bet
he’s walked that far today. Why didn’t he go there? His brother’s rich, director in the bank or something.
MARY: He never told us that.
WARREN: We know it though.
MARY: His brother ought to help, of course. I’ll talk to him if we can’t keep things going.
WARREN: By right, he ought to take him in.
MARY: And he might be willing to—he may be better than appearances. But have some pity on Silas. Do you think if
he had any pride in claiming kin or anything he looked for from his brother, he’d keep so still about him all this time?
WARREN: I wonder what’s between them.

MARY: I can tell you. Silas is what he is—we wouldn’t mind him—but he’s just the kind that kinsfolk can’t abide. He
never did anything so very bad. And he don’t know why he isn’t quite as good as anyone else. He can’t be made
ashamed to please his brother, worthless though he is. He’s got that much pride.
WARREN: You’re right. That’s probably all there is to it. I can’t think Si ever hurt anyone.
MARY: No, but it hurt my heart tonight the way he lay and rolled his old head on that sharp-edged chair-back.
WARREN: He wouldn’t let you put him on the lounge?
MARY: No. Go and see what you can do—would you?
WARREN: All right.
MARY: I made the bed up for him there tonight. [WARREN rises.] You’ll be surprised—how much he’s broken. His
working days are done, I think.
WARREN: Don’t be so quick to say that.
MARY: I haven’t been.
WARREN: He’s a tough old goat.
MARY: Go, look—see for yourself. But, Warren … [WARREN pauses.]Please remember how it is. He’s come to help
you ditch the meadow. He has a plan. You mustn’t laugh at him.
WARREN: I won’t.
MARY: He may not speak of it, and then he may.
[WARREN nods, holding the door.]

WARREN: You coming in?
MARY: No. Not yet. I’ll sit here a while and see if that small sailing cloud will hit or miss the moon.
[Exit WARREN. Silence. He returns too soon—sits next to MARY, takes her hand and waits.]
MARY: Warren?
WARREN: Dead.
[Slow fade to black.]

Courtesy of: http://www.10-minute-plays.com/dramas/the_death_of_the_hired_man.html
Spill your ideas!
Share your insights through the following questions.
1. How did Mary welcome Warren?
2. How does Silas look like?
3. Why did Warren get anxious about Sila’s arrival?
4. How did Mary convince Warren to take him in?
5. Instead of going to his brothers and/or relatives in this difficult time, why did Silas return to the
couple for his services? Cite instances from the story that will support your answer.
6. How do Warren and Mary differ in their stance about his return? How did they reconcile it?
7. If you were Warren, would you do the same? Why or why not?
8. In what way does the story remind you of your goodness and kindness? Explain your answer.
Ponder on This!
Silently think of your answers to the questions posed below regarding the story, “The Death of a Hired Man.”
1. How does the story differ from the other stories that you have read?
2. What are its unique characteristics? Enumerate them and contrast each one of them from the other stories that you
have read?
What’s in your mind?

Another distinctive work of art is Drama. It is a literary piece which is intended to be acted on stage. This is meant to be seen and not
to be read. It is said that this is difficult to write as one must be aware of the interest and even the opinion of the actors, producers and
the audience. “The Death of a Hired Man” by Robert Frost is an example of a drama specifically a one-act play as opposed to a full-
length play. Before discussing one-act play, one must know the basic concepts of drama first.
Elements of Drama
1. Setting- This has something to do with the over-all look of every scene. It realizes the time and place of every event in the
drama. In addition, this has to depend on the dialogue as provided by the script. However, it must be adopted to the limitations
of the stage.
2. Plot – This refers to the series of events in a story. In a drama, this is broadly divided into two major compositions namely;
Technical Divisions and Structure of the Play.
2.1.Technical Divisions- This makes up the acts and scenes of a drama.

2.1.1. Act- This is a unit of action in a play. Full length plays have a lot of acts, while one-act play has only one.
2.1.2. Scene- This is a unit of action that takes place in a single time and place, thus, an act may contain one or
more scenes.
2.2. Structure of the Play-Like any other story, drama also has several components which make-up the entire story. This is
basically the lifeblood of the drama
2.2.1. Preliminary Exposition- This opens up the play. It lays down the background information through giving
out the necessary information for the readers’ benefits.
2.2.2. Moment of Inciting Force- This is where conflict is presented, hence the main actor starts to go with the
quest of solving the conflict.
2.2.3. Rising Action- This houses a series of events which rise up until the climax to the turning point of the story.
2.2.4. Climax- The highest point of the story. In here, the conflict takes its defining moment which may result to a
positive or negative outcome.
2.2.5. Falling Action-This is where the effects of the climax starts to take place. This is where the tension in the
climax ceases.
2.2.6. Denouement- This is the end of the conflict and all sorts of complications in the drama. In here, a solution
has finally been found out. In other words, the readers get a sense of closure in this part of the story.
Courtesy of: https://en.wikipedia.org/wiki/Plot_(narrative)

How to develop the action in a Drama
1. Preliminary Exposition- A writer must ensure that this is written in the most clear, brief, and interesting way
because this is the point where you can hook your readers, thus allowing them to crave for more. In here, all details
must be purposive for the readers to develop a sense of direction. Moreover, this also sets the mood and tone of the
entire play and provides hints to heads up readers for the next events of the drama as the plot develops.
2. Complication- A drama must always be governed with conflict. There is a need to keep the plot moving forward.
However, it must also be anchored to real-life situations so the audience can easily relate to the drama.
3. Suspense- The drama must be fully filled with crises, foreshadowing, surprise, withholding information, disguise
and intervention of chance to ensure that viewers’ arouse their concerns for the characters in the drama.
4. Dramatic emphasis- The dialogues of the drama should stick to the plot of the story. During the stage play, all
entrances and exits must be timed to maintain the dramatic momentum of every scene.
5. Prologue- This is a speech or poem which introduces the story. This is delivered by an actor before the play begins.
6. Epilogue- This is a speech delivered after the play. It aims to explain the events which take place in the story after
the resolution or denouement.
7. Atmosphere- This is the over-all environment of the story. It is created through the set’s lighting, furnishing, sound-
effects, opening dialogues, tension of the plot as well as the gestures, and facial expressions of the actors.
8. Stage Direction and their value- Everything that the drama dictates must be through speech and action.
9. Characters and characterization- In creating the characters, it must be ensured that they resemble natural appearance
so their motivation and reactions are close to reality so the viewers feel the authenticity of the drama. They must
develop based on their dialogues. Lastly, their portrayal must be believable, consistent and strongly drawn for easy
connection of rapport amongst viewers.
10. Conflict- This is the lifeblood of the drama. It is the reason of its existence. In here, opposition of forces are at play.
10.1 Man vs. Self

10.2 Man vs. Man
10.3 Man vs. Society
10.4 Man vs. Nature
10.5 Man vs. Machine
10.6 Man vs. Man vs. Fate/ Supernatural Forces
11. Theme- This refers to the over-all governing idea or concept of the story.
Aristotle’s Elements of Drama
1. Action or Plot- There should be unity of action.

2. Character- Plays which are highly-influential create unique and compelling characters.
3. Thought and Language- Dialogues and monologues must reveal something about the character.
4. Spectacle- This refers to the visual aspect of the play.
Types of Drama
1. Historical Drama- This refers to medieval mystery plays which enact the stories of the Bible particularly dramatize the
lives of the saints as well as chronicle plays and pagan stories.
2. Tragedy- This pertains to a plot which has something to do with the ruin of the leading character’s life.
2.1 Classical Tragedy- It arouses the emotions of pity and fear, hence produces a catharsis of emotions amongst
viewers. It deals with tragic flaws, hubris(intentional use of violence) and nemesis (an enemy).
2.2 Elizabethan tragedy- It features a tragic hero whose pride and ambition had lead him to break a moral code and
constantly ignores sorts of divine warning.
2.3 Romantic Tragedy- This requires a greater progression of the characters as well as the theme of the plot. It imbues
humor and grotesque.
2.4 Modern Tragedy- This combines all kinds of tragedy.
3. Comedy- This type of drama is real but deals with temporary struggles of the leading character. It usually ends happily
in favor of the protagonist.
3.1 Farce- This is dependent on laughable situations. In addition, fosters ridiculous and hilarious conflicts.
3.2 Fantastic Comedy- This talks about highly-impossible situations.
3.3 Comedy of Manners- It tackles the treats of a polite society in a satirical manner.
3.4 Tragi Comedy- It does not involve an actual death but is on the verge of a tragic event.
3.5 Melodrama-It contains exciting scenes with overly dramatic characters and situation. This contains highly
emotional characters with less attention to human values.
3.6 Burlesque- This is a highly laughable and exaggerated imitation of a well-known character or an event.
4. Drama of Social Criticism- It deals with stories that talk about social, economic and even political problems in the
society.
One-Act Play
This is a play which is similar to a short story in its limitations but it compacts a complete drama in one act. Unlike a full-
length play, this is brief, condensed and single in effect, thus has a few number of characters who are quickly introduced. It
may have one act but it could have a lot of scenes. There is a sub-type of one –act play which only runs for 10 minutes also
known as “Flash Drama.”
Elements of One-Act Play
1. Theme- What’s the play all about?

2. Plot- Choose one significant event.
3. Characters- Protagonist is the key.
4. Dialogue- Economy is the key.
Dramatic Analysis and Construction of One-Act Play
1. Theme of the play

2. Technique of the play
2.1 Characters
2.2 Plot
2.2.1 Beginning
2.2.2 Middle
2.2.3 End
Interpretation of Drama
1. Observe the details of speech setting and action

2. Connect these details into patterns so one can develop a sense out of it.
3. Draw Inferences
4. Draw consistent and coherent interpretations.
Evaluation of a Play
1. Attitudes and dispositions of the characters and authors

2. Social Perspectives
3. Appreciation and Enjoyment of its Literary and theatrical artistry
Planning of the Production
1. Selection of the Play

2. Casting
3. Assignment of Responsibilities
4. Preparation of Prompt Book ( This is a working handbook of all details connected to the play.)
5. Schedule of rehearsals
Production Staff
1. Director
1.1 Supervise the preparation of the Prompt Book which will contain the following
1.1.1 Cast of characters and staging responsibilities
1.1.2 Interpretation of the Play-Mood, Tone, Theme, Major Conflict, Climax
1.1.3 Style of Production
1.1.4 Ground Plan
1.1.5 Breakdown of the Play
1.1.6 Rehearsal Schedule
1.1.7 Prop Plot
1.1.8 Costume Plot
1.1.9 Make-up Plots
1.1.10 Cue sheets for curtain, sound, music, lights
1.1.11 Complete Script with movement and business
1.1.12 Publicity Management
1.1.13 Record of other details
1.1.14 Names, addresses and phone numbers of the entire cast.
1.2 Supervise rehearsals

1.2.1 Conduct reading rehearsals in which the play and character relationships are discussed and agreed upon.
1.2.2 Study the principles of movement and design; be responsible for unity, tempo and projection.
2. Stage Manager
2.1 Draw the ground plan and make a set sketch or model set if needed.
2.2 Set up the stage for rehearsals and production
2.3 Supervise all backstage activity during rehearsals and production
2.4 Hold the prompt book during the rehearsals
2.5 Be familiar with the movement and business of each character so that you can take an actor’s play during the
rehearsal
2.6 Make the cue sheet for the curtain.
3. Prop Manager
3.1 Prepare for the set of the prop plot which lists all necessary props on stage and in the wings when necessary.
3.2 Prepare the personal prop plot
3.3 Supervise Props during rehearsals and production
3.4 Supervise props collection and safe return of all borrowed items.
4. Costume Manager
4.1 Prepare costume plot. Do any necessary research on period costumes and draw costume sketches for each character.
4.2 Coordinate the costume ensembles as to color and style.
4.3 Supervise the collection of costumes, making and pressing of costumes as well as the safe return of all the borrowed
items.
4.4 Supervise the costume wardrobes during the dress rehearsals and production. Establish and maintain clean and
orderly dressing rooms.
5. Sound and Music Manager
5.1 Supervise the collection of sound-effect equipment

5.2 Supervise the selection and collection of music effects to establish mood and to meet the requirement of the script.
5.3 Make the sue sheets for sound and music effects
5.4 Operate the sound and music effects during the rehearsals and production.
5.5 Be responsible for the safe return of all borrowed items.
6. Make-up Manager
6.1 Design the make-up charts for each actor specifying the exact materials used
6.2 Acquire the necessary make-up materials
6.3 Supervise the application of make-up
6.4 Be responsible of the cleanliness of the make-up room and for returning make-up supplies
7. Publicity Manager
7.1 Organize the development of publicity as to the kind, amount and time.
7.2 Make the posters and programs
7.3 See if the royalty is paid, if this is required
7.4 Make necessary preparations if other cases or guests are to be invited
7.5 Provide ushers, a host of invited guests and as announcer to the production.
Check this out!
For more information, click the following sites:
➢ https://youtu.be/7NmD2TGKnY8
➢ https://riashaurya.wordpress.com/2015/07/06/the-one-act-play/
➢ https://youtu.be/8yzY6buMflo
➢ http://www3.canisius.edu/~ltclub/press_releases/Production%20Staff%20Roles.pdf
➢ http://produceaplay.com/productionstaffcrew
Ponder on This!
Now that you have an idea how a drama or even a one-act play and its staff works, how do you produce scripts out
of your story ideas or concepts? How do you go with scriptwriting?
People by nature are keen observers of everything that is going around them. AT times, they play with their observations
and translate these into their own renditions. This is an example of how one creates a world of his own out of the experiences
that he incurred and that of others. There are bulks of tips and steps in putting their thoughts on paper and let it come into life,
but the details below encapsulate the general set of principles vital in the personification of these ideas and thoughts.
1. Read and watch plays- It is important for an aspiring writer to know the platform from where he would like to see
himself in. In cases where his inclination is on writing plays, but also watch them on stage as they are performed.
According to Matthews, it is better to watch the same film a lot of times. During the first time, one is likely to get hook
by the story, but after several times, one gets to see the film objectively through taking a look at other aspects like the
technique of the playwright (writer of plays) as well as how it appeals the audience. Aside from this, he also learns
other factors to consider when staging a play. He can’t just require tigers and other predators go about the stage for it is
the requirement of the play, rather think of a practical ways of ensuring that the script fits the stage. On top of all these,
one can also see the other side of the coin which is the cost and ease of production. It is even suggested that one may
volunteer in a local play production to have a clear grasp of the requisites of staging a play and writing a script.
2. Do a main character profile- The best way to start your story concept is to think of your main character. To whom will
your story revolve? He can be an embodiment of real people that you know. In addition, one can also do “people-
watching.” For instance, when you go to mall, you can create circumstances for individuals whom you can see in these
places. When this occurs, you can start building up the complication that this character goes through.
3. Decide on a conflict- This is the lifeblood of your play. You need to pose a problem to the main character which he/she
will solve as the play progresses. If there is no conflict, it will never attract your viewers. A play which solely deals
with happiness and how one lives on a daily basis will not lure viewers, but happiness out of extra-marital affair or
happiness out of being saved by a heroic prince could be a good way to engage viewers and arouse their curiosity.
Think about your made-up character and what life threatening circumstance he/she is going through. Lastly, include all
the challenges that he/she will encounter but of the conflict you created.
4. Decide on a starting point- When you do so, you have to remember that plays are totally different from movies, TV
series or even novels. You need to weigh in which part your audience could still retain their attention. You must not
start in the climax and go on with the flashback as it will be burdensome on the production side, while giving all
characters their background information might be too much for them. Hence, it is advisable that one must start before
the climax and ensuring that they also know the background information of all characters.
5. Show the story in action and speech- Playwrights must use speech and action as their tool. Unlike films, you can’t
zoom in or zoom out your characters’ view on the point of your audience. In other words, you must clearly give out the
emotions of your characters in the most visible and palpable way.
6. Pare it down- This simply means that a writer must not overtly complicate the story by adding up a lot of characters
and conflicts. This may be a burden the over-all production in the sense that there might be too many props or event
costume changes which could increase the cost of production.
7. Write and Re-write- A lot of writers spend months and even years in developing their ideas, jotting down notes,
creating character profiles and brainstorming. This is done for they want to know everything before starting off. They
do this to explore and discover more possibilities for their concept. Afterwards, they go on with their second drafts and
even more, then revising it until they feel satisfied.
There is no hard and fast rule in Script Writing, but there are a few ways to ensure good quality outputs
1. Read and watch a lot of plays

2. Write regularly, even if you don’t feel like doing it. This is vital for if you continue to wait for a time of inspiration,
it might be too long.
3. Don’t assume that the first draft is the final one.
For a more detailed and technical discussion of a One-act Play Script, check the following sites as authored by Jonathan
Dort:
1. The Play’s the Thing and Types of Plays

Check this out!
For more information, click the following site:
➢ http://www.playwriting101.com/chapter01
2. Different Theater Spaces
Check this out!
3. Story Structure and Write to be Read
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4. Story Development
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5. What does a play look like? What should my play look like?
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6. Manuscript Format Elements and Play Page Layout
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7. Title Page Elements
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8. Cast Page Element
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9. Musical Numbers Page Element and Act/Scene Heading Element
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10. Setting and as Rise Description Element
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11. The Stage and Character Name Element
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12. Dialogue Element
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13. Lyrics and Stage Direction Element
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14. Transition Element
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15. Page Break Rules and Binding
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16. Submitting your work
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A. Map the elements of Drama found in the play, “The Death of the Hired Man” by Robert Frost
1. Setting
2. Characters and characterization
3. Plot
3.1 Preliminary Exposition
3.2 Moment of Inciting Force
3.3 Rising Action
3.4 Climax
3.5 Falling Action
3.6 Denouement/ Resolution
4. Summary
5. Lessons Learned
6. Type of Drama where the play, “The Death of a Hired Man” belongs. Discuss it.
B. Discuss the very important things to consider when developing the action of your play’s plot.
C. Compare and contrast Historical Drama, Comedy and Tragedy
D. In a group of 5, pick one sub-type of drama in each general type and develop a script for your 10-minute flash drama. Make sure to
follow the steps in making a script as well as the different formats provided.
Ponder on This!
Observe the sentences listed below.
1. The Death of a Hired Man” is way too interesting.
2. I told him so last haying.
3. He thinks he ought to earn a little pay.
4. He just kept nodding.
With a partner, discuss your answers to the questions listed below.
1. What have you noticed with each sentence?
2. What are the underlined words?
3. What kinds of words are these?
4. How does each one of them function?
In English structure, there are words which look like verbs but do not function as one. These are verbals. These words look like verbs
but do not function as one rather it acts like a noun, adjective or an adverb.
Verbals- These look like verbs but function as noun, adverb and adjective.
Type of Verbals
1. Gerund- This functions as a noun.

Formula: base form of the verb + -ing
Ex.
1.1 Running is my hobby.

1.2 I like jogging but sometimes I do hiking.
1.3 Playing softball is fun.
1.4 Many Filipino moms love cooking.
1.5 She is incredibly joyful and laughing regularly is one of her habits
2. Participle- This functions as an adjective.

Formula : base form of the verb + -ing (present participle)/ -ed (past participle)/ -t or –en
Ex.
2.1 The entertaining girl left the crowd in awe and shock.
2.2 The couple found the hidden treasure in their backyard.
2.3 The frightened dog did not stop barking the old lady.
2.4 The singing children smiled joyfully to the crowd.
2.5 The written report was submitted to the committee chairman.
3. Infinitive- This functions as a an adjective, noun and adverb.

Formula: to+ base form of the verb
Ex.
3.1 Maria’s entire family likes to rise early. (Adverb)

3.2 She hated to discuss emotions. (Noun)
3.3 To explore the world requires a lot of time and money. (Noun)
3.4 You promised to buy me a diamond ring. (Adverb)
3.5 Rhea has the ability to succeed. (Adjective)
Check this out!
➢ https://www.nova.edu/tutoring-testing/study-resources/forms/verbals.pdf
➢ https://youtu.be/8c2b-zhk1DQ
➢ https://youtu.be/m4HjWXC7Z14
➢ https://s3.amazonaws.com/scschoolfiles/1061/verbals_worksheet_2.pdf
A. Click the links that follow and answer the items provided.
➢ https://www.troup.org/userfiles/929/My%20Files/ELA/MS%20ELA/8th%20ELA/Unit%201/Identifying%20Verbals%20Practice
%20Packet.pdf%3Fid%3D13897
➢ http://www3.cablevision.qc.ca/ronalds/englishclass/grammar/Verbals%20-%20Rules%20and%20Exercises.pdf
B. Go back to your scripts and look for verbals. Afterwards, classify each one of them based on what kind of verbal they belong. Use
each one of them in sentence. Fill out the table below.
Script no. Gerund Participle Infinitive Sample Sentence
Script no. 1
Script no. 2
Script no. 3
Script no. 4

Unit 3-Lesson 1

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Unit 3-Lesson 1

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UNIT 3

In this unit, you will be expected to demonstrate understanding of how Anglo-

Seeing the unseen

At the end of this lesson, you will be able to:

1. analyze literature as a means of connecting to the world;

THE DEATH OF THE HIRED MAN

WARREN: What is it? What’s wrong?

MARY: [Looking back towards the door.] Shhh!

WARREN: What’s going on?

MARY: He’s back.

WARREN: He’s back?

WARREN: When was I ever anything but kind to him?

MARY: I know. It’s just that—

MARY: You did.

WARREN: If he left then, I said, that ended it.

MARY: I know, but—

WARREN: I can’t keep … I mean, what good is he? At his age—

MARY: Who else will harbor him?

WARREN: Oh, does he?

MARY: I don’t think he expects that this time.

MARY: Shhh! Not so loud. He’ll hear you.

WARREN: Good. I want him to hear. He’ll have to sooner or later.

MARY: Not now. He’s worn out.

WARREN: Where is he?

MARY: Asleep by the stove.

WARREN: By the stove?

WARREN: Probably drunk.

MARY: I’ve seen him drunk. This was different.

WARREN: And he didn’t say anything?

MARY: Not much.

WARREN: Not much?

MARY: Hardly a word.

WARREN: Did he or didn’t he? I just want to know.

WARREN: I’ve heard that one too.

WARREN: Sure. I remember.

WARREN: Good for him.

MARY: Silas says you’ll have to have him back.

WARREN: I guess Silas is running the place now.

WARREN: A little rest will cure that.

MARY: He liked young Wilson, I guess.

MARY: Well, those days trouble Silas like a dream.

MARY: It’s more than that.

WARREN: What do you mean?

WARREN: Good a reason as any.

WARREN: Nothing to look forward to with hope, either.

MARY: Yes. What else but home?

WARREN: It all depends on what you mean by home, I guess.

MARY: He never told us that.

WARREN: We know it though.

WARREN: By right, he ought to take him in.

WARREN: I wonder what’s between them.

WARREN: He wouldn’t let you put him on the lounge?

MARY: No. Go and see what you can do—would you?

WARREN: All right.

WARREN: Don’t be so quick to say that.

MARY: I haven’t been.

WARREN: He’s a tough old goat.

MARY: He may not speak of it, and then he may.

[WARREN nods, holding the door.]

[Slow fade to black.]

Spill your ideas!

Share your insights through the following questions.

1. How did Mary welcome Warren?