Module in SEE 16

SEE 16 - Speech and Theater Arts
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Foreword and Preface
This module is intended for a one-semester course in Speech and Theater Arts for
teacher-education students who wish to learn fundamental language and theatrical
principles with a detailed discussion in teaching and learning circumstances. The students
will also learn about the essence and significance of their transactional method.
This module enables learners to equip knowledge and skills for development of play
production. This also provides an overview of the forms of oral interpretation that are
suitable for use in circumstances. The book will also give students an insight into the value
of dramaturgy as a resource for teaching and an appreciation.
The author is not the sole proprietor of the information, graphics and illustrations
contained in this book. Most of them have been adapted from the work of different writers,
primarily Open Educational Resources (OER). This workbook is planned specifically for
classroom use only and not elsewhere.

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NEUST VISION
NEUST is a locally responsive and internationally relevant and recognized
University of Science and Technology.
PANANAW
Ang NEUST ay Pamantasan ng Agham at Teknolohiya ng matugunin sa pambansang
pangangailangan,napapanahon, at kinikilala sadaigdig.
NEUST MISSION
To develop new knowledge and technologies and transform human resources into
productive citizenry to bring about development impact to local and international
communities.
LAYON
Makalinang ng mgabagong kaalaman at teknolohiya, at baguhing-anyo ang yamang
katauhan upang maging mabungang mamamayan na magdadala ng kaunlaran at
pagbabago sa pambansa at pandaigdigang pamayanan.
COLLEGE GOALS
1. Articulate the relationship of education to larger historical, social, cultural, and
political processes.
2. Facilitate learning using a wide range of teaching methodologies in various types of
environment.
3. Develop alternative teaching approaches for diverse learners.
4. Apply skills in curriculum development, lesson planning, materials development,
instructional delivery, and educational assessment.
5. Demonstrate basic and higher levels of thinking skills in planning, assessing, and
reporting.
6. Practice professional and ethical teaching standards to respond to the demands of
local and international communities.
7. Pursue lifelong learning for personal and professional growth.

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Table of Contents
Page
Foreword and Preface i
NEUST Mission ii
NEUST Mission ii
College Goals ii
Unit 1: Communication and its Elements 4
Unit 2: Types of Oral Interpretation 20
Unit 3: Play Acting as a Teaching Tool 29
Unit 4: Producing the Play: Persons, Equipment, Skills Involved 42
Appendices 49

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UNIT 1
Communication and its Elements
Overview
Communication is a dynamic process and it's challenging to determine where or with whom
a contact experience begins and finishes. It is a transactional process where value is exchanged with
others.
Studying the mechanism of human communication improves the understanding of how to
act correctly and efficiently in a given situation. Thus, consideration of different forms of
communication may often be beneficial to improve communication more.
In this unit, you will learn about the concrete concepts and steps within the communication
process, identify and apply communication concepts through hitting the following topics:
communication model, communication model, effective oral communicator through examining the
different forms of speech in group communication, levels or the contexts of speech communication,
speech mechanism, different voice characteristics.
Learning Objectives
At the end of the unit, I am able to:
1. Classify different types of communication model;
2. evaluate nonverbal communication;
3. examine the different forms of speech in group communication;
4. identify the levels or the contexts of speech communication;
5. identify examine different speech mechanisms
6. identify and apply the different voice characteristics; and the essence of speech
communication in their chosen field
7. apply the “how to’s” of speeches by delivering extemporaneous speech,
impromptu speech, memorized speech, or manuscript speaking.
Activating Your Prior Knowledge
A. Instruction: Read each item carefully. Choose the letter that corresponds to your answer.
Write the letter in the space provided before the number.
__________1. It is the distribution or sharing of information through speaking, writing, or using

another means.
A. Communication C. Recipient
B. Sender D. Message
__________2. All are the basic parts of communication except:
A. Sender C. Receiver
B. Channel D. Message
__________3. This is the use of physical gestures, words, and mannerisms for that are often performed
unconsciously rather than consciously.
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A. Verbal C. Gesture
B. Nonverbal D. Spoken
__________4. What are the core cognitive processes which help participants to send, receive and
understand messages?
A. Encoding and decoding C. Transmitting and interpreting
B. Receiving and recording D. Encrypting and sending
__________5. In commissions, boards, the task force and business meetings, this form of
communication can be found. What form of communication is it?
A. Dyadic Communication C. Large-Group Communication
B. Small-Group Communication D. Mass Communication
B. Self-assessment: Fill out the chart below to assess your familiarity about the communication.
What I know? What I want to know??
Expanding Your Knowledge
What is Communication?
Communication is basically the transmission of knowledge from one location, person or
group to another. It is the distribution or sharing of information by speaking, writing, or using other
means. Also, it is a constructive conveyance or exchange of feelings and thoughts.
A vast number of items will influence the transmission of the message from sender to
recipient. Which include our feelings, the cultural condition; the communication mechanism used
and evens our location. The difficulty is why employers around the world find good communication
skills so desirable: precise, efficient and unambiguous communication is often incredibly difficult.
Basic Parts of Communication: The Sender, The Message, and The Recipient
Typically in a mixture of words and non-verbal communication, the sender ‘encodes’ a
letter. It is conveyed in some way (for example in speech or writing) and decoded by the receiver.
There can, of course, be more than one recipient, and the nature of communication means
each will receive a slightly different message. Through the choice of words and/or body language
two people can read very different things. Even it is likely that none of them would have exactly the
same perception as the sender.
The positions of sender and recipient in face-to-face communication are not distinct. The
two tasks move between two people speaking back and forth. All parties interact with each other,
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often in very subtle ways such as eye-contact (or lack of) and general language of the body.
Nevertheless, sender and receiver are more distinct in written correspondence.
The Communication Models
Several models explain communication in a deeper way than others, but even the most
comprehensive model does not yet represent what we encounter just in a moment in a
communication interaction. Models often serve an essential communication role, as they allow us to
see specific concepts and steps in the communication process, recognize communication concepts
and apply communication concepts. While these models of communication differ, some common
elements exist in them. The three communication models we’ll be exploring are the transmission,
interaction, and transaction models.
1. Transmission Model of Communication

According to Ellis and McClintock (1990), the
linear or transmission model focuses on the transmitter
and message within a communication relationship, a one
way process through which a transmitter actively
transmits a message to a receiver.
Think about how a radio studio person sends you
a radio message to listen to in your car. The sender is the
radio announcer who encodes a verbal message that is
transmitted by a radio tower by electromagnetic waves
(the channel) and eventually reaches your (the receiver’s)
ears to decode it through an antenna and speakers. The
radio announcer doesn’t really know whether you are Figure 1. The Transmission Model of Communication
Ellis, R. and McClintock, A. (1990). You take my meaning:
hearing their message or not, but if the equipment is Theory into practice in human communication, Page 10.
working and the channel is static-free then there’s a fair

chance that the message will be received successfully.
The development of this model helped researchers to scrutinize the communication
mechanism in new ways, which in time led to more multifaceted models and communication
theories, causing the transmission model to appear simplistic or even infantile at present.
2. Interactive Model of Communication

While the linear model focused on how a message
was transmitted and whether or not it was received, the
interactive model is more concerned with the
communication process itself.
The interactive or interaction communication
model defines communication as a mechanism in which
participants exchange roles as sender and receiver and
make sense by conveying messages and receiving input in
physical and psychological contexts (Schramm, 1997).
This model includes feedback, making contact more
collaborative, and bidirectional mechanism.
There, the presence of a feedback loop suggests a
more nuanced understanding of the roles of participants Figure 2. The Interactive Model of Communication
at a communication encounter. Each model has two Schramm, W. (2000). The beginnings of communication
study in America. Thousand Oaks, CA: Sage.
sender-receivers that exchange messages rather than
having one sender, one message and one receiver. It’s also less focused on post, and more focused
on interaction.

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3. Transaction Model of Communication
Communication transaction model defines
communication as a mechanism in which communicators
create social realities within financial, relational, and
cultural contexts. In this model, we’re not just
communicating to exchange messages; we’re
communicating to create partnerships, build intercultural
alliances, shape our self-concepts and engage in dialog with
others to create societies.
The transaction model also incorporates a more Figure 3. The Transaction Model of Communication
nuanced conceptual interpretation. The model of

Barnlund, D. C. (1970). A transactional model of communication in
K.K. Sereno and C.D. Mortenson (Eds.), Foundations of
interaction portrays context as physical and psychological communication theory (pp. 83-92). New York, NY: Harper and Row.
factors which improve or hinder communication. Though

these contexts are important, they focus on the transmission and reception of messages. Because
the communication transaction model considers communication as a force influencing our
experiences before and after particular interactions occur, it must take account of contextual
factors outside of a single interaction. To do so, the transaction model considers how our contact
experiences are structured and influenced by social, emotional and cultural context.
Nonverbal Communication
Messages don’t stop, either, when you stop talking. You still communicate nonverbally, even
when you’re quiet. In certain situations, what comes out of your mouth, and what you express
through the language of your body, may be two entirely different things.
Your nonverbal communication signs — the way you listen, look, move, and react — tell the
person you connect with whether or not you care, whether or not you are honest, and how well you
listen. If the nonverbal signs complement the words you’re speaking, they improve trust,
understanding and relationships.
Nonverbal communication can play five roles:
a. Repeat: It confirms and also reinforces the message you are making verbally.
b. Contradiction: This can contradict the message that you are attempting to express,
demonstrating to your audience that you might not be telling the truth.
c. Substitution: Can be a replacement for a verbal message. Your facial expression, for
example, frequently conveys a much more vivid meaning than words can ever convey.
d. Complementing: It can add or add to your verbal message. When a manager, if you pat an
employee on the back, in addition to providing praise, you will increase the effect of your
message.
e. Accenting: It can accentuate or reinforce a verbal message. Pounding the table, for example,
can emphasize the value of your message.
(Source: The Importance of Effective Communication, Edward G. Wertheim, Ph.D.)
Types of Nonverbal Communication

The many different types of nonverbal communication or body language include:
A. Facial expressions. The human face is highly expressive, adept of conveying different
feelings without saying a single word. And not like other types of non-verbal
communication, facial expression is common. Happiness, sorrow, rage, disappointment, fear
and disgust are the same facial expressions across cultures.

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B. Body movement and posture. Take into account how the way you sit, walk, stand or hold
your head impacts your views of people. The way you move and handle yourself conveys to
the world a wealth of knowledge. This form of nonverbal communication involves your
stance, your weight, your location, and the subtle movements you produce.
C. Gestures. Gestures are woven into the fabric of our everyday lives. When arguing or
speaking animatedly, you can wave, point, beckon or use your hands, sometimes expressing
yourself with gestures without thinking. Nevertheless, the significance of such movements
can vary greatly across cultures. So, to be careful about how you use movements to avoid
misinterpretation is necessary.
D. Eye contact. Because for most people visual sense is dominant, eye contact is a particularly
important form of nonverbal communication. Many things can be conveyed by the way you
look at others, like curiosity, affection, animosity or attraction. Eye contact is also important
in maintaining the conversation going and in gaging the interest and answer of the other
person.
E. Touch. We interact by touch a lot. Consider of the many different signals offered, for
example, by a subtle handshake, a warm bear hug, a patronizing pat on the head, or a
restraining grip on the neck.
F. Space. Do you ever feel awkward during a discussion because the other person was too
close to you and was invading your space? We all require physical space, but the need varies
depending on the community, the circumstance and the close relationship. You can use
physical space to communicate many different non-verbal messages, including signs of
intimacy and affection, aggression or dominance.
G. Voice. It’s not about what you’re doing; this is how you’re doing it. Some people “read” your
voice as you speak, in addition to listening to your words. You pay attention to details that
include your pacing and rhythm, how loud you speak, your tone and inflection, and sound
that express comprehension, such as “ahh” and “uh-huh.” Think about how your tone of
voice can suggest sarcasm, indignation, love, or trust.
Group Communication
Group communication is contact and exchange of information between individuals who are
members of a community, culturally, geographically or linguistically alike. Group communication is
divided into groups that are:
1. Verbal and Non-Verbal Group Communication
The communication may be verbal as well as nonverbal. Both methods of interacting are
equally important because it is through this interaction that members of the community can engage
in defining goals, making decisions and solving problems. For example, in a volleyball game, a
referee uses both his voice and hand gestures to pass on the game’s status to the players at different
times.
2. Primary and Secondary Groups in Group Communication
A person can accomplish more than what he can accomplish individually when in a
workgroup. It’s because people of different unique skills , experiences, strengths or expertise work
together in combinations to solve new challenges and find ways to create solutions they would not
have developed on their own. There are basically two group types: primary and secondary. The
main party addresses the bulk of individual needs. The secondary community accomplishes certain
individual needs. Secondary groups typically comprise occupational groups or working classes. The
goal here is to carry out a mission. For instance a sales department member’s aim is to sell. But
secondary groups on the other hand cannot accomplish the need for shared understanding and
personal sharing. On the personal front members of the family will understand you better than your
peers.
Speech Communication Method: 7 Elements of Public Speaking

For those who are still on stage talking to the audience, the elements of public speaking and the
understanding of it are important. As such, whether you’re in public or not, understanding the

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elements is vital because they are part of every interaction that we have. It refers to all
communications activities regardless of the number of receivers or audience.
Within this article we will address precisely the seven components of the speech
communication process in public speaking.
1. Speaker - The process of speech communication starts with the speaker-the person who
initiated the interaction or conversation. The quality of the talk should depend on the
integrity, preparation and the subject awareness of the speaker.
2. Message - The message refers to something the speaker communicates to the audience
about a given subject. Speakers must express that directly to the audience in the same way
the speaker attempts to convey it.
3. Channel - The channel refers to the thing that allows for communication or conversation. If
you’re talking on the phone, the phone is the tool in the loop.
4. Listener - The listener is the recipient of the call to the other end of the line. At private
talks, you could have two or more listeners. The audiences in the process are the listener
and everyone who has the message received in public.
5. Feedback - This refers to the response of the recipient, or the receiver of the message
according to the text. This can be either audible or non-verbal.
6. Interference - That is something that affects the communications process. That may be
indoors or out. The former can include the relationship between speaker and listener and
the latter may include what’s going on around it.
7. Situation - The situation in the process of negotiations relates to the time and location
where the discussion took place. It is physical setup for the case.
Forms of Speech in Group Communication: Four Basic Types of Speech Communications

Efficient speech is adapted to our needs and those of the recipient, whether we are in group or
not. We will specifically discuss the four basic forms of voice communication in this article. These
are mechanisms by which people communicate and sweep through messages by providing ideas,
feelings, information, directions, and commands, usually with sensitive communication from
listeners.
1. Dyadic Communication - It’s an interpersonal relationship that involves a situation that
talks face to face. Exchange of ideas, alternating as speaker and listener. A dyadic
communication mode can range in a more purposeful way from an easy, friendly, and
aimless ‘chit-chat’ to such an interview.
2. Small-group Communication - It is an expanded mode of conversation. It is also a
cooperative and systematic discussion by several people who pool their ideas together in a
lively, informal knowledge-and-opinion interaction. In commissions, boards, the task force
and business meetings, this form of communication can be found.
3. Large-group Communication - Communication by the large-group is also known as a
public address. It is a contact situation consisting of a speaker who addresses a large crowd
on a subject matter of general interest to the public in a formal tone and manner.
4. Mass Communication - It is a study of how individuals and organizations simultaneously
communicate information to broad segments of the population through mass media. It
relies on a single source that transmits information to a large community of receivers. This
focuses on how messages persuade and influence the acts and attitudes of individuals or
individuals receiving the information.
Five Levels of Communication

Communication between two individuals happens concurrently on various levels, each with
its nuances and complexities. Such contact forms are visual, physical, auditory, emotional, and
energetic.

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1. Verbal Level - This level involves our string of words between speaker and listener based
on a meaning. The use of “right” words and their usage for the purpose of interaction
(including social, political, racial and religious differences) should be clear and easy in order
to communicate effectively on the verbal level. To stop rambling, the speaker should
formulate his/her thoughts to the fullest extent possible.
2. Physical Level - Visual signs such as eye contact , gestures, actions, positions, breathing,
posture and facial expressions affect how we feel and how we interact are important. It is
important to interact effectively at the physical level by visually aligning with others, by
engaging with them in form and gesture that helps to keep in mind posture, facial
expressions and hand movements.
3. Auditory Level - Our voice sound including tone, range, volume and speed affects how
others receive and interpret our messages. For example, speaking to a thoughtful,
introverted person or risk being unheard of — how we enunciate, inflect, and place
emphasis on certain words affects how others interpret the meaning of what we say — will
find it beneficial to slow their speech.
4. Emotional Level - The emotions of the speaker place the audience in a certain mindset and
affect the perception of what’s being said by the listener. None understand the influence of
emotional experiences on what is being said and how the receiver interprets the message.
To successfully communicate on the emotional level, be mindful of your emotional
condition, learn to pause and release negative emotions before attempting to connect with
others.
5. Energetic Level - Often known as the visceral level, this stage of communication involves a
large array of invisible influences including the level of consciousness of an individual, the
frequency or harmonics of the message, and other subtle energies.
Speech Mechanisms
It is necessary to understand speech development processes, since hearing loss affects
almost all speech. Here is a brief description of what happens within our bodies during the act of
creating voice.
As we exhale the steady stream of air is the source of energy for speech output. Sounds that
come from our ears, or even from our nose, are the product of interruptions of an air stream that
passes through the lungs:
1. trachea
2. larynx
3. pharynx
4. oral cavity
5. nasal cavity
The speech process itself consists of 3 structures:

1. Structure of Respiration - The first structure is the structure of respiration. The first
structure is the breathability structure. Speech is our power source. The exhaled air is our
speakable energy source. The respiratory organs include trachea, rib cage, thorax, abdomen,
diaphragm, and lungs. Our lungs first expand which creates negative pressure and provides
air for speech. Then, to speak effectively, our lungs deflate and our rib cage contracts
squeezing out the air into our trachea. Next, our lungs expand which generates negative
pressure and provides air to talk. Then, to talk effectively, our lungs deflate and our rib cage
contracts squeezing out the air into our trachea.
2. Structure of Resonation - It’s the structure that makes / vibrates sound. The organs that
are involved in this system are the 11alate, and the cords / folds. The larynx is a member of
the vocal cords. The organs responsible for sound are the vocal cords. When we speak, the
vocal cords swiftly open and close. Air moves up the larynx, building up pressure that
causes the vocal cords to be pulled apart. A pressure reduction causes the vocal cords to
pull back together. The force (pushing / pulling the vocal cords) is what makes sound (pitch
and loudness) effective. The larynx also serves as a bridge between the mouth and the

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lungs. To control air flow from the lungs it opens and closes. The larynx also closes so that
no food or liquid enters the lung and trachea. Hence the saying, “It went down the wrong
pipe.”
3. Structure of Articulation - This system is responsible for producing distinct speech
sounds. The linking together of speech organs is called articulation for producing speech
sounds. The organs involved in this system are all from the lips down to the vocal cords. The
lips, teeth, tongue, alveolar ridge, soft / hard 12alate and jaw are included here. It allows us
to produce different speech sounds by moving and shaping those articulators. In short, the
air supply from the lungs provides energy for the development of speech, which in effect
enables the vocal cords to translate this energy into an audible sound. The articulators — by
altering the vocal tract shape — transform the noise into audible sounds of voice.
Four Methods of Speech Delivery
The simplest approach to transmission of speech isn’t always the best. Substantial research
requires planning an informative and ethical message carefully, so it is understandable that
students may have the urge to stop “messing it up” by simply reading it word by word. But students
who do so lose out on one of the key reasons for studying public speaking: learning ways to “talk”
with one’s audience and building trust in doing so. You already know how to read and you know
how to write. Yet it’s neither reading nor talking in public.
There is more formality to speaking in public than chatting. You should be conducting
yourself professional during a speech. This doesn’t mean you’re going to have to wear a suit or
“dress up” (unless your instructor asks you to), but it does mean getting presentable by being well
groomed and wearing clean, proper clothing. This also involves being prepared to use words for the
audience and the subject properly and accurately, to make eye contact with the audience and to
appear like you know the subject very well.
While speaking has more formality than talking, it does have less formality than reading.
Speaking enables frequent pauses, eye contact, slight word-order shifts and vocal focus. Reading is
a reproduction of words on paper that is more or less identical without using any nonverbal
meaning. Speaking, as you will know if you think about exceptional speakers that you have seen and
heard, offers a message that is more animated.
The next sections discuss four presentation methods which can help you manage too much
and too little formality when delivering a public speech.
1. Impromptu Speaking
Impromptu speaking is the delivery of a brief message without rehearsal beforehand.
Impromptu speeches also occur when someone is asked to “say a few words” or at a special event to
give a toast. You probably have done impromptu talking in informal, conversational settings many
times. Examples of impromptu speaking are self-introductions in group settings: “Hi , my name is
Pauline, and I’m a volunteer with the Bantay Bata project.” Another example of impromptu speech
is when you answer a question like, “What did you think about the documentary?
The benefit of such speaking is that it is spontaneous and sensitive in a sense of an animated
community. The downside is that the speaker is given little or no time to ponder the message’s
central theme. As a result, the message could be disorganized and listeners would find it difficult to
understand.
Here’s a step-by - step guide that can be helpful if you’re called upon to make an impromptu
public address.
1. Take a moment to gather your thoughts, and prepare your focal point.
2. Thank the person for inviting you to talk.
3. Deliver your message; make your main point as concise as you can while still sufficiently
covering it and being able to follow your listeners at a pace.
4. Thank the person again for the opportunity to speak.
5. Stop talking.
As you can see, impromptu speeches are generally most successful when they are brief and
focus on a single point.

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2. Extemporaneous Speaking
Extemporaneous speaking is the delivery of a carefully prepared and rehearsed voice,
delivered using brief notes in a conversational way. The extemporaneous speaker can establish and
maintain eye contact with the audience by using notes rather than a full manuscript, and assess
how well they understand the speech as it progresses. Often, the opportunity to evaluate is an
opportunity to explain more explicitly any idea or concept that the audience seems to have
difficulty understanding.
For context, assume you’re talking about safety in the workplace and you’re using the word
“sleep deprivation.” If you see the eyes of your audience glazing over, this might not be a product of
their own sleep deprivation, but rather an indication of their confusion about what you say. If this
happens, you can add a brief explanation; for instance, “sleep deprivation is sleep loss serious
enough to threaten one’s cognition, hand-to - eye coordination, judgment, and emotional health.”
You could also (or rather) give a concrete example to illustrate the idea. You can then restart your
post, having explained a significant concept.
There are also benefits of communicating extemporaneously. This increases the possibility
that you, the speaker, will be seen as competent and trustworthy. Therefore, the audience is likely
to pay more attention to the post, since it includes both verbally and nonverbally. The drawback of
speaking extemporaneously is that it needs a lot of training for both the verbal and nonverbal
elements of the voice. You cannot get adequate preparation the day before you’re scheduled to
speak.
Since extemporaneous speech is the style used in the vast majority of circumstances of
public speaking, much of the material in this chapter is aimed at speaking of this type.
3. Speaking from a Manuscript
Speaking a manuscript is the word-for - word iteration of a written message. In a
manuscript speech, except when using visual aids, the speaker retains his or her attention on the
printed page.
The benefit of reading from a manuscript is the exact repeat of the original words. As we
discussed at the beginning of this chapter this could be extremely necessary in certain
circumstances. For instance, reading a statement about the legal responsibilities your organization
has towards customers may require that the original words be accurate. In order to read one word
at a time, the only errors typically would be mispronunciation of a word or stumbling over complex
sentence structure.
There are also costs involved with speaking manuscripts. Firstly, presenting is usually an
uninteresting approach. The delivery appears to be boring unless the speaker has rehearsed the
reading as a full performance accompanied by vocal expression and movements (as poets do in
poetry slam and actors do in a reader’s theatre). Keeping one’s eyes glued to the script avoids
viewer eye contact. To keep audience attention to this form of “direct” textual voice, the audience
must already be engaged in the message before the delivery starts.
It should be noted that professional speakers, actors, news reporters and politicians
frequently read from an autocue system, such as a TelePrompTer, particularly when they appear on
television, where eye contact with the camera is important. A speaker can create a conversational
tone with practice and give the illusion that he is speaking extemporaneously by using an autocue
tool. Performance in this medium, however, depends on two factors: (1) the speaker is already an
experienced public speaker who has learned to use a conversational tone when presenting a
prepared script; and (2) the speech is written in a conversational style.
4. Speaking from Memory

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Memorized speech is a rote recitation of a written message that the speaker committed to
memory. Of example, actors recite from memory if they appear in a stage play, TV show, or movie
scene from a script. Memorization can be helpful when it comes to speeches when the meaning
needs to be precise and the speaker doesn’t want to be limited by notes.
Memorization has the benefit that helps the speaker to maintain eye contact with the
audience during the speech. Being free from notes means you can move about the stage freely,
using your hands to make movements. When you use visual aids in your voice, the flexibility is even
more of an advantage. There are, however, some real and possible costs. Next, unless you carefully
prepare and memorize every vocal cue (the subtle yet significant variations in speech delivery
which may involve the use of pitch, sound, volume, and pace), gesture, and facial expression, the
presentation will be flat and uninteresting, and even the most fascinating subject may suffer. You
may end up speaking in a repetitive delivery style in a monotone or sing-song. You might also be
able to deliver your speech in a quick “machine-gun” style that fails to highlight the most important
points. Second, the difference in your delivery style will warn the audience that something is wrong
if you lose the position and start trying to ad lib. More frighteningly, it will be incredibly difficult to
find your place and keep going when you go absolutely blank during the presentation.

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Synthesizing Your Knowledge
Activity 1
Name: ___________________________________________________ Date: ______________________
Course and Section: ____________________________________ Score: _____________________
A. Categorize the key characteristics of each communication model and its differences
from other models. Write your answers in the spaces provided.
1. Transmission Model of Communication

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2. Interactive Model of Communication

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3. Transaction Model of Communication

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Activity 2
Name: ___________________________________________________ Date: ______________________
A. Site the best ways to assess nonverbal communication after evaluating the nonverbal
cues in this video: https://www.youtube.com/watch?v=vQzIs41xlQE. Write your
answers in the spaces provided.

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Activity 3
Name: ___________________________________________________ Date: ______________________
A. Choose the letter of the correct answer. Write the letter of the correct answer in the
spaces provided before the number.
_________1. Another name for interpersonal communication is ________.

A. Dyadic communication
B. Small-group Communication
C. Large-group Communication
D. Mass Communication
__________2. It is also a cooperative and methodical dialogue by several persons who pool
their ideas together in a lively, informal knowledge-and-opinion interaction.
___________3. It is a study of how individuals and organizations simultaneously
communicate information to broad segments of the population through mass media.
___________4. Dean Carlos had a cooperative meeting with the academic council to plan for
the upcoming school year. What form of group communication is used?
___________5. Mr. Concepcion held a business meeting yesterday with Dr. Angeles for a
health project. What type of group communication is presented on the given scenario?
___________6. This focuses on how messages persuade and influence the acts and attitudes
of individuals or individuals receiving the information.
___________7. It is a contact situation consisting of a speaker who addresses a large crowd
on a subject matter of general interest to the public in a formal tone and manner.

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B. Identify the level of communication in each item. Choose the letter of the correct answer
from the box. Write your answer on the space provided before the number.
A. Verbal Level C. Auditory Level E. Energetic Level

B. Physical Level D. Emotional Level
__________1. This stage of communication involves a large array of invisible influences

including the level of consciousness of an individual.
__________2. The use of “right” words and their usage for the purpose of interaction
should be clear and easy in order to communicate effectively on the verbal level.
__________3. Eye contact is important for better conveyance of messages.
__________4. The tone, range, volume and speed affects how others receive and interpret
our messages are essential in communication.
__________5. This level involves our string of words between speaker and listener based
on a meaning.
__________6. What type of communication level does engagement of the recipients in form
and gesture is needed?
__________7. Visual signs such as eye contact, gestures, actions, positions, breathing,
posture and facial expressions affect how we feel and how we interact are important.
__________8. To successfully communicate on the emotional level, be mindful of your
emotional condition, learn to pause and release negative emotions before attempting to
connect with others.
__________9. What level of communication is often known as the visceral level?
__________10. To stop rambling, the speaker should formulate his/her thoughts to the
fullest extent possible.
C. Examine how the different speech mechanisms are shown in Bill Gate’s Ted talk on “The
next outbreak? We’re not ready.” State your observation with the help of
1. Structure of Respiration
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2. Structure of Resonation
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Activity 4
Name: ___________________________________________________ Date: ______________________
Performance Task
1. Imagine yourself being the teacher of this subject. Choose one topic above and create a
video of you teaching your chosen content. Then, identify and apply the different voice
characteristics and the essence of speech communication in your chosen field.
A. Identified Voice Characteristics:

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B. Teaching Demonstration Video: On your teaching demonstration, include only the

introduction and lesson proper. Send your demonstration video at
paulinejoyreyesgelacio@gmail.com.
2. Apply the “how to’s” of speeches by delivering any of extemporaneous speech,

impromptu speech, memorized speech, or manuscript speaking. Send your
demonstration video at paulinejoyreyesgelacio@gmail.com.
*Note: You will be graded using the rubric provided. (See attached appendices).*

20 | P a g e
References
Books
Barnlund, D. C. (1970). A transactional model of communication in K.K. Sereno and C.D.
Mortenson (Eds.), Foundations of communication theory (pp. 83-92). New
York, NY: Harper and Row.
Ellis, R. and McClintock, A. (1990). You take my meaning: Theory into practice in human
communication. London: Edward Arnold.
Schramm, W. (1997). The beginnings of communication study in America. Thousand Oaks,

CA: Sage.
Shannon, C. and Weaver, W. (1949). The mathematical theory of communication. Urbana, IL:
University of Illinois Press.
Webliography
Creative Commons. Public Speaking Ethics and Practices, retrieved from
https://2012books.lardbucket.org/books/public-speaking-practice-and-ethics/s17-
01-four-methods-of-delivery.html on July 2020
Cross-Cultural Survey Guidelines. Retrieved from
https://www.ccsg.isr.umich.edu/index.php/resources/advanced-glossary/vocal-
characteristics on July 2020
Ghaz (2019). Phil News PH. SPEECH COMMUNICATION PROCESS: 7 Elements in
Public Speaking,” retrieved from https://philnews.ph/2019/04/02/speech-c
ommunication-process-7-elements-public-speaking/
http://melissateachdeaf.tripod.com/earspeechandsound/id7.html
Skills You Need. retrieved from https://www.skillsyouneed.com/ips/what-is-
communication.html on July 2020.
Marketing91. Group Communication – Definition, Role, Advantages and Disadvantages,”
retrieved from https://www.marketing91.com/group-communication
Segal, et. al. (2020). HelpGuide. Retrieved from
https://www.helpguide.org/articles/relationships-communication/nonverbal-
communication.htm on June 2020.
Slideshare. Types of Speech Context. Retrieved from
https://www.slideshare.net/ErickaAnnTayag/types-of-speech-context
The Balance Careers. Retrieved from
https://www.thebalancecareers.com/nonverbal-communication-skills on July 20,
2020
- End of Unit I -

21 | P a g e
UNIT 2
Types of Oral Interpretation
Overview
Oral interpretation is the mechanism whereby a reader's voice and body takes the words
from a page and gives a meaning. Oral interpreters offer life to stories that function as a medium for
text messages. Many scholars claim that readers should access the author's intended meanings,
while others suggest that textual meanings are eventually modified as they flow through the voice,
the body, perceptions and culture of the reader.
Within this unit, we will discuss the different types of oral interpretation, including the
types of solo and group interpretation, how it is used and how the materials are evaluated.
Learning Objectives
1. identify the different types of oral interpretation;
2. enumerate the different types of solo and group interpretation;
3. learn the guidelines reading concert, chamber theater and speech choir; and
4. critique and apply the “how to’s” of storytelling, interpretative reading, declamation and
monologue.
A. Instruction: True or False. Write T if the statement is true and write F if otherwise in the
space provided before the number.
__________1. Narration is included in chamber theatre and can be performed by one actor.
__________2. Interpretive reading is the process of reading out loud for an audience using the
elements of voice and diction alone.
__________3. Responsive Reading refers to which a solo or chorus recites lines
interchangeably.
__________4. Story Telling can be an oral or physical sharing of a personal or traditional story
with an audience for entertainment or education purposes
__________5. Speech Choir is a technique of ensemble reading in which a group recites as in
one in coordinated voices and related interpretation.
__________6. Declamation is an oration of a learn by rote poem in which the exhibition is
considered by intense emotions but free from dramas
__________7. Reading Concert is also known as Reader's Playhouse
__________8. Solo and Chorus-in which a soloist recites permitted some lines and then
immediately followed the chorus reciting a refrain; and
__________9. Dramatic interpretation uses subtle staging, motions, and imaginative moments
to present a story.
22 | P a g e
__________10. Monologue is an oral interpretative presentation of prose that is also called
exterior monologue.
What is Oral Interpretation?

Oral interpretation is the mechanism by which words in a reader's voice and body are taken
from the paper and given dimension. It is a representation of the body and voice of a piece of
literature. The interpreted piece's meaning is conveyed by how you use your voice and body to all
those who listen and look. This is both a form of reading aloud and writing, without props. This can
be achieved with prose, drama, and verse.
Types of Oral Interpretation and its Guidelines

1. Dramatic Interpretation
Material may be published or unpublished but may need to be taken from a play. The
choices of the play may include monologues, dialogues, narration or a combination of the three.
Realism and depth of character tend to be appraised.
2. Prose Interpretation
Generally the same rules as Drama, but with an emphasis on the plot of the first person
(greater exposure to the story in prose, as opposed to the narrator in drama). Selections may be
either written or unpublished from a short story, essay, or novel. Selections may involve
monologues, dialogues, narration or a combination of the three. Emphasis is focused on the
performance's prosa component and not the performance's dramatic qualities. Although most
performers use a single text, the majority of tournaments require you to compile a script, as long as
all the content is prose. This is the largest national event.
3. Poetry Interpretation
Play and prose work is strictly prohibited. Material may be a single poem or poetry program
(poetry collection), but it is more common since 8-minute poems are rare poetry programs. The
content should match themes and work to support the point that the introduction brings forth.
Alternatively, the poetry chosen may concentrate on exploring the realms of sight, sound, or image.
Poetry chosen should include some well-known poetic techniques, including but not limited to
metaphor, alliteration, repetition, and condensed levels of meaning. If numerous categories are
used, they must be interwoven in a cohesive and carefully designed and structured whole by
connecting writers or literature-inherent topics; the desired outcome is an intellectually integrated
system.
4. Programmed Oral Interpretation
This event is to be a unified presentation consisting of at least two selections from different
genres (i.e. prose, poetry, dramatic literature, plays). A contestant can employ one or more authors'
works. A theme should be created for the selections. Same as Prose, Poetry, and Drama; however a
curriculum allows you to use at least two literature genres spliced into one theme, case, or style
together. Weaving the material together (as opposed to delivering the pieces separately) tends to
make the work more coherent.
5. Dramatic Duo Interpretation
Two people make a choice between a drama, a prose and a system of poetry. A single
collection of at least 2 characters remains the standard, but a recent trend towards programmed
duo scripts has been emerging. Drama scripts also perform well, since the dialog gives the
characters' feelings and perceptions authenticity and immediacy. Frequent interactions between

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characters tend to be a prerequisite for success in competition. Scripts are required, as they are
with prose and poetry. As long as the performance remains consistent, each actor may play one or
more characters. Where the choice is prose or character poetry, one or both of the performers may
tell the story. At the presentation, the emphasis may be direct (the performers may look at each
other) but should be mostly indirect (offstage) throughout the show. This is not an acting event;
thus, it is not appropriate to use costumes, sets, lighting, etc...
6. Interpreters’ Theater (AKA: Readers’ Theater)
Theater of interpreters is characterized as the interpretation of literature by a group of oral
readers who serve as a medium for an audience to express themselves. Although the Theater of
Interpreters is both oral and visual, focus is placed on the oral understanding of the written word
and its subsequent effects on the hearers/viewers' minds, feelings and imaginations. The audience
will experience a single whole, in which each artist contributes to the overall desired effect at all
times. The audience must be understood from a text as having a sense of development. Director,
actor, and judges should be granted the freedom to exercise artistic, interpretive judgment;
manuscripts must, however, be interpreted from during the presentation. Suggestions for trendy or
ensemble wear can be included. The literature should assess the purpose of this suggestion but this
review does not dwell on costuming. Readers may stand, sit or both and switch from one reading
stand or locale to another as long as the motion is consistent with the ideas or moods of the
literature and the operator's concept. With this the production time limit is 25 minutes. A further 2
minutes of material setup and take-down is allowed.
The Two Major Categories of Oral Interpretation

1. Solo Interpretation
1.1. Story Telling-Is an oral sharing of a personal or traditional story with an audience for
entertainment or education purposes. It can be illustrative – one that makes use of
illustrations or drawings to present a story
1.2. Creative/Dramatic– one that uses subtle dramatization, gestures, and creative moments
to present a story.
1.3. Interpretive / Interpretive Reading - the process of reading orally for an audience using
the elements of voice and diction to convey the meaning and mood of the literary piece
is also called dramatic reading, oral reading, or reading aloud.
1.4. Declamation - is a recitation of a memorized poem in which the presentation is
characterized by intense emotions but free from histrionics. Declamation materials are
poems with a strong emotional appeal.
1.5. Monologue - is an oral interpretative presentation of prose or poetry in which the
speaker assumes the role of someone who is addressing an imaginary audience,
expressing his innermost thoughts and feelings. It may be an "exterior monologue"
where the performer speaks to another person who is not in the audience, or a "interior
monologue" where the performer speaks as if to himself or herself.
2. Group Interpretation
2.1. Reading Concert - also known as Reader's Theater. It is an oral reading activity, with
speakers presenting literature in dramatic form. Readers need to understand the use of
suggestion and the staging, eye focus, movement and technical support of performance
techniques.
2.2. Chamber Theater - is a theatrical approach to narrative literature. Narration is included
in the performance and can be performed by one or more actors.
2.3. Speech Choir-" choral reading," "chronic interpretation "and" vocal ensemble "are
named in different ways. It is a technique of ensemble reading in which a group recites
as in one in coordinated voices and related interpretation. Chronic arrangements can
be: unison reading-in which many voices sound like a single instrument, each voice
blends with each other.
2.4. Solo and Chorus-in which a soloist recites permitted some lines and then immediately
followed the chorus reciting a refrain; and
2.5. Responsive Reading – in which a solo or chorus recites lines alternately.

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3. Synthesizing Your Knowledge
Activity 5
Name: ___________________________________________________ Date: ____________________________
Course and Section: ____________________________________ Score: ___________________________
A. Please, carefully read each sentence. Identify the specific oral meanings of each
statement by categorizing its guidelines. Select the correct answer from the box and
write it in the space provided.
A. Dramatic Interpretation D. Programmed Oral Interpretation

B. Prose Interpretation E. Dramatic Duo Interpretation
C. Poetry Interpretation F. Interpreters’ Theater (AKA: Readers’ Theater)
__________1. Selections may be either written or unpublished from a short story, essay, or
book, in this form of interpretation.
__________2. This method of interpretation is represented by a group of oral lecturers as an
instrument for the expressions of an audience.
__________3. It focuses on the auditory interpretation of the written word and its effect on the
hearer's mind, thoughts and imaginations. The interpreters deliver in oral and visual
manners.
__________4. The time of development is 25 minutes in this kind of definition. An additional 2
minutes of material configuration and removal are required.
__________5. Some well-known poetic techniques should comprise the chosen poetry
including, but not limited to metaphor, alliteration and repetition.
__________6. Two people choose between a drama, a prose or a method of poetry in this form
of oral interpretation.
__________7. At the performance, the attention can be overt, but more indirect, (offstage),
throughout the show. The actors may look at each other.
__________8. The performance would be a single show consisting of at least two separate
genres collections (i.e. fiction, poetry, dramatic literature, plays).
__________9. Realism and depth of character tend to be evaluated in this kind of
interpretation.
__________10. Theater is defined by a community of oral readers who serve as a forum for a
audience to express their own views.

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Activity 6
Name: ___________________________________________________ Date: ____________________________
Course and Section: ____________________________________ Score: ___________________________
A. Enumerate the different forms of solo and group interpretation in your own language, and
describe their features, uses and meaning.
1. Solo Interpretation
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1.1. Story Telling
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1.2. Creative/Dramatic
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1.3. Interpretive / Interpretive Reading
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1.4. Declamation
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1.5. Monologue
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2. Group Interpretation
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2.1. Reading Concert
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2.2. Chamber Theater
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2.3. Speech Choir
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2.4. Solo and Chorus
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Activity 7
Name: ___________________________________________________ Date: ______________________
A. Essay. Classify and clarify at least three most important guidelines of:
1. reading concert;
2. chamber theater; and
3. speech choir.

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Activity 8
Name: ___________________________________________________ Date: ______________________
A. Select any of the storytelling, interpretation readings, declamations or monologues and
create a 3 to 5-minute video presentation. Apply the "how to" of the above-mentioned
oral descriptions. Criticize your own work in the light of the guidelines. Please send your
video to paulinejoyreyesgelacio@gmail.com.
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B. Within this unit you briefly state what you have learned.
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References
Webliography
Course Hero. The speech mechanism, Vocal Characteristics, and Speech Arts. retrieved from
https://www.coursehero.com/file/p4tgnjt/The-two-major-types-of-oral-
interpretation-Solo-Interpretation-Story-Telling/ on July 2020
Northern California Forensics Association. Learning the basics of Oral Interpretation.
Retrieved from http://www.norcalforensics.com/resources/resources-for-
students-judges-directors/oral-interpretation-webinar/learning-the-basics-of-oral-
interpretation/ on August 10, 2020
- End of Unit II -

29 | P a g e
UNIT 3
Play Acting as a Teaching Tool
Overview
The drama, like all the arts, makes it possible for students to interact with others in
different ways. In today's increasingly information-centered world, drama offers perhaps better
education than any other art form, even in the very practical aspects of communication so
important. Students who have participated in dramatic activities are less likely to have difficulty
speaking in public, will be more persuasive in their communications, both written and oral, will be
better able to put themselves in the shoes of others and relate to them, and will have a more
positive , confident self-image.
Drama also helps the students develop empathy and tolerance. To be successful in playing a
part an actor must be able to completely inhabit the soul of another. An artist also needs to be able
to grasp how the world looks from the eyes of another. This is not to suggest that he has to agree
with every character. Without becoming a Nazi an actor may play Hitler. But without knowing his
point of view, without empathy, He can't play Hitler. The ability to consider the motivations and
actions of others is important in today's highly polarised and intolerant society. The drama will help
to create responsible people around the world. For this purpose, this unit is designed to help
students use drama as a teaching tool.
Learning Objectives
1. define drama and its types in literature;
2. identify the different theatrical terms of play production;
3. exhibit knowledge on play production process, including aspects of technical and
musical theatre through creating an improvised drama activity;
4. enhance stage presence/confidence and voice projection by projecting a desired image
both in social and professional situations;
5. identify drama-based pedagogy/instruction; and
6. use and appreciate drama as a teaching tool
A. Instruction: Illustrate/Create a scenario how you can apply drama in your potential drama
class. Justify why you portrayed it that way.

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What is Drama?
Drama is a unique and distinctive genre of literature. The concept of drama is a plot
provided by actors / actors on a stage through dialog / monolog and live action. Normally dramas
are tales from which they work. Sound, music, dance, props, etc. are integrated. The audience will
feel part of that action. That is what makes the drama a particular genre of literature. You can also
read drama, of course; however, you can have the full understanding of what the author wanted to
show only when you visit a theatre.
What is Playhouse?
Playhouse is a term common in theatre. This refers to literary drama or drama being
portrayed as an art or occupation.
Types of Drama in Literature

Comedy, tragedy, tragicomedy, and melodrama are the four main forms of drama. All of
these types have the characteristics common to the genre of drama; they are plot, characters,
conflict, music, and dialogue.
1. Comedy - is a kind of drama which seeks to make the audience laugh. Its tone is light and
has a happy ending for the most part. Such tradition came from the Theater of Ancient
Greece, where comedy first emerged as a form of drama. Comedy could further be divided
into sub-categories such as dramatic irony, farce, sarcasm, black comedy, etc. Surprisingly
enough, these preferences may also rely on people's cultural context.
2. Tragedy - Murders, suicides, insanity and suffering are among the tragedy's most popular
concepts. Key characters typically have some sort of flaw or vulnerability that causes their
downfall. Tragedy first appeared in the ancient Greek theatre. It lived through the Roman
Empire, the Medieval Period, the Renaissance and other periods including comedy. Aristotle
concluded that, regardless of his shortcomings, the key feature of tragedy was the change in
fortunes of the principal character. The philosopher also claimed that such a drama would
instill in the viewer a feeling of fear and pity. As drama progressed, more contemporary
script writers thought that showing a normal person's demise would cause the viewer to
feel more emotional, because it would be more connected to a character with their own
social class.
3. Tragicomedy - is a special form of drama incorporating the tragedy and comedy elements.
This means that play can be tragic but will have a happy ending, or it can be serious with
some elements of humor appearing in the play. Like comedy and tragedy, tragicomedy came
out a little later, in Roman Empire times. Roman dramatist Plautus was the first to compose
and use the word for tragicomedy. He used the comedy's light-heartedness in his play
Amphitryon but chose gods and kings as the principal characters. That was pretty
progressive of him. Strict rules for writing drama existed before Plautus; it was either
comedy or tragedy. Such styles have never been mixed together. Plautus was the first to
note that we have both tragedy and comedy features in our everyday lives. Thus drama can
also combine the two.
4. Melodrama is the last of the four types of drama. It's a kind of drama that's hyperbolic all
in. Themes depicted in melodramas are typically plain, with no unforeseen plot twists.
These dramas involve a lot of stereotyping. The main point of a melodrama, however, is not
to convey a story, but to awaken the emotions of the audience. They are mostly love stories
with beautiful heroines, charming heroes, and fearful villains. Melodrama was born much
later from comedy, tragedy, and tragicomedy. It first appeared in France at the end of the
18th century. This later entered Britain and became one of the most famous kinds of dramas
in the 19th century. In particular, the 19th century was the period when theatre was the
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most popular type of entertainment and was visited by a large number of people. This is due
to the fact that theaters became available to common people at that time. In particular, as
melodrama was directed at this layer of society, it became extremely popular. The
melodrama has had such a powerful impact on society that it has lived through today and
has even entered many fields of literature and entertainment.
Theatrical Terms
1. Adaptation -Transform or rewrite a work. For example, an adapter can transpose a novel to
the stage, providing dialog and creating scenes to continue the action, editing multiple texts
into one whole, or modifying a play by changing the setting, ending, or character number.
2. Audience-Denotes the daily clientele of a theatre, or all the people assembled in a theater.
No theater. No audience.
3. Burlesque-Exaggerated genre of surreal comedy, frequently full of allusions to sex.
Situations are manipulated by the characters of stock: the intoxicated husband, the shrewd
mother-in - law, the stunning, scattered young girl, etc.
4. Company-A group that performs productions guided by a particular artistic vision or
theatrical method. Often with a director in the lead. Many theater companies employ actors
to form a permanent enterprise.
5. Costume-The backstage outfit an actor wears. Through their shapes, colors, and textures,
costumes help build the play's visual world, communicate character relationships, and show
the identity (age, profession, personality) of various characters in the story.
6. Cue-Signal at the sound and lighting boards telling the technicians exactly when to start
each effect. The cue is usually the line of another actor to the actor waiting to enter, say a
line or perform an action.
7. Diction-Manner enunciating terms. Actors need to control their articulation, speed of
delivery and breathing.
8. Direction-The art of starting with a script, suggesting an interpretation of it and creating a
complete production. This central interpretive theme governs every aspect of the work of
actors and technicians and helps the director coordinate the different components of the
production (set, acting style, block, music, and so on).
9. Dramaturgy/Dramaturgical Research-Documentation and study leading to better
understanding and knowledge of a script. Familiarization with the historical context, the
author, and the issues at stake, along with parallel research into related pictures, musical
pieces, and films, may have a significant influence on the work of the director.
10. Dress Rehearsal-Final rehearsal before show to begin. The dress rehearsal is a complete
run-through of the performance as if it were performed in front of an audience.
11. House (theatrical space)-Space in which a performance takes place, consisting of a play
space (stage) and audience room. It can be temporarily arranged for performance in a
theater, or in a room (a warehouse, loft, cemetery).
12. Italienne or Line Rehearsal-A line-only rehearsal, with no movement or blocking. Lines
are spoken very easily, without any gaps or voice, to help performers memorize or revisit
their lines.
13. Lighting-Light effects illuminate the actors and the play room, creating various
atmospheres using different intensities, colors and shadow effects.
14. Make-up-Cosmetics applied to the actor's face and body to accentuate or change the
features (age, deformation, scar, moustache);
15. Mask-The mask of an character or a god is made of cloth, papier mâché or resin: for
example, Harlequin or Medusa. As actors donate their masks they join their characters'
bodies. During a mask production, emotions are transmitted through the entire body of the
actor.
16. Music-Musical effects that accompany the dramatic action illustrate key points and create
different emotional atmospheres. The music may be written specifically for production, or
taken from existing plays, and it can be recorded or performed live by musicians or actors.
17. Preset-It is the process of setting up and testing all assets, costumes and parts before each
show, and making sure they are in place on stage and in the wings.
18. Assembly-All the unique, technological aspects involved in creating a plant. This work is
undertaken as production takes shape. Technicians decide during production meetings how

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they can achieve the desired results by remaining on budget, on time, and by following
safety standards.
19. Properties (Props)-The actors used objects onstage: a newspaper, a rock, a chair, etc. A
prop could serve as a symbol. A rock, for instance, may just be a stone, but it may also be a
spear, a helicopter rotor or an imaginary friend.
20. Publicity-Everything that is done to inspire the viewer to come to the show, including ads,
interviews and posters.
21. Reading-The first performance also includes a read-through with the whole cast present. A
rehearsed reading is one done in front of an audience.
22. Repertoire-The complete set of works, mostly staged or called masterpieces. May also
mean play categories (classical theatre, Quebec theatre, children's theatre).
23. Review-Report in the printed or electronic media by a reviewer or critic reviewing a
performance so that prospective viewers can determine whether they want to see it. Ideally,
a criticism would have the knowledge and expertise to be able to analyze and place the
performance in context, but this is not always the case.
24. Revue-Showing sketches and songs, political commentary, and bawdy jokes, in reference to
current affairs or celebrities.
25. Scrim-Curtain of sheer fabric used to create effects of disclosure. It is invisible when
illuminated from the front. Lit from behind, it's getting clear.
26. Script-Text that provides the starting point for making a play. This includes both the lines
to be spoken and the playwright's suggested instructions for the stage.
27. Set Design / Staging Design (playing area)-The art of structuring the play room to suit the
idea of a play by the director. -- mean the set itself (painted flats, moving platforms, walls,
furniture), or the preparation of the performance space.
28. Sound Effects-All the noises produced during a performance like noise (telephone, dog
barking) and atmosphere (crowd, storm at sea).
29. Stage-This concept means both the entire play area and the actual play area floor where the
performers, including the stage, work.
30. Stage Fright-The fear that prevails over the actors before they make their first entrance.
Some artists find this paralyzing, others inspiring. Both actors have their own forms to deal
with that!
31. Subscription-Pre-season purchasing a seat at a discounted rate for some of the plays to be
performed during the season of a theatre.
32. Translation-Rendering a document in a foreign language, without any modifications, cuts
or major improvements. Since a theatrical script is written for the actor to speak, the
translator must try to suit the style, pace, and tone the playwright has selected.
33. Wings - Off-stage space hidden from the audience, harbouring technicians, properties, set
pieces and, of course, actors wait for their entrance cues.
34. World Premiere-A play is performed on stage for the first time. The French word is
formation which can also mean the type of method used in the production planning process.
There are various design methods, and they vary depending on the production and the
creative preference of the client.
Play Production Notes

Playwriting
The script is the normal basis for any development, so it is of utmost importance that the
process it takes place. Many writers begin with an idea, some with a persona, while others may be
inspired by a story. Different writers have various methods of writing — some write a scenario and
work on it. others note or outline the text, others first write a crisis-scene and then plan out the
scenarios leading to that scene. Many plays have been written with the aid of group improvisations
in recent years, e.g. Joint Stock Co. and Caryl Churchill. The playwright presents an outline or
concept, and the group starts an experimentation process through improvisation, debate, analysis,
etc. Both these approaches are aimed primarily at organizing and raising the many elements in a
play to an effective form. It seldom happens in the first draft of the playwright. Many revisions
resulted in most finished games. And because plays are intended for the stage, they must be
completed before the playwright can be sure that no further revisions are required for the play.

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Producing the Play
The playwright must find a producer if a play is to be performed. He takes an choice if a
producer is interested. It grants the author the exclusive right to execute the play in exchange for a
sum of money paid to the playwright. He typically joins the Writers League of America's Dramatists
Guild, before the playwright stages a play on Broadway. Anyone who has a professional play
optioned for development will join the Dramatists Guild. The aim of guild is to protect the author
and secure the best possible contract.
When the producer wants to do the play, he gives a contract to the playwright specifying the
amt. For the royalties to be paid, the cap on the power of the author of the play (TV, film,
international playwright rights) and that the playwright needs to be available for consultation
during the rehearsal time.
There are numerous choices or venues to be considered until it is agreed to stage a
production: Broadway, Off-Broadway, Off-Off Broadway, Local Professional Theaters and University
Theatres. The punishments for Broadway's failure, both financial and artistic, are so high that
everybody tries to escape them at all costs.
The producer focuses primarily on the financial aspects of the play. He selects the sponsors,
draws up the budget, oversees the campaign, chooses the director and the models and has a say in
the actors casting.
Musical Theater
Even in the world of cinematic blockbusters and on-demand television, American cultural
creativity has been held closely by the theatre. Apparently, theater is still popular around the world,
but in the United States we almost always apply to musical theatre when we speak about this term.
A type of theatrical production incorporating acting, singing, and dancing to tell a story is musical
theater. They prefer to name musicals from such works, or even Broadway musicals based on their
preeminent location. You're going to laugh, you're going to sob, you’re going to applaud, you're
going to sing; this is unlike any other musical experience.
Defining the Musical

Musical theater is still a very common form of entertainment We need to describe this term
a little more clearly before we get into the history of musical theater. There are three primary styles
of dramatic performance, involving music, in Western theatrical traditions. Ballets almost
exclusively convey their narrative through dance, with little or no dialogue. There's no ambiguity
between musicals and ballets. Where it gets more complicated is with operas. Operas are dramatic
works in which the actors almost exclusively chant the dialogue. Even simple lines such as "hello"
and "hurry up" are chanted as parts of symphonic score in an opera.
History of the Musical

Operas were one of the most popular theatrical types in Europe in the 18th century, but
there were several kinds. We are familiar with the educated and wealthy 's serious and nuanced
operas but there have also been comical operas of high-brow and low-brow varieties. Among many
social classes these operettas were very popular, were much less serious, and mostly told simpler
stories through common songs. One of the most notable examples is The Beggar's Opera, a satire
told in 1728 about thieves and prostitutes through popular bar songs and well-known operatic
melodies.
This famous comedic opera has evolved in Europe but we have to fly across the Atlantic to
the United States to see it turn into musical theatre. Americans, who did not strictly adhere to the
European concepts of class privilege, preferred more affordable types of entertainment for
everyone. This took off in the form of minstrel shows during the 19th century. These basic
theatrical productions generally contained a small cast of satirical characters, defined by

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personalities and stereotypes that are larger than life. Generally, these productions happened in
three acts. The first one had the whole (cast) company on the stage where they told stories through
songs.
Minstrel shows increased in size and popularity in the 19th century but were also refined
into other styles of art, such as vaudeville and burlesque theatre. Each one contained a blend of
acting, singing, and dancing. They were performed by troops of traveling theater who organized by
the 1880s into existing tour routes and companies. The more popular these were, the more
sophisticated was the American theatre.
Technical Theatre
When you go to a play, an opera, a ballet, or even a concert, you see people performing on
the stage. We may also note the effects of lighting, audio effects, costuming, makeup and the stage
on which the performers are. All these things are part of Technical Theatre's universe.
Professional theater involves anything that entails producing a staged film. Professional
theatre's areas are location, lighting, assets, costuming, and music. In a production, all these areas
work together to decide the location, time period and mood of production. If the audience succeeds,
they won't even hear any of the technological features of the series. Instead, they'll come out and
enjoy the show. Nevertheless, if one of the areas is incomplete or of lesser quality than the others all
manufacturing can suffer. The area is funded by the others, and it's important that everyone work
together and collaborate as a team; if the lighting designer uses blue light in their design and the
costume designer makes a yellow dress, the audience will see a hideous green dress. Therefore,
effective teamwork and cross-communication relies on the professional theater.
The Magic of Technical Theatre

Imagine a stage in a dark alleyway packed with spooky sounds and strange shadows, the
building of suspense and the crowd wide-eyed along the edge of their seats. Now imagine a stage
with no music, no lighting and no props at all. The two variations are incomparable. Professional
theater sets the stage for a production and asks the audience where they are, how long they are and
what kind of day they are – all the essentials for a quality storyline. It allows expression without
spoken word, and gives artists and technicians, young and old, the opportunity to create the
spectacular and the magical.
The technical theater is like a machine, every part of it has to work together to run
smoothly. Every element is important to the production of a show, from lighting and props to acting
and choreography. The engines serve as technological components. When running efficiently they
frequently go unnoticed, but are completely crucial to a successful display. What makes a carpet
float and a pumpkin transform into a beautiful carriage, is the technical theater.
The technical theatre has the ability to affect our youth as well. Aubrey, a member of SAYT,
shares her inspiring story, "I was really shy and I didn't know how to deal with myself in social
situations before I worked behind the scenes in youth theatre. I would try to hold on to a close
group of school friends wherever I went to feel more comfortable. I would often just stay at home
and not socialize with anybody, making me feel unrecognized and unwanted.”
"When I did a tech crew on my first series, it opened me up to a new world. This new world
had nice and accommodating people, a fun atmosphere, plenty of time and space for me to learn
new skills, develop my work ethics and break out of my 'shell.' Doing theater changed me
completely as a person, and I'll always be grateful to him for inspiring me to be my best self and
helping me find a great self.
People who work behind the scenes have the ability to bring magic to the stage and actually
set the "mood." You don't hear "wow that lighting was very cool" or "those props were amazing,"
but without those elements, the show wouldn't be the same.
Theatre is above all a collaborative effort between many creative and practical concepts. For
the production of the final product each element is important. It teaches us to work as a team
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towards something bigger than any other person. Next time you're part of a cast or a member of the
audience; imagine how it would be without the sound, lighting and props. Then take a moment to
thank and praise those who work behind the scenes and on the stage.
Drama and Teaching

Drama is an extensive learning experience that consists of a series of dramatic events
focused on a single subject, involving both students and teachers. The strategy of the teacher in
charge will allow the tragedy to begin by motivating and engaging the community. In some ways,
it's like a program with several events, from which the leader chooses the drama according to the
feedback and interest of the student. Structurally, this approach resembles a stage-by-scene play —
but not necessarily sequentially.
In addition, drama is a teaching instrument that enables the learners to take part in an area
that is "regulated," or not at risk. In other words, it offers students another "non-traditional" chance
to learn and demonstrate their skills. Around the same time, the drama allows students to
communicate their imagination and spontaneity, and to gain faith in their ideas. Last but not least,
he teaches self-discipline, tolerance and constructive feedback response and cooperation with
others.
Drama-Based Pedagogy
Drama-based pedagogy (DBP) uses active and dramatic approaches, according to Dawson
and Lee 2016, in the form described by DBI Network, to engage students in intellectual, affective,
aesthetic education through dialogical context across all curricula areas.
The American Alliance for Theatre and Education (AATE) defines drama-based learning
strategies (which includes creative drama and drama-in-education) as “an improvisational, non-
exhibitional, process-centered form of drama in which participants are guided by a leader to
imagine, enact, and reflect upon human experiences.” Other terms for drama-based pedagogy
include: creative drama, informal drama, creative play acting, improvisational drama, educational
drama, role drama, and process drama. Wherein, teachers in countries around the world have
experimented over the years with these invaluable teaching tools and have it further developed.
The American Alliance for Theater and Education (AATE) describes the theater-based
learning strategies (which include creative play and drama-education) as "a type of drama that
improvises, non-exhibits, processes, and is directed by a leader to imagine, execute and reflect on
human experiences."
Drama as a Teaching Tool

Drama is an art of performance, an outlet for self-expression and a way to learn. Drama is an
effective learning tool because it involves the mentally, physically, socially, and emotionally
involved students. Improvisation, pantomime, play-making, and scenario re-enactment exercises
aim to improve the participants' artistic abilities and help improve critical thinking skills.
The theater director and teaching artist Matt Buchanan has this to say in addressing the
question, "why do you teach drama?'": "Dramatic Arts education is an important means of fostering
imagination in problem solving. It may challenge the expectations of students about their
environment and about themselves. Dramatic exploration can give students an outlet to thoughts,
ideas and desires that could otherwise not be articulated. A student may become another for only a
few moments, pursue a new task, try out and experiment with some personal choices and solutions
to the very real problems he or she has encountered from his or her own lives or from the problems
he or she faces. This can happen in a healthy environment this explores, addresses, and observes
acts and effects in a very concrete way without the risks or pitfalls that such an experiment
naturally will entail in the "real" world.

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The benefits of imaginative play as a tool of teaching align with the goals of learning. These
comprise:
• to cultivate innovation and imagination
• encouraging critical thinking and solving problems
• discovery and review of concepts
• seeking constructive solutions to dispute resolution
• to talk about others' thoughts and to view them
• increased knowledge of communication
• advanced skills in literacy
The teacher is offered a specific way of assessing the pupil by engaging in the drama
activities. Students show their ideas, solve problems, work in a group, manage conflict and utilize
their imagination by playing dramatic games. Observing how students are dramatizing an
experience provides useful insight into how they view, interpret, appreciate and evaluate the
content at the center of the lesson.
Applications for Your Classroom

In various curricular fields, dramatic pedagogy can be incorporated. It can be used to
implement a new concept or subject, to verify knowledge or to expand the learning of your student.
It can be used to analyze the motive of a character, imply the result of a story or to explain facts or
concepts. The teaching strategies illustrate the wider objectives of problem-solving and innovative
thinking by providing a kinesthetic, immersive environment. You may use dramatic pedagogy to:
 re-create presentations of new scientific theories from Galileo, Newton or Einstein;

 investigate literary tensions like Roll of Thunder, Hear My Cry; Bridge to Terabithia;
Journey To Jo'berg; etc.;
 explore incidents leading up to significant historical moments like the Boston Tea Party, the
battle over the Alamo or the Civil War, etc.;
 actually solve math problems — like the characters in the novel!;
 introduce debates over practices such as slavery and segregation, political representation,
voting rights, etc.;
 addressing disputes over rainforest management, endangered species, environment,
drinking water, etc.;
 master vocabulary, and practice dispute management techniques; and
 learn vocabulary and practice dispute management strategies, boost self-esteem, challenge
ethnic or gender stereotypes, control anger, etc.
The program includes a plethora of tense moments and complexities. Drama will help you
eradicate the stresses from the pages of your textbooks and worksheets. Ideally, this will lead to a
classroom of committed students with different perspectives on the subject.
As a facilitator of DBP it is important to understand the theory behind the work. We seek to
encourage students to actively join the teaching and learning process through constructivist
practices. For some teachers the resulting "creative anarchy" can often be disconcerting, but
knowing the results would be worth it!
The drama reflects the ways children learn from their early dramatic play experiences.
Drama-based pedagogy develops and cultivates many cognitive abilities as a more formal kind of
improvisational role-play. The following are critical of these skills to ensure a student's success in
school:
 speech and listening skills

 the skills to solve problems / logical thinking
 strength of decision-making
 imagination and innovation
 collaboration skills

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Drama offers numerous practical applications in the classroom for curriculum material.
Important concepts, ideas, events and people can be dramatized to stimulate interest, communicate
information, gain understanding, and improve retention through improvisation, pantomime, and
playwriting.
For the following applications Drama may be the vehicle:
 Model / observe new techniques or conducts for playing conditions.
 To develop new ideas scenarios.
 The excitement of a meeting of historical figures or characters.
 Re-establish a true case.
 Dramatize a narrative scene that may have happened.
 Boost a theme- or topic-specific scene.
 Act scenarios for approaching dialog writing.
 Literary sketches are made.
 Encourage ideas for essays, poetry or fiction.
 Portray well-known people.

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Activity 9
Name: ___________________________________________________ Date: ____________________________
Course and Section: ____________________________________ Score: ____________________________
A. Identification Test. In the statements defined in each number, identify the correct
categories of drama and theatrical terms of play production. Write your answer in the
space given.
________________1. What type of drama seeks the audiences to create a light and happy
atmosphere?
________________2. This theatrical term of play production denotes the daily patrons of a
theatre.
________________3. Both the lines to be spoken and the playwright's proposed directions for
the stage are the inclusions for this matter.
________________4. This refers to an exciting, emotional, or unexpected series of events or set of
circumstances.
________________5. Dramatic irony, farce, sarcasm, black comedy, etc. are examples of what
type of drama?
________________6. What type of drama does William Shakespeare’s “Romeo and Juliet” belong?
________________7. This means that play can be tragic but will have a happy ending, or it can be
serious with some elements of humor appearing in the play.
________________8. It first appeared in France at the end of the 18th century and became one of
the most famous kinds of dramas in the 19th century in Brtitain.
________________9. This type of drama first appeared in the ancient Greek theatre which
features concepts like murders, suicides, insanity and sufferings.
_______________10. It's a kind of drama that's hyperbolic and typically plain, with no
unforeseen plot twists.
______________11. This is a special form of drama incorporating the tragedy and comedy
elements.
______________12. Where comedy does first appeared as drama?
______________13. The key feature of this type of drama was the change in fortunes of the
principal character.
______________14. Maria is diagnosed severely sick. She has undergone operation and it was
successful. What type of drama is it?
_____________15. Its tone is light and has a happy ending for the most part.
_____________16. The main point of this drama is not to convey a story, but to awaken the
emotions of the audience.
_____________17. “Titanic” is an example of ____________________.
_____________18. “A Walk to Remember” is an example of ____________________.
_____________19. Comedy: Happy Ending ; ___________: Unforeseen Ending
_____________20. What type of drama are horror movies?

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B. Based on the discussion, define creatively each item with not more than 10 words.
1. Adaptation
2. Audience
3. Burlesque
4. Company
5. Costume
6. Cue
7. Diction
8. Direction
9. Dramaturgy/Dramaturgical Research
10. Dress Rehearsal
11. House (theatrical space)
12. Italienne or Line Rehearsal
13. Lighting
14. Make-up
15. Mask
16. Music
17. Preset
18. Assembly
19. Properties (Props)
20. Publicity
21. Reading
22. Repertoire
23. Review
24. Revue
25. Scrim
26. Script
27. Set Design / Staging Design (playing area)
28. Sound Effects
29. Stage
30. Stage Fright
31. Subscription
32. Translation
33. Wings
34. World Premiere

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Activity 10
Name: ___________________________________________________ Date: ____________________________
Course and Section: _______________________________________ Score: ____________________________
A. Lesson Planning. Create a detailed lesson plan using drama-based pedagogy. Please,
highlight the part where you integrated such.
B. Teaching Demonstration. Using your lesson plan as a guide, conduct a teaching

demonstration. Video yourself and send it to paulinejoyreyesgelacio@gmail.com

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References
Books
Buchanan, M. (2010). Drama as a Tool. Retreived from
https://www.childdrama.com/why.html on August 10, 2020.
Webliography
Arts Alive. Theatrical Terms. Retrieved from http://artsalive.ca/en/thf/faire/termes.asp on
July 2020.
DBI Network. Drama Based Pedagogy. Retrieved from
https://dbp.theatredance.utexas.edu/bibliographyon August 11, 2020.
https://www.merriam-webster.com/dictionary/theater
https://www.legit.ng/1219307-4-types-drama-literature.html
https://study.com/academy/lesson/what-is-musical-theater-history-terms.html
Say Theater. Org. The magic of Technical Theater. Retrieved from
https://saytheater.org/the-magic-of-technical-theatre/ on July 21, 2020.
South Eastern Education. Play Production Notes. Retrieved from
https://www2.southeastern.edu/Academics/Faculty/cfrederic/PlayProduction.html on
July 21, 2020.
Teaching Through the Arts. Drama as a teaching Tool, retrieved from
http://teachingthroughthearts.blogspot.com/2011/07/drama-as-teaching-
tool.html on August 2020
UNESCO. Performing Arts. Retrieved from https://ich.unesco.org/en/performing-arts-
00054 on July 21, 2020.
Wikibooks.Org. Technical Theater. Retrieved from
https://en.wikibooks.org/wiki/Technical_Theatre on July 2020.
- End of Unit 3 -

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UNIT 4
Producing the Play: Persons, Equipment, Skills Involved
Overview
A play requires a lot of hard work and a long time, but the end results are valuable as long
as everyone play their part.
Not every director, company, producer or individual play will follow this exact process, but
it will give you an idea of how the typical production is functioning. Below is a rough description of
the way play goes from the script to the stage to help you understand what all goes into the typical
production.
Learning Objectives
1. apply the knowledge on theatrical aspects of theatrical production;
2. acquaint and be familiarized with the stage production; and
3. apply the techniques in body positioning, voice projection, diction, facial expression, and
gesture in a play or drama.
A. Instruction: Multiple Choice. Read each item carefully. Encircle the letter of the correct
answer.
1. There are four ingredients in a good Drama. They include:

a. actors, script, acts and scenes
b. stage directions, plays, singing and dancing
c. characters, cast, setting and drama
d. dialogue, setting, conflict and plot
2. The _____________________ is the action or main events that happen in a drama.
a. Theme
b. Plot
c. Cast
d. Act
3. When a play has specific instructions about scenery, costumes, and details on how the
actors should act, the play has _____________.
a. Theme
b. Plot
c. Stage directions
d. Cast of characters

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4. A list of characters that appear in the play or drama is called a ______________________. They
are also written in the brochure or program of the play.
a. Group
b. Cast
c. Crowd
d. People
5. A person who writes the play is called the-
a. Cast
b. Director
c. Script
d. Playwright
The Stage Production

1. Production of theater
• the planning, repair and delivery of a work; and
• A performance of this nature is performed by live performers who use inanimate or
themselves to an audience at a specific time and place.
2. Dramatically generated
• Alignment with the published text;
• the real or imagined life image; and
3. Productions non-dramatic.
• no "other life" imitation, but merely the performer's amusement or enthrallment of
the audience.
Many styles appeared in Europe and the United States during the 20th century
incorporating dramatic and non-dramatic materials. Of example, Vaudeville or music hall uses
many acts, of example fictional stories, music and dance numbers, and dexterity shows, which are
representational in some and not representational in others.
Song and dance also helps to support the plot and allow a break from pure dramatic
performance in musical theatre. This variety is also known for its Asian theater, in which dramatic
moments of dance are created.
Theatre Roles (Major Roles in a Theatrical Production)

1. The director – The director is responsible for the production 's key vision. The script and
the connection of the characters must be interpreted. They hold rehearsals and block the
door. We have to remind the different departments of their needs. The following divisions
include:
• The House Director
• The Stage Director
2. The producer – The producer finances and appoints a director. The source is usually the
school or the play club for our purpose.
3. The Assistant Director – The Assistant Director gives the Director assistance and decides
the details of the position between the two. This position may concentrate more on
stakeholders or support of technical departments depending on the nature of the
production.
4. Actors – The actors execute the script, collaborate with the director to establish
relationships and aim to follow a director's pace and tempo decisions. The actors are in
charge of:
• The Director
• the Management Assistant
• The Stage Director

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5. Stage Manager – The Stage Manager is responsible for the production process. During the
show it is important for you to cue lights, sounds, settings, props and actors. The stage
manager is also in touch with the divisions that follow.
• The Director
• Actors
• Manager of the house
• Director of production
• Stage Manager Assistant
6. Assistant Stage Manager-The Stage Manager assists the Stage Manager. The help will be
calculated in concert, and may be trained in any of the production areas.
7. Running Crew-The Running Crew is responsible for positioning and removing sets and
props during changes to the scene. They follow The Assistant Stage Manager's lead. A Sound
engineer from the Sound Crew and a Lighting Console Operator from the Light Crew follow
their instructions as "named" by the Stage.
8. Production Manager – The Production Manager manages the production of set, prop,
costume, makeup, lighting, and sound, in conjunction with the Director. They are
responsible for assisting in the development of a cohesive look in all of the above regions.
They ensure that each of the other fields meets timely deadlines.
9. Set Designer – The Set Designer works to express the primary production vision through
the design and construction of sets in collaboration with the Director and the Production
Manager. Sets may be concrete or implied; offer the viewer a sense of where the play's
action is taking place.
10. Construction Crew – The Construction team works as a team to create the set with the
Production Designer concept. To complete the job package, team members contact the
Package Designer.
11. Decorating Crew – also referred to as unit decorators. The design team applies paint, wall
paper and texture to the set, as soon as a set has been designed and approved, to create an
appearance which meets the requirements of the designer. A diverse range of artistic skills
are important to decorating.
12. Technical Director – In conjunction with the Director and Production Manager, the
Technical Director Works on the specifications for development of illumination, sound and
precise effects.
13. Props Coordinator – The Proposal Coordinator is collaborating with the Production
Manager and the Director to establish the required project guidelines.
14. Props crew – The Props crew works as a team, planning, constructing and producing each
property for a script-based play and interpretation of the producer. The Director shall grant
the proposals final approval.
15. Costume Coordinator – In coordination with the Director and the Production Manager, the
Costume Coordinator works to design the costumes for the actors. Costumes must be
created or obtained through thorough study and knowledge of each actor's measurements.
16. Costume Team – The costume team works as a team to calculate and to arrange and
maintain costumes for each performer. It is the responsibility of the costume crew to create
costumes that suit the Director's vision, under the direction of the costume coordinator
17. Makeup Manager – In conjunction with the head and head of development the maquillator
will be working to create a suitable maquillage for actors. Make-up shall be inventoryed and
purchased for any production under a set budget.
18. Makeup Crew – Makeup Crew – On the night of a shooting, the Makeup Crew works with
each actor and makes them according to the specifications of the game, as outlanted by the
Makeup Supervisor. Before the opening of the House Manager who is responsible for the
audience side of the curtain, the Director must eventually accept the makeup applications.
The delivery, sitting, and dispersal of the audience are responsible. Publicity – Marketing
and promotion for development is the responsibility of the Publicity Manager.
19. Box Office – The Box Office is in charge of selling tickets and arranging seating in
conjunction with the House Manager. The staff of the house – The staff of the house is
responsible for the seating, the distribution and general order of the seating area.

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Activity 11
Name: ___________________________________________________ Date: ____________________________
A. Create a chart of the artistic staff positions. List the tasks accompanying each role.
Compare the roles of workers, showing which of these roles overlap. Take note of the
work you feel most prepared for after examination. While you may not have the
experience, you should have an understanding of the skills and personal characteristics
needed for this particular role. Please list your skills.

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Activity 12
Name: ___________________________________________________ Date: ____________________________
A. Choose any classical play. Then, pick a line of any of the character in the play and copy it.
The techniques in body positioning, voice projection, diction, facial expression, and gesture
in a play or drama should be evident. The video should be atleast 1-2 mins. Send your
performance to paulinejoyreyesgelacio@gmail.com

47 | P a g e
References
Books
Bowell, P. and B. Heap. 2001. Planning Process Drama. London: David Fulton. An excellent
introduction to planning process drama. Simple, thoughtful, and enthusiastic.
Fennessey, S. 2000. History in the Spotlight: Creative Drama and Theatre Practices for the
Social Studies Classroom. Portsmouth, NH: Heinemann.
- End of Unit 4 -

48 | P a g e
Appendices
Teaching Demonstration Grading Rubric

https://www.angelo.edu/dept/ceducation/documents/secondary_teaching_demo_rubric.pdf
Oral Presentation Grading Rubric

https://mcb.unco.edu/pdf/communications-rubrics/Oral-Rubric.pdf
Essay Grading Rubric

http://www.readwritethink.org/files/resources/printouts/Essay%20Rubric.pdf
Graphic Organizer Grading Rubric

https://www.nps.gov/apco/learn/education/upload/Grading%20Rubrics.pdf
Multimedia Presentation Grading Rubric

Poster Grading Rubric


49 | P a g e

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SEE 16 - Speech and Theater Arts

SEE 16 - Speech and Theater Arts

SEE 16 - Speech and Theater Arts

Foreword and Preface i

Unit 1: Communication and its Elements 4

Unit 2: Types of Oral Interpretation 20

Unit 3: Play Acting as a Teaching Tool 29

Unit 4: Producing the Play: Persons, Equipment, Skills Involved 42

SEE 16 - Speech and Theater Arts

Activating Your Prior Knowledge

__________1. It is the distribution or sharing of information through speaking, writing, or using

What I know? What I want to know??

Expanding Your Knowledge

1. Transmission Model of Communication

working and the channel is static-free then there’s a fair

2. Interactive Model of Communication

SEE 16 - Speech and Theater Arts

nuanced conceptual interpretation. The model of

factors which improve or hinder communication. Though

(Source: The Importance of Effective Communication, Edward G. Wertheim, Ph.D.)

Types of Nonverbal Communication

SEE 16 - Speech and Theater Arts

Speech Communication Method: 7 Elements of Public Speaking

SEE 16 - Speech and Theater Arts

Forms of Speech in Group Communication: Four Basic Types of Speech Communications

Five Levels of Communication

SEE 16 - Speech and Theater Arts

The speech process itself consists of 3 structures:

SEE 16 - Speech and Theater Arts

SEE 16 - Speech and Theater Arts

SEE 16 - Speech and Theater Arts

SEE 16 - Speech and Theater Arts

1. Transmission Model of Communication

2. Interactive Model of Communication

3. Transaction Model of Communication

SEE 16 - Speech and Theater Arts

SEE 16 - Speech and Theater Arts

_________1. Another name for interpersonal communication is ________.

SEE 16 - Speech and Theater Arts

A. Verbal Level C. Auditory Level E. Energetic Level

__________1. This stage of communication involves a large array of invisible influences

SEE 16 - Speech and Theater Arts

A. Identified Voice Characteristics:

B. Teaching Demonstration Video: On your teaching demonstration, include only the

2. Apply the “how to’s” of speeches by delivering any of extemporaneous speech,

SEE 16 - Speech and Theater Arts

Schramm, W. (1997). The beginnings of communication study in America. Thousand Oaks,

SEE 16 - Speech and Theater Arts

Activating Your Prior Knowledge

Expanding Your Knowledge

What is Oral Interpretation?

Types of Oral Interpretation and its Guidelines

SEE 16 - Speech and Theater Arts

The Two Major Categories of Oral Interpretation

SEE 16 - Speech and Theater Arts

A. Dramatic Interpretation D. Programmed Oral Interpretation

SEE 16 - Speech and Theater Arts

2.5. Responsive Reading

SEE 16 - Speech and Theater Arts

2. chamber theater; and

_1. Another name for interpersonal communication is .