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    Creative Writing Quarter 2 Module 4

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    Winston Murphy
    This document discusses different aspects of staging a drama performance, including exploring various staging modalities and envisioning the script. It outlines different performance spaces like proscenium, arena, thrust, and traverse stages. It also describes important staging elements such as stage directions, script analysis, set design, props, costumes, blocking, and audience awareness that must be considered to effectively bring a script to life on stage.

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    Creative Writing Quarter 2 Module 4

    Uploaded by

    Winston Murphy
    2K views4 pages
    This document discusses different aspects of staging a drama performance, including exploring various staging modalities and envisioning the script. It outlines different performance spaces like proscenium, arena, thrust, and traverse stages. It also describes important staging elements such as stage directions, script analysis, set design, props, costumes, blocking, and audience awareness that must be considered to effectively bring a script to life on stage.

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    Creative-Writing-Quarter-2-Module-4 (1)

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    This document discusses different aspects of staging a drama performance, including exploring various staging modalities and envisioning the script. It outlines different performance spaces like proscenium, arena, thrust, and traverse stages. It also describes important staging elements such as stage directions, script analysis, set design, props, costumes, blocking, and audience awareness that must be considered to effectively bring a script to life on stage.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    2K views4 pages

    Creative Writing Quarter 2 Module 4

    Uploaded by

    Winston Murphy
    This document discusses different aspects of staging a drama performance, including exploring various staging modalities and envisioning the script. It outlines different performance spaces like proscenium, arena, thrust, and traverse stages. It also describes important staging elements such as stage directions, script analysis, set design, props, costumes, blocking, and audience awareness that must be considered to effectively bring a script to life on stage.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 4

    Creative Writing Quarter 2 Week 4

    Quarter 2 – Module 4 Exploring Different Staging Modalities: Vis-a- Vis


    Envisioning the Script
    In this module, you will be able to:
    • Explore different staging modalities vis-à-vis envisioning the script (HUMSS_CW/MPIjc-18)
    Specifically, you are expected to:
    1. familiarize oneself with the different performance spaces when
    staging a drama;
    2. identify the different stage layouts;
    3. determine different circumstances influencing staging.

    Staging Defined
    Staging is the process of picking out, designing, changing or adjusting the spaces for the
    performance for a play or a movie. This does not refer only to the stage but it includes everything that you
    do in order to bring the drama to life.

    1. Different Stages

    a. Proscenium theater- the audience can view the performance through the fourth wall or picture
    frame. This means that the house or the audience can see the actors and actresses on the stage from a
    single view. In this type of stage, the audience feels disconnected from the actions but it is easy to stage
    your work in this space.

    b. Arena stage- the audience can view the performance from all sides. This is also called theater-in-
    the- round.

    1
    c. Thrust stage- the audience can view the performance in three sides, in this stage, the audience
    feels being part of the actions and there is an intimate atmosphere created. The performers can utilize the
    backstage.

    d. Traverse stage – the audience is in two sides of the stage and are facing each other. They can see
    the work that happens on both sides but may see entirely different shows.

    e. Experimental stage- this is also known as an informal stage or promenade theater. The
    performance can be done in front of the store, in the forest, supermarket, beach and others or indoor. The
    world is your stage as they say.

    2. Stage Layouts/Directions

    The nine positions on a stage above are from the performer’s perspective on a proscenium stage.
    These are important because they will guide the performers as to where they go. Also, this will tell you
    where to place the scenery, furniture and other props.

    2
    a. Upstage - this means away from the stage front. In the proscenium stage, this usually serves as
    the entrance or exit of the performers. It is where crosses or counter crosses of the actors and actresses
    take place (see figure 1). When a performer is on the upstage, she/he can be seen as lesser important than
    the one on the downstage.

    b. Center stage- the center of the playing area


    c. Downstage- the area closest to the audience, when a character is placed in this area, this leaves
    the impression that he/she is an important character.
    Note: downstage and upstage cannot be used in other types of stages but proscenium only

    3. The Script and other Influencing Circumstances on Staging a Play

    a. Scenery- includes any non-costume visual element used in support of a production. This is any
    nonpermanent two- or three-dimensional background or environmental element that is placed on the
    stage so as to suggest the historical period, locale, and mood of the play being performed. This relies on
    your imagination and interpretation of the script.

    b. Script - is a form of writing in the form of drama. It consists of dialogues and information about
    the characters like their age, occupation and the relationship of the characters.

    c. Dialogues- are what the characters say to each other. This is central to a good drama. To make it
    sound realistic, you need to read it aloud yourself. You have to ask yourself these questions:
    Where does this character come from?
    What age are they?
    What kind of person are they?
    What mood are they in?
    Who are they talking to?
    Your grandfather speaks differently from your younger brother and an Ilonggo from a Cebuano as well.

    d. Structure - the order that action and scenes are placed for dramatic effect. This can be linear and
    non-linear. When events in the play run from beginning to end or in chronological order, you have a linear
    structure. When events unfold from the present to the past or flashback, you have a non-linear structure.
    Reading and understanding the script is vital to know in which manner the events of the play happen.

    3
    e. Set- this is the scenery and the furniture on stage. You can choose between elaborate and
    minimalist set. The current trend, however, is the minimalist set.

    f. Props- are the items held or used by actors/actresses onstage to make the action more realistic.
    When staging a drama always think of what is necessary. Too many props can be very difficult for the
    performers to use and as they are to be brought on stage and off stage, they can slow down the action.

    g. Transition and Flow- this the movement from one scene to another. A messy transition like
    interrupting the actions for costume change or to rearrange the set ruins the attention of the audience.

    h. Proxemics and Levels-this is how the characters are on a stage. The distance or level between
    character/actors shows their relationships and feelings and give clues of the situation or the people within
    the situation at that moment. For instance, when characters stand close to each other, this gives the
    impression that they have intimate relationship. If they are apart, you show the idea that they must be
    strangers or no longer speaking to each other.

    i. Costume- special kind of clothing's on the body of the characters on stage to help in the dramatic
    action and the interpretation of the script contents. They can be every day clothes or symbolical ones. You
    can add accessories such as masks, walking sticks, necklaces and others.

    j. Blocking- is not just the movement of the performers on a stage but this also reveals the
    relationship of the actors and actresses between each other and one and another. This communicates your
    interpretation of the key points of the story in your script.

    k. Audience awareness- along with interpreting the script, it is important to think of who the
    audience is .This is a group of individuals gathered together at a certain period and place for without any
    other purposes but to see the performance.

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