LESSON PLAN BASED ON UBD UNDERSTANDING

BY DESIGN
DRAMA
SECOND YEAR

TIME FRAME: 20 DAYS

TOPIC 3: DRAMATIC CONVENTIONS AND ROLE
INTERNALIZATION

STAGE 1:
CONTENT STANDARD:
The learner understands that dramatic conventions and
role internalizations are essential in presenting a
dramatic monologue.
PERFORMANCE STANDARD:
The learner presents a sterling dramatic monologue.
ENDURING UNDERSTANDING:
Dramatic conventions such as masks, indigenous music,
chants, and internalization drills all contribute to a
sterling performance of a dramatic monologue.

ESSENTIAL QUESTION:
What is the importance of dramatic conventions and
role internalizations in the presentation of a dramatic
monologue?

LEARNERS WILL KNOW

Dramatic conventions and role internalization
Various dramatic conventions such as masks, chants,
indigenous music, and authentic materials
Concepts and principles of different dramatic
conventions
Various conventions applied in Afro-Asian drama
Appropriate authors choice and use of dramatic
conventions
Verbal nouns in expressing specific ideas, feelings, and
thoughts is essential in performing a dramatic
monologue
Gudieposts in presenting dramayic monologue
LEARNERS WILL BE ABLE TO
Explain how characterization, plot structure, and lines
are enhanced by draamatic conventions.
Describe how various dramatic conventions such as
masks, chants, indigenous music, and authentic
materials enliven the performance of a dramatic
monologue.
Illustrate drama conventions of Afro-Asian countries,

 Critic drama conventions and role internalization drills.

Translate drama themes and character description to
conventions and delivery of lines.
Exhibit various Afro-Asian plays presented on stage via
DVD presentation.
Make sense of lines by using words expressing specific
ideas like verbal nouns.
Exhibit knowledge in internalizing roles.
Compare and contrast quality of performance.
Analyze diversity of drama themes among Afro-Asian
nations.
Critic a dramatic monologue in enriching the content of
Afro-Asian drama.

STAGE 2:
PRODUCT PERFORMANCE TASK:
A sterling dramatic monologue.

STAGE 3: TEACHING LEARNING SEQUENCE

EXPLORE
At this stage, the teacher should be able to do the following:
Make the learner aware of what is expected of them in
this lessson.

Activate and verify the background knowledge of the

students on dramatic conventions.
Have the students understand how dialogues paly a very
important role in a play.
Introduce the essential question.
Gain some ideas on the different styles of dramatic
monologue.
Inform the learners of their major output, that is, a
dramatic monologue and that they will be assesed based
on the given set of criteria.
(DAY 1)
ACTIVITY 1: JUST WALK, DO NOT TALK
Ask the students to walk around the room for three
minutes.
While walking, they should observe other students
without speaking to them.
They may use gestures, eye contact or facial
expressions but they must not talk.
They should develop, either mentally or on a paper, five
impressions of each person they observe.
After the walk, the class will be divided into five and
discuss their impressions within the group.
Let them correct themselves if there are any
misconceptions.
Process the activity by asking the following questions:
1. Were most of the impressions accurate? Why? Why
not?
2. Were any accurate clues given nonverbally?
3. Do you find it difficult not to talk? Why? Why not?

4. Would you have been more comfortable when youre

allowed to talk?
5. What does this reveal about drama?
( DAY 2 )
ACTIVITY 2: THATS MY IDOL!!!
Divide the class into 5 groups.
Tell them to recognize each picture below.
PICTURES:

4.

5.

Allow them to create a chart like the one shown below

to study the figure assigned to them.

Character

Expression
s

Gestures

Physical
Influenc
Appearanc e
e

1.
2.

1.

2.
3.
4.
5.

3.

Discuss their answers further and let them answer the

following questions:
1. Why should we study characters ways before
understanding his/her role?

2. Does it all help us to get to know more about

drama?
3. How does a character introduce us to dramatic
convention?
. Use the activity to activate prior knowledge.
(DAY 3)
ACTIVITY 3: BACKWARDS, REWINDS AND
REVERSE SCENES
Ask the students to form groups of five.
Each group will choose a drama story and each
member of the group is considered a scene actor and
will tell the story backwards.
They will not be talking backwards, or moving in
reverse, but they will present the components of the
scene from the 'end' to the 'beginning.'
The first actor starts with an ending to a story.
Then each actor must ask himself what happens
immediately before this event and then make him
portray the most likely thing that will occur.
Actors will find themselves frequently asking
themselves, "he just said...so I would have."
Provide feedback.

( DAY 4 )
ACTIVITY 4: IMPROMPTU STORYTELLING BANG!!

Tell the students that in this game all the players on

stage will be telling a story.
Each player is responsible for the story while the
director, who happens to be the teacher, is pointing at
them.
When the director switches from one player to another,
the other player must pick up the story without
stuttering, repeating words, or making grammatical
errors.
If any of the players fumbles or makes such an error the
audience should yell BANG!!
The players should tell a story through action, and not
waste time having the character think about other
things.
The director should change from player to player
slowly at first, allowing a logical story to builds and as
the game goes on, the teacher can switch from one
player to another, faster and faster.
This will activity be used as springboard for EQ.
Introduce the EQ such as What is the importance of
dramatic conventions and role internalization in the
presentation of a dramatic monologue?
Have them answer essential question.
Make them aware of the desired output, that is, a
dramatic monologue.
FIRM UP
At this stage, the teacher should do the following:
Hook the attention of the students to the lesson for this
phase.

 Have them understand the African play.

Make them aware of the authors background.
Have them understand the concept of role
internalization.
Make them aware of the different dramatic conventions
employed by the author.
Experience for themselves the role of characters in the
chosen play.
Provide feedback for understanding.
( DAY 5 )
ACTIVITY 1: MARKET! MARKET!
Divide the class into 3 groups.
Ask the students to describe the following situations in
the market:
Group1 : describe what you HEAR in the market.
Group2 : describe what you SEE in the market.
Group3 : describe what they DO in the market.
Let them share their answers in front of the class.
DISCUSSION:
1. Discuss the answers in the activity.
2. What is the most common thing that we see in a
market?
3. How did you manage to describe a certain place?
( DAY 6 )
ACTIVITY 2: ICE-WATER
Ask the students to form a big circle.

By drawing lots, the first two actors are selected and

start acting out a situation.
A student who would like to cut the story and continue
it to with a twist must shout ICE and the first two
actors will stop immediately.
The next player in the line immediately tags one of the
players that is frozen on stage and will shout
WATER. He/she assumes his/her exact position.
For this exercise, the player must assume the exact
physical position of the player they chose to tag out.
Ask the students to describe about their experiences.
DISCUSSION:
1. What can you say about the activity?
2. Is acting easy? Why?
( DAY 7 )
ACTIVITY 3: MY REFLECTION
Ask the students to find their partners.
Choose the first pair and begin to give them
instructions.
One of the pair gradually moves then his/her partner
will just imitate what he/she is going to do.
Then they will switch places, the one who imitates will
be the one to be imitated BUT without the audience
noticing it.
DISCUSSION
1. Is following directions important? Why?
2. Is it hard imitating a character? Why?

3. Does a mirror help in the internalization of a

character? How?
( DAY 8 )
ACTIVITY 4: FOLLOW THE WHEEL OF ROLES
Ask the students to form a big circle.
Allow the students to enter the circle one at a time.
A student assumes his/her role as soon as he/she leaves
her spot in the circle.
The student acts out, speaks out and internalizes the
assumed role until another student approaches him to
assume his post.
The students will repeat the steps until everyone is done
performing.
DISCUSSION:
1. What did you feel after the activity?
2. What are character roles?
3. Is it easy to perform a certain role?
( DAY 9 )
ACTIVITY 5: MUSIC MAGIC
Ask the students to stay on one place inside the room
where they are comfortable. They can sit, stand or lie
down but with their eyes closed.
Play the music SORRY, BLAME IT ON ME by
Akon.
Let them internalize what the song is telling.

Ask them to describe the condition of the speaker in the

song.
Have them present their answers in front of the class.
DISCUSSION:
1. What is the song all about?
2. What is the emotion evoked in the song?
3. Who is the speaker in the song?
4. How did you know the condition of the speaker?
( DAY 10 )
READINGS:
Selection 1: Am I to Be Blamed? By Lon Roland
AM I TO BE BLAMED?
Theyre chasing me, theyre chasing, no they must not catch
me, I have enough money now, yes enough for my starving
mother and
brothers.
Please let me go, let me go home before you imprisoned me.
Very well, officers? take me to your headquarters. Good
morning captain!
no captain, you are mistaken, I was once a good girl, just like
the rest of you here. Just like any of your daughters. But time
was, when
I was reared in slums. But we lived honestly, we lived honestly
in life. My, father, mother, brothers, sisters and I. But then,
poverty

enters the portals of our home. My father became jobless, my

mother got ill. The small savings that my mother had kept for
our
expenses were spent. All for our daily needs and her needed
medicine.
One night, my father went out, telling us that he would come
back in a few minutes with plenty of foods and money, but that
was the
last time I saw him. He went with another woman. If only I
could lay my hands on his neck I would wring it without pain
until he
breaths no more. If you were in my place, youll do it, wont
you Captain? What? you wont still believe in me?. Come and
Ill show
you a dilapidated shanty by a railroad.
Mother, mother Im home, mother? mother?!. There Captain,
see my dead mother. Captain? there are tears in your eyes? now
pack this
stolen money and return it to the owner. What good would this
do to my mother now? shes already gone! Do you hear me?
shes
already gone. Am I to be blamed for the things I have done?

ACTIVITY: DISSECTING DETAILS

Ask them to go over the details of the play.
Divide the into 5 groups.
Give each group a specific task to do.

Group1 : important dialogues of characters

Group2 : setting of the play
Group3 : production design of the play
Group4 : costume and props used
Group5 : style of author in presenting the message
of the play
Have them present their answers in front of the class.
Assess their answers.
DISCUSSION:
1. How do these elements of drama help in conveying
its theme?
2. What is the message of the drama?
3. What are the roles of the characters in the drama
story?
4. Do you think you can be one of the characters in the
story? Why?

( DAY 11 )
Selection 2: Kanadehon Chshingura (Treasury of Loyal
Retainers) By Miyoshi Shoraku
Kanadehon Chshingura (Treasury of Loyal Retainers)
(An excerpt)
Act 1

"The same holds true of a country at peace: the loyalty and

courage of its fine soldiers remain hidden, but the stars, though
invisible by
day, at night reveal themselves, scattered over the firmament.
Here we shall describe such an instance..." --Narrator
[
The shogun Ashikaga Takauji has put down the Genko uprising
led by the nobleman Nitta Yoshisada, and has built a shrine to
the kami
of war Hachiman to commemorate his victory. Its chief trophy
will be the helmet of the dead Yoshisada, but there is confusion
as to
which of the 47 helmets found by his body is really his.
The shogun's brother & deputy, Ashikaga Tadayoshi, convenes
a conference to discuss the issue. Attending is the governor of
Kamakura,
Lord Moronao (Kira), Wakanosuke, and Lord Enya (Asano).
Moronao objects to preserving the helmet, even though
Yoshisada was a 34
noble descendant of the Genji, a mistake would be
embarrassing, and there were many loyal retainers descended
from the Genji anyway.
Enya and Wakanosuke support the helmet's preservation.
Tadayoshi summons Enya's wife, for as a maiden in the
imperial palace, she saw the helmet presented to Yoshisada.
She verifies the
correct choice. As the conference ends, Moronao, who has been
tutoring Enya's wife in classical waka poetry, presses upon her
a love

letter. She rejects it entirely, and Moronao is embittered with

hatred for Enya.
Act 2
Enya sends his retainers a message that he and Moronao have
been charged with the welcoming of Tadayoshi the next day.
Wakanosuke, aware of Moronao's rejection, tells his fellow
retainer Honz of his plan to assassinate Moronao before
Moronao can attack
or provoke their master Enya. Honz applauds the plan,
suggests that Wakanosuke take a nap first, and immediately
departs to find
Moronao first to bribe him.
Act 3
Honz finds Moronao at Tadayoshi's palace, and delivers his
handsome bribe in the guise of thanks for etiquette instruction.
Moronao
accepts it and invites Honz to an audience.
After an interlude in which a minor retainer of Enya, Kampei,
gives into temptation to leave his post with his lover,
Wakanosuke arrives.
When Wakanosuke encounters Moronao, Moronao's attitude is
so welcoming and apologetic that Wakanosuke confusedly
abandons his
murderous intentions - as Honz planned.
Unfortunately, when Enya arrives, he comes bearing a note
from his wife to Moronao; it is a poem from the Shin Kokin
Wakash which
indicates her definitive rejection of Moronao's love.

Angered, Moronao takes exception to Enya's tardiness and

begins mercilessly insulting & verbally abusing Enya.
Provoked beyond his
limits, Enya draws and slashes Moronao. He does not kill
Moronao as he is held back by Honz (who hopes to lessen
Enya's
punishment).
Outside, Kampei hears the commotion and rushes to the back
gate, only to realize his failure as a samurai: he dallied and was
not there 35
when his master needed him.
Act 4
Enya is placed under house arrest. The retainers and women
discuss his fate, and Enya's wife, Kaoyo, reveals Moronao's
motives.
The shogun's envoys arrive with Enya's sentence: seppuku,
confiscation of Enya's estate, and the reduction of his men to
rnin.
Enya's chief retainer, Yuranosuke, rushes in just as Enya is
pulling the dagger across his stomach; Enya charges him with
seeking
vengeance. Yuranosuke orders the men to not commit seppuku
nor barricade the mansion & die fighting the shogunate, but
likewise to
seek vengeance.
Act 5
Kampei, long after the expulsion, has become a hunter. One
rainy day, he meets on the highway a fellow rnin. The
conversation reveals

that Yuranosuke and the others did not immediately assault

Moronao's extremely well-guarded mansion, but dispersed
peacefully, and
that Yuranosuke & his son have fallen into decadent seeking of
pleasure. Kampei mentions rumors he has heard that 40 or so
of the
rnin are conspiring to kill Moronao. The other rnin
categorically denies this: the meetings and solicitations are for
the charitable
purpose of raising funds for a fitting memorial for Enya's
grave. Kampei resolves to acquire money to donate towards the
memorial.
Later, an old man comes along the road with the large sum of
50 ry in his wallet, earned by selling his daughter - Kampei's
wife - to a
brothel. He is accosted and then killed by Sadakur the
highwayman.
No sooner has Sadakur hidden the body and counted the
money than he is accidentally shot by Kampei, hunting a boar.
Kampei does
not see clearly the body in the dark, but takes the money as a
gift from heaven and hurries home with his donation to find the
other
rnin.

Act 6
At Kampei's home, his wife and mother-in-law await the return
of the old man; their money will enable Kampei to become a
samurai

again. But he has yet to return when the pimp comes to claim
Kampei's wife. While the pimp argues with them and describes
his 36
transaction with the old man, Kampei arrives with the tell-tale
wallet. He is accused of murdering his father-in-law, and
because it was
dark, even Kampei believes it.
While Kampei gives his account of events, he commits
seppuku. His fellow rnin arrive, and tell how they inspected
the body of the old
man more carefully - he had died of a sword, not a gun. But it
is too late for Kampei. Impressed by his dying sincerity, they
accept the
donation and allow Kampei to sign in blood the written oath of
vengeance to become the 46th member.
Act 7
"It's quite true that I felt a certain amount of indignation - about
as big as a flea's head split by a hatchet - and tried forming a
league of
40 or 50 men, but what a crazy notion that was! ... Oh, when I
hear the samisens playing like that, I just can't resist."
--Yuranosuke
Kuday, now a spy for Moronao, arrives at a teahouse in the
pleasure quarter of Gion - Yuranosuke's favorite haunt. He
intends to learn
whether Yuranosuke is indeed dissipated.
3 rnin are also there on a similar mission: when Yuranosuke
disavows revenge, they plan to kill him as a warning to the
others not to
waver. But they decide to let him sober up first.

While waiting, Yuranosuke receives a letter from Kaoyo to the

effect that Moronao is leaving for the provinces and they will
need to
strike soon.
Just then, Kuday interrupts and accuses Yuranosuke of being
wanton as a deceptive stratagem. But seeing Yuranosuke
casually break a
taboo & eat octopus on the anniversary of Enya's death, and
looking at how rusty his sword is, Kuday is almost convinced
- but he hides
under the veranda to spy on the letter, to make sure. He is
shortly stabbed to death by Yuranosuke.
Act 8
An act in the michiyuki style, a standard short act written
poetically, describing the gloomy thought of Konami, daughter
of Honz and
fiance of Rikiya, as she travels with her mother to Rikiya and
Yuranosuke's house. They hope the marriage will be carried
out, though all
presume it broken off when Rikiya & Yuranosuke became
rnin. 37
Act 9
Konami arrives at Yuranosuke's house, and her mother asks
Yuranosuke's wife to permit the marriage's consummation. She
is rebuffed
because of Honz's bribery of Moronao and restraining Enya
from killing him. The mother and daughter resolve to commit
seppuku,

impressing Yuranosuke's wife, who consents if Honz's head is

brought to her as a wedding gift. Honz unexpectedly appears,
insults
Yuranosuke & Rikiya as debauchees, provoking Yuranosuke's
wife to attack him with a lance. Honz disarms & pins her,
when Rikiya
enters and stabs Honz with the discarded lance - just as Honz
planned.
Honz provides the ground plans for Moronao's mansion and
expires, having atoned for his prudence.
Act 10
The merchant Gihei of the port of Sakai is loading onto a ship
his highly illegal cargo: more than 40 sets of samurai armor
and weapons.
2 rnin visit to inquire about the preparations. Later, he is
surrounded by dozens of police who threaten to kill his son if
he doesn't
confess. The merchant scorns them and makes to strange his
son. Yuranosuke bursts out: it was a test, and the rnin are
impressed.
They will use his shop name as a password. (Of course, since
he was born a merchant, he cannot join the raid no matter how
much he
sacrifices.)
Act 11
The 46 rnin (the dead Kampei making 47) stage an
amphibious assault with rowboats. A party scales the walls,
captures the

nightwatchman, and open the front & back gates. A fierce

battle ensues. The neighboring mansions attempt to interfere,
but when the
rnin's mission is explained, they applaud and return home.
Moronao is soon captured and hacked to death by all the men,
Yuranosuke
striking first. They offer up his head with incense to Enya's
memorial tablets and withdraw to Enya's family temple to
await their fates.
ACTIVITY: CONVENTIONS
Group the students into five.
Instruct them to lift the dramatic conventions
established by the characters, the setting, the conflict,
the actions and pauses, costumes and props and the
story line used in the play.
Discuss within the groups these conventions and ask a
representative to report the groups output.

DISCUSSION
1. How are dramatic conventions important in a play?
2. In what way do these conventions give Afro-Asian
drama its own identity?
3. What conventions are common among the drama
presentations that you have already seen or read and
that of
the Kanadehon Chushinguras?
( DAY 12 )

Selection 3: Yoshitsune Senbon Zakura ( Yoshitsune and the

Thousand Cherry Trees) By Takeda Izumo II
Yoshitsune Senbon Zakura ( Yoshitsune and the Thousand
Cherry Trees)
(An excerpt)
Act One
The play opens at the Imperial Palace, where Yoshitsune and
his faithful retainer, the warrior monk Benkei meet with
Fujiwara no
Tomokata, a court minister. They discuss the consequences of
the battle of Yashima
, and the fact that the bodies of several members of
the Taira clan, who were supposed to have died in the battle,
have not been found.
Tomokata also presents Yoshitsune with a drum, called
"Hatsune", supposedly used several hundred years earlier by
the Emperor
Kammu, and thus a precious, rare, and powerful object. The
minister describes the symbolism of this imperial gift,
explaining that the
two drumheads represent Yoshitsune and his brother Yoritomo.
The Emperor orders that Yoshitsune strike at his brother, as he
would
strike the head of the drum.
The following scene introduces Wakaba no Naishi, wife of
Taira no Koremori, and her young son Rokudai. The pair are
explained to be in

hiding in a monastic hermitage near the town of Saga, and

enter along with a nun who has been sheltering them in her
home. A man
comes to the house and is soon revealed to be Kokingo
Takesato, a Taira retainer. He explains, to their surprise, that
Koremori still lives,
and that he has come to escort the pair to be reunited with him.
Another man then arrives, this one an agent of the Court,
seeking the 39
wanted Naishi and Rokudai. Kokingo, in his disguise as a
wandering hat seller, along with the nun, attempts to
discourage him and turn
him away; though the Imperial agent sees through the ruse,
Kokingo strikes the man with a wooden pole and makes his
escape, along
with his two wards.
Scene three takes place at Yoshitsune's mansion in the capital,
where his mistress, Shizuka dances for Yoshitsune's wife Ky
no Kimi and
his closest retainers. She expresses her apologies on behalf of
Benkei, who made some uncouth and inappropriate remarks to
the
Imperial agents at the presentation of the drum. Though Benkei
is portrayed as cool, collected, eloquent, and quite clever in
other plays,
in this one he is loud, obnoxious, and violent, leaping to action
without thinking. A guard enters and informs the group of an
impending

attack upon the mansion by forces belonging to Yoritomo, and

Benkei immediately leaps to face them, but is held back by
Shizuka.
Yoshitsune discusses with Kawagoe Tar Shigeyori, advisor to
his brother Yoritomo, the circumstances surrounding the
falling-out
which has occurred between him and the shogun. He explains
that he reported to his brother that several Taira generals,
actually still at
large, had been killed, in order to help ensure peace and
stability for the new shogunate; he also explains that though he
has received the
Emperor's drum, he has not struck it, and has thus symbolically
not acknowledged any intention to attack his brother. This
situation
resolved, Kawagoe announces that he will call off the attack on
Yoshitsune's mansion, but before he is able to do so, the
impetuous
Benkei has already leapt into action and killed one of the
shogunal commanders.
The act ends with Benkei's realization that Yoshitsune and
Shizuka have fled. He presumes they have gone to Yoshino,
and chases after
them.
Act Two
Act two opens at the Fushimi Inari Shrine, where Benkei
catches up to Yoshitsune, Shizuka, and the four retainers. The
group has fled

the capital, seeking to escape retribution for Benkei's careless

attack. The monk apologizes, and is forgiven by his lord, at the
suggestion
of Shizuka. However, Benkei then offers that since their
journey will be long and dangerous, a lady such as her should
not be subjected
to such things and should be escorted back to the capital. She
refuses, and in order to prevent her following them, or killing
herself in
grief, they tie her to a tree, along with the drum Hatsune, and
leave her.
She is found by agents of the shogun, who cuts her free and
tries to drag her away. Yoshitsune's retainer Tadanobu suddenly
shows up
and rescues her, in a flamboyant and vigorous swordfight. He
is then commended by his lord, who bestows upon him his own
(Yoshitsune's) suit of armor, and his name, Genkur[3]
. The group then continue on their journey, leaving Tadanobu to
escort Shizuka 40
back to the capital.
The second scene takes place at the Tokaiya, a home near
Daimotsu Bay where the commoner merchant Ginpei runs a
shipping
business, living with his wife Ory and daughter Oyasu.
Yoshitsune's party has made their lodgings here while they wait
for good
weather to continue their journey by boat. While talking to
Ory, Benkei steps over the sleeping Oyasu as he makes his
way from the

room; just at that moment, accompanied by dramatic

drumming, he feels a pain in his leg.
Shortly after Benkei leaves, Sagami Gor, a retainer of the
shogunate, sent here to seek out and attack Yoshitsune, arrives.
Not knowing
that Yoshitsune is in that very home, Sagami demands of Ory
that he be provided a boat in order to pursue his quarry. She
replies that
their only boat is already promised to their other guests, and a
small scuffle occurs between the two as the warrior accuses the
woman
of harboring Taira fugitives and seeks to enter the room where
Yoshitsune and his retainers remain. Just then, the merchant
Ginpei
makes his first entrance, carrying an anchor over his shoulder,
a strong symbolic reference to his true identity as the fugitive
general
Taira no Tomomori. He argues briefly with Sagami, and throws
the warrior out of his house.
Ginpei is then introduced to his guests, who were taken in by
Ory while he was out, and immediately recognizes
Yoshitsune.
Introducing himself briefly, and expounding on his identity as a
boatman and merchant, he then suggests that they set sail,
despite the
weather. As Yoshitsune and his retainers dress and prepare for
the journey, Ginpei has an aside in which he dramatically
reveals himself
to the audience as the Taira general Tomomori
[4]

.
Tomomori declares to the audience the story of faking his own
death at Dan-no-ura and escaping with the young Emperor
Antoku and
his wet nurse Tsubone, living for the last several years as
Ginpei, his daughter Oyasu and wife Ory. He explains to
Tsubone that he
intends to kill Yoshitsune while out at sea, the rain and dark of
night obscuring the battle. He heads out to the boat, as Tsubone
and the
Emperor change clothes, removing their disguises.
The battle is not seen on stage, but reflected through narration,
the reactions of Tsubone, as she watches from the shore, and
the report
of Sagami Gor, the shogunal officer who is revealed to have
actually been in Tomomori's service. After some time, the clash
is perceived
to have ended with Tomomori's death. Tsubone takes the
Emperor to the seashore, and prepares to have them both
drown, sacrificing
themselves. But they are pulled back by Yoshitsune as he
returns to the shore, and assured of their safety; he has no
intentions of
capturing or killing the Emperor of Japan. Tomomori, not
killed, returns just a few moments after Yoshitsune, and is
appalled that his
schemes have fallen apart so quickly and easily.
Tsubone kills herself, seeing that she cannot serve Tomomori
any longer, and the general, recognizing the futility of his
schemes, his 41

failure to slay his enemies, and the doom wrought upon his
entire clan by the evil actions of his father Taira no Kiyomori,
throws himself
into the sea, tied to an anchor.
Act Three
Act Three opens as Wakaba no Naishi, her retainer Kokingo
and son Rokudai pause at a tea shop along their journey to find
her husband,
Taira no Koremori. They sit down to rest, and a young man in
traveling clothes, by the name of Gonta, joins them soon
afterwards. He
talks to them briefly, helps them get nuts from the tree, and
then leaves, taking Kokingo's travelling pack instead of his
own. Kokingo
notices a few moments later, and Gonta returns, apologizing for
his mistake. The two go through the contents of the baskets, to
make
sure the other hasn't stolen anything, but Gonta then claims that
there's twenty ry missing from his basket.
Gonta, attempting to swindle the samurai, accuses him of being
a thief, and a battle very nearly breaks out. Though aggressive
with
words, he is no match for the samurai in a fight, and hides
behind a bench while Kokingo only grows more angry and
brandishes his
sword. Naishi attempts to calm him down, but Gonta only eggs
him on until, finally, the samurai pays him twenty ry and
leaves, along
with Naishi and Rokudai.

Gonta is thus left alone with Kosen, the proprietess of the

teahouse, who it turns out is his wife. She scolds him for being
a swindler and
a gambler; in his response, he explains his life story. The son of
Yazaemon of the Tsurube sushi shop, he became a swindler,
thief and
gambler in order to support himself and his love for Kosen.
Disowned and kicked out of his house, he struggled to earn
money to buy
Kosen out of indenture. Though he describes his intent to rob
his mother that night, he is talked out of it by Kosen, and they
return
home.
The next scene focuses on Kokingo, Rokudai and Naishi,
pursued by Imperial officers. Already wounded, Kokingo fights
off one of the
officers, Inokuma Dainoshin, and then sinks to the ground,
exhausted. As Naishi weeps over him, he claims he cannot go
on, and
implores Naishi and her son to forget about him, and to
continue on to see Koremori. He promises to follow them after
he regains his
strength. The pair leave him then, and exit, continuing on their
journey. The warrior then dies, just as a group of townsmen,
including
the sushi shop owner Yazaemon, come upon him. After saying
a prayer for the dead, Yazaemon cuts off Kokingo's head and
takes it with
him, returning home.

Yazaemon's sushi shop is the setting for the third scene, which
opens with his daughter Osato and his wife preparing and
selling sushi to
visitors while they talk. A young man named Yasuke has been
living with them for some time, and is due to be married to
Osato as soon 42
as Yazaemon returns. Yasuke enters with some sushi tubs, and
talks briefly with the two women as they work, before they are
interrupted by the arrival of Gonta, Osato's brother.
Gonta explains to his mother that he is leaving for good, to turn
himself around and make something of his life, but asks for
some money,
claiming that he was robbed on the road on his way there. She
places several silver kanme coins in a sushi tub for him and
sends him off.
Just then, Yazaemon returns; fearing that he should learn that
his wife stole from the shop to give to Gonta, they hide the
sushi tub
among the others. Yazaemon then comes in, calls out for his
family, and hides the head of Kokingo, wrapped in his cloak, in
one of the
other tubs.
Meeting up with Yasuke, Yazaemon then reveals to the
audience Yasuke's identity as the general Taira no Koremori,
father of Rokudai
and husband of Naishi, who he came across in Kumano and
took into his home. He explains to Koremori that he just came
across

Kajiwara no Kagetoki, an agent of the shogunate, who

suspected him of harboring the general, and that for his safety
he might flee the
area.
As Osato and Yasuke (Koremori) lay on their wedding bed,
preparing to consummate their relationship, he confesses to her
not his true
identity, but that he has a wife and child in another province,
and asks that she release him from his pledge to marry her. By
coincidence,
the wandering Wakaba no Naishi then arrives at that same
house, seeking lodging for the night. Koremori glances outside,
realizes who
they are, and welcomes them in. He attempts to explain his
infidelity to his wife, his romance with Osato coming from a
desire to repay
Yazaemon for taking him in; Osato overhears, and bursts into
sobs. She welcomes Rokudai and Naishi into her home,
offering them the
seats of honor, and explains her side of the story, asking for
forgiveness from Naishi. She fell in love with this gentle man,
she explains,
whom her father brought home, not knowing that he was
secretly a noble. Upset at Koremori's duplicity and at his
leaving her, she
weeps and is comforted by Naishi.
Word comes of the arrival of shogunal officers, and Koremori,
his wife and child exit. Gonta arrives, then, declaring to Osato
that he

intends to turn over the three to the authorities in exchange for

a reward. His sister begs him not to, and he grabs the sushi tub
with the
silver coins and flees after the three.
Soldiers then appear, along with Kajiwara, and surround
Yazaemon. They accuse him of lying to them, and harboring
Koremori; but
thinking quickly, he tells them that he's already had a change of
heart and killed Koremori himself. He brings the men inside,
and
reaches for the sushi tub with Kokingo's head in it, but is
stopped by his wife, who is thinking of the money she stole
from him to give to
Gonta. A shout is heard from outside, as Gonta returns with a
woman and child, tied up and being dragged behind him. He
explains to the
soldiers that he has captured Rokudai and Naishi, and shows
them the tub containing Kokingo's head, claiming it to be
Koremori's. 43
Kajiwara offers to spare Yazaemon's life in exchange for this
deed, but Gonta, hoping to gain from this himself, declares that
he wants
monetary compensation; Kajiwara therefore gives him his
cloak, which previously belonged to Yoritomo, and which
would be symbolic
of the reward owed him by the government.
As Kajiwara leads the prisoners away, Yazaemon finds the
opportunity to viciously stab his son, bitter at Gonta's betrayal.
Yazaemon

curses his son as he aggravates the wound, but as he dies,

Gonta explains to his father that his deceptions were for good
intentions all
along. He claims that he intended to give the silver to Koremori
for traveling expenses. Knowing that his father intended to play
off
Kokingo's head as Koremori's, and knowing that the head was
no longer in the house, he returned in order to rescue his
father's plan,
and his family therefore. He then reveals that the woman and
child turned over were not Naishi and Rokudai but his own
wife and child,
Kosen and Zenta, who willingly and voluntarily sacrificed
themselves to save the nobles.
Koremori, Naishi, and Rokudai then return, alive and safe,
disguised as tea merchants. Koremori finds a poem on
Yoritomo's cloak which
indicates that something is inside it; cutting it open, he finds a
Buddhist monk's robe. Seemingly, Kajiwara intended all along
to spare
Koremori, and granted him in this indirect way a disguise with
which to safely escape.
Koremori cuts off his topknot, becoming a lay monk, and
separating from both his families for the final time. Yazaemon
offers to
accompany Rokudai and Naishi, and Osato stays with her
mother, loyally maintaining the home and the shop in her
father's absence.

The act ends with Gonta's death, one of the most famous
examples in Japanese traditional drama of the interference of
the affairs of
nobles and samurai into the lives of common people, and the
death and destruction it brings.
Act Four
The fourth act begins with a michiyuki dance scene, which
follows Shizuka as she seeks to catch up with Yoshitsune and
his party. The
journey is narrated by an offstage narrator, in the bunraku style,
and there is very little dialogue.
As she travels through the countryside, Shizuka decides to play
the Hatsune Drum, in order to entice birds to follow her, not
knowing the
magical or metaphorical significance of the drum. As soon as
she does so, a white fox emerges, romps across the stage and
then
disappears behind a low hill, from which emerges Tadanobu.
44
Placing the drum atop Yoshitsune's armor, granted Tadanobu in
the second act, the two dance, their gestures and motions
mimicking
the actions of the narration. The narration indicates their desire
to follow Yoshitsune to Yoshino, and then drifts into a retelling
of the
events of the battle of Dan-no-ura, ending with the pair's arrival
at a Buddhist temple, the Za Hall in Yoshino.
After a very brief scene showing the pair's arrival, attention is
shifted to Kawatsura Hgen, head of the temple, who discusses
with his

fellow monks what stance they should take towards Yoshitsune.

Several of the monks here are known to be enemies of
Yoshitsune, and
a letter has just arrived from the capital asking them to hunt
him down. The monks discuss, and even those normally hostile
to
Yoshitsune decide that as monks it is their duty to aid people in
need. Hgen, however, even after admitting that he thinks
Yoshitsune
blameless, fires an arrow at a distant peak, smaller than its
neighboring peak, and thus representing the younger brother
(Yoshitsune).
Thus he declares his stance alongside the shogunate, for the
safety of the temple.
Hgen encourages his monks to do what they think is right: to
welcome Yoshitsune in and grant him asylum if he should
arrive and
request it. But he also assures them that he intends to kill the
warrior should they do so. The monks interpret their master's
words to
mean that he is already harboring Yoshitsune, and that he
intended to throw them off and prevent their interference; they
decide to find
and attack the warrior that night.
Hgen returns to his mansion, where he is indeed harboring
Yoshitsune, and declares to his wife that he has turned against
his guest,
and intends to stand with the shogunate. Yoshitsune speaks
briefly with Hgen, thanking him for his hospitality and aid,
and is then

informed that his retainer, Sat Tadanobu has arrived and

wishes to speak with him. Tadanobu is asked by his lord about
his
stewardship of Shizuka and replies, confused, that he has been
in his home province with his ailing mother since the end of the
war, and
has not seen Shizuka. Two of Yoshitsune's other retainers
appear, pointing swords at Tadanobu and demanding an
explanation when
the temple's gatekeeper announces that Sat Tadanobu has
arrived with Lady Shizuka.
Shizuka is reunited with her lord, but the Tadanobu who had
been escorting her seems to vanish. The first Tadanobu
explains to Shizuka
that he has not been escorting her and has not seen her in some
time; the other retainers confirm that this second Tadanobu is
nowhere
to be found in the building. She then notices that this Tadanobu
is wearing somewhat different clothing, and comes upon the
idea of
beating the Hatsune Drum to summon her escort. She explains
that the drum always attracted her escort, and made him behave
strangely. The scene ends as she bangs the drum, and Tadanobu
is taken away by Yoshitsune's retainers.
The final scene thus begins with Shizuka beating the drum, and
a fox rushes into the room, becoming Tadanobu, who bows
before her.
Shizuka then suddenly pulls a sword and slashes at Tadanobu,
who dodges the attack. Mesmerized by the drum, Tadanobu
still manages

to avoid continued attacks as Shizuka demands that he reveal

his identity. 45
He then tells his story, revealing in the process that he is a
kitsune, a fox spirit. The drum was made hundreds of years
earlier from the
skins of his parents, powerful kitsune whose magic was
employed to bring rain. A costume quick-change transforms
Tadanobu into his
kitsune form, who explains that though he has lived a very long
time and gained magical powers, he has been unable to ever
care for his
parents. Failing to fulfill acts of filial piety prevents him from
gaining respect or status among the kitsune, and so for
centuries he has
sought out this drum. He was unable to get at the drum when it
was kept in the imperial palace, he explains, since the palace is
guarded
against spirits by many gods (kami), but once it was removed
from the palace and given to Yoshitsune, he saw his chance.
Shizuka and Yoshitsune speak to the fox for a time, and decide
to grant him the drum. Thus released, he exits in grand style.
Originally
this would have been done through a particular style of dance
called kitsune roppo (fox six-steps) along the hanamichi (the
pathway that
cuts through the audience from stage to the rear of the theatre).
However, more recently it has become the practice, encouraged
by

Ichikawa Ennosuke III who often plays the fox Genkur to exit
by flying out over the audience, in a technique known as
chnori (riding
the sky).
The real Tadanobu then offers to take his lord's place in facing
the doom that awaits him at the hands of the monks. The
kitsune's magic
hampers the monk's schemes, and Kakuhan, the one monk who
most strongly opposed the samurai lord, is revealed to be Taira
no
Noritsune, the third surviving Taira general, in disguise.
Noritsune and Yoshitsune clash swords several times before
Emperor Antoku
appears from the next room. Noritsune, of course, bows low to
his Emperor, and both explain how they survived their
supposed deaths
at the battle of Yashima, and came to be at this monastery.
Noritsune then begins weeping, announcing his failure to his
clan and to his
Emperor.
Hgen and two of Yoshitsune's retainers come in with bloody
blades and holding the severed heads of the other monks who
followed
Noritsune. They seek to fight, but their hearts are calmed by the
fox's magic, and Noritsune announces that he shall once again
become
Yokawa no Kakuhan, a loyal servant to the Emperor.
Act Five

As is quite standard for Japanese traditional dramas, the final

act is short, swift, and serves to wrap up any major loose plot
threads.
Here, it opens on a mountaintop, with Tadanobu, dressed as
Yoshitsune, calling out a challenge to those who side with
Yoritomo and the
shogunate.
A number of warriors come at him, and he cuts them down.
Noritsune then appears, as the monk Kakuhan, who claims to
have foregone 46
all his old grudges, and his warrior ways. Tadanobu declares
his true identity to his foe, and the two clash in a complex
choreographed
fight scene. Finally, Noritsune pins his opponent to the ground,
but a second Tadanobu rushes in and stabs the Taira general,
the body
below him disappearing and leaving only a suit of armor.
Yoshitsune explains that they saw through Noritsune's promises
of peace, and
the fox Genkur aided them in subduing him.
Kawagoe, an agent of the shogunate, then appears, along with
Fujiwara no Tomokata, who he has tied up. He reveals that the
Imperial
order which came with the drum, ordering Yoshitsune to
oppose his brother, along with that to exterminate the Taira
clan, came not
from the Emperor, but from the machinations of Tomokata.
Hearing this, Noritsune kills the defenseless Tomokata, and
then turns to

Yoshitsune, challenging his foe to kill him. Yoshitsune states

that Noritsune died long ago, that he has since become
Kakuhan, and that it
is to Tadanobu to kill him.
The play thus ends with the last of Yoshitsune's foes slain, and
a return to the peace and auspiciousness with which the play
began.
ACTIVITY: CONVENTIONS ON THE GO!
Ask the students to form five groups.
Provide each group with a copy of the play Yoshitsune
Senbon Zakura.
Ask them to identify the conventions of the play.
Allow them to compare and contrast the conventions of
this play with the plays seen in the Philippines.

DISCUSSION:
1. What conventions are revealed in the play
Yoshitsune Szenbon Zakura?
2. How are these conventions similar or different
from the plays in the Philippines? Kanadehon
Chushingura?
3. What do these conventions reveal about Japanese
society in general?
4. What do the comparisons imply about Afro-Asian
drama?

( DAY 13 )
GRAMMAR LESSON: VERBAL NOUNS
Presentation:
Ask the class to read the sentences on the board.
Ask them what they have noticed on the emphasized
words.
Encourage them to determine the words functions.
Introduce verbal nouns.

SENTENCES:
1. Dancing is Marcos hobby whenever he is
doing nothing.
2. A teachers goal is to share knowledge.
3. One of my dreams is to meet Justin Bieber in
person.
4. Kristopher achieved his dreams by striving hard
for it.

Highlighting of the Form:

Discussion of the grammar lesson.
(Expalin the salient forms and functions of verbal
nouns.)

ACTIVITY 1: VERBAL NOUNS IN ACTION

VERBAL NOUNS
Verbs which are used as nouns. It can be as subject,
object, appositive or object of the preposition.
There are two kinds of verbal nouns. These are:
1. GERUND verbs that act as a noun. Always ends in
ing.
Examples:
Swimming is my favorite sport.
She loves cooking.
Singing, my greatest dream, can be achieve if I just
believe in myself.
Reinmart already left because he is tired of waiting.
2. INFINITIVES verbs that act as a noun. Always with
the preposition TO and with the base form of the verb.
Example:
To eat is my greatest pleasure.
My greatest achievement is to get high grades.
To love, my all-time passion, is very hard to get from
others.
Orchie has no other way but to accept his fault.

Each student will choose a drama story.

They will underline the verbal nouns present in their
chosen story.
Each of them will illustrate the message of the drama
story by using verbal nouns.
ACTIVITY 2: LOVE VERBAL NOUNS
Ask the learners to write verbal nouns for love.
Present a model verbal noun to serve as the learners
guide.
Loving is as exciting as a space shuttle ride.
Invite the learners to explain the love similes they have
written.
Let the class decide which love vrbal noun is the best
by means of a loud clapping of hands.
Give comments and suggestions.

DEEPEN
At this stage, the teacher must be able to do the following:
Make a meaningful understanding of the drama
selection and dramatic conventions employed by the
author.
Relate to real situations some scenes and lessons of the
play.
Make them internalize some lines for the portrayal of
lines.

 Engage them in meaning and challenging activities that

will enrich what they have learned.
Engage them in meaningful evaluations.
Provide them with feedback for understanding.
( DAY 14 )
ACTIVITY 1: EMO-SHOWN
Show the class 5 dialogues.
Call for volunteers to read the following dialogues
employing the following emotions:
Dialogues:
1. Its not you, its me.
2. I can love you more than she loves you, trust
me.
3. One more step forward means one step farther
from me baby.
4. I really cant stand him, hes too annoying.
5. It doesnt mean youre happy, then you have to
ruin every piece of me.
Emotions to employ:
1. Afraid
6. Excited
2. Bothered
7. Thrilled
3. Worried
8. Hurt
4. Angry
9. Begging
5. Happy
10. Surprised

( DAY 15 )
ACTIVITY 2: IT IS EASY TO ACT!
This time, you choose their partners.
One student from a pair is going to dictate what his/her
partner is going to do.
The one who will dictate will not see what his/her
partner is doing.
It is also a must for the one acting to move his/her lips
according to what his/her partner is telling. It is what
we call, DUBBING.
( DAY 16 )

ACTIVITY 3: FIGHT OF THE CHARACTERS

Ask the students to form a big circle.
Inform them that each one of them will have his/her
turn to perform the activity.
The order of performance is determined by drawing of
lots.
The first student to perform must dress, act and speak
like the character she/he assumes.
The teacher will act as the interrogator and will ask
challenging questions to the student.
The student must answer the question without losing
the personality of the chosen character.

 The rest of the students will act as judges who will

show thumbs up if the role internalization is
convincing enough and thumbs down if otherwise.
( DAY 17 )
ACTIVITY 4: I WANT TO BE .......
Ask the students to think of a person they idolize.
Give them at least three minutes to imagine the person:
his/her ways, words, physique, and etc.
Tell them that they are to imitate that person in front of
the class.
Three students will also be chosen to act as judges to
provide comment on the performance of their
classmates.
Provide feedback.
Check the learners mastery on the essential
understanding and the content standard.
TRANSFER
At this stage, the teacher should be able to the following:
Clarify some misconception on how to determine the
dramatic conventions used by writers in draam or play.
Synthesize the important features of the lesson.
Have the students transfer their understanding through
their culminating performance.

Make independent applications of their knowledge of

dramatic conventions and role internalization as
essentials in presenting a dramatic monologue.
Have them see the connection between the tasks and the
world.
Evaluate the presentation and check it against the
criteria set in rubrics.
Provide feedback for understanding.
( DAY 18 )
ACTIVITY 1: DRAMATIC LEARNINGS
Ask the students about the learning they have
encountered in doing the previous activities.
Divide the class into 5 groups.
Ask each group to come up with their own
generalization regarding what they have learned about
dramatic conventions and role internalizations.
Tell them to organize their answers in a cartolina.
Have each group present their work in front of the
class.
Discuss their answers thoroughly.
( DAY 19 )
ACTIVITY 2: DELIVERING YOUR LINES
Ask the class to recall all the dramatic plays we have
tackled in the previous discussions.
Have them recall all the events, characters and the plot
of the play.

 Ask them to choose one character out of the play that

they can relate to.
Tell them that they are going to have a dramatic
monologue.
Encourage them to elicit the script of the character they
are to portray.
Remind them to be aware of the Verbal Nouns thay are
going to use.
Ask them to deliver a bit of their performance.
Give suggestions regarding their chosen character.

Overall
Performan
ce
30%

Character
Adaptation
25%

Dialogue
Content
20%

Facial
Expression
and
Gestures
15%

Audience Impact
10%

Total:
Encourage other students to give comments and
suggestions regarding their performances.

( DAY 20 )
ACTIVITY 3: DRAMATIC MONOLOGUE
Come up with a mini-stage presentation of characters.
Let the best performers from the groups compete
among themselves.
Present the class the criteria to be considered in rating
their performances.
Give them time for the preparation of props and
costumes.
Have them present in front of the class.
Assess their performance using the rubric below.

Group no.

Prepared by:
Maria Jessica Famela J. Prado
BSE-English II-1
Submitted to:
Prof. Villarosa