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   Yague, Jesyl Origen R.11041382Lesson PlanUnit Theme !ramati Literature#$ea%ing&.O'(e ti)es*t the en+ o the lass stu+ents -ill 'e a'le toa. Know the purpose of dialogues and monologues in a play. '. Re-enact dialogues and monologues. . Compose and perform a short dialogue/monologue. +. Apply the Speaking strategies during performance. &&.aterials a.Handouts b.Script . oweroint resentation &&&.Lesson Pro$era.oti)ation The tea her -ill as% the stu+ents -hy they s$ea%, an+ -hat is their $ur$ose -hen they s$ea%. #tu+ents may share their ans-ers to the lass./hy s$ea% hy +o you s$ea% hy +oes your hara ter s$ea%hat -ill you say hat -ill your hara ter say'.Le ture an+ !is ussion i.!here will be a discussion on the different literary compositions for theatre monologue and dialogue its contents and what things are to beconsidered when writing. !his will be performed with the use of aoweroint resentation. !he teacher will pro#ide e$amples for each andthe students are encouraged to answer and ask %uestions if there is a needfor clarification.  Monologue and SoliloquyBeginning to End  & A 'onologues must ha#e a beginning middle and end. (ot only that there has to be a )ourney a change a shift from the beginning to the end of the monologue. Dealing with the Past - !hese are #ery common monologue stories. !o illuminate something that is currently happening in the script a character relates a past story. Making the Story Count  - !he story has to show something* character flaw a plot point we didn+t know a lie a romance and so on. Character Profile  - !he amount of details you can come up with for a character profile are limitless. ,asically all the small pieces of information that go into making you should becreated for a character. Character Questions - Ask you character %uestions and see what you learn about them. The Need to Speak   - n e#ery monologue a character must +need to speak.+ therwise why is the monologue there n e#ery monologue you write you must determine the need for the character to speak. 0hat dri#es the character s there anything that stands in the way of the character+s need to speak Dialogueocus your concept  - 1ou need a center to your story whether it2s a bad guy in distress who needs rescuing or a bad guy who needs to be #an%uished. nce you ha#e the main idea you can de#elop the other elements. !ist down the !iterary Dra atic Ele ents  & Remember to anchor on to your concept. !hese may change as your script writing progresses. Create a logical series of e#ents  - Start with a paragraph describing what happens. dentify the main character describe what she or he needs to do create a few obstacles and ways to o#ercome them decide on a resolution.!ip* 3on2t worry if there2s a generic feel to your plot at this point. Consider this se%uence* male meets female4 they fall in lo#e4 they struggle to o#ercome forces against them4 male dies nobly. s this 5King Kong5 or 5Romeo and 6uliet5 !he answer for both* yes. How you handle the details is up to you. Choose a structure  - At this point all you need to do is open yourself to possibilities and see where they take you. t may be a one-act lasting twenty minutes or a two-hour epic.  ii.!he teacher will as well pro#ide reading strategies that will help the students in impro#ing their speaking skills when performing monologues or dialogues.c.Speaking Acti#ity 7Script8!he students will be gi#en a script wherein e#eryone will be assigned a role andwherein e#eryone will read. !he teacher will encourage the students to makeannotations on how the script should be spoken which would as well help themunderstand the script better.After the acti#ity the class will reflect on the acti#ity on the construction of thedialogues the flow and how each line reflects the characters. !he class will alsoreflect on their e$perience in reading the lines out loud.d.Homework !he students will be tasked to write a monologue. !he students may create a new character or write a monologue for an already e$isting one. !he students must write and memori9e the monologue which they will perform ne$t meeting.Strategies for 3e#eloping Speaking Skills for 3rama $ar up your #oice  - 0arm up your #oice before putting it through the paces. Quit o#ing around  - t2s a common bad habit of that when you2re not rooted firmly in one place you water down your lines and distract the audience. Stand in one spot and mo#e only to emphasi9e a point and mo#e when needed. Consider %our Pacing  &Sometime due to ner#es you don2t reali9e that you2re almost certainly talking too fast. 0hich causes people take longer to absorb what they2re hearing and their information. ,ut you also don2t ha#e to talk slowly. !he speed at which you speak is )ust another tool&be sure to use it. Speak %uickly for comic effect or to emphasi9e the comple$ity of a process. $ield the Pause . laywrights often write 7ause8. 2#e used it as a la9y transition and a way to notify the actor that a speech2s tone or subte$t changes. 1ou can use a pause in the same way&implying a shift from one section to the ne$t. 'ore importantly the skillfully-wielded pause sharpens the audience2s attention and builds anticipation of your ne$t point. Note down &ntonations on the script  & 0hen you read the script you already get an idea on how you would want to say it so mark it down. !his as well will also help you e$plore the ossible was of seakin intonin and ronouncin.  :.; e.Perorman e Tas%

Summary

Jul 23, 2017

Casting (Part II)

Jul 23, 2017
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