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Republic of the Philippines

Department of Education
Region VII, Central Visayas

Instructional Planning (iPlan)

(With inclusion of the provisions of D.O. No.8,s.2015 and D.O. 42,S. 2016)
Detailed Lesson Plan (DLP)

DLP No.: Learning Area: Grade Level: Quarter: Duration:

20.3 Creative Writing 12 1 60 minutes
Learning Competency: Write at least one scene for one-act play Code:
applying the various elements, techniques, and HUMSS_CW/MP
literary devices Ij-IIc-20
Key Concepts/ One-act play
Understanding to be
1.Learning Objectives Knowledge Compare sample scripts of scenes of one-act plays for
their elements, techniques, and literary devices,
including stage directions
Skills Develop the scene for a one-act play applying the
various elements, techniques, and literary devices, and
with defined stage directions
Attitudes Demonstrate patience and perseverance in writing a
scene for an original one-act play
Values Initiate helping one another in completing the task at
2.Content Reading and Writing Drama (one-act)
3.Learning Resources Sample Scripts:
 https://mafiadoc.com/new-yorker-in-tondo-english-
niuehighschool-home_59d936951723dd856332bc25.html (New
Yorker in Tondo)
 http://download940.mediafire.com/v0z906b9xcwg/2spf887t0tzevn
6/Forever+by+Wilfredo+M.+Guerrero+Script.docx (Forever)
Creative Writing (Fastbooks Educational Supply, Inc.) pp. 257, 275
4.1 Introductory Activity Recapitulation of previous day’s lesson.
(4 minutes) Review elements of drama, techniques and literary devices

4.2 Activity Group Activity (5 groups, not the same grouping as previous
(12 minutes) lessons)

Provide the groups with a copy of the script for a scene from each of
the plays “New Yorker in Tondo” by Marcelino Agana, Jr. and
“Forever” by Wilfrido Ma. Guerrero (see Attachment 1 & 2).
Republic of the Philippines
Department of Education
Region VII, Central Visayas

Playwright’s Detective. Like a detective, the group shall study the

scripts and give their insights based on the following:
Elements of Drama
Techniques and Literary Devices used
Structure of the Dialogues
Staging/Stage Directions
4.3 Analysis Process Questions:
(10 minutes) 1. What are the elements of drama evident in each of the scripts?
2. Did the playwrights of each script use literary devices?
techniques? What are these?
3. Describe the dialogues in the given scripts as well as the stage
directions, i.e. the italicized words/parenthesized phrases.
4.4 Abstraction Staging/Stage Direction – A playwright’s descriptive or interpretive
(7 minutes) comments that provide readers (and actors) with information about the
dialogue, setting and action of a play, including the position of the actors
on stage, the scenic background, the props and costumes, and the
lighting and sound effects.

Ten Tips for Writing Stage Directions (see Attachment 3 for

explanations/examples for each of the tips)
1. Direct the actors
2. Direction before action
3. Direct the immediate
4. Don’t direct the audience
5. Set the scene
6. Knock, knock…
7. Remember that all the world’s a stage…
8. Value terseness
9. Don’t abbreviate unnecessarily
10. Don’t get your up and down back to front
4.5 Application Group Activity (Same Grouping with Previous Days)
(10 minutes)
Provide each group with a copy of an excerpt from “Forever”,
containing the opening stage directions and parts of Scene 1 of the same
play (see Attachment 4).

1. Observe how the setting is described and how the emotions and
actions of the characters are portrayed in the dialogues.
2. Create the opening stage directions for your own 10-minute one-act
play, and your desired emotions and actions (nonverbal expressions)
in the parts/dialogues of the particular scene you are working on
from your one-act.
Republic of the Philippines
Department of Education
Region VII, Central Visayas

4.6 Assessment Group Activity (Same Grouping with Previous Days)

(15 minutes)
Revise your draft of the scene from your one-act play.
a. Apply the various elements, techniques, and literary devices to
improve your work.
b. Define your stage directions for the scenery/set on stage, as well as
the intended character emotions and/or actions (nonverbal
expressions) in the dialogues of your scene.

4.7 Assignment Instruction:

(1 minute) After having your created scene checked, keep on revising/editing your
● Enhancing the day’s scene to correct certain aspects such as spelling, grammar, punctuation,
lesson and the like.
4.8 Concluding Activity “Half my life is an act of revision.” – John Irving
(1 minute)
Always. Be. Revising. Most importantly in real life. 😊

5. REMARKS Indicate below special cases including but not limited to continuation
of lesson plan to the following day in case of re-teaching or lack of
time, transfer of lesson to the following day, in cases of classes
suspension, etc.

6. REFLECTIONS Reflect on your teaching and assess yourself as a teacher. Think

about your student’s progress this week. What works? What else
needs to be done to help the students learn? Identify what help your
instructional supervisors can provide for you so when you meet them,
you can ask them relevant questions. Indicate below whichever is/are

A. No .of learners who

earned 80% in the
B. No. of learners who
require additional
activities for
C. Did the remedial
lessons work? No. of
learners who have
caught up with the
Republic of the Philippines
Department of Education
Region VII, Central Visayas

D. No. of learners who

continue to require
E. Which of my learning
strategies worked well?
Why did these work?
F. What difficulties did I
encounter which my
principal or supervisor
can help me solve?
G. What innovation or
localized materials did
I use/discover which I
wish to share with
other teachers?
Prepared by
Position/Designation: SPST- I Division: BOHOL
Contact Number: 09481027939 Email address: jeshamaeforones@gmail.com

Appendices: (attach all materials that will be used)
1. Activity Sheet …
2. Formative Assessment …
3. Answer Key …
4. Handouts …
5. PowerPoint Presentation …
6. Others
Republic of the Philippines
Department of Education
Region VII, Central Visayas

Attachment 1:


(Marcelino Agana, Jr.)


SCENE: The parlor of the Mendoza house in Tondo. Front door is at right. Curtained window 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 against a back wall. Open door-way in center, background,
leads into the rest of the house.

MRS. M : (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 a trifle nervous. He starts slightly on
seeing MRS. MENDOZA.)

MRS. M : Tony! I thought you were in the provinces.

TONY : (Startling) –But is that you, Aling Atang?

MRS. M : (Laughing) ---Of course. It’s I, foolish boy. Who did you think it was ...Carmen

TONY : You ...you don’t look like Aling Atang.

MRS. M : (Shyly touching her boyish bob) –I had my hair cut. Do I look so horrible?

TONY : Oh, no, no ... you look just wonderful, Aling Atang. For a moment I thought
you were your own daughter. I thought you were Kikay.

MRS. M : (Playfully slapping his cheek) ---Oh, you are as palikero as ever, Tony. But
come in, come in. (She moves toward the furniture and TONY follows.) Here,
sit down, Tony. How is your mother?

TONY : (As he sits down, still holding the bouquet) ---Oh, poor mother is terribly
homesick for Tondo, Aling Atang. She wants to come back here at once.

MRS. M : (Standing beside his chair, putting on an apron) –How long have you been

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!
Republic of the Philippines
Department of Education
Region VII, Central Visayas

TONY : Well, Aling Atang, you know how it is with us engineers. We must go where
our jobs call us. But as soon as I have finished with that bridge in Bulacan,
mother 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 of all.

MRS. M : Now I understand how she feels! Your mother could never, never become a
provinciana, Tony. Once a Tondo girl, 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 was 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) ---When... when did she, Kikay, arrive, Aling

MRS. M : Last Monday.

TONY : I didn’t know she had come back from New York until I read about it in the

MRS. M : (Plaintively) ---That girl arrived only last Monday and look at what has
happened to me! When she first saw me, she was furious; she said that I need a
complete overhauling. She dragged me off to a beauty shop, and look, look what
she had done to me! My hair is cut, my eyebrows are shaved, my nails are
manicured, and whenever I go to market, I must use lipstick and rouge! All my
kumares are laughing at me. People must think I have become a ... loose woman!
And at my age, too! 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 I
look like an American?

TONY : (Too 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) ---Who?

TONY : Kikay? Is she at home?

MRS. M : (Snorting) ---Of course she is at home. She’s still sleeping!

TONY : (Glancing at his watch) ---Still sleeping!

MRS. M : She says that in New York people do not wake up before twelve o’clock noon.
Republic of the Philippines
Department of Education
Region VII, Central Visayas

TONY : (Glancing at his watch once more) ---It’s only ten o’clock now.

MRS. M : Besides, she has been very, very busy. Uy, the life of that girl since she came
home! Welcome parties here and welcome parties there and visitors all day long.
That girl has been spinning around like a top!

TONY : (Rising disconsolately) ---Well, will you just tell her I called ... to welcome her
home. Oh, and will you please give her these flowers?

MRS. M : (Taking the flowers) ---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 up.

TONY : Oh, please don’t bother, Aling Atang. I can come back some other time.

MRS. M : (Moving away) ---You wait right there, Tony. She’ll be simply delighted to see
her old childhood friend. And she’ll want to 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 mustn’t call me Aling Atang.

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 address. So ... and especially in front of
Kikay.... You must call me Mrs. Mendoza.

TONY : Yes, Aling ... I, mean yes, 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) ---Yes, Aling ... I mean yes, Mrs. Mendoza.

MRS. M : You must not call Kikay, “Kikay”.

TONY : (Blankly) ---and what shall I call her?

MRS. M : You must call her Francesca.

Republic of the Philippines
Department of Education
Region VII, Central Visayas

TONY : Francisca?

MRS. M : Not Francisca ... 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
everybody 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
an Italian...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 mio!

TONY : (Jumping up once again) –Never mind, Mrs. Mendoza, I’ll answer it. (He goes
to open the door.)

MRS. M : (As she exits) ---Just tell them to wait, Tony.

Republic of the Philippines
Department of Education
Region VII, Central Visayas

Attachment 2:

(Wilfrido Ma. Guerrero)


(CONSUELO appears, rear)

MARIA TERESA : Yes, Consuelo?

CONSUELO : It's Oscar.


CONSUELO : He says he brought some papers you left in the office this afternoon.

MARIA TERESA : Oh, yes. Is he on the phone?

CONSUELO : No. He's waiting downstairs.

MARIA TERESA : Tell him—tell him—

CONSUELO : He says those papers must be finished tonight.

MARIA TERESA : Tell him I'll call him later. (CONSUELO is about to go) Consuelo—


MARIA TERESA : Is Ernesting still awake?

CONSUELO : He is. He's telling me all about the movie he saw.

MARIA TERESA : Do you mind bringing him in later?

CONSUELO : (Puzzled) Here? What for?

MARIA TERESA : Just bring him in.

CONSUELO : As you say. (CONSUELO goes out)

ERNESTO : Do you mind if I ask you who—

MARIA TERESA : Who Oscar is? He works with me in the same office. A good friend of mine.
And Ernesting likes him very much.

ERNESTO : You've known him long?

Republic of the Philippines
Department of Education
Region VII, Central Visayas

MARIA TERESA : About three years.

ERNESTO : And he's seeing you—now?

MARIA TERESA : Yes. (Going to the door and calling) Come on in, Oscar.

ERNESTO : Shall I come back tomorrow?

MARIA TERESA : Please stay.

(ERNESTO shrugs his shoulders, lights a cigarette, and sits down. OSCAR appears. He is a
tall, presentable man of thirty-five. He carries a large envelope)

OSCAR : (Not seeing ERNESTO) Sorry to bother you at this late hour, Maria Teresa, but
the boss wants these papers ready by tomorrow.

MARIA TERESA : I was in such a hurry to leave the office this afternoon I forgot all about them.

(OSCAR turns and sees ERNESTO who stands up and nods quietly.)

OSCAR : (Flustered) Oh. I didn't know you had a visitor.

MARIA TERESA : I want you to meet Ernesto. Ernesto, this is Oscar Daza.

(ERNESTO approaches OSCAR and they shake hands.)

OSCAR : How do you do? Er—I didn't quite catch the name.

ERNESTO : Ernesto Velasco.

OSCAR : Velasco (Suddenly realizing who he is) You mean? —

(OSCAR looks at MARIA TERESA then at ERNESTO but MARIA TERESA evades his
questioning glance.)

MARIA TERESA : Won't you sit down?

(However, the three remain standing.)

OSCAR : (Trying to be lighthearted) The boss will be sore if you don't finish these papers
by tomorrow morning.

MARIA TERESA : Yes, I'll type them tonight. I took Ernesting to the movie.

OSCAR : Is Ernesting asleep already?

Republic of the Philippines
Department of Education
Region VII, Central Visayas

MARIA TERESA : No, not yet.

OSCAR : Can I see him? I promised to take him to the circus last week, but I forgot all
about it.

MARIA TERESA : I asked Consuelo to bring him in.

OSCAR : I could go to his room—

(As he proceeds to the rear door, ERNESTO steps forward.)

ERNESTO : Mr. Daza, I believe Ernesting is asleep.

OSCAR : (Surprised) Asleep? But Maria Teresa said—

ERNESTO : I don't want to seem rude, but it's quite late and the kid must be tired.

MARIA TERESA : (Without looking at ERNESTO). You may go in, Oscar.

ERNESTO : Forgive my curiosity, Mr. Daza, but doesn't it seem rather strange—for a man
to be in a lady's house at this late hour?

OSCAR : (a bit offended) You'll also pardon my curiosity, Mr.Velasco, if I take the
liberty of asking you the same question?

ERNESTO : Really? Of course you know who I am. (OSCAR looks at MARIA TERESA,
then at ERNESTO)

OSCAR : Yes, Mr. Velasco. I think—I do.

ERNESTO : Then—?

OSCAR : A moment ago you implied, by your question. Something which wasn't quite

ERNESTO : Did I? And what was that?

OSCAR : What a poor memory you must have.

ERNESTO : (Remembering) Oh that? But then I am Maria Teresa’s husband.

MARIA TERESA : It isn't true!

OSCAR : I feel rather embarrassed by this intrusion, but--

ERNESTO : I am still Maria Teresa's husband, and she is still my wife. Do we have to
discuss this in public? (He looks at his wife.)
Republic of the Philippines
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Region VII, Central Visayas

MARIA TERESA : If you mean before Oscar, I don't mind. You brought the matter up yourself—

ERNESTO : (To OSCAR) May I remind you, Mr. Daza, that if I am in this house it this late
hour it's because Maria Teresa and I are still legally married?

MARIA TERESA : And may I remind you. Ernesto, that you abandoned your wife eight years

ERNESTO : You have a perfect memory, Maria Teresa.

OSCAR : And your tongue is rather biting

ERNESTO : May I know what is your relationship with—

OSCAR : Maria Teresa and I work in the same office. We are good friends. I come here
often because I enjoy Ernesting's company—and hers.

ERNESTO : My son's company?

OSCAR : And why not?

Republic of the Philippines
Department of Education
Region VII, Central Visayas

Attachment 3:

Ten Tips for Writing Stage Directions

1. Direct the actors

Stage directions are not the same as TV and film directions. The latter tend to be written from
the point of view of the camera. They say what the audience should see and therefore what the director
should shoot. Stage directions, by contrast, direct the actors. So, where a TV script would say “we
see two men sitting at a card table”, a stage script should say “Dom and Kev are sitting at the card

2. Direction before action

Imagine that Helen has a long speech. Then we find the direction “Derek, who has been dozing
throughout Helen’s speech, finally begins to snore.” That direction tells Derek what he should have
been doing for the past half a page. It’s better to tell the actor before the action – it makes rehearsals
so much easier.

3. Direct the immediate

“Tarquin enters. He is a tall, thin man with a droopy moustache.” The actor playing Tarquin
is unable to change his height and build as he enters the stage. Thus they are matters for casting. If
those characteristics are essential to the role, then they should form part of a character profile, either
at the start of the script or (better, in my view) in production notes. Even growing a stick-on moustache
takes time.

4. Don’t direct the audience

Some shows – particularly British pantomimes – have audience involvement. However, in
general, members of the audience do not have copies of the script. Consequently, they are notoriously
bad at following stage directions. By all means direct the actors to interact with the audience, but
saying what the audience will do in response will only lull the actor into a false sense of security.

5. Set the scene

The director and actors need to know the features of their environment, but only as far as it is
essential to what follows. Thus it is good practice to start a scene with a brief scene-setting direction:
A country road. A Tree. Evening.

6. Knock, knock…
Who’s there? The complement to the scene-setting direction is the “at rise” direction, to say
who’s on stage when the curtain goes up. The play always goes better when the right actors are on
stage at the right time

7. Remember that all the world’s a stage…

And all the men and women merely players; They have their exits and their entrances…
And it’s the writer’s job to make sure that the people speaking have been told that they should be on
the stage. If you look at Shakespeare’s directions, aside from the special effects (all those alarums and
excursions) they are almost completely limited to entrances and exits, which should tell you something
about their importance. Furthermore, lights go out, milk goes off, but actors exit.
Republic of the Philippines
Department of Education
Region VII, Central Visayas

8. Value terseness
Especially in early readings, excessive directions get in the way of the flow of the script.
Don’t give unnecessary details: “Charles picks up his favourite evening newspaper, the Oswestry
Herald and Argus” can become “Charles picks up a newspaper.”
Don’t be tempted to put options into a direction: “Cynthia grabs a blunt instrument. This might be a
poker or a candle holder or an ornament.” If you want to discuss the options, do so in production
notes; for the direction, the blunt instrument is enough.
“John has spent five weeks teaching inorganic chemistry to teenagers.” Better to restrict your
directions to things the actors can convey to the audience.
(I love the way that ‘Value terseness’ is the longest tip.)
Even essential directions should be stated as briefly as possible. But…

9. Don’t abbreviate unnecessarily

Experienced actors will understand what you mean by DSL or USC, but not all actors are
experienced, and going through two levels of translation – from ‘DSL’ to ‘Downstage Left’ and from
‘Downstage Left’ to ‘over there’ will cause some to slow down. And if you think you will save
significant quantities of ink by writing DSL, then you are doing too much blocking, usurping the
director’s job.

10. Don’t get your up and down back to front

“The living room of Pullover House. There is a table centre with a sofa and cocktail cabinet
Whilst I’m sure the actors will be very grateful for this little luxury, the audience will not be able to
appreciate the cocktail cabinet or sofa, as they will be out of sight behind the set. Use Upstage and
Downstage, Stage Left and Stage Right.
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Attachment 4:

Excerpt from FOREVER by Wilfrido Ma. Guerrero

(Opening Stage Directions and Part of Scene 1)

Maria Teresa

The action takes place in Manila

Time: 9 in the evening

SCENE: The living room of MARIA TERESA's house. At the rear center, a curtained door, leading out
to the corridor. Against the wall is a table vase with flowers. The left of the corridor leads to
CONSUELO's bedroom, the right to the main entrance. At the left, a door leading to MARIA TERESA's
bedroom. At the right, a high open balcony covered with hanging plants. At front left, a sofa, two
chairs and floor lamp. A small rug beside the sofa. At front right, a table lamp, and a chair.

As the curtain rises, the stage is dark. The only light is the soft moonlight streaming in through
the open balcony. Far away, in the distance, somebody is playing Debussy's Clair de lune. Presently,
vigorous knocks are heard. Silence. Then further knocks. Slowly the left door opens, the interior light
flooding the stage.

CONSUELO, carrying a lighted candle, appears and closes the door again. CONSUELO is
about forty, clothed in dark saya and camisa, and wearing chinelas. She has a panolon hastily thrown
about her shoulders. The knocks become more violent. Greatly puzzled, CONSUELO walks to the

CONSUELO : Is that you, Maria Teresa? I left the door unlocked.

ERNESTO : (Offstage) Let me in, Consuelo!

(CONSUELO looks out and gasps. There is great fear in her eyes, as she continues holding the
candle. The knocks become more persistent. She tries to go back to the bedroom.)

CONSUELO : (Nervously) Everybody's asleep!

ERNESTO : (Insistently) Let me in, Consuelo!

(As the knocks become louder, CONSUELO trembles with fright.)

CONSUELO : (After a pause) Push the door open. It is unlocked.

Republic of the Philippines
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(Pulling herself together, CONSUELO goes out, rear. Presently, ERNESTO comes in, followed
by CONSUELO. She stares at him questioningly. ERNESTO is about thirty-two, tall, rather slim,
careless in his way of wearing clothes. His hair is a little disarranged. There is an, intense expression
about his face, revealing inner turmoil. He looks tired.)

ERNESTO : (Trying to make his laugh sound natural) Well, Consuelo, why do you keep staring at
me? Didn't you recognize your brother Ernesto?

CONSUELO : (Quietly) I did. That's why—

ERNESTO : What's the lighted candle for? No electric lights in this house? (Lighting a cigarette
and looking towards the balcony) Ah, you obviously prefer the gentle, caressing
radiance of the moonlight. (Laughing bitterly) I like the electric light better. It's less

(CONSUELO blows the candle out and stands facing him.)

CONSUELO : I was saying my prayer before the altar—

ERNESTO : Ah, you were praying—for me, perhaps?

CONSUELO : (Vehemently) Ernesto! Why did you come?

(ERNESTO turns on the table lamp.)

ERNESTO : I hate darkness. I've lived so long in darkness. (He sits down on a chair, all the while
smiling mockingly.)