This document provides guidance for conceptualizing a character, setting, and plot for a one-act play as part of a senior high school English course. It includes examples of characters, settings, and plots from sample one-act plays. Students are instructed to identify these elements, create their own one-act play using an outline, and understand the importance of creativity in conceptualizing a story.

1. Creative Writing
Quarter 4 – Module 3:
Conceptualizing a character/setting/plot
for a one-act play
Senior High School

2. i
English- Grade 12
Alternative Delivery Mode
Fourth Quarter- Module 3, Lesson 1: Conceptualize character/setting/plot for
a one- act play
First Edition, 2020
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Published by the Department of Education
Secretary: Leonor Magtolis Briones
Undersecretary: Diosdado M. San Antonio
Development Team of the Module
Writer: Genilyn B. Nolledo
Content Editors: Espedita Miramontes, Jean Rosiebeth Ranes
Language Editors: Dolores Gabrillo, Marilyn Mirasol
Reviewers: Dr. Ma. Chona B. Redoble, Michael Angelo S. Magalso
Illustrator: Resdale Venz R. Palabrica
Layout Artist: Achilles B. Mendez
Evaluators: Dr. Elmalou L. Orandoy
Adrianita L. Sagayno
Rachel B. Lumarda
Management Team
Schools Division Superintendent:
Dr. Marilyn S. Andales, CESO V
Assistant Schools Division Superintendents:
Dr. Anelito A. Bongcawil, CESO VI
Dr. Lorenzo M. Dizon, CESO VI
Dr. Fay C. Luarez, CESO VI
Chief, CID: Dr. Mary Ann P. Flores
EPS, LRMDS: Mr. Isaiash T. Wagas
EPS, English: Dr. Ma. Chona B. Redoble
SHS Coordinator: Dr. Clavel D. Salinas

3. ii
Good day dear learner!
This module is solely prepared for you to access and to acquire lessons befitted in your
grade level. The exercises, drills and assessments are carefully made to suit your level
of understanding. Indeed, this learning resource is for you to conceptualize a
character/setting/plot for a one-act play (HUMSS_CWMPIj-IIc-17). Independently,
you are going to go through this module following its proper sequence. Although you are
going to do it alone, this is a guided lesson and instructions/directions on how to do every
activity is plotted for your convenience.
Using this learning resource, you are ought to conceptualize a
character/setting/plot for a one-act play (HUMSS_CWMPIj-IIc-17) as inculcated in
the K-12 Most Essential Learning Competencies.
At the end of this module, you are expected to achieve the following objectives:
1. identify the character, setting, and plot in a one-act play;
2. create a one-act play using the given outline; and,
3. value the importance of creativity in conceptualizing character, setting, and plot in a
one-act play.

4. 1
Directions: As you explore more deeply into the lesson at hand, let us check your
knowledge about the essential elements confined in a one-act play. Read each item carefully
and be able to choose the correct answer. Write your answer on a separate sheet of paper.
1. It is a literary element that pertains to the sequence of related events in drama.
A. Conflict B. Moral C. Plot D. Theme
2. A character functions to emphasize the qualities of another character.
A. Antagonist B. Anti-hero C. Foil D. Protagonist
3. Who is the one opposing the central character?
A. Antagonist B. Anti-hero C. Foil D. Protagonist
4. It’s a type of character that is more realistic and shows development or change.
A. Flat B. Round C. Square D. Stock
5. Which of the following is the main character in the play?
A. Antagonist B. Anti-hero C. Foil D. Protagonist
6. It is the time, place, and condition of a literary piece.
A. Crisis B. Moral C. Setting D. Tone
7. A plot consists of five parts. Which among the choices presents a logical sequence ofthe
plot?
A. Exposition, climax, rising actions, falling actions,resolution
B. Exposition, climax, rising actions, resolution, falling actions
C. Exposition, rising actions, climax, falling actions,resolution
D. Rising actions, exposition, falling actions, climax,resolution
8. Which part of the plot where the conflict/s is/ are manifested and developed?
A. Climax B. Exposition C. Resolution D. Rising actions
9. Which among the items does NOT qualify for setting?
A. Atmosphere C. Geographic location
B. Climate or weather D. Historical period
10. Which of the following refers to the people, animals or even ideas who are given life in
the play?
A. Characters B. Dialogue C. Plot D. Setting

5. 2
Do you still remember what you have learned in the previous
module?
I hope you were able to correctly comprehend the previous
lesson about understanding intertextuality which is a technique
of a drama.
In theatre, the actor is in the total control. The
director was not in the house last night, the
designer wasn’t there, the author’s dead. It is
just us and the audience.”
--Ian McKellen--
Directions: Read and analyze the questions below and write your answer on a separate sheet of paper.
Have you ever watched a live or televised stage play before? If yes, how was your experience
watching it?
What can you say about the way the characters portray their roles?
What was the ending of the play you watched?
Ponder the quotation above. According to Sir Ian Mckellen, who are the only personsvisible
to the audience during stage play?
Do you agree with him when he said that it is only the actor who can take total control of an
ongoing show or performance and not anyone else? Why or why not?

6. 3
Directions: Read the following excerpt from Wilfredo Maria Guerrero’s Call Me Flory, a one-
act play.
STAGING: (When the curtain rises, we see Florencia and Matilde, seated on the sofa, in
Matilde’s sala, talking.)
FLOR: Yes, Matilde! I came right away when you called me up by phone to come and see you.
MATIL: That’s nice of you Mrs. De los Reyes.
FLOR: I hope you don’t mind but my last name is Caracoles. My full name really is Florencia
Aragon de Caracoles. But just call me Florencia. It’s quite an honor to know you, Matilde. ’ve
heard you are one of the best known society women in Manila.
MATIL: Oh don’t mention it. It isn’t true, not true at all.
FLOR: You’re so modest Matilde.
MATIL: I was told by Marilu to get in touch with you. She said you’d surely help.
FLOR: Did you say Marilu called you up? Marilu de Legazpi? Whose husband is the owner of
that big department store at Buendia?
MATIL: Yes. But the reason that I called you up was…
FLOR: Oh well my husband bought the Legazpi’s rice fields in Pangasinan that cost us -
P100,000.00 but it was worth it.
MATIL: That’s nice.
FLOR: Well now, just how did you want me to collaborate—er—help?
MATIL: It’s a benefit show we are holding to collect funds for the Sapang Palay people. You
know the place?
FLOR: (With a gesture of disgust). Uff, yes. Those squatters who were formerly in intramuros.
Thank God they are evicted. Can you imagine? I used to hear mass everyday at the Cathedral
and whenever we passed in our Mercedes benz 600 by those streets, I felt my self-suffocating
with the smells and sights of those horrible people. Uff, such disgusting squatters’ people. I
couldn’t hear the mass properly and I couldn’t pray because of them.
MATIL: It’s not their fault, really. After the war thousands came from the province
and didn’t know where to settle.
Answer the following questions briefly:
1. What is the title of the play?
2. Who were the characters in the play?
3. Where is the setting of the one-act-play? Describe the place.

7. 4
Conceptualizing Characters
4. Characterize the following persons in the excerpt of a play and give your description,
based your answers on the dialogue.
Character A:
Description:
Character B:
Description:
5. If you were to rewrite the one-act play, how would you end the story?
These are the people or animals that are subjected to in the drama that are
portrayed by the actors and actresses. A play can take its essential form because of the
characters. They embody an integral part of drama. Character can be categorized
according to functions and types.
CHARACTERS IN THE DRAMA (ONE-ACT PLAY)
CHARACTERS
ACCORDING
TO FUNCTION
A. Protagonist – the main character in the play; the hero
or heroine
B. Antagonist – a major character who opposes and is
hostile to the protagonist.
C. Foil – a minor character who emphasizes the
qualities of another character
D. Anti-Hero – a minor character who is
inconsistent and usually shows failed goals
A. Round – a character who is realistic; has sufficient motivation for
his actions and behavior; experiences change and development
in the course of the play
CHARACTERS
ACCORDING TO TYPES
B. Flat –a character who has one distinct
characteristic; static or does not change
C. Stock – a literary character who manifests several traits that
particularly apply to a group of people
or class; Example: a cruel stepmother

8. 5
Make a character chart
In making the character chart, identify the names of your fictional characters. Since this
might be your first attempt in crafting a one-act play, try to think of names that are simple and
easy to remember. Describe each of your character’s personality and appearance. Be clear as
to how you want your characters to be and how their characterization will impact your story.
Example: Justin – He is from a rich family. He is stubborn and likes to do things his own
way. He is competitive and assertive. He is tall, handsome and has long wavy hair.
It is the place, time, and condition in which the events occur. In other words, setting can
be displayed through geographical location, historical era/period, weather or climate, season of
the year, time of day, or even type of building.
A basic formula to remember is: setting = scene (time + place) + mood/atmosphere.
For example, the combination of a time like “midnight” and a place like “a Gothic
cemetery” has a natural resulting atmosphere that is “eerie or scary”. This could be the static
backdrop of a novel on Dracula.
Unusual or unexpected details, however, may be added. Setting, then, becomes more dynamic
and ceases to be a mere introduction or decoration in the story. In our example, the cemetery at night
could be “invaded” by a group of teen-age Halloween revelers who bring their class party to an
authentic setting, thus waking up the dead, both in a literal and figurative way. The niches could be
lined with lanterns and the tombs laden with food.
Write the setting
In deciding on the setting, think of a place that is familiar to you and which you can vividly
describe. This will help your readers create a mental picture of where the story is happening.
Then identify the time when the story’s scene is captured. Some writers describe the season or
specify the era to let the readers understand the other elements of the story. Others mention the
cultural or religious orientation of the people in the identified setting to build the story’s characters
and the plot.
The storyline or the artistic arrangement of events in the drama. It comprises exposition,
rising action, climax, falling action, and conclusion.
A one-act play is a play that has only one-act, as distinct from plays that occur over several
acts. One act play may consist of one or more scenes.
Conceptualizing Plot

9. 6
Genres of Story
To begin your plot, you need to choose the genre of your story followed by these Guide
Questions:
A One-Act play follows the standard format of short story. See the figure below.
Figure 1
https://www.google.com/search?q=plot+diagram&tbm=isch&chips=q:plot+diagram,g_1:graphic+organizer:20OIKoRxecM%3D&hl=en&sa=X&ved=2ahU
KEwigxoyj6aTwAhVF35QKHUQHDrMQ4lYoA3oECAEQHw&biw=1349&bih=657#imgrc=tFIaAxbP1hZviM
Mystery story or quest: Will the character solve the mystery or find what he seeks?
Adventure or war story: Does the character survive the hostile environment he’s
battling against or overcome the enemy?
Redemption story: Will the character save others, or transform himself?
Coming of age: Does the character grow up, and if so, how and why?
Tragedy: Does the character escape his fate or not, and if not, why?
Romance: Do the lovers get together and live happily, or do they separate and feel
miserable?

10. 7
Independent Activity 1
Directions: Study the script of the one-act play “The World is an Apple” that follows and identify its
character, setting and plot structure.
You will notice that there are statements, phrases or words written inside the parenthesis
( ). These are the stage directions or the expected emotion, action or specific instructions
provided by the playwright to guide the actors in portraying their characters. Take note of the
setting and events which can be classified into the different stages of the plot.
The World is an Apple
by Alberto S. Florentino
Characters:
Gloria
Mario
Pablo
Scene: (An improvised home behind a portion of the Intramuros walls. Two wooden boxes flank the
doorway. At left is an acacia tree with a wooden bench under it.)
Mario enters from the street at the left. He is in his late twenties, shabbily dressed and with hair
that seems to have been uncut for weeks. He puts his lunch bag on the bench, sits down,
removes his shoes and puts them beside his lunch bag.
GLORIA: (Calls from inside) Mario! Is that you, Mario?
MARIO: Yes…
GLORIA: (A small woman about Mario’s age, with long hair, comes out wiping her hands on
her dress.) I’m glad you’re home early.
MARIO: How is Tita? (Without waiting for an answer, he enters the dwelling).
GLORIA: (Crosses to the bench)- Don’t wake her up, Mario. She’s tired. She cried the whole
day.
MARIO: (reappears and crosses to the bench and sits on one end) Has she been
eating well?
GLORIA: She wouldn’t eat even a mouthful of lugao. But I’ll buy her some biscuits. Maybe
she’ll eat them. (She slips her fingers into his breast pocket) I’ll take some of the Money!
MARIO: (Rises, annoyed) Gloria! Can’t you wait a minute?
GLORIA: (Taken aback) - Hey, what’s the matter? Why are you suddenly so touchy?
MARIO: Who wouldn’t be? I’m talking to you about the child and you bother me by
ransacking my pockets. I wish you’d think more of our daughter.
GLORIA: (Crosses at the Center) My God! Wasn’t I thinking of her? Why do you think I need
some money? To buy me a pretty dress? Or see a movie?
MARIO: Tone down your voice. You’ll wake the child up.
GLORIA: (Low but intense) – All I want is a little money to buy her something to eat! She
hasn’t eaten anything all day! That was why I was “bothering” you!
MARIO: (Repentant)- I’m sorry, Gloria… (Grips her arm)
GLORIA: It’s all right, Mario. Now, may I have some of the money?
MARIO: (Turns to her)-Money? I … don’t have any… not now.
GLORIA: Today is payday, Mario.
MARIO: Yes … but…
GLORIA: But what? Where’s your pay for the week?

11. 8
MARIO: I don’t … have it.
GLORIA: What? I waited for you the whole day and you tell me..
MARIO: (Angry) - that I have nothing! Nothing! What do you want me to do steal?
GLORIA: I’m not asking you to do a thing like that! All I want to know is what you
did with your money.
MARIO: (Sits on the bench)-Nothing is left of it.
GLORIA: Nothing? What happened?
MARIO: Oh, I had a few drinks with my friends. Before I knew it, I had spent every
centavo of it.
GLORIA: (Eyeing him intently)-Mario, do you think you can make a fool of me?
Haven’t I seen you drunk before: crawling home like a wounded snake
and reeking of alcohol like a hospital? You don’t smell or look drunk.
MARIO: All right, so I didn’t go drinking.
GLORIA: But your pay- what happened to it?
MARIO: It’s better if you don’t know, Gloria
GLORIA: Look, Mario I’m your wife. I have the right to half of everything you get.
If I can’t have my share, I have the right to know at least where it went!
MARIO: All right. (Rises.) I spent it all on another woman.
GLORIA: Another woman? I don’t believe it. I know you wouldn’t do such thing.
MARIO: I didn’t know you had so much faith in me.
GLORIA: No, Mario, what I mean is- you wouldn’t spend all your money when you know your daughter
may need some of it. You love her too much to do that. (Mario sits down and buries his head in his
hands. Gloria crosses to him and lays a hand on his shoulder.)
GLORIA: What’s wrong, Mario?
MARIO: (Turns his face away)- Nothing, Gloria, nothing.
GLORIA: (Sits beside him) I know something is wrong, Mario. I can feel it. Tell me what it is.
MARIO: (Stares at the ground) – Gloria, I’ve lost my job.
GLORIA: (Rises, shocked) Oh, No!
MARIO: (Looks up at her) It’s true, Gloria
GLORIA: What about your pay for the whole week?
MARIO: I lost my job a week ago.
GLORIA: And you never even told me!
MARIO: I thought I could get another, without making you worry.
GLORIA: Do you think you can get another in five months? It took you that long to
get the last one.
MARIO: It won’t take me as long to get another.
GLORIA: But how did you lose it? Mario! Have your sinful fingers brought you trouble again?
MARIO: Now, now, Gloria! Don’t try to accuse me, as they did!
GLORIA: What did they accuse you of?
MARIO: Just what you meant to say, Pilfering, they call it.
GLORIA: What else would you call it? (Pause.) What, according to them, did you steal?
MARIO: It was nothing much, really nothing at all.
GLORIA: What was it?
MARIO: It was an apple.
GLORIA: An apple! You mean-
MARIO: An apple! Don’t you know what an apple is?
GLORIA: You mean; you took one apple.
MARIO: Yes, and they kicked me out for it: for taking one, single apple. Not a
dozen, not a crate.
GLORIA: That’s what you get —
MARIO: (Sits down) -Could I have guessed they would do that for one apple?
When there were millions of them? (Pauses) We were hauling them to

12. 9
the warehouse. I saw one roll out of a broken crate. It was that big.
Suddenly, I found myself putting it in my lunch bag.
GLORIA: That’s the trouble with you; when you think of your own stomach, you
think of nothing else!
MARIO: (Rises)- I was not thinking of myself!
GLORIA: Whom were you thinking of- me? Did I ever ask for apples?
MARIO: Yes, she did. (Pauses) Do you remember that day I took her out for a walk? On our
way home we passed a grocery store that sold “delicious” apples at seventy centavos each.
She wanted me to buy one for her, but I did not have seventy centavos. What I did was buy her
one of those small green apples they sell on the sidewalk, but she just threw it away,
saying it was not a real apple. Then she cried. (Pauses) So… when I saw this apple roll out of
the broken crate, I thought that Tita would love to have it.
GLORIA: You should have tried to bring home pan-de-sal, or rice, or milk- and not those
“delicious” apples. We’re not rich. We can live without apples!
MARIO: Why? Did God create apple trees to bear fruit for the rich alone? Didn’t He create the
whole world for everyone? That’s why I tried to bring the apple home for Tita. When we brought
her into this world we sort of promised her everything she had a right to have in life.
GLORIA: So, for a measly apple, you lost a job.
MARIO: I wouldn’t mind losing a thousand jobs for an apple for my daughter!
GLORIA: Where was this apple? Did you bring it home to Tita? (Crosses to the bench to get the lunch
bag)
MARIO: No, they kept it-as evidence. (Sits down.)
GLORIA: See? You lost your job trying to filch an apple and you even lost the apple for which
you lost your job. (Gloria puts away the shoes and the lunch bag. She sits on the steps and
they remain silent for a time.)
GLORIA: (Rising)-Filching an apple that’s too small a reason to kick a poor man out of work.
You should ask them to give you a second chance, Mario.
MARIO: They won’t do that.
GLORIA: Why not?
MARIO: (Rises) Can’t you see they had been waiting for me to make a slip like that? They’ve
wanted to throw me out for any reason, so that they may bring their own men in.
GLORIA: You should complain.
MARIO: If I did? They would dig up my police record.
GLORIA: (Crosses to him) - But, Mario that was so long ago! Why would they try to dig that
thing up?
MARIO: They’ll do anything to keep me out. (Holds her arm.) But don’t worry, I’ll find another
job. It isn’t really so hard to look for a job nowadays. (From this point he avoids her eyes). You
know I’ve been job hunting for a week now, and I think I have found a good job.
GLORIA: There you go, lying again.
MARIO: Believe me, I’m not lying this time.
GLORIA: (Crosses to the center)- -You’re always lying- I can’t tell when you’re
telling the truth or not.
MARIO: In fact I’ll see someone tonight who knows of a company that needs a night
watchman.
GLORIA: (Holds his arm) Honest?
MARIO: (Avoids her eyes) Honest! (Sits down.)
GLORIA: I knew God wouldn’t let us down. He never lets anybody down. I’ll pray tonight and
ask Him to let you have that job. (Looks at Mario) But, Mario, would it mean that you’d have to
stay out all night?
MARIO: That would be all right. I can always sleep during the day.
GLORIA: (Brushes against him like a cat)- What I mean is, it will be different when you aren’t
by my side at night. (Walks away from him.) But, oh, I think I’ll get used to it. (Crosses to the

13. 10
center and turns around.) Why don’t you go and see this friend of yours right now? Anyway you
don’t have anything to do tonight. Don’t you think it’s wise to see him as early as you can?
MARIO: (After a pause)-Yes, I think I’ll do that. (Gloria crosses to the steps to get
his shoes, followed by Mario.)
GLORIA: (Hands him the shoes.)- Here, Mario, put these on and go I’ll step up and
wait for you. (She sits on the steps and watches him.)
MARIO: (Putting on the shoes) - No, Gloria, you must not wait for me. I may be
back quite late.
GLORIA: All right, But I doubt if I can sleep a wink until you return. (Gloria comes
up to him after he finishes and tries to hug him, but he pushes her away.
Suddenly confused, he sits on the steps. Gloria sits beside him and plays with his hands.)
GLORIA: Mother was wrong. You know, before we got married, she used to tell me: ”Gloria,
you’ll commit the greatest mistake of your life if you marry that good-for-nothing loafer!” Oh, I
wish she were alive now, She would have seen how much you’ve changed. (She sees
someone behind the tree: Pablo. He has been watching them for a time. He is older than
Mario, sinister-looking, and well dressed.)
PABLO: (Sarcastic)-Hmmmmmm How romantic!
MARIO: Pablo!
(Suddenly unnerved, Mario starts to fidget. Gloria rises and walks to the center, her eyes burning with
hate. Pablo lights a cigarette, never taking his eyes burning with hate off her.) PABLO: You’re not glad
to see me, are you? (Puts a foot on the bench.)
GLORIA: (Angry)- What are you doing here? What do you want?
PABLO: Saaaay! Is that the right way to receive a friend who has come for a visit?
GLORIA: We don’t care for your visits!
PABLO: You haven’t changed a bit, Gloria… not a bit.
GLORIA: Neither have you, I can see!
PABLO: You’re still that same woman who cursed me to hell because I happened
to be Mario’s friend long before you met him. Time has not made you any kinder to me. You
still hate me, don’t you?
GLORIA: Yes! And I wish you’d stay away from us for the rest of our lives!
PABLO: I am not staying away from you!
GLORIA: Then why are you here?
PABLO: God! May I not even come to see you now and then, to see if life has been kind to
you? How are you getting along?
GLORIA: (Scornfully) We were doing well until you showed up!
PABLO: Your daughter- she was only that high when I saw her last-how is she?
GLORIA: She’s all right!
PABLO: Oh! and I thought she had not been very well.
GLORIA: (Suspicious) How did you know? (To Mario). Did you tell him?
MARIO: I … how could I? I haven’t seen him in a long time … (Sits down.) until
now of course.
PABLO: What is she sick with?
GLORIA: (Rudely) - We don’t know!
PABLO: Don’t you think you should take her to a doctor? (Puts his foot down and
pulls out his wallet). Here, I’ll loan you a few pesos. It may help your
daughter to get well.
GLORIA: (Scornfully) - We need it all right-but no, thank you
PABLO: Why don’t you take it!
GLORIA: Paying you back will only mean seeing your face again.
PABLO: Well, if you hate my face so much, you don’t have to pay me back. Take
it as a gift.
GLORIA: The more reason I should refuse it!

14. 11
PABLO: All right, if that’s how you want it.- (Sits down and plays with the wallet.)
GLORIA: Mario has stopped depending on you, since the day I took him away from
your” clutches”! I have no regrets.
PABLO: How about Mario? Has he no regrets either?
GLORIA: He has none.
PABLO: How can you be so sure? When he and I were pals we could go to first-class air
conditioned movie houses every other day. I’ll bet all the money I have here now (brandishing
his wallet) that he has not been to one since you “liberated” him from me. And that was almost
four years ago.
GLORIA: One cannot expect too much from honest money- and we don’t.
PABLO: (Rises and walks about) What is honest money? Does it look better than dishonest
money? Does it buy more? Honesty? What is it? Dressing like that? Staying in this dungeon
you call a house? Is that what you call “honesty”?
MARIO: (Rises)- Pablo!
PABLO: See what happened to your daughter. That is what honesty has done to her. And how
can honesty help her now? She’s sick and needs food, good food.
MARIO: Pablo!
GLORIA: I know you have come to lead him back to your dishonest ways, but you can’t. He won’t
listen to you now! We have gone this far and we can go on living without your help!
PABLO: (Sarcastic) – You call this living? This, Gloria is what you call dying- dying slowly
minute by minute. (Laughs.)
MARIO: (Crosses to him and shakes him)- Pablo, stop it! (Pablo stops). You shouldn’t have
come.
PABLO: I got tired waiting for you!
GLORIA: So you have been seeing each other! I was afraid so!
PABLO: He came to the house yesterday.
MARIO: Pablo, don’t…
PABLO: (Ignoring Mario) He said he would be back this noon. But he didn’t show up. I came
because I was afraid his conscience was bothering him.
MARIO: Pablo, I told you she should not know!
PABLO: It’s all right, Mario. You’d better tell her everything. She’s bound to know later. Tell her
what you told me: that you no longer believe in the way she wanted you to live. Tell her.
(Mario turns his back on them.)
GLORIA: Mario… is this what you meant by another job?
MARIO: Gloria… you…you must try to understand… I tried… but I could not let have this kind
of life…
GLORIA: (shouts at Pablo)- You’re to blame for this, you son-of-devil!
PABLO: He came to me first-
GLORIA: When you know he’ll cling to anything and do anything! Even return to
the life he hates! Get out!
PABLO: I’ll leave-just as soon as Mario is ready to go.
GLORIA: He’s not going with you!
PABLO: Is that so! Why don’t you ask him?- (sits on the bench, grinning.)
GLORIA: (to Mario)-You’re not going with him, are you, Mario? Tell him to leave
us and never come back! Tell him to go, please, Mario… I know he has
talked to you and tried to poison your mind again… but don’t go with him.
MARIO: (Holds her) – Gloria, I…
PABLO: Don’t worry about him, Gloria. He’s safe with me.
MARIO: (Pulls her away)- You stay there, Pablo, I’ll be with you in a minute.
MARIO: Gloria, I’m going with him.
GLORIA: Don’t Mario, don’t…
MARIO: You can’t make me stop now, I’ve thought about this since last week.

15. 12
GLORIA: No, no Mario, no … (Holds him.)
MARIO: You take good care of yourself and our child. I’ll take good care of myself.
Don’t wait up for me. I’ll come home very late. (Mario walks away with
Pablo. Gloria stares at them, then she shouts.)
GLORIA: MARIOOOOOOOOOO!
(She covers her face with her dress and cries into it. The daughter, from
inside, joins her crying as the curtain closes.)
Independent Assessment 1 - Let’s get it on!
Directions: Fill in the graphic organizer with the correct details about the characters from the
one-act play, The World is an Apple. Use separate paper in answering this activity.
The World is an Apple
(Characters)
According to
Function
Function/
Type
Name of
Character
Short Description
Protagonist
Antagonist
Foil
Anti-Hero
According to
Types
Round
Flat
Stock
Independent Activity 1
Directions: Fill in the graphic organizer with the correct details about setting from the one-act
play. The World is an Apple.
The World is an Apple
SETTING DESCRIPTION
Good job! Are you ready to the next level?

16. 13
Independent Assessment 2
Directions: Fill in the graphic organizer with the correct details about the plot from the one-act
play, The World is an Apple.
Independent Assessment 3
Direction: Answer the given questions by indicating a check mark on the appropriate column.
Questions Yes No
1. Is the setting well conceptualized?
2. Does it add impact to the play?
3. Are the characters effective in the roles they portray?
4. Is the plot sequentially arranged?
5. Do the events create impact to the story?

17. 14
Independent Activity 4.

18. 15
Let’s check how far you have learned.
Answer the questions briefly:
It’s My Turn!
Directions: Read the statements in the box below and follow what is being asked.
Criteria
Content……………..10pts.
Organization----------10pts.
Grammar/Spelling…5pts.
Total 25pts
If you were given a chance to be an author for a day and you are going to write
your own version story of “The World is an Apple”, what would be the ending of the
play/story. You are graded according to the given criteria.

19. 16
ASSESSMENT
Directions: Create your own concept of a one-act play. Visualize the needed elements in the
play/story. Provide your initial details regarding your characters, setting, and plot. Use separate
paper in making this activity. Be guided by the suggested rubric for rating.

20. 17
One-Act Assessment Rubric
Criteria 4pts 3pts 2pts 1pts Total
Title of the The title is clear The title is The title is not The title is not
Play and exhibited somehow clear so clear but it clear and did not
connection to and exhibit exhibited exhibit
the story. connection to connection to connection to
the story. the story. the story.
Characters All the All the All characters No characters
characters were characters were were listed but were listed and
listed and listed but only not described. described.
described few are
described.
Setting The time and The time and Time is The time and
place setting are place setting are correctly place setting are
correctly provided but described but provided and
described. incorrectly the place is not. described.
described.
Plot All the main 4 of the main 3 of the main 2 of the main
events are events are events are events are
correctly labeled correctly labeled correctly correctly labeled
according to its according to its labeled according to its
order. order. according to its order.
order.
ADDITIONAL ACTIVITY/IES
Directions: Refine your work in Assessment based on your facilitator’s feedback. You
may also solicit feedback and ideas from your classmates, friends or family members.

21. 18

22. For inquiries or feedback, please write or call:
Department of Education – Region VII, Division of Cebu Province
Office Address: IPHO Bldg., Sudlon, Lahug, Cebu City
Telefax: (032) 255-6405
Email Address: cebu.province@deped.gov.ph