lesson plan ubd drama

8/9/2019 Lesson Plan Ubd Drama

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Critic drama conventions and role internalization drills.

Translate drama themes and character description to

conventions and deliver$ of lines. %"hibit various AfroAsian pla$s presented on stage via

DVD presentation. (ake sense of lines b$ using &ords e"pressing specific

ideas like verbal nouns. %"hibit kno&ledge in internalizing roles.

Compare and contrast )ualit$ of performance.

Anal$ze diversit$ of drama themes among AfroAsian

nations.

Critic a dramatic monologue in enriching the content of

AfroAsian 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 follo&ing*

(ake the learner a&are of &hat is e"pected of them in

this lessson.

Activate and verif$ the background kno&ledge of the

students on dramatic conventions. +ave the students understand ho& dialogues pal$ a ver$

important role in a pla$.

'ntroduce the essential )uestion. #ain some ideas on the different st$les of dramatic

monologue. 'nform the learners of their maor output, that is, a

dramatic monologue and that the$ &ill be assesed based

on the given set of criteria.

DAY 1!

ACTIVITY 1: "UST WALK# DO NOT TALK

Ask the students to &alk around the room for three

minutes. While &alking, the$ should observe other students

&ithout speaking to them.

The$ ma$ use gestures, e$e contact or facial

e"pressions but the$ must not talk. The$ should develop, either mentall$ or on a paper, five

impressions of each person the$ observe.

After the &alk, the class &ill be divided into five and

discuss their impressions &ithin the group.

-et them correct themselves if there are an$

misconceptions. rocess the activit$ b$ asking the follo&ing )uestions*

/. Were most of the impressions accurate? Wh$? Wh$

not?0. Were an$ accurate clues given nonverball$?

1. Do $ou find it difficult not to talk? Wh$? Wh$ not?


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2. Would $ou have been more comfortable &hen $ou!re

allo&ed to talk?

3. What does this reveal about drama?

DAY 2 !

ACTIVITY 2: THAT$S MY IDOL%%%

Divide the class into 3 groups.

Tell them to recognize each picture belo&.

'CT45%6*

1. 0.

1.

2. 3.

Allo& them to create a chart like the one sho&n belo&

to stud$ the figure assigned to them.

Discuss their ans&ers further and let them ans&er the

follo&ing )uestions*/. Wh$ should &e stud$ character!s &a$s before

understanding his7her role?

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0. Does it all help us to get to kno& more about

drama?

1. +o& does a character introduce us to dramatic

convention?

. 4se the activit$ to activate prior kno&ledge.

DAY 3!

ACTIVITY 3: BACKWARDS# REWINDS AND

REVERSE SCENES

Ask the students to form groups of five.

%ach group &ill choose a drama stor$ and each

member of the group is considered a scene actor and

&ill tell the stor$ back&ards. The$ &ill not be talking back&ards, or moving in

reverse, but the$ &ill present the components of the

scene from the 8end8 to the 8beginning.8 The first actor starts &ith an ending to a stor$.

Then each actor must ask himself &hat happens

immediatel$ before this event and then make him

portra$ the most likel$ thing that &ill occur. Actors &ill find themselves fre)uentl$ asking

themselves, 9he ust said...so ' &ould have.9 rovide feedback.

DAY 7 !

ACTIVITY 7: IMPROMPTU STORYTELLING BANG%%

Tell the students that in this game all the pla$ers on

stage &ill be telling a stor$. %ach pla$er is responsible for the stor$ &hile the

director, &ho happens to be the teacher, is pointing at

them. When the director s&itches from one pla$er to another,

the other pla$er must pick up the stor$ &ithout

stuttering, repeating &ords, or making grammatical

errors.

'f an$ of the pla$ers fumbles or makes such an error the

audience should $ell :A;#


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+ave them understand the African pla$.

(ake them a&are of the author!s background.

+ave them understand the concept of role

internalization.

(ake them a&are of the different dramatic conventionsemplo$ed b$ the author.

%"perience for themselves the role of characters in the

chosen pla$. rovide feedback for understanding.

DAY 8 !

ACTIVITY 1: MARKET% MARKET%

Divide the class into 1 groups.

Ask the students to describe the follo&ing situations in

the market*

#roup/ * describe &hat $ou +%A5 in the market.

#roup0 * describe &hat $ou 6%% in the market.

#roup1 * describe &hat the$ D> in the market.

-et them share their ans&ers in front of the class.

DISCUSSION:

/. Discuss the ans&ers in the activit$.0. What is the most common thing that &e see in a

market?1. +o& did $ou manage to describe a certain place?

DAY 9 !

ACTIVITY 2: ICEWATER

Ask the students to form a big circle.

:$ dra&ing lots, the first t&o actors are selected and

start acting out a situation. A student &ho &ould like to cut the stor$ and continue

it to &ith a t&ist must shout 'C%@ and the first t&o

actors &ill stop immediatel$. The ne"t pla$er in the line immediatel$ tags one of the

pla$ers that is frozen on stage and &ill shout

WAT%5@. +e7she assumes his7her e"act position. or this e"ercise, the pla$er must assume the e"act

ph$sical position of the pla$er the$ chose to tag out.

Ask the students to describe about their e"periences.

DISCUSSION:

/. What can $ou sa$ about the activit$?0. 's acting eas$? Wh$?

DAY ; !

ACTIVITY 3: MY REFLECTION

Ask the students to find their partners.

Choose the first pair and begin to give them

instructions. >ne of the pair graduall$ moves then his7her partner

&ill ust imitate &hat he7she is going to do. Then the$ &ill s&itch places, the one &ho imitates &ill

be the one to be imitated :4T &ithout the audience

noticing it.

DISCUSSION

/. 's follo&ing directions important? Wh$?0. 's it hard imitating a character? Wh$?


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1. Does a mirror help in the internalization of a

character? +o&?

DAY < !

ACTIVITY 7: FOLLOW THE WHEEL OF ROLES


Allo& the students to enter the circle one at a time.

A student assumes his7her role as soon as he7she 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 &ill repeat the steps until ever$one is done

performing.

DISCUSSION:

/. What did $ou feel after the activit$?

0. What are character roles?

1. 's it eas$ to perform a certain role?

DAY = !

ACTIVITY 8: MUSIC MAGIC

Ask the students to sta$ on one place inside the room

&here the$ are comfortable. The$ can sit, stand or lie

do&n but &ith their e$es closed. la$ the music 6>55B, :-A(% 'T >; (%@ b$

Akon. -et them internalize &hat the song is telling.

Ask them to describe the condition of the speaker in the

song.

+ave them present their ans&ers in front of the class.

DISCUSSION:/. What is the song all about?0. What is the emotion evoked in the song?

1. Who is the speaker in the song?2. +o& did $ou kno& the condition of the speaker?

DAY 1> !

READINGS:

Seection &:Am I to Be Blamed? By Lon Roland

AM I TO BE BLAMED?

The$!re chasing me, the$!re chasing, no the$ must not catch

me, ' have enough mone$ no&, $es enough for m$ starving

mother and

brothers.

lease let me go, let me go home before $ou imprisoned me.

Ver$ &ell, officers? take me to $our head)uarters. #ood

morning captainh, &hen '

hear the samisens pla$ing like that, ' ust can8t resist.9

BuranosukeIuda$L, no& a sp$ for (oronao, arrives at a teahouse in the

pleasure )uarter of #ion Buranosuke8s favorite haunt. +e

intends to learn

&hether Buranosuke is indeed dissipated.

1 rJnin are also there on a similar mission* &hen Buranosuke

disavo&s revenge, the$ plan to kill him as a &arning to the

others not to

&aver. :ut the$ decide to let him sober up first.

While &aiting, Buranosuke receives a letter from Iao$o to the

effect that (oronao is leaving for the provinces and the$ &ill

need to

strike soon.

ust then, Iuda$L interrupts and accuses Buranosuke of being&anton as a deceptive stratagem. :ut seeing Buranosuke

casuall$ break a

taboo H eat octopus on the anniversar$ of %n$a8s death, and

looking at ho& rust$ his s&ord is, Iuda$L is almost convinced

but he hides

under the veranda to sp$ on the letter, to make sure. +e is

shortl$ stabbed to death b$ Buranosuke.

Act O

An act in the michi$uki st$le, a standard short act &ritten

poeticall$, describing the gloom$ thought of Ionami, daughter

of +onzJ and

fiance of 5iki$a, as she travels &ith her mother to 5iki$a and

Buranosuke8s house. The$ hope the marriage &ill be carried

out, though all

presume it broken off &hen 5iki$a H Buranosuke became

rJnin. 1G

Act PIonami arrives at Buranosuke8s house, and her mother asks

Buranosuke8s &ife to permit the marriage8s consummation. 6he

is rebuffed

because of +onzJ8s briber$ of (oronao and restraining %n$a

from killing him. The mother and daughter resolve to commit

seppuku,


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impressing Buranosuke8s &ife, &ho consents if +onzJ8s head is

brought to her as a &edding gift. +onzJ une"pectedl$ appears,

insults

Buranosuke H 5iki$a as debauchees, provoking Buranosuke8s

&ife to attack him &ith a lance. +onzJ disarms H pins her,&hen 5iki$a

enters and stabs +onzJ &ith the discarded lance ust as +onzJ

planned.

+onzJ provides the ground plans for (oronao8s mansion and

e"pires, having atoned for his prudence.

Act /M

The merchant #ihei of the port of 6akai is loading onto a ship

his highl$ illegal cargo* more than 2M sets of samurai armor

and &eapons.

0 rJnin visit to in)uire about the preparations. -ater, he is

surrounded b$ dozens of police &ho threaten to kill his son if

he doesn8t

confess. The merchant scorns them and makes to strange his

son. Buranosuke bursts out* it &as a test, and the rJnin are

impressed.

The$ &ill use his shop name as a pass&ord. >f course, since

he &as born a merchant, he cannot oin the raid no matter ho&

much he

sacrifices.E

Act //

The 2N rJnin the dead Iampei making 2GE stage an

amphibious assault &ith ro&boats. A part$ scales the &alls,

captures the

night&atchman, and open the front H back gates. A fierce

battle ensues. The neighboring mansions attempt to interfere,

but &hen the

rJnin8s mission is e"plained, the$ applaud and return home.

(oronao is soon captured and hacked to death b$ all the men,Buranosuke

striking first. The$ offer up his head &ith incense to %n$a8s

memorial tablets and &ithdra& to %n$a8s famil$ temple to

a&ait their fates.

ACTIVITY: CONVENTIONS

#roup the students into five.

'nstruct them to lift the dramatic conventions

established b$ the characters, the setting, the conflict,

the actions and pauses, costumes and props and the

stor$ line used in the pla$.

Discuss &ithin the groups these conventions and ask a

representative to report the groups output.

DISCUSSION

/. +o& are dramatic conventions important in a pla$?

0. 'n &hat &a$ do these conventions give AfroAsiandrama its o&n identit$?

1. What conventions are common among the drama

presentations that $ou have alread$ seen or read and

that of

the Ianadehon Chushingura!s?

DAY 12 !


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Seection ': !oshitsune Sen"on #aura ( !oshitsune and the

Thousand Cherry Trees) ByTaeda I$umo II

Y0.&/*.+ S+0 Z'(' Y0.&/*.+ '@ *&+ T&0.'@

C&+(( T(++.!An e"cerptE

Act >ne

The pla$ opens at the 'mperial alace, &here Boshitsune and

his faithful retainer, the &arrior monk :enkei meet &ith

ui&ara no

Tomokata, a court minister. The$ discuss the conse)uences of

the battle of Bashima

, and the fact that the bodies of several members of

the Taira clan, &ho &ere supposed to have died in the battle,

have not been found.

Tomokata also presents Boshitsune &ith a drum, called

9+atsune9, supposedl$ used several hundred $ears earlier b$

the %mperor

Iammu, and thus a precious, rare, and po&erful obect. The

minister describes the s$mbolism of this imperial gift,

e"plaining that the

t&o drumheads represent Boshitsune and his brother Boritomo.

The %mperor orders that Boshitsune strike at his brother, as he

&ould

strike the head of the drum.

The follo&ing scene introduces Wakaba no ;aishi, &ife of

Taira no Ioremori, and her $oung son 5okudai. The pair are

e"plained to be in

hiding in a monastic hermitage near the to&n of 6aga, and

enter along &ith a nun &ho has been sheltering them in her

home. A man

comes to the house and is soon revealed to be Iokingo

Takesato, a Taira retainer. +e e"plains, to their surprise, thatIoremori still lives,

and that he has come to escort the pair to be reunited &ith him.

Another man then arrives, this one an agent of the Court,

seeking the 1P

&anted ;aishi and 5okudai. Iokingo, in his disguise as a

&andering hat seller, along &ith the nun, attempts to

discourage him and turn

him a&a$K though the 'mperial agent sees through the ruse,

Iokingo strikes the man &ith a &ooden pole and makes his

escape, along

&ith his t&o &ards.

6cene three takes place at Boshitsune8s mansion in the capital,

&here his mistress, 6hizuka dances for Boshitsune8s &ife I$J

no Iimi and

his closest retainers. 6he e"presses her apologies on behalf of

:enkei, &ho made some uncouth and inappropriate remarks to

the

'mperial agents at the presentation of the drum. Though :enkei

is portra$ed as cool, collected, elo)uent, and )uite clever in

other pla$s,

in this one he is loud, obno"ious, and violent, leaping to action

&ithout thinking. A guard enters and informs the group of an

impending


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attack upon the mansion b$ forces belonging to Boritomo, and

:enkei immediatel$ leaps to face them, but is held back b$

6hizuka.

Boshitsune discusses &ith Ia&agoe TarJ 6hige$ori, advisor to

his brother Boritomo, the circumstances surrounding thefallingout

&hich has occurred bet&een him and the shogun. +e e"plains

that he reported to his brother that several Taira generals,

actuall$ still at

large, had been killed, in order to help ensure peace and

stabilit$ for the ne& shogunateK he also e"plains that though he

has received the

%mperor8s drum, he has not struck it, and has thus s$mbolicall$

not ackno&ledged an$ intention to attack his brother. This

situation

resolved, Ia&agoe announces that he &ill call off the attack on

Boshitsune8s mansion, but before he is able to do so, the

impetuous

:enkei has alread$ leapt into action and killed one of the

shogunal commanders.

The act ends &ith :enkei8s realization that Boshitsune and

6hizuka have fled. +e presumes the$ have gone to Boshino,

and chases after

them.

Act T&o

Act t&o opens at the ushimi 'nari 6hrine, &here :enkei

catches up to Boshitsune, 6hizuka, and the four retainers. The

group has fled

the capital, seeking to escape retribution for :enkei8s careless

attack. The monk apologizes, and is forgiven b$ his lord, at the

suggestion

of 6hizuka. +o&ever, :enkei then offers that since their

ourne$ &ill be long and dangerous, a lad$ such as her shouldnot be subected

to such things and should be escorted back to the capital. 6he

refuses, and in order to prevent her follo&ing them, or killing

herself in

grief, the$ tie her to a tree, along &ith the drum +atsune, and

leave her.

6he is found b$ agents of the shogun, &ho cuts her free and

tries to drag her a&a$. Boshitsune8s retainer Tadanobu suddenl$

sho&s up

and rescues her, in a flambo$ant and vigorous s&ordfight. +e

is then commended b$ his lord, &ho besto&s upon him his o&n

Boshitsune8sE suit of armor, and his name, #enkurJF1Q

. The group then continue on their ourne$, leaving Tadanobu to

escort 6hizuka 2M

back to the capital.

The second scene takes place at the Tokai$a, a home near

Daimotsu :a$ &here the commoner merchant #inpei runs a

shipping

business, living &ith his &ife >r$L and daughter >$asu.

Boshitsune8s part$ has made their lodgings here &hile the$ &ait

for good

&eather to continue their ourne$ b$ boat. While talking to

>r$L, :enkei steps over the sleeping >$asu as he makes his

&a$ from the


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roomK ust at that moment, accompanied b$ dramatic

drumming, he feels a pain in his leg.

6hortl$ after :enkei leaves, 6agami #orJ, a retainer of the

shogunate, sent here to seek out and attack Boshitsune, arrives.

;ot kno&ingthat Boshitsune is in that ver$ home, 6agami demands of >r$L

that he be provided a boat in order to pursue his )uarr$. 6he

replies that

their onl$ boat is alread$ promised to their other guests, and a

small scuffle occurs bet&een the t&o as the &arrior accuses the

&oman

of harboring Taira fugitives and seeks to enter the room &here

Boshitsune and his retainers remain. ust then, the merchant

#inpei

makes his first entrance, carr$ing an anchor over his shoulder,

a strong s$mbolic reference to his true identit$ as the fugitive

general

Taira no Tomomori. +e argues briefl$ &ith 6agami, and thro&s

the &arrior out of his house.

#inpei is then introduced to his guests, &ho &ere taken in b$

>r$L &hile he &as out, and immediatel$ recognizes

Boshitsune.

'ntroducing himself briefl$, and e"pounding on his identit$ as a

boatman and merchant, he then suggests that the$ set sail,

despite the

&eather. As Boshitsune and his retainers dress and prepare for

the ourne$, #inpei has an aside in &hich he dramaticall$

reveals himself

to the audience as the Taira general Tomomori

F2Q

.

Tomomori declares to the audience the stor$ of faking his o&n

death at Dannoura and escaping &ith the $oung %mperor

Antoku and

his &et nurse Tsubone, living for the last several $ears as#inpei, his daughter >$asu and &ife >r$L. +e e"plains to

Tsubone that he

intends to kill Boshitsune &hile out at sea, the rain and dark of

night obscuring the battle. +e heads out to the boat, as Tsubone

and the

%mperor change clothes, removing their disguises.

The battle is not seen on stage, but reflected through narration,

the reactions of Tsubone, as she &atches from the shore, and

the report

of 6agami #orJ, the shogunal officer &ho is revealed to have

actuall$ been in Tomomori8s service. After some time, the clash

is perceived

to have ended &ith Tomomori8s death. Tsubone takes the

%mperor to the seashore, and prepares to have them both

dro&n, sacrificing

themselves. :ut the$ are pulled back b$ Boshitsune as he

returns to the shore, and assured of their safet$K he has no

intentions of

capturing or killing the %mperor of apan. Tomomori, not

killed, returns ust a fe& moments after Boshitsune, and is

appalled that his

schemes have fallen apart so )uickl$ and easil$.

Tsubone kills herself, seeing that she cannot serve Tomomori

an$ longer, and the general, recognizing the futilit$ of his

schemes, his 2/


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failure to sla$ his enemies, and the doom &rought upon his

entire clan b$ the evil actions of his father Taira no Ii$omori,

thro&s himself

into the sea, tied to an anchor.

Act ThreeAct Three opens as Wakaba no ;aishi, her retainer Iokingo

and son 5okudai pause at a tea shop along their ourne$ to find

her husband,

Taira no Ioremori. The$ sit do&n to rest, and a $oung man in

traveling clothes, b$ the name of #onta, oins them soon

after&ards. +e

talks to them briefl$, helps them get nuts from the tree, and

then leaves, taking Iokingo8s travelling pack instead of his

o&n. Iokingo

notices a fe& moments later, and #onta returns, apologizing for

his mistake. The t&o go through the contents of the baskets, to

make

sure the other hasn8t stolen an$thing, but #onta then claims that

there8s t&ent$ r$J missing from his basket.

#onta, attempting to s&indle the samurai, accuses him of being

a thief, and a battle ver$ nearl$ breaks out. Though aggressive

&ith

&ords, he is no match for the samurai in a fight, and hides

behind a bench &hile Iokingo onl$ gro&s more angr$ and

brandishes his

s&ord. ;aishi attempts to calm him do&n, but #onta onl$ eggs

him on until, finall$, the samurai pa$s him t&ent$ r$J and

leaves, along

&ith ;aishi and 5okudai.

#onta is thus left alone &ith Iosen, the proprietess of the

teahouse, &ho it turns out is his &ife. 6he scolds him for being

a s&indler and

a gamblerK in his response, he e"plains his life stor$. The son of

Bazaemon of the Tsurube sushi shop, he became a s&indler,thief and

gambler in order to support himself and his love for Iosen.

Diso&ned and kicked out of his house, he struggled to earn

mone$ to bu$

Iosen out of indenture. Though he describes his intent to rob

his mother that night, he is talked out of it b$ Iosen, and the$

return

home.

The ne"t scene focuses on Iokingo, 5okudai and ;aishi,

pursued b$ 'mperial officers. Alread$ &ounded, Iokingo fights

off one of the

officers, 'nokuma Dainoshin, and then sinks to the ground,

e"hausted. As ;aishi &eeps over him, he claims he cannot go

on, and

implores ;aishi and her son to forget about him, and to

continue on to see Ioremori. +e promises to follo& them after

he regains his

strength. The pair leave him then, and e"it, continuing on their

ourne$. The &arrior then dies, ust as a group of to&nsmen,

including

the sushi shop o&ner Bazaemon, come upon him. After sa$ing

a pra$er for the dead, Bazaemon cuts off Iokingo8s head and

takes it &ith

him, returning home.


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Bazaemon8s sushi shop is the setting for the third scene, &hich

opens &ith his daughter >sato and his &ife preparing and

selling sushi to

visitors &hile the$ talk. A $oung man named Basuke has been

living &ith them for some time, and is due to be married to>sato as soon 20

as Bazaemon returns. Basuke enters &ith some sushi tubs, and

talks briefl$ &ith the t&o &omen as the$ &ork, before the$ are

interrupted b$ the arrival of #onta, >sato8s brother.

#onta e"plains to his mother that he is leaving for good, to turn

himself around and make something of his life, but asks for

some mone$,

claiming that he &as robbed on the road on his &a$ there. 6he

places several silver kanme coins in a sushi tub for him and

sends him off.

ust then, Bazaemon returnsK fearing that he should learn that

his &ife stole from the shop to give to #onta, the$ hide the

sushi tub

among the others. Bazaemon then comes in, calls out for his

famil$, and hides the head of Iokingo, &rapped in his cloak, in

one of the

other tubs.

(eeting up &ith Basuke, Bazaemon then reveals to the

audience Basuke8s identit$ as the general Taira no Ioremori,

father of 5okudai

and husband of ;aishi, &ho he came across in Iumano and

took into his home. +e e"plains to Ioremori that he ust came

across

Iai&ara no Iagetoki, an agent of the shogunate, &ho

suspected him of harboring the general, and that for his safet$

he might flee the

area.

As >sato and Basuke IoremoriE la$ on their &edding bed,preparing to consummate their relationship, he confesses to her

not his true

identit$, but that he has a &ife and child in another province,

and asks that she release him from his pledge to marr$ her. :$

coincidence,

the &andering Wakaba no ;aishi then arrives at that same

house, seeking lodging for the night. Ioremori glances outside,

realizes &ho

the$ are, and &elcomes them in. +e attempts to e"plain his

infidelit$ to his &ife, his romance &ith >sato coming from a

desire to repa$

Bazaemon for taking him inK >sato overhears, and bursts into

sobs. 6he &elcomes 5okudai and ;aishi into her home,

offering them the

seats of honor, and e"plains her side of the stor$, asking for

forgiveness from ;aishi. 6he fell in love &ith this gentle man,

she e"plains,

&hom her father brought home, not kno&ing that he &as

secretl$ a noble. 4pset at Ioremori8s duplicit$ and at his

leaving her, she

&eeps and is comforted b$ ;aishi.

Word comes of the arrival of shogunal officers, and Ioremori,

his &ife and child e"it. #onta arrives, then, declaring to >sato

that he


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intends to turn over the three to the authorities in e"change for

a re&ard. +is sister begs him not to, and he grabs the sushi tub

&ith the

silver coins and flees after the three.

6oldiers then appear, along &ith Iai&ara, and surroundBazaemon. The$ accuse him of l$ing to them, and harboring

IoremoriK but

thinking )uickl$, he tells them that he8s alread$ had a change of

heart and killed Ioremori himself. +e brings the men inside,

and

reaches for the sushi tub &ith Iokingo8s head in it, but is

stopped b$ his &ife, &ho is thinking of the mone$ she stole

from him to give to

#onta. A shout is heard from outside, as #onta returns &ith a

&oman and child, tied up and being dragged behind him. +e

e"plains to the

soldiers that he has captured 5okudai and ;aishi, and sho&s

them the tub containing Iokingo8s head, claiming it to be

Ioremori8s. 21

Iai&ara offers to spare Bazaemon8s life in e"change for this

deed, but #onta, hoping to gain from this himself, declares that

he &ants

monetar$ compensationK Iai&ara therefore gives him his

cloak, &hich previousl$ belonged to Boritomo, and &hich

&ould be s$mbolic

of the re&ard o&ed him b$ the government.

As Iai&ara leads the prisoners a&a$, Bazaemon finds the

opportunit$ to viciousl$ stab his son, bitter at #onta8s betra$al.

Bazaemon

curses his son as he aggravates the &ound, but as he dies,

#onta e"plains to his father that his deceptions &ere for good

intentions all

along. +e claims that he intended to give the silver to Ioremori

for traveling e"penses. Ino&ing that his father intended to pla$off

Iokingo8s head as Ioremori8s, and kno&ing that the head &as

no longer in the house, he returned in order to rescue his

father8s plan,

and his famil$ therefore. +e then reveals that the &oman and

child turned over &ere not ;aishi and 5okudai but his o&n

&ife and child,

Iosen and Renta, &ho &illingl$ and voluntaril$ sacrificed

themselves to save the nobles.

Ioremori, ;aishi, and 5okudai then return, alive and safe,

disguised as tea merchants. Ioremori finds a poem on

Boritomo8s cloak &hich

indicates that something is inside itK cutting it open, he finds a

:uddhist monk8s robe. 6eemingl$, Iai&ara intended all along

to spare

Ioremori, and granted him in this indirect &a$ a disguise &ith

&hich to safel$ escape.

Ioremori cuts off his topknot, becoming a la$ monk, and

separating from both his families for the final time. Bazaemon

offers to

accompan$ 5okudai and ;aishi, and >sato sta$s &ith her

mother, lo$all$ maintaining the home and the shop in her

father8s absence.


18/25

The act ends &ith #onta8s death, one of the most famous

e"amples in apanese 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 our

The fourth act begins &ith a michi$uki dance scene, &hich

follo&s 6hizuka as she seeks to catch up &ith Boshitsune and

his part$. The

ourne$ is narrated b$ an offstage narrator, in the bunraku st$le,

and there is ver$ little dialogue.

As she travels through the countr$side, 6hizuka decides to pla$

the +atsune Drum, in order to entice birds to follo& her, not

kno&ing the

magical or metaphorical significance of the drum. As soon as

she does so, a &hite fo" emerges, romps across the stage and

then

disappears behind a lo& hill, from &hich emerges Tadanobu.

22

lacing the drum atop Boshitsune8s armor, granted Tadanobu in

the second act, the t&o dance, their gestures and motions

mimicking

the actions of the narration. The narration indicates their desire

to follo& Boshitsune to Boshino, and then drifts into a retelling

of the

events of the battle of Dannoura, ending &ith the pair8s arrival

at a :uddhist temple, the RaJ +all in Boshino.

After a ver$ brief scene sho&ing the pair8s arrival, attention is

shifted to Ia&atsura +Jgen, head of the temple, &ho discusses

&ith his

fello& monks &hat stance the$ should take to&ards Boshitsune.

6everal of the monks here are kno&n to be enemies of

Boshitsune, and

a letter has ust arrived from the capital asking them to hunt

him do&n. The monks discuss, and even those normall$ hostileto

Boshitsune decide that as monks it is their dut$ to aid people in

need. +Jgen, ho&ever, even after admitting that he thinks

Boshitsune

blameless, fires an arro& at a distant peak, smaller than its

neighboring peak, and thus representing the $ounger brother

BoshitsuneE.

Thus he declares his stance alongside the shogunate, for the

safet$ of the temple.

+Jgen encourages his monks to do &hat the$ think is right* to

&elcome Boshitsune in and grant him as$lum if he should

arrive and

re)uest it. :ut he also assures them that he intends to kill the

&arrior should the$ do so. The monks interpret their master8s

&ords to

mean that he is alread$ harboring Boshitsune, and that he

intended to thro& them off and prevent their interferenceK the$

decide to find

and attack the &arrior that night.

+Jgen returns to his mansion, &here he is indeed harboring

Boshitsune, and declares to his &ife that he has turned against

his guest,

and intends to stand &ith the shogunate. Boshitsune speaks

briefl$ &ith +Jgen, thanking him for his hospitalit$ and aid,

and is then


19/25

informed that his retainer, 6atJ Tadanobu has arrived and

&ishes to speak &ith him. Tadanobu is asked b$ his lord about

his

ste&ardship of 6hizuka and replies, confused, that he has been

in his home province &ith his ailing mother since the end of the&ar, and

has not seen 6hizuka. T&o of Boshitsune8s other retainers

appear, pointing s&ords at Tadanobu and demanding an

e"planation &hen

the temple8s gatekeeper announces that 6atJ Tadanobu has

arrived &ith -ad$ 6hizuka.

6hizuka is reunited &ith her lord, but the Tadanobu &ho had

been escorting her seems to vanish. The first Tadanobu

e"plains to 6hizuka

that he has not been escorting her and has not seen her in some

timeK the other retainers confirm that this second Tadanobu is

no&here

to be found in the building. 6he then notices that this Tadanobu

is &earing some&hat different clothing, and comes upon the

idea of

beating the +atsune Drum to summon her escort. 6he e"plains

that the drum al&a$s attracted her escort, and made him behave

strangel$. The scene ends as she bangs the drum, and Tadanobu

is taken a&a$ b$ Boshitsune8s retainers.

The final scene thus begins &ith 6hizuka beating the drum, and

a fo" rushes into the room, becoming Tadanobu, &ho bo&s

before her.

6hizuka then suddenl$ pulls a s&ord and slashes at Tadanobu,

&ho dodges the attack. (esmerized b$ the drum, Tadanobu

still manages

to avoid continued attacks as 6hizuka demands that he reveal

his identit$. 23

+e then tells his stor$, revealing in the process that he is a

kitsune, a fo" spirit. The drum &as made hundreds of $ears

earlier from theskins of his parents, po&erful kitsune &hose magic &as

emplo$ed to bring rain. A costume )uickchange transforms

Tadanobu into his

kitsune form, &ho e"plains that though he has lived a ver$ long

time and gained magical po&ers, he has been unable to ever

care for his

parents. ailing to fulfill acts of filial piet$ prevents him from

gaining respect or status among the kitsune, and so for

centuries he has

sought out this drum. +e &as unable to get at the drum &hen it

&as kept in the imperial palace, he e"plains, since the palace is

guarded

against spirits b$ man$ gods kamiE, but once it &as removed

from the palace and given to Boshitsune, he sa& his chance.

6hizuka and Boshitsune speak to the fo" for a time, and decide

to grant him the drum. Thus released, he e"its in grand st$le.

>riginall$

this &ould have been done through a particular st$le of dance

called kitsune roppo fo" si"stepsE along the hanamichi the

path&a$ that

cuts through the audience from stage to the rear of the theatreE.

+o&ever, more recentl$ it has become the practice, encouraged

b$


20/25

'chika&a %nnosuke ''' &ho often pla$s the fo" #enkurJ to e"it

b$ fl$ing out over the audience, in a techni)ue kno&n as

chLnori riding

the sk$E.

The real Tadanobu then offers to take his lord8s place in facingthe doom that a&aits him at the hands of the monks. The

kitsune8s magic

hampers the monk8s schemes, and Iakuhan, the one monk &ho

most strongl$ opposed the samurai lord, is revealed to be Taira

no

;oritsune, the third surviving Taira general, in disguise.

;oritsune and Boshitsune clash s&ords several times before

%mperor Antoku

appears from the ne"t room. ;oritsune, of course, bo&s lo& to

his %mperor, and both e"plain ho& the$ survived their

supposed deaths

at the battle of Bashima, and came to be at this monaster$.

;oritsune then begins &eeping, announcing his failure to his

clan and to his

%mperor.

+Jgen and t&o of Boshitsune8s retainers come in &ith blood$

blades and holding the severed heads of the other monks &ho

follo&ed

;oritsune. The$ seek to fight, but their hearts are calmed b$ the

fo"8s magic, and ;oritsune announces that he shall once again

become

Boka&a no Iakuhan, a lo$al servant to the %mperor.

Act ive

As is )uite standard for apanese traditional dramas, the final

act is short, s&ift, and serves to &rap up an$ maor loose plot

threads.

+ere, it opens on a mountaintop, &ith Tadanobu, dressed as

Boshitsune, calling out a challenge to those &ho side &ithBoritomo and the

shogunate.

A number of &arriors come at him, and he cuts them do&n.

;oritsune then appears, as the monk Iakuhan, &ho claims to

have foregone 2N

all his old grudges, and his &arrior &a$s. Tadanobu declares

his true identit$ to his foe, and the t&o clash in a comple"

choreographed

fight scene. inall$, ;oritsune pins his opponent to the ground,

but a second Tadanobu rushes in and stabs the Taira general,

the bod$

belo& him disappearing and leaving onl$ a suit of armor.

Boshitsune e"plains that the$ sa& through ;oritsune8s promises

of peace, and

the fo" #enkurJ aided them in subduing him.

Ia&agoe, an agent of the shogunate, then appears, along &ith

ui&ara no Tomokata, &ho he has tied up. +e reveals that the

'mperial

order &hich came &ith the drum, ordering Boshitsune to

oppose his brother, along &ith that to e"terminate the Taira

clan, came not

from the %mperor, but from the machinations of Tomokata.

+earing this, ;oritsune kills the defenseless Tomokata, and

then turns to


21/25

Boshitsune, challenging his foe to kill him. Boshitsune states

that ;oritsune died long ago, that he has since become

Iakuhan, and that it

is to Tadanobu to kill him.

The pla$ thus ends &ith the last of Boshitsune8s foes slain, anda return to the peace and auspiciousness &ith &hich the pla$

began.

ACTIVITY:CONVENTIONS ON THE GO%

Ask the students to form five groups.

rovide each group &ith a cop$ of the pla$ Boshitsune

6enbon Rakura.

Ask them to identif$ the conventions of the pla$.

Allo& them to compare and contrast the conventions of

this pla$ &ith the pla$s seen in the hilippines.

DISCUSSION:

/. What conventions are revealed in the pla$

Boshitsune 6zenbon Rakura?

0. +o& are these conventions similar or different

from the pla$s in the hilippines? IanadehonChushingura?

1. What do these conventions reveal about apanese

societ$ in general?

2. What do the comparisons impl$ about AfroAsian

drama?

DAY 13 !

GRAMMAR LESSON: VERBAL NOUNS

P(+.+*'*/0:

Ask the class to read the sentences on the board.

Ask them &hat the$ have noticed on the emphasized

&ords.

%ncourage them to determine the &ord!s functions.

'ntroduce verbal nouns.

6%;T%;C%6*

/. D')/is (arco!s hobb$ &henever he isdoing nothing.

0. A teacher!s goal is *0 .&'(+kno&ledge.

1. >ne of m$ dreams is *0 ++*ustin :ieber in

person.

2. Iristopher achieved his dreams b$ .*(//hard

for it.

H/&4/&*/ 05 *&+ F0(:

Discussion of the grammar lesson.%"palin the salient forms and functions of verbal

nouns.E


22/25

ACTIVITY 1: VERBAL NOUNS IN ACTION

%ach student &ill choose a drama stor$.

The$ &ill underline the verbal nouns present in their

chosen stor$.

%ach of them &ill illustrate the message of the drama

stor$ b$ using verbal nouns.

ACTIVITY 2: LOVE VERBAL NOUNS

Ask the learners to &rite verbal nouns for love.

resent a model verbal noun to serve as the learners!

guide.

(ovin" is as e)citin" as a space sh#tte ride.@ 'nvite the learners to e"plain the love similes the$ have

&ritten. -et the class decide &hich love vrbal noun is the best

b$ means of a loud clapping of hands. #ive comments and suggestions.

DEEPEN

At this stage, the teacher must be able to do the follo&ing*

(ake a meaningful understanding of the drama

selection and dramatic conventions emplo$ed b$ the

author. 5elate to real situations some scenes and lessons of the

pla$.

(ake them internalize some lines for the portra$al of

lines.

VERBAL NOUNS

Verbs &hich are used as nouns. 't can be as subect,

obect, appositive or obect of the preposition.

There are t&o kinds of verbal nouns. These are*

/. GERUND verbs that act as a noun. Al&a$s ends in S

ing.

E,'-4+.:

S// is m$ favorite sport.

6he loves)00/6

S//# m$ greatest dream, can be achieve if ' ust

believe in m$self.5einmart alread$ left because he is tired of'/*/6

0. INFINITIVES verbs that act as a noun. Al&a$s &ith

the preposition T> and &ith the base form of the verb.

%"ample*

T0 +'* is m$ greatest pleasure6

($ greatest achievement is *0 +* high grades.

T0 40+# m$ alltime passion, is ver$ hard to get from

others.>rchie has no other &a$ but*0 '))+-* his fault.


23/25

%ngage them in meaning and challenging activities that

&ill enrich &hat the$ have learned. %ngage them in meaningful evaluations.

rovide them &ith feedback for understanding.

DAY 17 !

ACTIVITY 1: EMOSHOWN

6ho& the class 3 dialogues.

Call for volunteers to read the follo&ing dialogues

emplo$ing the follo&ing emotions*

D/'40+.:

/. 't!s not $ou, it!s me.@

0. ' can love $ou more than she loves $ou, trust

me.@

1. >ne more step for&ard means one step farther

from me bab$.@2. ' reall$ can!t stand him, he!s too anno$ing.@

3. 't doesn!t mean $ou!re happ$, then $ou have to

ruin ever$ piece of me.@

E0*/0. *0 +-40:

/. Afraid N. %"cited

0. :othered G. Thrilled1. Worried O. +urt

2. Angr$ P. :egging3. +app$ /M. 6urprised

DAY 18 !

ACTIVITY 2: IT IS EASY TO ACT%

This time, $ou choose their partners. >ne student from a pair is going to dictate &hat his7her

partner is going to do.

The one &ho &ill dictate &ill not see &hat his7her

partner is doing.

't is also a must for the one acting to move his7her lips

according to &hat his7her partner is telling. 't is &hat

&e call, D4::';#.

DAY 19 !

ACTIVITY 3: FIGHT OF THE CHARACTERS


'nform them that each one of them &ill have his7her

turn to perform the activit$.

The order of performance is determined b$ dra&ing oflots.

The first student to perform must dress, act and speak

like the character she7he assumes.

The teacher &ill act as the interrogator and &ill ask

challenging )uestions to the student.

The student must ans&er the )uestion &ithout losing

the personalit$ of the chosen character.


24/25

The rest of the students &ill act as udges &ho &ill

sho& thumbs up@ if the role internalization is

convincing enough and thumbs do&n@ if other&ise.

DAY 1; !

ACTIVITY 7: I WANT TO BE 6666666

Ask the students to think of a person the$ idolize.

#ive them at least three minutes to imagine the person*

his7her &a$s, &ords, ph$si)ue, and etc.

Tell them that the$ are to imitate that person in front of

the class.

Three students &ill also be chosen to act as udges to

provide comment on the performance of their

classmates.

rovide feedback.

Check the learners! master$ on the essential

understanding and the content standard.

TRANSFER

At this stage, the teacher should be able to the follo&ing*

Clarif$ some misconception on ho& to determine the

dramatic conventions used b$ &riters in draam or pla$. 6$nthesize the important features of the lesson.

+ave the students transfer their understanding through

their culminating performance.

(ake independent applications of their kno&ledge of

dramatic conventions and role internalization as

essentials in presenting a dramatic monologue. +ave them see the connection bet&een the tasks and the

&orld. %valuate the presentation and check it against the

criteria set in rubrics. rovide feedback for understanding.

DAY 1< !

ACTIVITY 1: DRAMATIC LEARNINGS

Ask the students about the learning the$ have

encountered in doing the previous activities. Divide the class into 3 groups.

Ask each group to come up &ith their o&n

generalization regarding &hat the$ have learned about

dramatic conventions and role internalizations. Tell them to organize their ans&ers in a cartolina.

+ave each group present their &ork in front of the

class. Discuss their ans&ers thoroughl$.

DAY 1= !

ACTIVITY 2: DELIVERING YOUR LINES

Ask the class to recall all the dramatic pla$s &e have

tackled in the previous discussions. +ave them recall all the events, characters and the plot

of the pla$.


25/25

Ask them to choose one character out of the pla$ that

the$ can relate to. Tell them that the$ are going to have a dramatic

monologue.

%ncourage them to elicit the script of the character the$are to portra$.

5emind them to be a&are of the Verbal ;ouns tha$ are

going to use. Ask them to deliver a bit of their performance.

#ive suggestions regarding their chosen character.

DAY 2> !

ACTIVITY 3: DRAMATIC MONOLOGUE

Come up &ith a ministage presentation of characters.

-et the best performers from the groups compete

among themselves.

resent the class the criteria to be considered in rating

their performances. #ive them time for the preparation of props and

costumes.

+ave them present in front of the class. Assess their performance using the rubric belo&.

G(0- 06

O+('44

P+(50('

)+

3>

C&'(')*+(

A@'-*'*/0

28

D/'40+

C0*+*

2>

F')/'4

E,-(+../0

'@

G+.*(+.

18

A@/+)+ I-')*

1>

T0*'4:

%ncourage other students to give comments and

suggestions regarding their performances.

%re&ared "y'

Maria essia *amela + %rado

BS,-,nglish II-.

Su"mitted to'

%rof+ /illarosa

lesson plan ubd drama

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