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Creative Writing
Quarter 2 – Module 2:
Understanding Intertextuality
as a Technique of Drama
Creative Writing – Grade 11/12 Self-Learning Module (SLM) Quarter 2 – Module
2: Understanding Intertextuality as a Technique of Drama First Edition, 2020
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Creative Writing
Quarter 2 – Module 2:
Understanding Intertextuality
as a Technique of Drama
Introductory Message
For the facilitator:
Welcome to the Creative Writing Grade 12 Self-Learning Module (SLM) on
Understanding Intertextuality as a Technique of Drama!
This module was collaboratively designed, developed and reviewed by educators both
from public and private institutions to assist you, the teacher or facilitator in helping
the learners meet the standards set by the K to 12 Curriculum while overcoming
their personal, social, and economic constraints in schooling.
This learning resource hopes to engage the learners into guided and independent
learning activities at their own pace and time. Furthermore, this also aims to help
learners acquire the needed 21st century skills while taking into consideration their
needs and circumstances.
In addition to the material in the main text, you will also see this box in the body of
the module:
Notes to the Teacher
Hold this module with your hands, and
the value that goes with it, hold in your
heart.
As a facilitator you are expected to orient the learners on how to use this module.
You also need to keep track of the learners' progress while allowing them to manage
their own learning. Furthermore, you are expected to encourage and assist the
learners as they do the tasks included in the module.
For the learner:
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Welcome to the Creative Writing Grade 12 Self-Learning Module (SLM) on
Understanding Intertextuality as a Technique of Drama!
The hand is one of the most symbolic parts of the human body. It is often used to
depict skill, action and purpose. Through our hands we may learn, create and
accomplish. Hence, the hand in this learning resource signifies that you as a learner
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This module was designed to provide you with fun and meaningful opportunities for
guided and independent learning at your own pace and time. You will be enabled to
process the contents of the learning resource while being an active learner.
This module has the following parts and corresponding icons:
What I Need to Know This will give you an idea of the skills or
competencies you are expected to learn in the module.
What I Know This part includes an activity that aims to check what
you already know about the lesson to take. If you get all the answers
correct (100%), you may decide to skip this module.
What’s In This is a brief drill or review to help you link the current lesson
with the previous one.
What’s New In this portion, the new lesson will be introduced to you in
various ways such as a
story, a song, a poem, a problem opener, an
activity or a situation.
What is It This section provides a brief discussion of the lesson. This
aims to help you discover and understand new concepts and skills.
What’s More This comprises activities for independent practice to
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answers to the exercises using the Answer Key at the end of the module.
What I Have Learned This includes questions or
blank sentence/paragraph to be filled in to process what you
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Assessment This is a task which aims to evaluate your level of mastery
in achieving the learning competency.
Additional Activities In this portion, another activity will be given to
you to enrich your knowledge or skill of
the lesson learned. This also tends retention of
learned concepts.
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Answer Key This contains answers to all activities in the
module.
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developing this module.
The following are some reminders in using this module:
1. Use the module with care. Do not put unnecessary mark/s on any part of the
module. Use a separate sheet of paper in answering the exercises.
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included in the module.
3. Read the instruction carefully before doing each task.
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If you encounter any difficulty in answering the tasks in this module, do not
hesitate to consult your teacher or facilitator. Always bear in mind that you are
not alone.
We hope that through this material, you will experience meaningful learning and
gain deep understanding of the relevant competencies. You can do it!
What I Need to Know
This module was designed and written with you in mind. It is here to help you
master the topic on Understanding Intertextuality as a Technique of Drama. The
scope of this module permits it to be used in many different learning situations. The
language used recognizes the diverse vocabulary level of students. The lessons are
arranged to follow the standard sequence of the course. But the order in which you
read them can be changed to correspond with the textbook you are now using.
In this module, you will:
• Understand intertextuality as a technique of drama
• Value the importance of reading and writing drama
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Specifically, you are expected to:
• Write a one-act play applying intertextuality as a technique of drama
What I Know
Before we start with our lesson, let us check your prior knowledge about the
technique of using intertextuality in a one-act play.
Direction: Read each of the items below and choose the correct answer. Write your
answer on the blank before the number.
______ 1. This word comes from the Greek meaning “to do” or “perform”.
a. drama
b. fiction
c. poetry
d. theater
______ 2. It is defined as the interconnection between similar or related works of
literature that reflect and influence a reader’s interpretation of the text.
a. connectivity
b. intertextuality
c. relatability
d. symbiosis
______ 3. She was the French semiotician who argued that all works of literature being
produced contemporarily are intertextual with the works that came before it. As she
stated, “Any text is constructed of a mosaic of quotations; any text is the absorption and
transformation of another.”
a. Julia Barretto
b. Julia Kornikova
b. Julia Kristeva
d. Julia Montes
______ 4. It is a figure of speech, in which an object or circumstance from unrelated
context is referred to covertly or indirectly.
a. alliteration
b. allusion
c. apostrophe
d. assonance
______ 5. It is the repetition of one expression as part of another one, particularly when
the expression is well-known or explicitly attributed by citation to its original source, and
it is indicated by quotation marks.
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a. adage
b. expression
c. proverb
d. quotation
______ 6. It is a word or phrase borrowed from another language by literal, word-forword
or root-for-root translation.
a. borrowing
b. calque
c. lexis
d. phraseology
______ 7. It is the communication of the meaning of a source-language text by means of
an equivalent target-language text.
a. equivalency
b. lexicon
c. semantics
d. translation
______ 8. It is a work created to imitate, make fun of, or comment on an original work –
its subject, author, style, or some other target- by means of satiric or ironic imitation.
a. caricature
b. farce
c. imitation
d. parody
______ 9. It celebrates rather than mocks the work it imitates. The word is a French
cognate of the Italian noun which is a pie-filling mixed from diverse ingredients.
a. caricature
b. farce
c. pastiche
d. satire
______ 10. It is a reworking or re-imagination of a well-known text, to change or extend
its meaning.
a. apposition
b. appropriation
c. association
d. attribution
______ 11. It is a work of art that is based on a previously written work.
a. adaptation
b. affirmation
c. association
d. attribution
______ 12. It is a character, event, situation or theme that resembles another. Thus,
by definition, it is essentially intertextual.
a. archetype
b. burlesque
c. imitation
d. xerography
______ 13. It is the most important element of a play. It is essential in giving a scene
and life to the play.
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a. blocking
b. character
c. conflict
d. dialogue
______ 14. It is an element of the play which illuminates the characters and advance
the plot.
a. blocking
b. character
c. conflict
d. dialogue
______ 15. It is the element of the play which takes a “moment” to justify their
existence, through a distinctive voice.
a. blocking
b. character
c. conflict
d. dialogue
______ 16. A one-act play follows the format of a short story.
a. True
b. False
c. Uncertain
d. Unfounded
______ 17. A character in a one-act play tells rather than shows.
a. True
b. False
c. Uncertain
d. Unfounded
______ 18. The one-act play usually begins with a narration.
a. True
b. False
c. Uncertain
d. Unfounded
______ 19. A one-act play involves only a single event or situation.
a. True
b. False
c. Uncertain
d. Unfounded
______ 20. Since texts are generally intertextual, or based on other texts which are
usually older, it is implied that --
a. Newer texts are less creative than older texts.
b. There are no original literary works/texts.
c. Literary techniques applied in newer texts are copied from old texts.
d. Ancient writers write better texts than new ones.
What’s In
Activity 1. Unscramble Me! (Elements of Drama)
Direction: The previous module introduced you to the elements of
drama. Below are the elements in jumbled order. Unscramble each
of them and write your answer on the blank before each item.
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_______________________________1) g o d e l a i u
_______________________________2) r h t c a a r s e c
_______________________________3) hetem
_______________________________4) tocian
_______________________________5) fnltccio
_______________________________6) lpto
_______________________________7) tsnigag
What’s New
Life is an exciting journey filled with things that are uncertain and
unknown. You’ll never know what life has in store for you. It is a series of finding answers
to questions. In other words, it is a journey of puzzles. Let us begin our literary journey
by answering this crossword puzzle.
Activity 2. Unearth Me! (Drama Terms)
Direction: Solve the puzzle below by examining the clues given.
Across Down
1 component part 2 speech made by a lone character
3 a set form of public Christian worship 4 misfortune; fault
6 a long speech 5 total disorder
8 leading character 7 sign of a future good or bad luck
9 an opponent or enemy 8 arrangements of
events in a story
What is It
Drama Defined
The word drama comes from the Greek meaning “to act, do or perform”, and it
is in the several subtle and diverse meanings of “to perform” that drama can be said
to have begun. Drama is one of the major forms of literature. As a literary form, it is
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designed for the theater because characters are assigned a role and they act out their
roles as the action is enacted on stage. It is difficult to separate drama from
performance because during the stage performance of a play, drama brings life
experiences realistically to the audience. Drama is therefore presented in dialogue.
Drama is an imitation of life. It is different from other forms of literature
because of its unique characteristics. It is read, but basically, it is composed to be
performed, so the ultimate aim of dramatic composition is for it to be presented on
stage before an audience. This implies that it is a medium of communication. It has
a message to communicate to the audience. It uses actors to convey this message.
Drama mirrors the life, customs, manner and general living habits of the people.
“A play is a just and lively image of human nature, representing its passions
and humors and the changes of fortune to which it is subject for the delight and
instruction of mankind”. - John Dryden
“Drama is a composition in verse or prose intended to portray life or character
or tell a story usually involving conflicts and emotions through action and dialogue
and typically designed for theatrical performance”. - Webster’s English Dictionary
“Drama is a composition in verse or prose and verse, adapted to be acted on
the stage, in which a story is related by means of dialogue and action and is
represented with accompanying gesture, costume and scenery as in real life”. -
Shorter Oxford Dictionary
“Drama is a composition designed for performance in the theatre, in which
actors take the roles of the characters, perform the indicated action and utter the
written dialogue”. - A Glossary of Literary Terms by M. H. Abrams
------------------------------------------------------------------------------------------------------
Intertextuality Defined
Intertextuality is the interconnection between similar or related works of
literature that reflect and influence a reader’s interpretation of the text. It is a literary
device that creates an interrelationship between texts and generates related
understanding in separate works. The term “Intertextuality” was developed in 1966
by the French semiotician Julia Kristeva. She created the term from the Latin word
“intertexto” which means to intermingle while weaving.
Kristeva developed the term in order to synthesize Ferdinand de Saussure’s
semiotics – the study of how signs derive their meaning within the structure of a text;
and Mikhail Bakhtin’s dialogism – theory which suggests a continual dialogue with
other works of literature and other authors, and his examination of the multiple
meanings in each text (especially novels) and in each word (heteroglossia).
Kristeva argued that all works of literature being produced contemporarily are
intertextual with the works that came before it. As she stated, “Any text is constructed
of a mosaic of quotations; any text is the absorption and transformation of another.”
Point to Ponder: What is the implication of Kristeva’s theory?
These references are made to influence the reader and add layers of depth to
a text, based on the readers’ prior knowledge and understanding.
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The function and effectiveness of intertextuality can often depend quite a bit
on the reader’s prior knowledge and understanding before reading the secondary
text.
Parodies and allusions depend on the reader knowing what is being parodied
or alluded to.
In a nutshell, intertextuality is a literary discourse strategy utilized by writers in
novels, poetry, theater and even in non-written texts (such as performances and
digital media). Examples of intertextuality are an author's borrowing and
transformation of a prior text, and a reader's referencing of one text in reading
another.
INTERTEXTUAL FIGURES include:
1. Allusion is a figure of speech, in which an object or circumstance from unrelated
context is referred to covertly or indirectly. If the allusion is explicitly stated (as
opposed to indirectly implied), it is usually termed a reference.
Examples of Allusion
- He was lying so obviously, you could almost see his nose growing.
- Jack and Rose are star-crossed lovers.
- It’s hard being an adult. I wish I were a child forever.
- Kimi (in Kimi Dora): “Why, am I my sister’s keeper?”
2. Quotation is the repetition of one expression as part of another one,
particularly when the quoted expression is well-known or explicitly attributed by
citation to its original source, and it is indicated by quotation marks.
3. A calque or loan translation is a word or phrase borrowed from another
language by literal, word-for-word or root-for-root translation.
When used as a verb, to “calque” means to borrow a word or phrase from another
language while translating its components, so as to create a new lexeme in the target
language.
Examples of calque:
1. “flea market” – is a loan translation of the French marche aux puces (market with
fleas)
Danish loppemarked
Dutch vlooienmarkt
Finnish kirpputori
German Flohmarkt
Hungarian bolhapiac
Italian mercato delle pulci
2. skyscraper
Czech mrakodrap (cloud-scraper)
Danish skyskraber (cloud-scraper)
Dutch wolkenkrabber (cloud-scratcher)
French gratte-ciel (scrapes sky)
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German wolkenkratzer (cloud scraper)
3. The computer mouse was named in English for its resemblance to the animal.
Many other languages have extended their own native word for “mouse” to include
the sense of the “computer mouse”.
Spanish raton
Swahili kipanya
Turkish fare
Danish mus
Dutch muis
Portuguese rato
4. Plagiarism is considered academic dishonesty and a breach of journalistic ethics.
In academia and industry, it is a serious ethical offense, punishable due to
prejudicial causes such as copyright infringement.
In the 1st century, the use of the Latin word “plagiarus” (kidnapper) to denote stealing
someone else’s work was pioneered by the Roman poet Martial, who complained that
another poet had “kidnapped his verses”.
Plagiary, a derivative of plagiarus, was introduced into English in 1601 by dramatist
Ben Jonson during the Jacobean Era to describe someone guilty of literary theft.
5. Translation is the communication of the meaning of a source-language text by
means of an equivalent target-language text.
6. A parody (also called spoof or lampoon) is a work created to imitate, make fun of,
or comment on an original work – its subject, author, style, or some other target-
by means of satiric or ironic imitation.
Denis Diderot’s Encyclopedie distinguishes between the parody and the burlesque.
“A good parody is a fine amusement, capable of amusing and instructing the most
sensible and polished minds; the burlesque is a miserable buffoonery which can only
please the populace.
7. Unlike parody, pastiche celebrates rather than mocks, the work it imitates. The
word pastiche is a French cognate of the Italian noun pasticcio, which is is a
piefilling mixed from diverse ingredients.
8. Appropriation is a reworking or re-imagination of a well-known text, to change or
extend its meaning. For example, Marcel Duchamp’s artwork, L.H.O.O.Q. is an
appropriation of Da Vinci’s Mona Lisa. Duchamp took an image of the painting
and drew a moustache on it.
9. Adaptation. A film, TV, drama or stage play is based on a written work. For
example, J.K. Rowling’s Harry Potter has a film adaptation.
Steps in Identifying and Analyzing Intertextuality
1. Read the passage to identify any clear intertextual references to literature, music,
art, film or another text type.
2. Research or use your own knowledge of the text you have identified and find any
themes or messages that can be linked to your current text.
3. Determine the significance of using the reference.
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- How does it compliment the author’s intended message?
- Does it deepen your current understanding and perspective of the text?
4. Discuss your insights.
What Is a One-Act Play?
A one-act play is usually between 10-40 pages long, and is often called a
“tenner” because of the short length. Writing one-acts can be an excellent way for
new playwrights to learn the basics of story and character construction. While there
are no set rules for how to write a one-act play, some basic guidelines may help clear
away any confusing format or content problems.
Traditional plays, and often one-act plays, sometimes conform to the unities
of drama as discussed by the philosopher Aristotle. These guidelines suggest that a
play should take place with a unity of location, time and action. In other words, one-
act plays should have: - one location, - be set over a period of no more than one
day, - and have one central plot.
These unities are somewhat more helpful in writing one-acts, as the 10-40
minute running time will not leave a lot of room for set changes or subplots. A oneact
play usually will have four or fewer characters that are developed in varying degrees.
Depending on the story you are trying to tell, there may be one or more main
characters.
In some short plays, the roles are balanced equally; in others, some roles may
only have a few lines. Even though your play is short, you should have a clear idea
of who your characters are, what they want, and how they will try to get what they
want.
The most important element to any play is conflict. This does not necessarily
mean fighting or arguing. A man being sad about throwing away his baby blanket is
in conflict with himself. Equally, two people trying to decide what couch to buy is
also a conflict. Conflicts are essential to give a scene and a play life.
Because a one-act play is so short, most experts recommend you avoid
extensive exposition. If the play is about Mary and John arguing in a restaurant, the
audience does not need to know where they were born, how many siblings they have
or any information extraneous to the play.
It does not mean that the playwright cannot know these things, but you can
waste valuable time giving explanations or background about things that do not
affect the immediate outcome of the scene or situation.
Avoid using a narrator. You may wish to read examples of one-act plays to
understand how they are written and what can be done with them. If you like
classical literature, Moliere and Anton Chekov both wrote extensive collections of
one-acts. David Ives is considered by many theater critics to be the greatest modern
mind when it comes to one-act comedies. For drama, you may wish to look at the
work of Horton Foote or David Henry Hwang.
Rules of Thumb
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One-Act plays should:
1) be set in a single location
2) be set over a period of no more than one day
3) have one central plot
4) have four or fewer characters
5) have conflict that is resolved by the end
6) develop characters primarily through dialogue
7) not rely on the use of a narrator (instead, dramatize everything)
8) be a complete, compact drama, with a beginning, middle and end
9) follow the standard format of a short story - opening situation - rising action,
which develops the conflict - conflict - climax (the turning point) - falling action -
resolution (the conflict is resolved)
Story Development – Ten Tips
1. Create a world that's true to real life or fantastical or that mixes the mundane
with the magical. But whatever set of rules you create for that world, make sure you
follow them.
2. Write a conflict that builds as the play progresses. As you structure the
conflict, think in terms of your play having a beginning, a middle and an end.
3. Write characters that want something (which puts them in conflict with other
characters) and try to get what they want at every moment.
4. Make sure that each character has something at stake, a consequence if he
doesn't get what he wants.
5. Create a "ticking clock" that puts the characters under pressure to get what
they want right away.
6. Make sure there is a good reason, an "event," for your play. It's not enough for
two characters to sit around and talk for a while and then leave. There needs to be
some important reason why we're watching them now, at this particular moment.
7. Write dialogue that illuminates your characters and advances the plot at the
same time.
8. Make each character speak in a distinctive voice. If you have trouble with that,
try imagining a specific actor you know - even if it's someone who will never play the
part - in the role.
9. Do not have a character tell us something she can show us instead. For
example, it's much more effective to hide under the bed than to say "I'm afraid."
10. Give each character a "moment," something that justifies the character's
existence in your play and that makes him attractive for an actor to play.
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Bear in mind that…
In order to apply intertextuality in a one -act play, simply come up with a character
or theme based on a well -known story. For example, you can begin your play by
creating a character whose action resembles that of a famous one like the doc tor
in Frankenstein; or you may come up with the theme of tragic love like that in
Romeo and Juliet.
What’s More
You have already gained insight on understanding intertextuality as a
technique of drama. This time, do the following activities and see how much you
have learned.
Activity 3. Where am I?
A. Directions: Complete the table below by putting in the column on the right
the story/character which is referenced by the dialogue on the left. The first one is
done for you.
He was lying so obviously, you could almost Pinocchio
see his nose growing.
1. It’s hard being an adult. I wish I were a
child forever.
2. Jack and Rose are star-crossed lovers.
3. Kimi (in Kimi Dora): “Why, am I my
sister’s keeper?”
4. The new beauty queen is so beautiful, like
the woman that launched a thousand ships.
5. Grow up son; life is not always served on
a silver platter.
B. Direction: Identify the story from which the dialogue on the left is taken.
Write your answer in the column on the right.
1. “Love doesn’t always end well, Beasty.”
2. “Not all treasure is silver and gold, mate.”
3. “You are the boy who lived.”
4. “I smell the blood of an English man. Be he
alive or be he dead, I’ll grind his bones to
make my bread.”
5. “People would rather live in homes
regardless of its grayness. There is no place
like home.”
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Activity 4. Who Is Like Me?
An archetype [ar-ki-tayp] is a character, event, situation or theme that resembles
another. Thus, by definition, an archetype is essentially intertextual. For example,
Superman is an archetype of Hercules. Both possess superhuman strength, and both
have a weakness.
Direction: Identify the character or story being referred to by the following
archetypes in the table below. The first one is done for you. Write your answer in the
column on the right. An item can have more than one answer.
Ex. Archetype: goes from rags to riches Cinderella
1) steals from the rich and gives to the poor
2) falls in love with a vicious being
3) an uninvited guest
4) destruction as punishment
5) bloodied scarf
Activity 5: Beauty or Beast?
Direction: Below are several sentences (numbered 1 to 10) which are related to the
discussions above. If the statement is true, write the number corresponding to it
under the column for Beauty. If false, write its number under Beast.
1) A one-act play has several plots.
2) A one-act play follows the format of a short story.
3) The most important element of any play is conflict.
4) A one-act play involves multiple locations.
5) A character in a one-act play tells rather than shows.
6) The one-act play is set over a period of one day.
7) The conflict in a one-act play ends unresolved.
8) The characters speak in a distinct voice and moment.
9) The one-act play usually begins with a narration.
10) The characters develop primarily through dialogue.
Beauty Beast
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Activity 6. Add Me Up!
Direction: The table below contains five initial story plots. Add a sub-plot or two to
each to make the plots intertextual or resembling a plot from another famous story.
Consider the example given.
Given Plot Your sub-plot
Ex. James has contracted the Covid-19 James goes to his brother and a heated
virus. He blames his brother Joshua for argument ensues. James ends up killing
letting him work despite the risk. Joshua.
• By adding this sub-plot, the given
plot now resembles the story of
Abel and Cain (brother murders
his brother), making the two plots
intertextual.
1) Tom wakes up one day, finding himself
stranded on a remote island.
2) An old lady curses Jasmine to cut her
eyelashes which would only grow to a
meter again the next day.
3) The entire barangay has been living in
sin for the past ten years. Nick lives
among them.
4) Sarah’s mother dies in a plane crash.
Her father grows into despair.
5) Baby Tyler accidentally falls off the cliff
while inside the car with his parents. The
infant lands unharmed on a huge pile of
leaves, a hundred meters below.
What I Have Learned
Activity 7: Direction: Test your understanding of the lesson by completing the
statements below.
1. Intertextuality is a technique in drama that involves the use of
_________________
________________________________________________________________________________
___________________________________________________________________________.
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2. A one-act play is like any other play except that it
______________________________
________________________________________________________________________________
___________________________________________________________________________.
3. The conflict in a one-act play is essential because
______________________________
________________________________________________________________________________
___________________________________________________________________________.
4. An archetype may be used as an intertextual technique because
________________
________________________________________________________________________________
___________________________________________________________________________.
5. Some of the most essential characteristics of a one-act play include
_____________
________________________________________________________________________________
___________________________________________________________________________.
Assessment
Direction: Read each of the items below and choose the correct answer. Write your
answer on the blank before the number.
______ 1. This word comes from the Greek meaning “to do” or “perform”.
a. drama
b. fiction
c. poetry
d. theater
______ 2. It is defined as the interconnection between similar or related works of
literature that reflect and influence a reader’s interpretation of the text.
a. connectivity
b. intertextuality
c. relatability
d. symbiosis
______ 3. She was the French semiotician who argued that all works of literature
being produced contemporarily are intertextual with the works that came before it.
As she stated, “Any text is constructed of a mosaic of quotations; any text is the
absorption and transformation of another.”
a. Julia Barretto
b. Julia Kornikova
b. Julia Kristeva
d. Julia Montes
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______ 4. It is a figure of speech, in which an object or circumstance from unrelated
context is referred to covertly or indirectly.
a. alliteration
b. allusion
c. apostrophe
d. assonance
______ 5. It is the repetition of one expression as part of another one, particularly
when the expression is well-known or explicitly attributed by citation to its original
source, and it is indicated by quotation marks.
a. adage
b. expression
c. proverb
d. quotation
______ 6. It is a word or phrase borrowed from another language by literal, wordfor-
word or root-for-root translation.
a. borrowing
b. calque
c. lexis
d. phraseology
______ 7. It is the communication of the meaning of a source-language text by means
of an equivalent target-language text.
a. equivalency
b. lexicon
c. semantics
d. translation
______ 8. It is a work created to imitate, make fun of, or comment on an original
work – its subject, author, style, or some other target- by means of satiric or ironic
imitation.
a. caricature
b. farce
c. imitation
d. parody
______ 9. It celebrates rather than mocks the work it imitates. The word is a French
cognate of the Italian noun which is a pie-filling mixed from diverse ingredients. a.
caricature
b. farce
c. pastiche
d. satire
______ 10. It is a reworking or re-imagination of a well-known text, to change or
extend its meaning.
a. apposition
b. appropriation
c. association
d. attribution
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______ 11. It is a work of art that is based on a previously written work.
a. adaptation
b. affirmation
c. association
d. attribution
______ 12. It is a character, event, situation or theme that resembles another. Thus,
by definition, it is essentially intertextual.
a. archetype
b. burlesque
c. imitation
d. xerography
______ 13. It is the most important element of a play. It is essential in giving a scene
and life to the play.
a. blocking
b. character
c. conflict
d. dialogue
______ 14. It is an element of the play which illuminates the characters and advances
the plot.
a. blocking
b. character
c. conflict
d. dialogue
______ 15. It is the element of the play which takes a “moment” to justify their
existence, through a distinctive voice.
a. blocking
b. character
c. conflict
d. dialogue
______ 16. A one-act play follows the format of a short story.
a. True
b. False
c. Uncertain
d. Unfounded
______ 17. A character in a one-act play tells rather than shows.
a. True
b. False
c. Uncertain
d. Unfounded
______ 18. The one-act play usually begins with a narration.
a. True
b. False
c. Uncertain
d. Unfounded
______ 19. A one-act play involves only a single event or situation.
a. True
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b. False
c. Uncertain
d. Unfounded
______ 20. Since texts are generally intertextual, or based on other texts which are
usually older, it is implied that --
a. Newer texts are less creative than older texts.
b. There are no original literary works/texts.
c. Literary techniques applied in newer texts are copied from old texts.
d. Ancient writers write better texts than new ones.
DISCLAIMER
This Self-learning Module (SLM) was developed by DepEd SOCCSKSARGEN
with the primary objective of preparing for and addressing the new normal.
Contents of this module were based on DepEd’s Most Essential Learning
Competencies (MELC). This is a supplementary material to be used by all
learners of Region XII in all public schools beginning SY 2020-2021. The
process of LR development was observed in the production of this module.
This is version 1.0. We highly encourage feedback, comments, and
recommendations.
For inquiries or feedback, please write or call:
Department of Education – SOCCSKSARGEN
Learning Resource Management System (LRMS)
Regional Center, Brgy. Carpenter Hill, City of Koronadal
Telefax No.: (083) 2288825/ (083) 2281893
Email Address: region12@[Link]
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