2018

LEARNING MODULE
English G9 | Q3

Connecting to
the World
 NOTICE TO THE SCHOOLS

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ENGLISH 9

Module No. 3: Connecting To

The World
INTRODUCTION AND FOCUS QUESTION(S):

The 21st century has brought unprecedented and dramatic change to the
society at large. Through technology, people from different parts of the world
have become more connected; moreover, huge amount of information can be
readily accessed. This has prompted a rewiring of how people think and how
they deal with one another. Indeed, many claim that due to technology the world
has become increasingly connected. However, have you really wondered if
every part of the world is truly connected?

According to Amy McMahon (http://iamrevolting.wordpress.com/

2009/04/09/the-state-of-the world-today-what-can-we-do/), “The current state of
the world is deeply saddening. The atrocities that go on are horrendous – not
just towards each other, but even to the planet. At any given moment, just take a
look at the headlines on CNN.com, it’s like a crazy horror movie. But this is no
movie, this is our world, the world we live in.”

A similar view is found in the works of several authors. In their stories, poems,
essays or plays, writers expose social issues that show how the world in a
number of places is disconnected. In this module, we will look at how playwrights
use drama to convey their feelings about the world. As you go through this
module, think about these questions:

What connections do playwrights make between drama and

societal realities?

What makes for powerful drama?

Developed by the Private Education Assistance Committee 1

under the GASTPE Program of the Department of Education
 LESSONS AND COVERAGE

In this module, you will examine these questions when you take the following
lessons:

Lesson 1 – Stage and Social Realities

Lesson 2 – Unity in Diversity

In these lessons, you will learn the following:

Lesson 1  Analyze a synopsis and excerpts of a Shakespearean play.

 Deliver lines from a play.
Lesson 2  Analyze and stage a one-act play.
 Write a synopsis.

MODULE MAP:

Here is a simple map of the above lessons you will cover:

Connecting to the World

 EXPECTED SKILLS:

To do well in this module, you need to remember and do the following:

LESSON 1:
Extract information from argumentative/persuasive text.
 Reflect on the ideas of the speaker.
 Interpret the information listened to.
 Form decisions based on the ideas mentioned.
 Use appropriate multi-media resources to accompany the oral delivery
of lines.
 Express appreciation for sensory images used.
 Determine tone, mood, technique, and purpose of the author
 Explain how a selection may be influenced by culture,
history, environment, or other factors.
 Draw similarities and differences of the featured selections in relation
to the theme.
 Interpret the message conveyed in a material
 Provide critical feedback to the idea presented in the material viewed
 Use infinitives.
 Identify types and features of a play synopsis

LESSON 2:
 Analyze the content and feeling levels of utterances in persuasive texts.
 Judge the relevance and worth or information/ ideas.
 Recognize faulty logic, unsupported facts, and emotional appeal.
 Provide appropriate and critical feedback/reaction to a specific context
or situation.
 Share personal opinion about ideas listened to.
 Produce the English sounds correctly and effectively when delivering
lines in a one-act play.
 Use the appropriate prosodic features of speech when delivering lines in
a one-act play.
 Explain how the elements specific to a one-act play contribute to
the development of its theme.
 Identify the distinguishing features of the Anglo-American one-act plays.
 Analyze the information contained in the material viewed.
 Get familiar with the technical vocabulary for drama and theatre (like
stage directions)
 Use participle and gerunds.
 Use literary devices and techniques to craft a play synopsis.

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under the GASTPE Program of the Department of Education
 PRE-ASSESSMENT

how much you have already known about social realities and literature by reading the provided text and answering the questio

1. All the choices is synonymous with a play synopsis EXCEPT for .

A. summary
B. outline
C. overview
D. review

2. Which of the choices does NOT refer to faulty logic?

A. oversimplification
B. logical reasoning
C. circular reasoning
D. overgeneralization

3. If a reading text were a one-act play, it would have the main features except
for .
A. theme
B. plot
C. dialogue
D. rhythm

4. Based on this excerpt, “And what have I learned? That silence is the greatest
ethical challenge; that it is so much easier to stay silent, to say nothing, to fly
under the radar. To not act, to acquiesce,” which of the choices does
not explain what the author means by silence as “greatest ethical challenge”?
A. Silence is equivalent to not doing anything to change the situation.
B. Silence means to accept the status quo.
C. Silence means remain not challenging what is wrong in the society.
D. Silence means listening to other people’s opinions.

5. Based on the excerpt found below, which seems to be the dominant writing
purpose of the reading text’s author?

The issues change over time and space, but the core issue remains the
same. Will I be silent or will I speak up? Will I use my voice to do the right thing,
to right the wrongs and to make a difference? Or, will I remain a scared, weak
little child and avoid the truth through silence, an act I still regret. I know that I
need to mature to be able to look upon my sin of omission not with lingering
guilt, but to
appreciate it as a gift. My gift is that I learned, painfully, at an early age the true
ethical dilemma in the world that crosses all generations, all peoples, all cultures,
all societies. We are all given a voice and an opinion. It is our right and our
obligation to use it. We all have it within our power to change our small world, our
network of friends and family, our school, our community and our larger world if
we silence be your form
just use our voice. Don’t be silent, don’t let of speech as
Sontag admonishes, speak!

A. to inform
B. to describe
C. to persuade
D. to narrate

6. Which of the statements used a participle correctly?

A. Keeping his silence, the essayist decides to protect his father.
B. Keeping his silence, his dad died later on.
C. Keeping his silence, the essay elaborates on the author’s experience.
D. Keeping his silence, his mother tried to extract information from him.

7. Which of the following does NOT use the infinitive phrase properly?
A. They did not expect us to voice out our opinions about these social issues.
B. He won the contest for to voice out his opinion is very important.
C. The humanitarian group wants to voice out the need to reach out to the
less fortunate ones.
D. Her intention is to voice out what she thinks about the issue.

8. Which of the excerpts from the text does NOT evoke sensory images?
A. As a seven year-old, I was not equipped to understand the
implications of my silence.
B. Looking into their mirror, I gazed upon my smiling, chocolate-
covered face topped with an Einstein hairdo.
C. Don’t be silent, don’t let silence be your form of speech as Sontag
admonishes, speak!
D. That silence is the greatest ethical challenge; that it is so much easier
to stay silent, to say nothing, to fly under the radar.

9. If a reading text were a one-act play, which of the elements or features

would reveal its intent or purpose?
A. theme
B. dialogue
C. plot
D. characterization

10. In what way is characterization essential in conveying the theme of the play?
A. It allows readers to view the world from a different point of view.
B. It promotes empathy and understanding of others.
 C. It enhances the learner’s ability to communicate with others in a suitable
fashion.
D. It allows learners to explore the central idea of the play.

11. Why is it important for a performer to understand the theme of the

play? Understanding of the theme allows actors to
A. portray the character in a believable manner.
B. show how people interact in real life.
C. manifest that drama imitates life.
D. deliver their lines fluently.

12. Why should actors be very particular about their movement on

stage? An actor’s body movement .

A. can easily distract the audience

B. Is important in knowing the outcome of the story
C. forwards message about the character and the plot
D. makes the plot more interesting and entertaining

13. Which of the choices is not true?

A. A single setting is typical in one-act plays.
B. One-act plays serve as the basis for full-length plays.
C. The middle of a one-act play is concerned with the climax.
D. A one-act play is less complex than a full-length play in terms
of structure.

14. Which of the following is not true about Shakespeare and his writings?
A. He wrote in Old English.
B. It is best to gain prior knowledge of Shakespeare’s language in order to
understand his plays better.
C. Shakespeare has coined many words.
D. Shakespeare is both a playwright and poet.

15. The Connected World Organization has commissioned you to write a

synopsis for a one-act play that it would stage on its centennial
celebration. What should be the least of your concerns?
A. scene-by-scene breakdown of the story
B. setting of the story
C. scenes leading to the climax of the story
D. plot structure of the story

16. You are interested in supervising the creative elements of the play
production for the Connected World Organization’s centennial celebration.
Which of the positions should you apply for?
A. Director
B. Stage Manager
C. Playwright
D. Designer
17. The Connected World Organization’s Centennial Celebration Committee
has asked you to choose actors for the staging of a one-act play. Which
will be your basis in determining the capacity of the actor to use verbal
communication?
A. engaging
B. proficient
C. concise
D. credible

18. Based on the same situation in Item 17, which criteria would you use
to gauge the actor’s capacity to get the interest of the audience through
expressive skills?
A. responsive
B. engaging
C. formal
D. concise

19. As writer of the synopsis for a play that will be staged during the
centennial celebration of the Connected World Organization, your task
is to ensure that the written output is well-written. What point of view
should you use?
A. 1st Person
B. 2nd Person
C. 3rd Person
D. 4th Person

20. You are interested in supervising the technical aspect of the play production for
the Connected World Organization’s centennial celebration. Which of the positions
should you apply for?
A. Director
B. Stage Manager
C. Playwright
D. Designer

The excerpts in the pre-assessment are taken from Joshua Thomas’ essay
entitled, "The Greatest Ethical Challenge: To Speak" by Joshua Thomas. This
can be accessed from: http://www.carnegiecouncil.org/publications/
articles_papers_reports/0145
 Lesson 1: The Stage and Social Realities

ou will travel back in time and be exposed

such as social justice. As you unravel these societal concerns through varied means such as technology and literature, think ab

ons do playwrights make between drama and societal realities?

ACTIVITY 1. All the World’s A Stage

Recall the plays that you have seen. Think about how a playwright would present
a social issue in a powerful manner.

How would a playwright present a What makes this manner powerful?

social issue onstage?
 My Thinking Box
Consider this question, “What connections do playwrights make
between drama and societal realities?” Write your answers on the IN
THE BOX provided below.

IN THE
BOX

I think…
OUT OF THE BOX
End of Explore

Before you get to know more about these through the next learning segments, accomplish the My Goals Mo

My Goals Mountain

You are now aware of the learning outcomes as articulated in the

expected skills and the concepts that you need to understand in this
learning unit. It is time for you to create a navigational map which will guide
you in achieving your learning goals. To do this, use the My Goals
Mountain graphic organizer.
Photo Source: http://www.learnquebec.ca/en/content/pedagogy/portfolio/collect/practice.html
 Your goal in this section is to take a look at how a well known playwright like Shakespeare uses the stage t
Is social ju
What makes f

ACTIVITY 2. Into Shakespeare’s World

Be familiar with the terms that you are bound to encounter as your read the
plays of Shakespeare. Click and drag each term from the left column in order to
match with the corresponding definition or description found on the second
column.

Aside main divisions of a play

Soliloquy conversation between and among the characters.

Exeunt departure of one character from the stage

Exit list, usually found at the beginning of each play, of

the characters in a play

Monologue departure of two or more characters from the stage

Act main character.

Dialogue words an actor speaks to the audience which other

actors on the stage cannot hear.

Dramatis Personae a long speech spoken by a character which can be

addressed to other characters

Epilogue a passage that reveals a character’s thoughts to the

audience but not to other characters.

Protagonist an afterword in any literary work.

 ACTIVITY 3. Dramatis Personae

Get to know the characters behind Shakespeare’s “Merchant of Venice.” Click

and drag each name with the corresponding description found on the other
column.

Antonio  A friend of Bassanio who falls in love with Nerissa,

Portia’s servant

Salerio and  Wealthy but sad merchant who is willing to lend

Solanio money to his friends without interest

Bassanio  Reigning official of Venice who presides over the court

where Shylock intends to collect his bond

Gratiano  Friends of Antonio and Bassanio

Lorenzo  Jewish businessman who lends money to Antonio

Portia  Daughter of Shylock who marries Lorenzo

Nerissa  An intelligent, rich and beautiful woman pursued by

many men

Shylock  A friend of Bassanio who falls in love with Jessica,

daughter of Shylock

Jessica  Handmaid of Porita who falls in love with Gratiano

Duke of Venice:  Young man who borrows from Antonio in order to court
Portia

Photo Source: http://tvlistings.zap2it.com/tv/the-merchant-of-

venice/MV001543270000?aid=zap2it
ACTIVITY 4. Author and Setting

Learn about the bard and the setting of the play, Merchant of Venice by reading
the excerpts below.
The Author: William Shakespeare The settings: Venice and Belmont

Venice. Reproduced in Social England, ed.

H.D.Traill. University of Victoria Library.

Shakespeare makes use of two distinct

settings for The Merchant of Venice.
William Shakespeare is considered by many Venice, as in Shakespeare's time, is the
to be the greatest playwright of all time, city of commerce where wealth flows in
although many facts about his life remain and out with each visiting ship. Venice is
shrouded in mystery. He lived during the also a cosmopolitan city at the frontier of
reigns of Elizabeth I and James I and coined Christendom, beyond which lies Asia,
hundreds of new words and phrases that we Africa, and the Ottoman Empire. Society in
still use today. Venice is a predominantly male world,
where the single female, Jessica, is locked
William Shakespeare was born in Stratford- up in her house, and can only escape in
upon-Avon in Warwickshire and was baptized disguise as a male.
a few days later on 26 April 1564. His father,
John Shakespeare, was a glove maker and Belmont, on the other hand, is the home of
wool merchant and his mother, Mary Arden, Portia and her mysterious caskets. It is a
was the daughter of a well-to-do landowner place of romance and festivity to which the
from Wilmcote, South Warwickshire. It is likely victorious Christians retire at the end of the
Shakespeare was educated at the local King play. Like the forests in As You Like It and
Edward VI Grammar School in Stratford. A Midsummer Night's Dream, Belmont is
an idealized "green world" that is removed
from the ruthlessness of the real world.
SOURCE: Unlike Venice, it is controlled by women
http://www.bbc.co.uk/history/people/william_shakespeare
(though Portia's dead father lingers).
SOURCE:
http://internetshakespeare.uvic.ca/Library/SLT/plays/th e
%20merchant%20of%20venice/mersettings.html

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The Merchant of Venice (Synopsis)

http://www.shakespeare-literature.com/the_merchant_of_venice/0.html

In a street of Venice, the merchant Antonio laments that he is sad but

knows not why. His friends, Solanio and Salerio try to cheer him up, to no avail.
More friends, Lorenzo and Gratiano also try and fail. Antonio's friend, Bassanio,
informs him that he intends to seek the wealthy Portia's hand in marriage, yet
needs financial backing. Antonio, though reluctant, offers Bassanio 3,000
ducats (money) to help him. At Belmont, Portia's house, she laments to her
servant, Nerissa, that she fears a suitor she dislikes will pursue her hand in
marriage. Per her late father's will, the suitor must choose the correct of three
chests (gold, silver, and lead), and then, if correct, he may marry Portia. She
likes none of her six suitors, but wishes Bassanio would come and choose the
correct chest. Back in Venice, after much begging, Bassanio convinces the
merchant Shylock the Jew to lend him 3000 ducats, with Antonio putting up his
property as the bond. Although Shylock hates Antonio, he lends the money
anyway, hoping Antonio will default on the loan. Antonio, though, has
confidence one of his ocean vessels will come to port one month
before the three month deadline.

The Moroccan prince arrives at Belmont to woo Portia and learns that if
he chooses the wrong chest, he must swear to never ask any woman to marry
him. Back in Venice, Launcelot Gobbo, a clown and Shylock's servant, tells his
father, old Gobbo, that he wishes to leave Shylock and work for Bassanio.
Bassanio agrees to it and instructs his servant Leonardo to prepare dinner for
him and Shylock. Gratiano then arrives and tells Bassanio he'll help him win
over Portia. Shylock's daughter, Jessica, gives a love letter to Launcelot to
deliver to Antonio's Christian friend Lorenzo. In the letter, Lorenzo learns that
Jessica will pretend to be a male torchbearer for him at the supper between
Antonio and Shylock. Shylock, going to the supper, leaves his house keys with
his daughter, Jessica, warning her not to take part in the evening's Christian
activities. Later that night, Gratiano, Salerio, and Lorenzo meet outside
Shylock's house to get Jessica. After Lorenzo and Jessica unite, they all head
to meet Bassanio on Antonio's ship to sail to Portia's. At Portia's house, the
Moroccan prince chooses a chest to open. Each has an inscription, and only
the correct one contains Portia's picture. He chooses incorrectly (the gold one),
and leaves defeated. Salerio assures Solanio that Lorenzo and Jessica were
not on the ship with Bassanio and Gratiano, and they are thus missing.
Shylock, of course, wants his money and his daughter back. At Portia's house,
the Prince of Aragon arrives and chooses the silver chest, also the wrong one.
Again, he must swear to never woo any maid in marriage and to never tell a
soul which chest he opened.

Solanio and Salerio confirm that Antonio's ship has sunk. They then
make fun of Shylock for his predicament of losing his daughters. Shylock then
laments of his monetary loss to another Jew, Tubal, yet rejoices that Antonio

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is sure to

Developed by the Private Education Assistance Committee 16

under the GASTPE Program of the Department of Education
default on his loan. At Portia's house, she begs Bassanio to wait in choosing so
that she may spend time with him, in case he chooses wrong. He correctly
chooses the lead casket, though, and wins Portia's hand in marriage. To seal
the union, Portia gives Bassanio a ring, warning that he should never lose it or
give it away, lest he risk losing her love for him. Gratiano then announces his
intention to wed Nerissa. Next, Salerio, Lorenzo, and Jessica arrive, informing
Bassanio that Antonio lost his ships, and, furthermore, that Shylock is viciously
declaring forfeiture of the bond by Antonio. Bassanio leaves for Venice to repay
the loan. In Venice, Shylock has Antonio arrested for failure to repay the loan.
At Belmont, Portia tells Lorenzo and Jessica to manage her house while she
and Nerissa go to a monastery until Bassanio returns. In fact, though, she and
Nerissa will disguise themselves as young men and travel
to Venice.

At a Venetian court, the Duke presides over the sentencing hearing of

Antonio wherein Shylock intends to cut "a pound of flesh from Antonio's breast"
since the due date has past and that was the terms of the bond, even though
Bassanio offers him 6,000 ducats for repayment. Nerissa and Portia, disguised
as a court clerk and doctor of civil law respectively, arrive at the court. Gratiano,
Bassanio, the Duke, and Portia try to dissuade Shylock, to no avail. Yet, Portia
points out that the deed calls for no blood to be shed and exactly one pound to
be taken, lest Shylock be guilty of not following the bond himself. Shylock,
realizing this is impossible, recants and simply requests 9,000 ducats. Portia
then reveals that Shylock is himself guilty of a crime; namely, conspiring to kill
another citizen, i.e. Antonio. As punishment, the Duke and Antonio decide that
Shylock must give half his belongings to the court; keep the other half for
himself and promise to give all his remaining belongings to his daughter and
son-in-law (Lorenzo) upon his death; and become a Christian. With no other
choice, Shylock agrees. As Portia (as the doctor of civil law) leaves, Bassanio
offers her a monetary gift. Portia turns this down, instead requesting Bassanio's
gloves and wedding ring instead. Bassanio, due to his vow, hesitates on the
ring, but reluctantly gives it after much prodding by Antonio. Nerissa (disguised
as a court clerk), vows to try to get her husband (Gratiano) to give her his
wedding ring.

At Belmont, Lorenzo and Jessica share a peaceful night together. The

next morning, Bassanio and Portia, and Gratiano and Nerissa reunite. After
quarreling over the loss of rings, the women admit of their ruse and return the
rings to their husbands. Further, they inform Antonio that three of his ships have
come to port full of merchandise. Finally, they give the deed to Jessica and
Lorenzo promising to give them Shylock's money and possessions upon his
death.
 Questions to answer:

1. What is the setting of the play?

2. What is the state that Antonio is in at the opening of the play? How do his friends
respond to this? Cite lines to prove your answer.

3. What situation is Bassanio in? Who offers to help him?

4. Who is Portia? How does she deal with her suitors?

5. How does Bassanio manage to win Portia’s hand in marriage?

6. What dealings do Shylock and Antonio engage in?

7. What misfortune falls on Antonio?

8. What happens at the court in Venetia? Is this scene typical in the modern
courtroom? Cite lines to explain your answer.

9. How is the conflict resolved?

10. What are the social realities depicted in this play?

 ACTIVITY 5. Plot Analysis

Read the synopsis again and trace the unfolding of the events using the diagram
found below.

Source: http://homeschoolhelperonline.com/worksheets/plot.shtml
ACTIVITY 6. Synopses Analysis

Rachel Shirley claims that “Playwrighting often involves writing a synopsis for a
play. Writing a good synopsis is crucial for pitching a play to audiences.” Thus, a synopsis
plays a crucial role in enticing modern readers to read and appreciate literary texts that
offer glimpses of how life was in the past. As you get ready to write a synopsis of the
play which you will stage at the end of the quarter, do the following:

1. Read the guidelines, written by Shirley, and use it to assess 3 different synopses of
Merchant of Venice.
2. Read three synopses of Merchant of Venice by clicking the following links:

 Synopsis1:http://www.shakespeare-
literature.com/the_merchant_of_venice/0.html
 Synopsis 2 http://marialou.tripod.com/summary.html
 Synopsis 3
http://www.nosweatshakespeare.com/playsummary/merchant- venice/

3. Determine whether or not the guidelines have been considered in the sample
synopses. Place a tick on the column to signify your observation.

4. Use Table 2 to write your assessment on each synopsis. Be guided by the

questions on the topmost row.

Table 1
S1 S2 S3
Guidelines to Writing a Good Plot Summary
Source: http://suite101.com/a/drama-lesson-on-
writing-a-synopsis-for-a-play-a174633
The time and place should be indicated at the beginning of the
synopsis.
A brief description of the main characters should be given as
they appear in the story
The synopsis should begin at the opening of the story and told in
the same order as the play, and end at the play’s conclusion

Dramatic scenes that propel the story forward, including climatic

scenes should be described within the synopsis

The synopsis must be no longer than 250 words long.

The story must be told in the present tense and in the third
person
When telling the story, dialogue should not be included.

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Table 2:
Survey of Synopsis Does the Is it engaging? Does it accurately
synopsis flow? What makes it reflect the events
so? of the play?
Synopsis1:
http://www.shakespeare
-
literature.com/the_merc
hant_of_venice/0.html

Synopsis 2
http://marialou.tripod.com
/summary.html

Synopsis 3
http://www.nosweatshake
speare.com/play-
summary/merchant-
venice/

How does a well-written synopsis pitch in for a play?

2.

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 Reading
2 Merchant of Venice (Act 3, Scene 1)
http://shakespeare.mit.edu/merchant/merchant.3.1.html

SHYLOCK
To bait fish withal: if it will feed nothing else,
it will feed my revenge. He hath disgraced me, and
hindered me half a million; laughed at my losses,
mocked at my gains, scorned my nation, thwarted my
bargains, cooled my friends, heated mine
enemies; and what's his reason? I am a Jew. Hath
not a Jew eyes? hath not a Jew hands, organs,
dimensions, senses, affections, passions? fed with
the same food, hurt with the same weapons, subject
to the same diseases, healed by the same means,
warmed and cooled by the same winter and summer, as
a Christian is? If you prick us, do we not bleed?
if you tickle us, do we not laugh? if you poison
us, do we not die? and if you wrong us, shall we not
revenge? If we are like you in the rest, we will
resemble you in that. If a Jew wrong a Christian,
what is his humility? Revenge. If a Christian
wrong a Jew, what should his sufferance be by
Christian example? Why, revenge. The villainy you
teach me, I will execute, and it shall go hard but I
will better the instruction.

Questions to answer:

1. Who is being referred to by Shylock in lines 2 and 3?

2. What has this person done to him?
3. What is the reason behind this person’s action?
4. According to Shylock, are Jews different from Christians?
5. Based on the soliloquy, what would a Christian do if a Jew would do him wrong?
6. Do you accept this reasoning? Why/ why not?
 ACTIVITY 7. 4 Pictures, 1 Essay

Explore the character of Shylock. How is he portrayed in the play? Is he the

victim or perpetrator? Use the frames below to post pictures of his roles: father,
Jew, moneylender, citizen. Then, use the lines to write one-paragraph character
analysis. To gain deeper knowledge of this character, click and read this link,
http://www.pbs.org/wgbh/masterpiece/merchant/ei_shylock.html, before you
answer the exercise.

Shylock’s Photo Collage

Father Jew

Moneylender Citizen

Based on the link, how were Jews regarded during Shakespeare’s time? What
connections can you make between the society’s attitude towards Jews and the
author’s representation of Shylock as a Jew?
 TO KNOW MORE ABOUT SHAKESPEARE”S LANGUAGE, CLICK THIS LINK:
spearean_terms.cfm

Reading 3 Merchant of Venice (An Excerpt)

 Read the courtroom scene (Act 4, Scene 1) of Shakespeare’s Merchant of

Venice by clicking this link,
http://shakespeare.mit.edu/merchant/merchant.4.1.html.
 Access the movie version of the play through the following links:

 http://www.youtube.com/watch?v=jOsuX3xw_uY
Click this link to watch BBC’s version of Merchant of
Venice.
 http://www.youtube.com/watch?v=_A4Oh3FaHUk
Click this link to watch Act 4 of the Merchant of
Venice.

 Be guided by the discussion questions found below:

Questions to answer

1. How does Portia present herself in the court? Why does she need to
disguise herself as a young lawyer?

2. How does Shylock want Antonio to pay?

3. What does “pound of flesh” mean?

4. What is Portia’s appeal to Shylock?

5. How does she describe mercy?

6. What does Portia reveal in this excerpt?

Tarry, Jew:
The law hath yet another hold on you.
It is enacted in the laws of Venice,
If it be proved against an alien
That by direct or indirect attempts
He seek the life of any citizen,
The party 'gainst the which he doth contrive
Shall seize one half his goods; the other half
Comes to the privy coffer of the state;
And the offender's life lies in the mercy
Of the duke only, 'gainst all other voice.
In which predicament, I say, thou stand'st;
For it appears, by manifest proceeding,
That indirectly and directly too
Thou hast contrived against the very
life Of the defendant; and thou hast
incurr'd The danger formerly by me
rehearsed.
Down therefore and beg mercy of the duke.
7. How does this affect Shylock?

8. Plotting against Antonio’s life, Shylock is punished. What are his punishments
based on Antonio’s suggestions and the Duke’s approval?

9. Do you consider this to be just? Discuss.

10. Does this go against Portia’s notion on mercy? Explain.

 ACTIVITY 8. Vivify me!

Writers use figurative language to put life to their writing and make it appealing
to the readers. Read Portia’s lines below and determine the figures of speech
used by Shakespeare. Write your answers on the callouts.

The quality of mercy is not strain'd,

It droppeth as the gentle rain from heaven
Upon the place beneath: it is twice blest;
It blesseth him that gives and him that takes:
'Tis mightiest in the mightiest: it becomes
The throned monarch better than his crown;
His sceptre shows the force of temporal
power, The attribute to awe and majesty,
Wherein doth sit the dread and fear of kings;
But mercy is above this sceptred sway;
It is enthroned in the hearts of kings,
It is an attribute to God himself;
And earthly power doth then show likest
God's When mercy seasons justice.
Therefore, Jew, Though justice be thy plea,
consider this, That, in the course of justice,
none of us Should see salvation: we do pray
for mercy;
And that same prayer doth teach us all to
render The deeds of mercy. I have spoke thus
much To mitigate the justice of thy plea;
Which if thou follow, this strict court of Venice
Must needs give sentence 'gainst the merchant there.

Questions to answer:

1. How does Portia characterize mercy?

2. What comparisons does she make in her monologue?
3. What figurative language is used in the monologue?
 e‐xtend your knowledge!
To know more about figurative language, click the following links:
elementary/numphrey/subjectpa ges/languagearts/figuresofspee ch.html

3.

zzes/grammar/figurative_langua ge/quiz3369.html

ACTIVITY 9. Language in Focus

Merchant of Venice forwards themes on justice and mercy. Let us probe

deeper into whether these are possible in our society or not through the song
from Man of La Mancha, a Broadway musical based on the novel Don Quixote by
Miguel Cervantes de Saavedra.

To dream the impossible dream

To fight the unbeatable foe
To bear with unbearable sorrow
To run where the brave dare not go

To right the unrightable wrong

To love pure and chaste from afar
To try when your arms are too
weary To reach the unreachable
star

This is my quest, to follow that star

No matter how hopeless, no matter how far
To be willing to give when there's no more to give
To be willing to die so that honor and justice may live

And I know if I'll only be true to this glorious quest

That my heart will lie peaceful and calm when I'm laid to my rest

And the world will be better for this

That one man scorned and covered with scars
Still strove with his last ounce of courage
To reach the unreachable star

Questions to answer
1. What does the persona forward in the first stanza and second stanzas?
2. What does he claim to be his quest?
3. What is the consequence of this quest?
4. How would the world benefit from this?
5. Would this song apply to any of the characters in Merchant of
Venice? Which one? Why?

PAUSE. THINK. WRITE

Using Infinitives

Recognize an infinitive when you see one:

To right the unrightable wrong

To love pure and chaste from afar
To try when your arms are too
weary To reach the unreachable
star

To right, to love, to try, and to reach are infinitives. An infinitive starts with the
word TO and is followed by the base or simple form of the word.

to + verb = infinitive i.e. to love

Note that the verb in an infinitive should not have an s, es, ed, or ing. Moreover,
infinitives functions as a noun or adjective. Study the examples found below:

Noun To make a difference in the To make functions as a noun

society is what every citizen because it is the subject of
should aspire for. the sentence.
Adjective Wherever he goes, Michael To share functions as an
always brings care kits to share adjective because it modifies
to struggling communities. care kits

ACTIVITY 10. Practice Makes Perfect!

 Access these links and answer the exercises:

A. https://www.classzone.com/books/lnetwork_gr07/page_
build.cfm?id=quiz&ch=7
B. http://www.usingenglish.com/quizzes/420.html
4.

 Record your scores

A.
B.
Weblinks

End of Firm Up

1. In this section, the discussion was about learning more about drama and its depiction of social realities. Go back to

Tracking My Learning Goals

You have set your goals at the start of this lesson. Think about your learning
experience. Create a scale to represent your progress. Feel free to quantify
your scale.

What should you see yourself doing in order to move to a higher value in your
scale?

Are there any difficulties you have experienced? Send me a personal

message on the teacher’s dashboard.
 One‐Minute Essay

ACTIVITY 11. Contrasting Views

Use the chart below to compare and contrast Shylock and Portia.
 SHYLOCK PORTIA

SOURCE: http://homeschoolhelperonline.com/worksheets.shtml
Weblinks:

Based on what you gleaned from the play, differentiate justice from mercy.
Afterwards, explain your answer in a 3-5 sentence paragraph.
 ACTIVITY 12. Mediated Renditions

Let us focus on Shylock by watching three different performances of Shylock’s

soliloquy (To Bait Fish Withal) from Act 3, Scene1. As you accomplish this
activity, think of the question, “What makes a great theater performance?”
Use the Expressive Skills Checklist to assess the performance of each actor.
Tick the column as you deem necessary.

Performance A http://www.youtube.com/watch?v=FC8KMnC3O_4
This rendition is excerpted from BBC’s Merchant of
Venice movie production.
Performance B http://www.youtube.com/watch?v=T_5adzpdkdw
This is Al Pacino’s version of Shylock’s “To Bait
Fish Withal.”
Performance C http://www.youtube.com/watch?v=OMS5wpvWYDQ
This another version of Shylock’s soliloquy.

A B C Expressive Skills Checklist

The actor communicates
expressively, enunciating and using
variety of rate, pitch, tone, and volume.
The actor moves expressively, using a
variety of gesture, body movement, and
facial expression to effectively illuminate
character.
Student communicates expressively,
illuminating the life and world of the character.

5.

Questions to answer
1. What acting techniques does each performer use to show a
particular emotion?
2. What is the basis for an actor’s choice of acting techniques?
3. Why are acting techniques important in forwarding the theme or meaning
of the staged play?

e‐xtend your knowledge!

Learn more about acting techniques for a soliloquy in order to

prepare for the task at the end of this lesson, read this internet
resource which can be accessed through this link,
http://shakespeare.about.com/od/teachingshakespeare/a/ts_soliloquy.htm.
How to Prepare a Shakespeare Soliloquy
by Duncan Fewins

Most of Shakespeare’s longer speeches for one character are soliloquies – a

moment when characters share their inner feelings with the audience alone.
Often, the characters discuss what is happening to them and their current
options. They use this time cut out of the play to assess their situation, make
sense of it and devise a plan. Most characters use the audience during the
soliloquy as if they are a friend, so the audience needs to feel part of the
discussion and complicit in the character’s plans.

Workshop: Developing a Soliloquy

This is my five-step guide to help you prepare a soliloquy for either a full
performance of a Shakespeare play or an audition speech.

1. Think about the context. Even if you are auditioning, you need to
understand where the soliloquy is in relation to the whole play and the
character’s journey through it. Reading and knowing the entire play is
crucial. In particular, think about what has happened immediately before
the speech. Usually, a soliloquy is triggered by a key event – this is why
Shakespeare gives his characters time to make sense of their situation.
Your first job is to demonstrate the character’s feeling at the beginning of
the speech.

2. Analyze the structure of the text. A soliloquy is a mini play in itself.

It has a beginning, middle and end. Divide the text up into beats or
subsections, each with a separate function. For example: “beat one –
initial anger.” Once you have divided the speech up, you can begin to
think about how to play each section in terms of physicality and
voice.

3. Think about where your character is. This is crucial to the way in which
they behave in the scene. Depending on their situation, move as
naturally as you can as if you were there. Your movement and speech
will vary greatly depending on if you are outside in a storm or in your
enemy’s private home.

4. Sequence the information. Having established the basics (context,

structure and situation), begin to sequence the information together and
develop the work. Your audience should not be able to see the joins
between your sections. The gaps between your beats or sub-sections
need to be filled with gestures that demonstrate your character’s thought
process.

5. Emotional engagement is essential. Having worked on a good basic

structure with natural movement and vocal quality, you must now
engage
 with the character’s emotions. Without it, your work will feel false and
contrived. Try to translate your own feelings from personal experiences
into the role, either by thinking about your past emotions, or simply by
acting out how you would behave in particular emotional states.

Performance Tips:

 Don’t move unless you have to! Sometimes actors feel like they must
move just because they are static. Many soliloquies require little
movement and some speeches require no movement at all. Move
only when the character should.

 Always make sure you know how to say unfamiliar words.

Mispronunciation is embarrassing! Audio and video tapes are always
useful in this respect – or perhaps you could ask a teacher or practitioner.

 For auditions, always chose a speech that is close to you in age

(unless you’ve been given a speech to learn). It is very difficult for any
actor to play a character who is a lot older or younger than them.

 Finally, be yourself! The worst soliloquy performances I have seen occur

when the actor tries to conform to a Shakespearean style of acting. This
is always false and difficult to watch. Remember, a soliloquy is a personal
reaction to events, so you need to engage with real feelings and thoughts.
These can only come from you.

Summarize what you have learned by answering the question:

What makes a great stage performance?
 ACTIVITY 13. Reflection Checkpoint

Go back to the question posed at the start of this lesson. Use the box below to write
your answer.

What makes for powerful drama?

End of Deepen
 In this section, the discussion was about extending your knowledge on
performance techniques. Now that you have a deeper understanding of the
topic, you are ready to do the culminating task on your own.
Your goal in this section is to transfer your learning to a real life situation. As you go through the steps in preparing for t
performance task, continue to think about the question, “Why should drama reflect societal realities?”

The Casting Department of the Royal Shakespeare Theater

Company is currently looking for actors for its annual
Shakespearean play. Create a 60-second video audition of
a soliloquy and upload it on the audition gallery of the
company’s website or on youtube.com Your performance
must be engaging, proficient and credible.
Outstanding Satisfactory Developing Beginning
4 3 2 1
Engaging Student moves Student moves Student attempts Student uses
expressively, cleanly, using to use gesture, inappropriate
using a variety of gesture, body body movement, movement. Use
gesture, body movement, and and facial of script in hand
movement, and facial expression expression, but diminishes
facial expression to illustrate execution is from
to effectively character. limited or weak. performance.
illuminate Use of script
character. inhibits
performance.
Proficient Student Student Student attempts Student uses
communicates enunciates to enunciate, inappropriate
expressively, clearly, using rate, using vocal enunciation,
enunciating and pitch, and volume variety and vocal
using variety of to express volume, variety, and
rate, pitch, character. but execution is volume.
tone, and volume. erratic or
inconsistent.
Credible Student Student’s Student’s Student’s
presentation of presentation of the presentation of presentation of
the character is character is the character is the character is
convincing and convincing and confusing and inappropriate
moving. moving. forced in some and opposite the
parts. attributes given
by the
playwright.
Rubric Source: http://www.p12.nysed.gov/ciai/arts/pub/theatresupplement.pd
 Create and Recreate: Web 2.0 Tool

A. To learn about how to create a video

using the Microsoft movie maker, click
this
link: http://windows.microsoft.com/en-us/windows-vista/getting-started-with-
windows-movie-maker

B. To watch a youtube video tutorial on how to use the Microsoft movie

maker, click this link: https://www.youtube.com/watch?v=sLTnsWV2tjE

C. To watch a video tutorial on how to upload a video on Youtube, click

this link: https://www.youtube.com/watch?v=Hlxqk0iHp5w

D. To upload a video on Youtube click this link and follow the

steps: https://www.youtube.com/#
 ACTIVITY 14. Plotting My Progress

Use the table below as your guide in accomplishing the task.

Performance Plan Notes and Thoughts

A. Understanding the character

 What do I know of
the character?

B. Getting Ready
 How is each word from the
text supposed to be
pronounced?

 What gestures or body

movements can accentuate
my delivery?

 How do I establish and

maintain my connection with
the audience?
6.

 What performance
techniques can help me
forward the theme of
the play?

D. Practicing and Assessing

 Is my delivery engaging?

 Have I correctly
pronounced each word
from the text?

 Am I bringing the character

to life with my
performance?
E. Recording my Performance

 Do I have the necessary gadget

or equipment to record my
performance?
Is the video file free from
technical noise or interference?
 ACTIVITY 15. Reflection Checkpoint

A. Take note of what you know and you do not fully understand yet using
the graphic organizer below.

Crystal Clear Muddiest Point

These are what I know: I still don’t fully understand

the following:

B. Make another scale of your learning progress. Share your moments

of triumphs and setbacks. Post this on the discussion forum.

My Thinking Box
Reconsider this question, “What connections do playwrights make
between drama and societal realities?” Write your answers on the OUT
OF THE BOX provided below.

IN THE
BOX
I think…

OUT OF THE
BOX
 Lesson 2: Unity in Diversity

u will continue to think about the theme, “Connecting to the world” through technology and literature. Keep on thinking about

ossible despite diversity? What makes for powerful drama?

ACTIVITY 1. Global Status

Listen to Apple De App’s “Where is the love.” Afterwards, read the

excerpted lines and post your comments.

What's wrong with the world, mama

People livin' like they ain't got no mamas Wrong information always shown by the media
I think the whole world addicted to the dramaNegative images is the main criteria
Only attracted to things that'll bring you trauma
Infecting the young minds faster
 Yo', whatever happened to the values of humanity
Whatever happened to the fairness and equality
Instead of spreading love we're spreading animosity
Lack of understanding, leading us away from unity

Questions to answer:
1. What does the song say about the state of the world?
2. It has been established that technology plays an important role in connecting
people to the world. Based on the song, has technology/media achieved this?
Why/why not?
3. How do media portray human drama? Is this portrayal faithful to what is real?
4. What about drama as a literary genre, does it provide an authentic portrayal
of social realities?
WHAT MAKES FOR POWERFUL DRAMA?
 My Thinking Box
What connections can one make between drama/play
and societal realities? What makes for powerful drama? Write your answers
on the IN THE BOX provided below.

IN THE
BOX

I think…
OUT OF THE BOX

of Explore

re you get to know more about these through the next learning segments, answer the following exercise on self-regulated lear
 Pursuing My Learning Goals

Fill out the table by articulating your learning goals for this lesson. Indicate your
criteria for success. Then, think about possible obstacles that you might
encounter in your learning journey. Brainstorm on how you can address these
anticipated challenges.
Learning Goals Success Criteria

Expected Challenges Plan of Action

 Your goal in this section is to take a look at reading texts which further reflect these social realities. As you
What makes for powerful drama?
How does drama depict social realities such as poverty?

ACTIVITY 2. Poverty in Numbers

Before reading the play, take a look at this infographic and answer the
questions that follow.
http://petethottam.com/wp-content/uploads/2013/10/GlobalPoverty_PLT_Infographic.png
Questions to answer:
1. What does the infographic say about poverty?
2. What do the numbers tell us about the state of humanity around the world?

Reading 1

What social reality is depicted in the play? Is social equality achievable?

In the previous lesson, we saw how playwrights can represent social realities in drama.
Take a look at the play below. Read it and find out what social realities are addressed.
Then think of yourself as a director. How would you show on stage these social realities
in a way that will move the audience? What will you do to make the drama a powerful
experience?

THE EXCHANGE
BY
ALTHEA THURSTON

 Access a copy of the one-act play by clicking this link:

http://www.gutenberg.org/files/37970/37970-h/37970-h.htm
 Scan the discussion questions below before you read the play. Afterwards, fill
out designated boxes with your response to each question.

Questions to answer:

1. Describe the setting of the play.

2. What does the judge do in the story? How does the writer describe him?

3. Who are the other characters in the play? Describe each and indicate their wish.

4. After the exchange, what is the misgiving of each character?

5. Does the exchange make the character become more sympathetic of the
miseries of others? Why/ why not?

6. What is the response of the judge towards the characters’ request to revert to their
former selves?

7. Would you react in the same manner? Why/not?

 8. Is it possible to achieve social equality? Can people of different status, nationality,
or condition be unified?

9. If you were going to direct this play, how will you show the problem of unity and
equality in a powerful way? What will you show to touch the audiences’ emotions?

ACTIVITY 3. Word Power

Read the definition of a one-act play. Afterwards, unlock the meaning of other
drama-related words. Click and drag the terms on the left and pair each term with
its corresponding definition.

One-Act Play: Takes place in a single location and unfolds as one continuous
action. The characters in a one-act play are presented economically and the
action is sharply focused.
Act The verbal exchanges between characters.

Scene Derived from the Greek word dram, meaning “to do” or “to
perform”

Dialogue A narrative device, often used at the beginning of a work,

that provides necessary background information about the
characters and their circumstances.

Drama Major division in the action of a play, accommodating changes

in time, setting, character(s), mood. Acts are further divided
into scenes.

Play Changes when the location of the action shifts or when a

new character enters.

Playwright General term for a work of dramatic literature.

Exposition A French term meaning “unraveling” or “unknotting,” used to

describe the resolution of the plot following the climax.

Stage The difference between what appears to be true and what is

Directions known to be true.

Plot The playwright’s instructions about how the actors are to move
and behave.

Theme Term used to describe the common strategy of beginning a

story in the middle of the action, usually on the verge of
some important moment.

In Media The writer who makes plays.

Res

Denouement The author’s arrangement of incidents in the play

Irony The central idea or meaning of the play.

SOURCE: www.hccfl.edu/media/170272/elements%20of%20drama.doc
 ACTIVITY 4. Unlocking the Power of Drama

A. Read the play again. Think about this question, “How do the combined
elements of the one-act play, “The Exchange”, make it an effective and
powerful play”?

B. Learn more about the distinct features of a one-act play by reading the excerpt
below. Click this link, http://www.gutenberg.org/files/37970/37970-h/37970-h.htm,
to access the complete version of the reading text.

C. Use the graphic organizer to explore answers to the question posed in A.

PHOTO SOURCE:
http://1.bp.blogspot.com/3_d06LfVHJM/TaPIuQNb3tI/AAAAAAAAAKE/RUESwuz
6M-w/s1600/elements%2Bof%2Bdrama.bmp

D. Explain your answer to the question in Item A in 1-2 paragraphs.

2. How do the combined elements of the one-act play, “The Exchange”, make it an
effective and powerful play”?
Reading
2 CONTEMPORARY ONE-ACT PLAYS
http://www.gutenberg.org/files/37970/37970-h/37970-h.htm

INTRODUCTION THE ONE-ACT PLAY AS

A SPECIFIC DRAMATIC TYPE

The one-act play is with us and is asking for consideration. It is challenging our
attention whether we will or no. In both Europe and America it is one of the
conspicuous factors in present-day dramatic activity. Theatre managers, stage
designers, actors, playwrights, and professors in universities recognize its
presence as a vital force. Professional theatre folk and amateurs especially are
devoting zestful energy both to the writing and to the producing of this shorter
form of drama.

The one-act play is claiming recognition as a specific dramatic type. It may be

said that, as an art form, it has achieved that distinction. The short story, as every
one knows, was once an embryo and an experiment; but few nowadays would
care to hold that it has not developed into a specific and worthy literary form. This
shorter form of prose fiction was once apologetic, and that not so many years
ago; but it has come into its own and now is recognized as a distinct type of
prose narrative. The one-act play, like the short story, also has come into its own.
No longer is it wholly an experiment. Indeed, it is succeeding in high places. The
one-act play is taking its place among the significant types of dramatic and
literary expression.

Artistically and technically considered, the one-act play is quite as much a

distinctive dramatic problem as the longer play. In writing either, the playwright
aims so to handle his material that he will get his central intent to his audience
and will provoke their interest and emotional response thereto. Both aim at a
singleness of impression and dramatic effect; both aim to be a high order of art.
Yet since the one is shorter and more condensed, it follows that the dramaturgy
of the one is somewhat different from that of the other, just as the technic of the
cameo is different from the technic of the full-sized statue. The one-act play
must, as it were, be presented at a "single setting": it must start quickly at the
beginning with certain definite dramatic elements and pass rapidly and effectively
to a crucial movement without halt or digression.

Naturally, the material of the one-act play is a bit episodical. It deals with but a
single situation. A study of the plays in this volume will reveal that no whole life's
story can be treated adequately in the short play, and that no complexity of plot
can be employed. Unlike the longer play, the shorter form of drama shows not
the whole man—except by passing hint—but a significant moment or experience,
a significant character-trait. However vividly this chosen moment may be
interpreted—and the one-act play must be vivid —much will still be left to the
imagination. It is the aim of the one-act form to trace the causal relations of but
one circumstance so that the circumstance may be intensified. The writer of the
one-act play deliberately isolates so that he may throw the strong flashlight more
searchingly on some one significant event, on some fundamental element of
character, on some moving emotion. He presents in a vigorous, compressed,
and suggestive way a simplification and idealization of a particular part or aspect
of life. Often he opens but a momentary little vista of life, but it is so clear-cut and
so significant that a whole life is often revealed thereby.

The student must not think that because the one-act play deals with but one
crisis or but one simplified situation, it is therefore weak and inconsequential. On
the contrary, since only one event or situation can be emphasized, it follows that
the writer is obliged to choose the one determining crisis which makes or mars
the supreme struggle of a soul, the one great change or turning-point or end of a
life history. Often such moments are the really vital material for drama; nothing
affords so much opportunity for striking analysis, for emotional stress, for the
suggestion of a whole character sketched in the act of meeting its test.

The one-act play is a vital literary product. To segregate a bit of significant

experience and to present a finished picture of its aspects and effects; to dissect
a motive so searchingly and skillfully that its very roots are laid bare; to detach a
single figure from a dramatic sequence and portray the essence of its character;
to bring a series of actions into the clear light of day in a sudden and brief human
crisis; to tell a significant story briefly and with suggestion; to portray the humor of
a person or an incident, or in a trice to reveal the touch of tragedy resting like the
finger of fate on an experience or on a character —these are some of the
possibilities of the one-act play when bandied by a master dramatist.

Reading 2

Activity 5: Towards a Unified World

You have read about the disconnections in some segments of our society due to
social issues such as poverty. Now, let us read this award-winning student essay
in order to learn about ways in which the world can be more connected. After
reading the essay, answer the questions that follow.
 Learning to Cooperate When We're Poles Apart
Jacob Karlsson Lagerros
http://www.carnegiecouncil.org/publications/articles_papers_reports/0144

Jacob Karlsson Lagerros is a 17 year-old

high school student in Stockholm, Sweden.
" Co-Winner, High School Category,
Student/Teacher Essay Contest, "Ethics for
a Connected World," 2012
February 21, 2013

Essay Topic: In your opinion, what is the

greatest ethical challenge or dilemma facing
the planet?

CREDIT: United Nations Photo, (CC)

It does not matter if you see a storm coming if you cannot run away from it.
Climate change is not the world's greatest challenge. Neither is relentless
fanaticism, global terrorism, or the international machine of capitalism grinding to
a halt. It appears as if one should be justified in naming either as the most urgent
dilemma; however, the real importance lies not in identifying the problems —but in
solving them. The one thing all those global threats have in common is that they
can be neither solved nor understood within the closed borders of a sovereign
state. All of them require international cooperation. It is a shame then that
modern civilization and international affairs all too often turn out a gathering of
wild animals trying to communicate. As a collection of elephants screaming at
cobras, snakes hissing at monkeys and bears roaring. To clarify: the enigmatic
Austrian philosopher Ludwig Wittgenstein once wrote that "If a lion could speak,
we could not understand him." He meant that human beings are barred from the
world and ideas of lions since we share no common frame of reference. This is
paralleled within human society as our cultural differences often provide
incompatible frames of reference, disenabling fruitful cooperation. It is
uncomfortably ironic that the Sri Lankan civil war was fought between the
Liberation Tigers of Tamil Elaam and the Sinhalese people, who throughout
history symbolized themselves as lions; that the eagles of the American
government clashed with the Black Panther Party and that the financial crisis
came out of an economical system labeling market changes as bears and bulls.
The earth is teeming with an abundance of irreconcilable ideologies and radically
diverse cultures, yet the international cooperation of those cultures is vital and
inevitable. Thus, the greatest ethical dilemma facing the planet today is to learn
how to be able to work together when our starting points are fundamentally
different, to learn how to cooperate when our ideologies can barely coexist.

To solve this problem, the task of ethics in international affairs is to develop a

theory of how to understand and communicate without having to coerce or
threaten. For how do you determine who is right? How do you determine whose
idea it is that should be taught to who? Developing this theory is a process far too
arduous and complex to be done in this essay, and furthermore, if a fully
developed theory existed our problem would not even be a problem in the first
place. What we can do, however, is to perceive some of its essential ideas and
concepts. It is important to note that racism, extreme nationalism, ethnocentrism
and even sexism are all consequences arising out of our original dilemma —and
by constructing our theory we by implication will construct a method for combating
those consequences.

The current philosophical trend of postmodernism surely rejects every claim

of absolute objectivity, and the immense pluralism of the earth's societies is quite
a postmodern situation. In order to bridge cultural differences it is preferable to
postulate as an axiom that "The absolute truth of an ideology might exist, yet in
this context it lies beyond provability and may thus not be used as an argument"
(notwithstanding the slight paradoxical nature of such a claim …). The humbleness
of the old Socratic "All I know is that I know nothing" certainly would not hurt
global ethics. Such humility would however be tremendously difficult to establish
in any nation which is not a democracy. After all, the dogmatist bears that name
for a reason. Is there even any basic notion that could be accepted by orthodox
Judaists, North Korean communists and American liberals alike? In fact there is.
Apart from the postmodern notion, there are two vital propositions that have to—
and most importantly, can be—accepted by every nation in order to enable
collective work towards a better future:

1. The planet is facing serious problems that have to be solved immediately.

2. These problems can only be solved through international cooperation.

If these propositions are accepted, the first foundations for a cross

cultural/political bridge are laid. Why are these propositions easier to accept than
our first one? Because the imminent danger signaled in the first concerns
practically every nation, and a nation furthermore risks more in denying it and
being wrong than in affirming it and being wrong. It is not optimal (perhaps not
even moral) to cooperate with totalitarian states, but either we first eliminate
every instance of totalitarianism and then cooperate with the resulting countries
or we begin cooperation immediately. Our choice in this situation is obvious,
since the solving of none of these problems can be postponed. Global warming
will not take a break and wait for us to finish discussing politics.

The major ethical challenges lie in proposition 2. Firstly, if there were states
that would still refuse to accept it, how do we make them? And secondly, how do
we perform the cooperation once the proposition is accepted? These two
challenges are variations of our original problem—i.e. how we spread ideas
without causing aggressiveness and conflict—and are therefore largely resolved
with the same methods. It will be assumed here that both of these propositions
are true (I contend that when it comes to climate change, terrorism and global
warming this
truth is self-evident), and thus that any resistance would be based merely on
political reasons. The first situation is resolved through the spread of knowledge
and education (obviously not to the politicians who cause the situation, but rather
to the people who chose those politicians) by making the general public aware of
the help they need and the help they can give. As an individual, this task may be
performed on a grass-roots level. Social media enable unprecedented ways of
communication and spreading ideas—as long as one remembers to discuss and
not to preach. The Arab Spring demonstrated how the organizational and
information spreading power of social networks, which at first seems merely to be
an apt way of organizing parties, can be a lethal weapon for razing autocracies.
The role of countries is to act through acts of traditional diplomacy, yet in this
situation governments will not be able to play a large role. The dominant actor
possessing the ability to effect here is non-governmental organizations (NGOs),
who can change the public view through distribution of literature and journalism,
creation of educational programs, and support of emerging domestic
organizations. Even more importantly, those actions would all contribute towards
a cultural understanding, the cornerstone of cross-border collaboration.

However, there are certain issues involved in deliberately attempting to

"help" another country. It risks turning into what Rudyard Kipling describes as
"The White Man’s Burden," in an eponymous poem from 1899—an
ethnocentrism where others nations are treated childlike and inferior. We once
again have to make sure to discuss, not to preach. We have to regard the people
we encounter as our equals, as people who share our endeavor and with whom
we can join forces— not as naïve, poor and destitute figures craving aid.

To conclude, today’s major ethical dilemma is to learn how to cooperate when

our ideologies can barely coexist. This cooperation must be achieved through
overcoming cultural differences and spreading tolerance and understanding. The
first step towards overcoming these differences is for every nation to realize that
if the arduous struggles facing the modern world are to be resolved, it is
dependent on all other nations and all other nations depend on it. The second
step is taken through education, experience and knowledge. To spread civilized
discussion, literature, and thinking is to settle for a world where ideas are
approached with an open mind, which is a world were international issues can be
resolved independent of the heritage of the discussers. It is a world where the
age of the environmentally conscious, respectful cosmopolitan slowly succeeds
that of the narrow-minded, prejudiced provincial. There is a story which
beautifully demonstrates this notion. During the colonization period of the 19th
century, a British man traveled to Australia and encountered an aboriginal
woman. At first, they both stood silent with their stares piercing into each other.
Then the woman gently spoke: "If you come only to help me then you can go
back home. But if you consider my struggle as part of your struggle for survival,
then maybe we can work together."
 7.

Questions to answer
1. According to the author, what is the world’s greatest ethical dliemma?
2. How can this dilemma be resolved?
3. What is the current thinking of today’s humanity?
4. How can international cooperation be realized?
5. What is the first step towards achieving international cooperation?
6. Through what means can Step 2 be done?
7. What does the interchange between the British man and the aboriginal
woman signify?
8. Do you agree with what the author says?
9. Is social justice posssible?
10. How can you be an advocate of social justice?
11. Is the essay persuasive? What makes it so? Use “Think Sheet” below.

8.
Think Sheet

Is the writer persuasive? How does the writer influence you to think or do
something? Use the checklist below as your guide in answering the two
questions.
 The writer uses and effective grabber in his introduction.
 The thesis statement clearly forwards the writer’s position concerning
the topic.
 The writer makes strong arguments about the topic.
 The arguments are supported with examples and evidence.
 The writer’s reasoning is clear and logical.
 The writer’s call to action persuades the readers to change their
beliefs or behavior.

Your Thoughts

http://www.emse.fr/~yukna/gmat/Logicalfallacies.html
Think about this:
Writers use words as tools to effectively convince or persuade their readers.
Using words that appeal to reason or emotion and incorporating facts and
statistics are some of the ways that a reader can influence the readers to accept
his or her point of view. As a reader, you have to be aware of the flaws in
the writer’s reasoning in order to validate or evaluate the latter’s claims.

To know more about these flaws in reasoning or logical fallacies, click the links
below:
 http://www.quia.com/hm/105552.html
 https://www.google.com.ph/search?q=logical+fallacies+poster&tbm=isch&i
mgil=jQ4TczQc4HNLEM%253A%253Bhttps%253A%252F%252Fencrypte d-
tbn3.gstatic.com%252Fimages%253Fq%253Dtbn%253AANd9GcS
WmpLljfeo4htQGa4XqlWYh7lQ7LdJvx- ADWmy7oKfQNK204ml
%253B2000%253B1330%253BOkpNOC4nOSJhd M%253Bhttps
%25253A%25252F%25252Fyourlogicalfallacyis.com%2525
2Fposter&source=iu&usg= YQkMQEkiXCfoNr7kp1qb0LAJaQo%3D&sa
=X&ei=Dnj3UsuLBqybigeTj4DwCg&ved=0CCcQ9QEwAA&biw=1024&bih
=432

ACTIVITY 5. Language in Focus

Read the excerpts below and answer the questions that follow.
A B
The first step towards overcoming Overcoming these differences,
these differences is for every nation every nation needs to depend one
to realize that if the arduous struggles another in order to resolve the
facing the modern world are to be arduous struggles facing the modern
resolved, it is dependent on all other world.
nations and all other nations depend
on it.

How does the phrase, overcoming these difference, function in Sentence A?

in sentence B?

What is each phrase called based on their respective functions in the sentences
above?

A participial phrase begins with a present of part participle. A present participle

ends with -ing while a past participle will end in ed if it is a regular verb.

A gerund phrase, on the other hand, can easily be confused with the participial
phrase in its present form.
The difference is the function that they provide in the sentence. A gerund phrase
will always behave as a noun while a present participle phrase will act as an
adjective.

For example:

Overcoming these differences in Sentence A acts as an object or noun thus it

is a gerund phrase.

However, the same phrase acts as a modifier or adjective thus is a participial

phrase.

ACTIVITY 6. Practice Makes Perfect!

 Access these links and answer the exercises:

A. http://www.grammaruntied.com/phrases/phrasequiz1/Iquizphrase.ht
ml
B. http://www.grammaruntied.com/phrases/phrasequiz2/Iquizphrase2.
html

Weblinks These two weblinks contain formative interactive exercises on

participial phrases.

 Record your scores

A.

B.

Assess yourself. What do your score say about what you know?
Do you need more help in this area? Send me an email.
 Your goal in this segment is to apply what you have learned in the
previous literary and language foci activities through the next set of
activities. Continue to think about the question:
What makes for powerful drama?

ACTIVITY 7. Reflection Checkpoint

Go back to the question posed at the start of this lesson. Use the box below to
write your answer.

Use this written output to create a word cloud or wordle. Follow these directions:
 1. Click this link, http://www.wordle.net/create.
2. Generate a word cloud by typing a set of words about the defining
characteristics of powerful drama.
3. Click the GO button. You can customize your word cloud by choosing
your preferred font, layout and color.
4. Post your work on the FORUM. Include your one 1-paragraph explanation of
what makes for powerful drama.

ACTIVITY 8. Captured Audience

Your local community theatre has commissioned your group to write a synopsis
of the play, “The Exchange” which would be staged in a community theater. The
synopsis must be well-organized, proficient and interesting. Go through the
writing process as you create this output. Use the prompts below.

A. Getting started

B. Drafting the synopsis

Before you write the synopsis, take note of these steps:

5 Steps To Writing A Synopsis By Vivian Beck

http://www.vivianbeck.com/writing/5_steps_to_writing_a_synopsis.htm

Step 1: Start With A Hook. This should be a paragraph or two similar to the
blurb on the back of a book. Mood and tone is important here, use special
adjectives.
 Step 2: Introduction of Characters. Introduce the main characters. Tell
their MOTIVATION, CONFLICT, and GOALS. Stay away from detailed
physical descriptions unless this information is pertinent to the story.

Step 3: Construct the Body of Your Synopsis. Here, using paragraphs,

write the high points of the story in chronological order. Keep these
paragraphs tight, don't give every little detail. Remember, each scene should
include, ACTION, REACTION, and a DECISION.

Example: Sam kisses Mary goodnight. (ACTION) He makes her forget she
does not want to get involved in a relationship. (REACTION) He's dangerous
to her hard-earned peace of mind. (DECISION)

Step 4: Write the CRISIS and RESOLUTION of the story. Keep this simple,
but make sure you show the main characters' reactions. The synopsis must
include the resolution to the story.

Step 5: Rewrite the synopsis until each sentence is polished to the point of
perfection. Use strong adjectives and verbs, and always write in the present
tense. Make every word count.

Write the synopsis following the order of the play. Take note of the points
covered in Lesson 1, Activity 6: Synopsis Analysis.

C. Revising and editing the synopsis

Read the checklist below. Tick the column that applies to your group output.
 The synopsis is no longer than 240 words.
 The synopsis is written using the present tense and third person point
of view.
 The synopsis flow naturally.
 It is engaging. It captures and sustains the attention of
intended readers.
 It accurately reflects the events of the play.
D. Scaling Our Success
Refer to the scoring guide for synopsis writing and assess your output. Use
the table below to accomplish this task.

Criteria Scale of Explanation and Plan of Action

Success If you gave yourselves a rating below 4 explain
Rate the areas that you need to improve. State a
yourself specific plan of action so you can earn a
from 1-4. higher mark.
Well-
Organized

Appealing

Proficient

ACTIVITY 9. Recreating Reality

Read the checklist below. Tick the row which represents your current ability in
terms of performance onstage. Use the 2nd row to write thoughts or feelings
concerning each intended outcome.

A. Performance Skills Inventory

I have the freedom to choose and explore how I
can use my voice, movement, and expression in
role play and drama.
I enjoy creating, choosing and accepting roles,
using movement, expression and voice.
I can create, adapt and sustain different roles,
experimenting with movement, expression and
voice and using theatre arts technology
I can create, develop and sustain a realistic or
stylized character through the use of voice,
movement and language.
I can demonstrate sensitivity, precision and depth
in the portrayal of a character, conveying
relationships and situations in a variety of settings
and to different audiences.
 Inspired by a range of stimuli, I can express and
communicate my ideas, thoughts and feelings
through drama.
In response to a variety of stimuli, I can use my
understanding of characterization to create
characters using different approaches, making
use of voice, movement and language. I can
present my work to an audience.
I can use theatre arts technology to enhance
tension, mood and atmosphere in drama work.
I use drama to explore real and imaginary
situations, helping me to understand my world.

Source:http://www.educationscotland.gov.uk/myexperiencesandoutcomes/expressiveart
s/index.asp

B. Lights, camera, action!

Your theatre group has been commissioned to stage the play, The
Exchange. Engage in an theatre performance workshop in order to fine tune
your expressive and performance skills. Use the links below to polish your
act.

https://www.youtube. Processing Questions:

com/watch?v=Un85g
A0S1wc 1. What are the
This link provides essential expressive
explanation of skills that contribute to
essential theatrical a great performance?
terms. 2. Why is it important to
pronounce and
www.bbc.co.uk/scho enunciate words
ols/wordsandpictures properly?
/longvow/
3. What is the link
www.readwritethink.o between drama
rg/files/resources/inte techniques and
ractives/picturematch stage movement?
These links provide
exercises on the long 4. How do these
and short vowel expressive skills
sounds. contribute to a
great
 http://www.youtube.c dramatic
om/watch?v=XDt10D performance?
5uFNQ
This link provides tips 5. What makes for
on how to achieve powerful
voice acting through drama?
enunciation.

http://www.youtube.c
om/watch?v=UBJkO
BOlcf8&list=PLB1A7
15B7AE36BD0B
This link provides tips
on how to use
effective movement
onstage.
http://www.youtube.c
om/watch?v=6JuKXB
CeqzM
This link provides an
explanation of
drama techniques
and body language.

End of Deepen
In this section, the discussion was about extending your knowledge and skills
on writing a synopsis and acquiring dramatic/expressive techniques. Now that you
have a deeper understanding of the topic, you are ready to do the culminating task
on your own.
ain dramatic techniques depends on the director ’s interpretation or the playwright ’s requirement. Let ’s see how you can apply
rning to a real life - situation. As you go through the steps in preparing for this performance task, continue to think about the q
 Your theatre group has been commissioned by United Nations to produce a one-
act play which would be staged during its Annual World
Congress. The play should reflect the theme, “Connecting
to the World.” Your production should be relevant, engaging
and effective. The group must also write an appealing,
proficient and well-organized synopsis to perk the interest
of the intended audience.

Play Synopsis
Excellent (4) Satisfactory (3) Developing (2) Beginning (1)
Relevant The one-act play The one-act play The one-act play The one-act play
thoroughly reflects reflects the theme of reflects minimally the does not reflect the
the theme of the the congress. The theme of the congress. theme of the
congress. The performers are able The performers are congress. The
performers are able to construct meaning able to construct performers are
to construct meaning and make real world meaning and make NOT able to
and make compelling connections through real world connections construct meaning
real world the theatrical through the theatrical and make real
connections through productions. productions. world connections
the theatrical However, in some through the
productions. parts the presentation theatrical
is inconsistent with the production.
theme.
Engaging The performers show The performers show The performers show The performers
impressive and understanding of the little understanding of show no
admirable rudiments of the rudiments of understanding of
understanding of the theatrical/stage theatrical/stage the rudiments of
rudiments of production. They are production. They are theatrical/stage
theatrical/stage able to communicate able to communicate production. They
production. They are meaning of the the theme. In some are NOT able to
able to communicate play through effective parts, the choice of communicate the
meaning of the expressive skills. performance skills is meaning of the
play through effective inconsistent with the play through
expressive skills. theme. effective
expressive skills.

Effective An original and A unified creative Creative style is A unified creative

unified creative style style is shown in set incoherent or style is not shown
is specifically shown design, props, inconsistent as shown in set design,
in set design, props, costumes, makeup in set design, props, props, costumes,
costumes, makeup and sound effect in costumes, makeup makeup and sound
and sound effect in order to enhance the and sound effect in effect in order to
order to enhance the audience’s order to enhance the enhance the
audience’s understanding of the audience’s audience’s
understanding of the play’s theme. understanding of the understanding of
play’s theme. . play’s theme. In some the play’s theme
parts, the choice of
stage technique
distracts the audience
from the theme.
 Excellent (4) Satisfactory (3) Developing (2) Beginning (1)
Well- Details are placed Details are placed in Some details are not Many details are
organized in a logical and a logical order, but in a logical or not in a logical or
interesting order the way in which they expected order, and expected order.
and the way they are this distracts the There is little
are presented presented/introduced. reader. sense that the
effectively keeps writing is
the interest of the organized.
reader.
Appealing Writer uses vivid Writer uses Writer uses words Writer uses a
words and phrases appropriate words that communicate limited vocabulary
that linger or draw and phrases that clearly but the writing that does not
pictures in the linger or draw lacks variety, punch communicate the
reader's mind, and pictures in the or flair. reader's interest.
the choice and reader's mind. Jargon or cliches
placement of the may be present
words is accurate and detract from
and natural. the meaning.
Proficient All sentences are Most sentences are Most sentences have Sentences lack
well-constructed well-constructed. a similar structure. structure and
with varied There are no errors in There are several appear incomplete
structure. grammar, spelling or errors in grammar, or rambling. There
There are no punctuation which spelling and are many errors in
errors in grammar, makes it easy to punctuation that grammar, spelling
spelling or read. distract the reader and punctuation
punctuation which from the content. which distract the
makes it reader's attention
exceptionally easy and greatly
to read. interrupt the flow.
9. Wrapping Up

What connections do playwrights make between drama and societal realities?

What makes for powerful drama?
10. Use the map below to answer these questions. Fill out only the OUT OF THE
BOX portion.

11.

12.

13.
My Thinking Box
14.

IN THE
BOX

I think…

OUT OF THE BOX

Compare your IN THE BOX and OUT OF THE BOX answers. Use the journal
below to reflect on your learning journey.
SUBMIT

REFLECTIVE JOURNAL

What happened? How do I feel about it? What did I learn?

How does the lesson help you realize the practical use of writing a synopsis
and performing onstage in real-life settings?
END OF TRANSFER

In this lesson, you were tasked to write a synopsis and stage a one-act
play. You were also prompted to think and rethink about the two
questions:

What connections do playwrights make between drama and

societal realities? What makes for powerful drama?

As you embark on a new lesson, continue to explore answers to these

questions and connect what you have learned with your day to day existence.
Note that you will extend in this module you have acquired knowledge and
skills concerning one-act plays. Use what you have learned in this module
in order to make comparisons between one-act and full-length plays.
 POST-ASSESSMENT

Let’s find what you have learned in this unit by reading excerpts of a text answering the questions that follow.

1. Which of the following choices does NOT refer to a play synopsis?

A. review
B. gist
C. overview
D. outline

2. Which of the choices does NOT refer to imperfect reasoning?

A. faulty logic
B. logical fallacies
C. overgeneralization
D. inductive logic.

3. The following are features of a one-act play EXCEPT for .

A. plot
B. rhyme
C. dialogue
D. theme

4. What does this reading excerpt, “Although we are cognizant of the problems
we all face, there is this dichotomy between what we know and the actions
we take, because of our individual personal lives and ambitions. What I
mean by this is that there is a prevalent view that although there are
problems we collectively face, we prioritize our individual affairs first,
because there is only so much an individual's efforts can translate to, as
opposed to organizations established for the express purpose of, for
instance, eradicating poverty worldwide” mean?
A. There is a disconnection between a person’s thoughts and actions.
B. Humans do not really recognize the problems of the society.
C. It is true that individual effort does not go a long way.
D. Organizations make more impact.

5. What seems to be the dominant writing purpose based on this excerpt:

We urgently need a paradigm shift in how we view ourselves vis-à-vis global issues.
Vibrant discourse in each community about global issues to influence local policy,
and in turn, international policy, cannot be absent. There are innumerable issues
and ethical challenges in each issue facing our planet today, but what severely
debilitates us is the lack of initiative of each and every individual on the global
issues in their personal capacities. Yet for as long as this remains the status quo,
the course of our
 planet will be determined in no small amount by a few select people, when it is the
future of the whole Earth at stake. Taking up our responsibilities will not magically
solve global issues. Nevertheless, we can at the very least determine what we want
of our world today, and 50 years from now—a vested right.

A. to persuade
B. to inform
C. to describe
D. to narrate

6. Which of the statements used a participle correctly?

A. Minding our responsibilities, we can contribute to the development of
the society.
B. Minding our responsibilities, the society will be better.
C. Minding our responsibilities, the betterment of the society will
be achieved.
D. We can contribute, minding our responsibilities, to the development
of the society.

7. Which of the following does NOT use the infinitive phrase properly?
A. There is a tendency to ignore issues that do not affect us.
B. Social issues perpetuate for to ignore issues seems to be prevalent
among many.
C. The essayist wants to emphasize that many seem to ignore issues that do
not affect them.
D. Her purpose is to remind the readers of the tendency of many to ignore
issues that do not affect them.

8. Which of the excerpts from the text evokes sensory images?

A. this ethical challenge rears its ugly head on many fronts covertly,
B. including the indifference towards recycling initiatives in one's
neighbourhood and the short attention span rendered to human
rights violations and natural disasters made sensational.
C. While it is often attributed to personal indifference, this is the
greatest global ethical challenge
D. because it is the single unifying challenge manifested in most
global issues which plague us today

9. If the author where to write a one-act play, which element should she use
to uncover her writing purpose?
A. theme
B. dialogue
C. plot
D. characterization

10. Which of the choices below enables the readers to uncover the theme of
the play?
 A. setting
B. conflict
C. characterization
D. figurative devices

11. Why should a performer be concerned with the theme of the play?
A. It provides ideas on how to interact with other performances.
B. It makes the performer realize that a play is an imitation of life.
C. It allows the performer to make believable portrayal of the character.
D. It makes the actor a better performer.

12. Which of the choices indicates the purpose of effective stage techniques?
Effective stage techniques
A. determines the resolution of the story
B. increases the level of anticipation of the audience
C. manifests the versatility of the actor
D. unravels the meaning through plot and character

13. Which of the choices is true about one-act plays? A one-act play is
A. used as a ground work for a full-length play.
B. as complex as a full-length play.
C. typified by varied settings.
D. complete by itself.

14. Which of the following is NOT true about Shakespeare and his writings?
A. He created new words.
B. His plays reflect many realities of his time.
C. Most of his writings are written in Old English.
D. Understanding his language is important in comprehending his writings.

15. In writing a synopsis for a one-act play which will be staged during
One World Organization’s annual celebration, you should not .
A. describe the salient scenes that lead to the highest point of the story
B. focus on the development of the plot of the play
C. describe setting and characters of the play
D. outline each scene of the play

16. You saw a job placement ad concerning several positions for a play
production of One World Organization’s annual celebration. You are
interested in overseeing the creative aspect of the play production.
Which position is most suitable to you?
A. Designer
B. Stage Manager
C. Director
D. Playwright
17. As member of One World Organization annual play production, your job is
to choose stage actors based on their verbal communication ability. Which
of the options should be your basis?
A. proficient
B. engaging
C. concise
D. credible

18. You are a member of the audience of One World Organization’s play
production. Which of the choices would you use to gauge the performer’s
capacity to keep you captivated and interested?
A. responsive
B. concise
C. formal
D. engaging

19. As writer of the synopsis for a play that will be staged during the
centennial celebration of the One World Organization, what point of view
should you use?
A. 1st Person
B. 2nd Person
C. 3rd Person
D. 4th Person

20. As the stage manager of One World Organization’s stage play, which aspect is
your primary concern?

A. technical
B. creative
C. promotion
D. production

Reading excerpts for the post-assessment are taken from Xinle Su’s essay
which is entitled “The Responsibility of the Individual. ”
GLOSSARY OF TERMS

Act - major division in the action of a play, accommodating changes in time,

setting, character(s), mood. Acts are further divided into scenes.

Dialogue - the verbal exchanges between characters.

Denouement - a French term meaning “unraveling” or “unknotting,” used to

describe the resolution of the plot following the climax.

Drama - derived from the Greek word dram, meaning “to do” or “to perform”

Exposition - a narrative device, often used at the beginning of a work,

that provides necessary background information about the characters and
their circumstances

Gerund Phrase - a verbal which functions as a subject or object

In Media Res - term used to describe the common strategy of beginning a story
in the middle of the action, usually on the verge of some important moment.

Irony - the difference between what appears to be true and what is known to be
true.

Play - general term for a work of dramatic literature.

Playwright - the writer who makes plays.

Participial Phrase - a verbal acts as a modifier

Plot - The author’s arrangement of incidents in the play

Stage Directions - the playwright’s instructions about how the actors are to
move and behave.

One-Act Play - a literary genre which aims at producing a “singleness of effect” on

its intended audience.

Scene - when the location of the action shifts or when a new character enters.

Synopsis - the gist or summary

Theme - the central idea or meaning of the play.

SOURCES

http://omcsocial.ca/category/website-strategy-tools/: This link is the source of the

connecting the world photo.

http://www.carnegiecouncil.org/publications/articles_papers_reports/0145: This
link provides digital copies of the following essays: The Greatest Ethical
Challenge: To Speak" by Joshua Thomas,

http://tvlistings.zap2it.com/tv/the-merchant-of- venice/MV001543270000?
aid=zap2it: This is the source of the Merchant of Venice photo.

http://www.bbc.co.uk/history/people/william_shakespeare: This link provides a

short bio note of William Shakespeare.

http://internetshakespeare.uvic.ca/Library/SLT/plays/the%20merchant%20of%20
venice/mersettings.html: This link provides the backdrop of historical setting of
the Merchant of Venice.

http://www.shakespeare-literature.com/the_merchant_of_venice/0.html : This link

provides a copy of the synopsis of Merchant of Venice.

http://homeschoolhelperonline.com/worksheets/plot.shtml: This link contains a

plot outline graphic organizer.

Synopsis1:http://www.shakespeare-literature.com/the_merchant_of_
venice/0.html
Synopsis 2 http://marialou.tripod.com/summary.html
Synopsis 3 http://www.nosweatshakespeare.com/playsummary/merchant-venice/
These links provide samples for the Synopsis Analysis activity.

http://suite101.com/a/drama-lesson-on-writing-a-synopsis-for-a-play-a174633
This link is the source of Rachel Shirley’s guidelines to writing a good plot
summary.

http://www.pbs.org/wgbh/masterpiece/merchant/ei_shylock.html This link

provides a background on the character of Shylock.

http://www.bathcsd.org/webpages/edepartment/shakespearean_terms.cfm: This
link provides information on the language of William Shakespeare.
http://www.youtube.com/watch?v=jOsuX3xw_uY
This link will give you access to BBC’s version of Merchant of Venice.

http://www.youtube.com/watch?v=_A4Oh3FaHUk This link provides another

production of the Act 4 of the Merchant of Venice.

http://www.sturgeon.k12.mo.us/elementary/numphrey/subjectpages/languagearts
/figuresofspeech.html: This link provides access to an interactive site on
figurative language.

http://www.softschools.com/quizzes/grammar/figurative_language/quiz3369.html
This link provides access to an interactive site on figurative language.

https://www.classzone.com/books/lnetwork_gr07/page_build.cfm?id=quiz&ch=7
http://www.usingenglish.com/quizzes/420.html
These links provide access to interactive sites on verbal phrases.