Q2 Module

1. S.Y. 2020-2021
NAVOTAS CITY PHILIPPINES
DIVISION OF NAVOTAS CITY
CREATIVE
WRITING
Quarter 2 – Module 2:
Intertextuality in Drama

2. Creative Writing – Senior High School
Alternative Delivery Mode
Quarter 2 – Module 2: Intertextuality in Drama
First Edition, 2020
Republic Act 8293, section 176 states that: No copyright shall subsist in any work of
the Government of the Philippines. However, prior approval of the government agency or office
wherein the work is created shall be necessary for exploitation of such work for profit. Such
agency or office may, among other things, impose as a condition the payment of royalties.
Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names,
trademarks, etc.) included in this module are owned by their respective copyright holders.
Every effort has been exerted to locate and seek permission to use these materials from their
respective copyright owners. The publisher and authors do not represent nor claim ownership
over them.
Published by the Department of Education
Secretary: Leonor Magtolis Briones
Undersecretary: Diosdado M. San Antonio
Printed in the Philippines by ________________________
Department of Education – Navotas City
Office Address: BES Compound M. Naval St. Sipac-Almacen Navotas City
______________________________________________
Telefax: ______________________________________________
E-mail Address: ______________________________________________
Development Team of the Module
Writers: Hazel M. Santorce
Editors: Cecilia S. De Ocampo
Reviewers: Marco D. Meduranda
Illustrator:
Layout Artist: Hazel M. Santorce
Management Team: Alejandro G. Ibañez, OIC- Schools Division Superintendent
Isabelle S. Sibayan, OIC- Asst. Schools Division Superintendent
Loida O. Balasa, Chief, Curriculum Implementation Division
Marco D. Meduranda, EPS in English
Grace R. Nieves, EPS In Charge of LRMS
Lorena J. Mutas, ADM Coordinator
Editha O. Peregrino, Division SHS Focal Person
Shirley Eva Marie V. Mangaluz, Librarian II LRMS
Vergel Junior C. Eusebio, PDO II LRMS
02-8332-77-64
navotas.city@deped.gov.ph

3. CREATIVE
WRITING
Quarter 2 – Module 2:
Intertextuality in Drama

4. ii
Introductory Message
For the facilitator:
Welcome to the Creative Writing for Senior High School Alternative Delivery Mode
(ADM) Module on Intertextuality in 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:
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.
Notes to the Teacher
This contains helpful tips or strategies that
will help you in guiding the learners.

5. iii
For the learner:
Welcome to the Creative Writing for Senior High School Alternative Delivery Mode
(ADM) Module on Intertextuality in Drama.
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; 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 solidify your understanding and
skills of the topic. You may check the 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 into process
what you learned from the lesson.
What I Can Do This section provides an activity which will
help you transfer your new knowledge or skill
into real life situations or concerns.
Assessment This is a task which aims to evaluate your
level of mastery in achieving the learning
competency.

6. iv
Additional Activities In this portion, another activity will be given
to you to enrich your knowledge or skill of the
lesson learned.
Answer Key This contains answers to all activities in the
module.
At the end of this module you will also find:
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.
2. Don’t forget to answer What I Know before moving on to the other activities
included in the module.
3. Read the instruction carefully before doing each task.
4. Observe honesty and integrity in doing the tasks and checking your answers.
5. Finish the task at hand before proceeding to the next.
6. Return this module to your teacher/facilitator once you are through with it.
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!
References This is a list of all sources used in developing
this module.

7. 1
This module was designed and written with you in mind. It is here to help you master
the Southeast Asian music. 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.
The module is divided into several lessons, namely:
After going through this module, you are expected to:
a. defines intertextuality and its types;
b. identifies the intertextual figures; and
c. understand intertextuality as a technique of drama. HUMSS_CW/MPIj-
IIc-16

8. 2
Directions: Encircle the letter of the best answer.
1. Which of the following statements is the best intertextuality definition?
A. The relationship between texts.
B. Allusions from one text to another.
C. The translation of a text into a different language.
D. It invites traditional interpretations as it brings another context into the
text.
2. Which of the following would not be an example of intertextuality?
A. A translation of one work into a different language.
B. A poetic homage to an earlier writer by adopting the writer’s theme and
tone.
C. The main characters of two unrelated works coincidentally both named
Bob.
D. The variations of difference languages, different interpretations and theme
used in the intertextuality.
3. Which of the following statements is not TRUE about intertextuality?
A. It is the way that one text influences another.
B. The effectiveness of intertextuality depends in a quite a bit on the reader’s
present knowledge.
C. The definition of intertextuality was created by the French semiotician
Julia Kristeva in the 1960s.
D. This can be a direct borrowing such as a quotation or plagiarism, or
slightly more indirect such as parody, pastiche, allusion, or translation.
4. Intertextuality can take place _____________________________?
A. With the same medium or style
B. Across mediums or styles
C. Across cultures
D. All of the above
5. Which of the following is a “text”?
A. Novels
B. Movies
C. Songs
D. All of the above

9. 3
Lesson
1
Intertextuality As A
Literary Device
Have you tried to borrow phrases and concepts from other works in your own?
Do you know what is it called?
Have you watch a movie or drama that has a resemblance with each other when it
comes to the plot, characters, setting and many others?
Though it sounds intimidating at first, it’s quite a simple concept really:
Intertextuality denotes the way in which texts (any text, not just literature) gain
meaning through their referencing or evocation of other texts.

10. 4
Directions: Write the title of the movies/dramas and its description that you think
it has a resemblance in the characters.
Title of the movie/drama and its
description
Title of the movie/drama and its
description
Title of the movie/drama and its
description
Title of the movie/drama and its
description
Character/s: Character/s:
Character/s: Character/s:

11. 5
FILL ME IN, PARODY!
Directions: Create your own Parody using the song “Call Me Maybe.” Think of
a concept to your lyrics. Take note that your concept will not be the same with the
original song. Show your creativity.
Song Title: ____________________________________________
Concept: ______________________________________________

12. 6
Literary Technique
Composers define this as the most powerful technique to create multiple layers of
meaning. That is why you need to have a wide knowledge of different texts in order
to identify the different intertextuality. Reading and expanding your bank of books,
poems, films and plays are very important.
What is intertextuality
It refers to the shaping of a text’s meaning by another text.
It is when a text implicitly or explicitly refers to another text, by using distinctive,
common or recognizable elements of the referenced text.
It when a text is read in the light of another text, all the assumptions and effects of
the other text give a new meaning and influence the way of interpreting the original
text.
“Any text is the absorption and transformation of another.” This was a introduce
notion by Julia Kristeva.
It does not require citing or referencing punctuation (such as quotation marks) and
is often mistaken for plagiarism (Ivanic, 1998).
Inter is a prefix which means “between,” “among,” “in the midst of,” “mutually,”
“reciprocally,” “together,” “during.”
Textuality refers to all the attributes that distinguish the communicative content
under analysis as an object of study.
Implicit reference refers to when the composer alludes to another text through
ideas, symbols, genre or style.
Explicit Reference refers to when the composer directly mentions quotes or
references another txt in their work.
Inferred reference refers to the texts drawn on by the actual responder and will likely
include texts that had not even existed when the text was composed.

13. 7
Types of Intertextuality
1. Obligatory
It is when the writer deliberately invokes a comparison or association between
two or more texts.
It is without the pre-understanding or success to ‘grasp the link’, the readers’
understanding of the text is regarded as inadequate.
It also relies on the reading or understanding of prior hypotext, before full
comprehension of the hypertext can be achieved.
Example:
To understand the specific context and characterization within Tom
Stoppard’s ‘Rosencrantz and Guildenstern are Dead’, one must first be
familiar with Shakespeare’s ‘Hamlet’ (Mitchell, n.d.)
2. Optional
It has a less vital impact on the significance of the hypertext.
It is a possible, nut not essential, intertextual relationship that if recognized,
the connection will slightly shift the understanding of the text.
It also means is possible to find a connection to multiple texts of a single
phrase, or no connection at all.
In here the intent of the writer when using optional intertextuality, is to pay
homage to the original writers, or to reward those who have read the
hypotext.
Example:
J.K. Rowling’s Harry Potter series shares many similarities J. R. R. Tolkien’s
Lord of the Rings trilogy. Wherein they both apply the use of an aging wizard
mentor.
3. Accidental
It when the readers often connect a text with another text, cultural practice or
a personal experience, without there being any tangible anchor point within
the original text.
It is when the writer has no intention of making an intertextual reference and
it is completely upon the readers’ own prior knowledge that these connections
are made (Wöhrle, 2012).
Example:
When reading Herman Melville’s ‘Moby Dick’, a reader may use their prior
experiences to make a connection between the size of the whale and the size
of the ship. Another reader could draw deep connections to the Biblical
allegory Jonah and the Whale, simply from the mention of a man and a whale.

14. 8
Intertextual Figures
1. Allusion
It is a subtle or indirect reference to another text, historical period or
religious belief.
Example:
T. S. Eliot mentions a celestial rose in his poem Hollow Men. This rose comes
from Dante’s Paraiso.
2. Parody
It is an imitation of another text for satirical purpose; usually mock.
Very similar in form to the pastiche, it re-appropriates the work of others, but
for the purpose of poking fun rather than praising.
Example:
Jimmy Fallon’s and Stephen Colbert’s “Friday” musical skit, a spoof on
Rebecca Black’s viral YouTube music video: Stephen
3. Quotation
It refers to the direct reference to another text within acknowledgement of its
composer.
4. Appropriation
It refers to the reworking or re-imagination of a well-known text to change or
extend its meaning.
Example:
Duchamp took an image of Da Vinci’s painting and drew a mustache on it.
5. Plagiarism
It is when you do not include this information in your paper.
It also the act of using someone else’s ideas, words, or thoughts as your own
with giving credit to the other person.
Example:
A recent famous example of plagiarism that cost a journalist his job is Jayson
Blair of The New York Times in 2003.
6. Calque
Basically, refers to when a word is borrowed from a foreign language.
It can be the word-for-word translation of a phrase borrowed from another
language.

15. 9
Example:
Spanish to English
(perros callentes-hotdog)
(pasar malam-market night)
8. Pastiche
It is related to the Italian word for 'paste,' this is a collage of words, phrases,
or entire passages from one or more other authors that creates a new literary
work.
It usually incorporates elements of plot, theme, style, and even character
development.
Tips in using Intertextuality
1. Venture outside the genre
Lines of dialogues can be used as titles or inspiration of your work, storylines
can be placed in a different time or setting to create a new plot, even text from
essays or other parodies can be used within your own writing to make it
intertextual.
Example:
The Divine comedy by Dante Alighieri and Paradise Lost by John Milton.
2. Embrace it
Every txt has been influences by other nationalities countless ones that come
before. This this it means that, with that in mind, it’s is fine to accept that
everything has already been written” and make something of your own.
It can be deliberate or latent but is completely unavoidable.
3. Don’t plagiarize
You don’t need quotation marks but using someone’s work as a basis for your
own does not mean copying their writing or taking credit for their original
writing.
Remember intertextuality is about referencing, allusions, satire, and
borrowing not taking whole texts and changing the character names.

16. 10
YOU COMPLETE ME, ALLUSION…
Directions: Write four sentences in making allusions to the characters or events
from the given category.
BOOKS
HISTORY
TV
MOVIES

17. 11
A WALK TO REMEMBER
Directions: Complete the sentences in Column A by choosing the most appropriate
word in Column B.
Column A Column B
1.____________________reference is a subtle
or indirect reference to another text,
historical period or religious belief.
2. Explicit reference refers to the
_______________reference to another text
within acknowledgement of its composer.
3. Allusion is a subtle or indirect reference
to another text, ___________________period
or religious belief.
4.Textuality refers to all the
_____________________that distinguish the
communicative content under analysis as
an object of study.
5. Parody is an ______________________of
another text for satirical purpose; usually
mock.
A. Implicit
B. Textuality
C. Historical
D. Imitation
E. Attributes
F. Direct

18. 12
RECONNECT WITH INTERTEXTUALITY
Directions: Create your own explanation on the intertextuality that can be found in
the given stories below. Write your answer on the space provided.
1
2
Harry Potter and Lord of the Rings
Love story of Taylor Swift and Romeo and Juliet by
William Shakespeare

19. 13
INTERTEXT DRAMA POSTER
Directions: Create a poster showing your chosen and self-made intertextuality
poster, then explain the concepts present in your work. Follow the given rubrics
below to assess the creative presentation of your intertext drama poster using social
media skills.
SCORE DESCRIPTION
4
EXCELLENT- The intertext poster is creative,
meaningful, and appealing to the readers. It also
contains intertext that connect the text to the other
texts.
3
GOOD- The intertext poster is creative, meaningful, and
slightly appealing to the readers. It also contains
intertext that connect the text to the other texts.
2
SATISFACTORY - The intertext poster meaningful and
appealing to the readers. It does not suit to the intertext
that connect the text to the other texts.
1
NEEDS IMPROVEMENT- The intertext poster
meaningful and appealing to the readers. It does not
suit to the intertext that connect the text to the other
texts.
Personal
Picture of Intertext
Your Picture of
Intertext
Description of your work…

20. 14
WhatIKnow
1.A
2.C
3.B
4.D
5.D
What’sIn
Student’sanswerswill
varyandhavedifferent
answers
What’sNew
Student’sanswerswill
varyandhavedifferent
answers
What’sMore
Student’sanswerswill
varyandhavedifferent
answers
WhatIHave
Learned
1.Implicit
2.Direct
3.Historical
4.Attributes
5.Imitation
Assessment
Student’sanswerswill
varyandhavedifferent
answers

21. 15
References
No Author (n.d.) Literary Devices.Retreived October 20,2020 form
http://www.literary devices.com/intertextuality/
Research (n.d) Literary Techniques. Retrieved October 20, 2020 from
https://www.matrix.edu.au/literary-techniques-intertextuality/
No Author (n.d.) Intertextuality. Retrieved October 20,2020 from
https://literaryterms.net/intertextuality-
No Author (n.d.) Retrieved October 20, 2020 from
quiz/?answer_to_question_4=4&quiz_submitted=Enter
No Author (n.d.) How to apply Literary Inspiration to your writing. Retrieved
October 20, 2020 from https://www.masterclass.com/articles/how-to-apply-
literary-inspiration-to--writing#7-examples-of-intertextuality
No Author (n.d.) Intertextuality. Retrieved October 20,20202 from
https://www.basicknowledge101.com/pdf/literacy/Intertextuality.pdf
No Author (n.d.) Plagiarism. Retrieved October 20,2020 from
https://literaryterms.net/plagiarism/

22. For inquiries or feedback, please write or call:
Department of Education – Schools Division Office Navotas
Learning Resource Management Section
Bagumbayan Elementary School Compound
M, Naval St., Sipac Almacen, Navotas City
Telefax: 02-8332-77-64
Email Address: navotas.city@deped.gov.ph