Day 1

Administration of pretest

Day 2

Mirroring

Ask the students to perform a pantomime activity entitled “Mirroring”.

Everyone takes a partner. (If there is an odd number, the teacher pairs with
someone.) Partners stand facing each other, about three feet apart. One is the
leader, the other, the "mirror." Moving only from the waist up, the leader begins to
make simple gestures or movements. The "mirror" duplicates the leader's
movements exactly--just as a mirror would. (Some students have trouble with the
right-left shift. If the leader raises his right hand, the "mirror" should raise his left,
just as the figure in a real mirror would.
Focus on how each dramatically expresses himself in the activity using emotions
and body movements using the following guide questions:
• If you were the leader, what did you feel when your partner failed to correctly
imitate your body movements?
• If you were the follower, how were you able to mirror your partner?
• What strategies did you use to efficiently communicate your emotions and
body movements?

How can we express our ideas and emotions?

Possible answer - in an artistic and creative manner

Do body movements help us communicate our ideas? Why?

Possible answer – Yes, because body movements reveal our ideas and
emotions

Which form of literature help us convey our emotions and experiences

in grand, moving and colorful ways?

Have the students understand the concept of drama.

Then ask, how does drama mirror life?

2. Instruct the students to fill-up the Anticipation-Reaction Activity Sheet to elicit

their prior knowledge and misconceptions.

Instruction: Read the items below and decide whether the statement is true or
false.
• Write A if you agree with the statement.
• Write B if you disagree with the statement.
_____ 1. A playwright is a dramatist.

_____ 2. Drama started in Greece during the 6th Century B.C.

_____ 3. Drama has two general types.

_____ 4. Drama has a serious subject matter.

_____ 5. Drama is purely fictional.

_____ 6. Telenovelas are important form of drama.

4. Tally the students’ responses and note variety of their ideas.

What makes a drama a drama?

Why do we need to study drama? Philippine drama?

5. Explain to the students that the next part will be activities and discussion to help
them understand these concepts which will lead to acquisition of new knowledge.

Day 3-5

Viewing video clips to understand relevant features , elements and types of drama.

Have students note the features , elements and types of drama during the viewing.

The teacher may

Day 6

Students will complete a crossword puzzle by applying their understanding of the key terms and
concepts of drama. *This may serve as a quiz.

1. The following are essential attributes of a drama except one –

a. It involves production devices.
b. It is usually presented on stage.
c. It is divided into acts and scenes.
d. It always has a serious subject matter.

2. Which of the following items contains a verb?

a. My cat is lazy.

b. The alligator waits for its prey.

 c. Both A and B.

d. Either A or B.

3. “In Unity” by Wilfrido Ma. Guerrero is an example of a ________.

a. Comedy
b. Tragedy
c. Melodrama
d. Tragicomedy

4. Which of the following phrases shows the correct hierarchy of adjectives?

a. a box of dark bitter Belgian chocolate bars
b. a box of Belgian chocolate bitter dark bars
c. Belgian box of bitter chocolate dark bars
d. Dark bitter box of Belgian chocolate

5. Which of the following group of words is a sentence?

a. Run!

b. In the vicinity of the school.

c. Teaching Minds.

d. When I like it.

6. What element of drama refers to the conversation of characters in a

play?
a. Scene
b. Conflict
c. Dialogue
d. Narration
7. Which is the best definition of a drama?
a. It is a long fictional prose.
b. It is always shown on television.
c. It is an exaggerated show of emotion.
d. It is a story intended to be performed.
8. Which are the main elements of drama?
a. plot and theme
b. setting and conflict
c. characters and props
d. dialogue and stage directions
You are probably familiar with this activity. I certainly didn't invent it. Everyone takes a
partner. (If there is an odd number, the teacher pairs with someone.) Partners stand facing each
other, about three feet apart. One is the leader, the other, the "mirror." Moving only from the
waist up, the leader begins to make simple gestures or movements. The "mirror" duplicates the
leader's movments exactly--just as a mirror would. (Some students have trouble with the right-
left shift. If the leader raises his right hand, the "mirror" should raise his left, just as the figure in
a real mirror would. When they fail to do this, I tell students they are being a "video" instead of
a mirror.)

Most students will want to make this harder than they should. The goal is to mirror the partner
perfectly. I tell my students that if they are doing a good job, I will not be able to tell who is the
leader and who is the "mirror." I coach them to use smooth, continuous movements, because
abrupt movements almost always catch the "mirror" lagging. I coach them to look into each
others' eyes, rather than at their hands, because this facitates more precise communication. I try
to keep them from using their lower bodies until they have really mastered the arms-and-face
mirroring.

I challenge my students to really focus on the process. I point out that it is the leader's job, as
much as the "mirror's" to see that the exercise works. The leader does not try to trick his
partner--on the contrary, he works very hard not to trick him. It is the leader's responsibilty to
perform movements that the "mirror" can follow precisely. I remind the leaders that they should
be looking right at their partners, because their partners must look at them, and therefore the only
way the mirror illusion can be perfect is if the leader also looks at the partner. (If the leader
looks away, and the "mirror" duplicates this movement, the "mirror" can no longer see the leader
to mirror him.)

Once you've got all the students concentrating on mirroring, have them switch leaders a few
times. At first, every time they switch leaders they'll have to start over, but they should reach the
point where they can switch leaders in mid-stream, without interrupting the smooth folow of
movement. If the group is older and advanced enough, see if they can switch leaders without
communicating ahead of time. (When the "mirror" feels it is time to take over, he simply takes
over, and the original leader is sensitive enough to perceive it and become the "mirror.")

Eventually this exercise can grow to involve the whole body, and even movement in space
(locomotion), but be wary of beginning this too soon. I usually don't do it at all except with my
older students. It is too difficult. I use the metaphor of model building. Some people buy the
biggest, most elaborate model kit they can find, and take pleasure in building something really
complicated. But others take their pleasure out of making a simpler model absolutely perfect in
every detail. The second attitude is the one it is necessary to apply to mirrors if their full value is
to be had.