English Grade 9 Part 3

blame this man. You don’t understand: Willy was a salesman. And for a salesman,there is no rock bottom to the life. He don’t put a bolt to a nut, he don’t tell youthe law or give you medicine. He’s a man out there in the blue, riding on a smileand a shoeshine. And when they start not smiling back---- an earthquake. Andthen you get yourself a couple of spots on your hat, and you’re finished. Nobodydast blame this man. A salesman is got to dream, boy. It comes with the territory.BIFF: Charley, the man didn’t know who he was.HAPPY: (infuriated): Don’t say that!BIFF: Why don’t you come with me, Happy?HAPPY: I’m not licked that easily. I’m staying right at this city, and I’m gonnabeat this racket! (He looks at BIFF, his chin set.) The Loman Brothers!BIFF: I know who I am, kid.HAPPY: All right, boy. I’m gonna show you and everybody else that Willy Lomandid not die in vain. He had a good dream. It’s the only dream you can have---- tocome out number – one man. He fought it out here, and this is where I’m gonnawin it for him.BIFF: (with a hopeless glance at HAPPY, bends toward his mother) Let’s go,Mom.LINDA: I’ll be with you in a minute. Go on, Charley. (He hesitates.) I want to,just for a minute. I never had the chance to say good–by.(Charley moves away, followed by HAPPY. BIFF remains a slight distance upand left of LINDA. She sits there, summoning herself. The flute begins, no faraway, playing behind her speech.)LINDA: Forgive me, dear. I can’t cry. I don’t know what it is, but I can’t cry.I don’t understand it. Why did you ever do that? Help me, Willy, I can’t cry. Itseems to me that you’re just on another trip. I keep expecting you. Willy, dear,I can’t cry. Why did you do it? I search and search and I search , and I can’tunderstand it, Willy. I made the last payment on the house today. Today, dear.And there’ll be nobody home. (A sob rises in her throat.) We’re free and clear.(Sobbing more fully, released.) We’re free. (BIFF comes slowly toward her.)We’re free… We’re free…(BIFF lifts her to her feet and moves out up right with her in his arms. LINDAsobs quietly. BERNARD and CHARLEY come together and follow them, fol- 611

lowed by HAPPY. Only the music of the flute is left on the darkening stage asover the house the hard towers of the apartment buildings rise into a sharpfocus, and-----)CurtainTASK 6 Checking Your Comprehension The text which you have just read is quite complex and difficult to understand.Thus, to help you comprehend it, guide questions are provided below. Read andanswer them for the clarification of its details.1. Who suffers most from Willy’s delusions? Why?2. What is Willy’s dream? What is he searching for throughout the play? Why doesn’t he find it? Did he have a chance of fulfilling it? Did he have the wrong dream? Inappropriate attitudes? Is he a born loser, or does he stand in his own way to success? Explain.3. Does Biff ’s antagonism cause Willy’s failure or merely intensify the failure he already experiences?4. How does what Biff learn in Boston influence his life? Why can’t Biff be what his father wants him to be? Why does Biff steal things? Does Biff use Willy’s behavior as an excuse for his own waywardness? What does he say to Willy about the way he wants to live and what Willy expects of him?5. Compare the way Biff treats his father with the way Happy does. Why is it hard for Biff to tell Willy the truth? Why doesn’t Happy want him to?6. From the author’s description at the start of the play, what do we know about Linda? What can we guess? Does she know about the Woman in Boston? What makes you think she does or doesn’t? Why does she repeatedly enter with a load of wash?7. How does Ben affect Willy? How does he influence the events in the play?8. Willy is proud of putting up the living-room ceiling and making a cement porch. How is the image of working with his hands carried through the play?9. In what ways does Willy not fit into the definition of an average working man building a secure home for his family? 612

10. What is the turning point in Willy’s life? Is Willy the main character in this play or is it Biff? Why? What does Biff discover about himself? How does this discovery affect his relationship with Willy? How is Biff ’s self-realization dramatic? What is the climax of the play? 11. How is Willy’s killing himself for the insurance money symptomatic of the way he has lived? What legacy does Willy leave his family?Source: RANDEANE TETU, Coordinator of Developmental Language Skills, Middlesex Community College,Middletown, CT. Deathsalesman.pdfTASK 7 Justifying One’s Acts After reading the text, you are now ready to digest what you have discovered.In your group, discuss the causes of the characters’ actions or dialogues based onyour understanding and come up with a positive disposition which you shouldundertake so as to establish a good relationship among the members of yourfamily. Explain the values which will be instilled or developed once the dispo-sition is being done. Characters’ Actions/ Causes Positive Disposition Dialogues to Be UndertakenBIFF: He had the wrongdreams. All, all, wrong.HAPPY: All right, boy.I’m gonna show youand everybody elsethat Willy Loman didnot die in vain.CHARLEY: No manneeds only a little sal-ary.LINDA: Forgive me,dear. I can’t cry. I don’tknow what it is, but Ican’t cry. 613

YOUR DISCOVERYTASK 8 Immersing into the Author’s Craft Understanding literature entails knowing the world of the writers. Thus, inorder to grasp what they really want to convey in their texts, you should be readyto join the encounters worth cherishing through sharing your honest opinion re-garding how the actions, dialogues, and thoughts of the characters are presented.In your group, discuss the answers to the following questions and then, choosea reporter to present them in class for further comments.1. Biff and Happy were presented as Willy’s sons with different personalities. Biff was dynamic while Happy was static. Explain how the writer brought out these differences.2. How did Arthur Miller, the author show the consequences of Willy’s infidelity?3. Willy associated happiness and success to money. What do you think is the purpose of the author? Is the ending reasonable? Explain.4. Linda’s faithfulness and loyalty to Willy during his ups and downs are admi- rable characteristics; however, these traits were also the causes of her inability to balance her relationship with her children. What American values do you think the author wanted to convey, keep, or modify? How do American values differ from what you have as Filipinos? Justify your answer.5. How will you relate Willy’s dialogue “Can you imagine that magnificence with twenty thousand dollars in his pocket?” to the American dream?6. How is Willy’s dream similar or contradictory to what the author tries to imply?7. Why does Miller let us know in the title that Willy’s death is coming? Why doesn’t he make it a surprise? Is Willy’s death in a car more or less appro- priate than a suicide using the rubber hose on the water heater would be? Why? What harm does Willy’s death do? What good?8. Discuss the symbolism of the two heavy sample cases and the stockings. How does Miller use the characters’ names as symbols? What do they mean? What is the significance of Loman? Why Willy instead of Bill? What other symbols does Miller use and for what purpose? 614

TASK 9 Message Twisting After understanding the text and the literary craftsmanship, you are nowaware of the message and the author’s purpose in writing the text. This time,form another small group, then in poetry style, write down the lesson which theplay tried to convey to the readers. Practice reading it in chorus, then presentit in front of the class. You may reproduce the copy of your original poem forthe use of each member of the group. Use the rubric indicated below to serveas your guide. Choral Reading Poor Fair Good Excellent 1 pt 2 pts 3 pts 5 ptsPronunciation Student Student Student Student pronounced most pronounced some pronounced most pronounced all& Punctuation words and used words and used words and used words and used some punctuations most punctuations all punctuations most punctuations correctly. correctly. correctly. incorrectly.Volume & Student’s voice Student’s voice Student spoke Student spoke veryClarity was never clear, was rarely clear, in a mostly clear clearly, and was and the audience and most of the voice, and could heard by all of the could not hear it. audience could be heard by the audience. not hear it. majority of the audience.Phrasing, Student was not Student needs to Student used Student usedTiming understood by the improve on timing good timing and excellent timing audience because and phrasing. phrasing. Part/ and phrasing. Part/ the student sped Part/role was hard role was spoken role was spoken through his/her to understand in a voice that was in a steady voice. lines. because the usually steady. Student did not student spoke too Student spoke speak too quickly. quickly. slightly too fast.Getting into Student did not Student tried a Student used some Student usedCharacter use gestures, voice few gestures, voice gestures, voice gestures, voice fluctuations, or fluctuations, and fluctuations, and fluctuations, and facial expressions. facial expressions. facial expressions facial expressions Student did not to enhance to enhance make the audience meaning of the meaning of the believe that they part played. part played. really were the Student worked Student made character. toward getting others believe that into character. he/she really was the character.http://www.rcampus.com/rubricshowc.cfm?code=W73393&sp=true& 615

TASK 10 Seeing the Other Side of a CharacterA. Choose the best actor/actress in your group, then have a short reenactment showing the real dream of Biff through his statements “I stopped in the mid- dle of that building and I saw — the sky. I saw the things that I love in this world.” Act this out showing the happiness and contentment of a well-loved son instead of a rebel one.B. Using the same groupings, evaluate the reenactment of your classmates from the other groups which your teacher will assign to you. Describe your feelings and realization pertaining to the activity. You may use the suggested words below for a more interesting description. Our Observation The Reenactment (Describe the acting, dialogue, facial expression, and gestures of the actor/actress.) Our Feelings and Thoughts (What did you feel and think after watching the reenactment?) Our Realization (What did you realize after watching the reenactment?) There are two kinds of descriptive words: an adjective and an adverb. An adjective describes a noun or a pronoun. It clear- ly defines the noun or pronoun if it answers the questions what kind, how many, or which one. An adverb describes an adjective, a verb, or another adverb. It tells how, when, where, or to what extent about the words they modify. Use of Adjectives 1. The old vehicle requires on overhaul repair. 2. She saved money for his two baseball bats. 3. Hand me the pencil, please. Use of Adverbs 1. They talked happily. 2. The Olympic delegates arrived in the country last night. 3. The athlete practices quite often. 616

Suggested Adjectives to be used in Modifying Movies and Stage Plays These words are given to give viewers a wide array of ad- jectives which are more suitable to use especially when describing acting, stage drama, play, or movies. Boring, Comical, Confused, Dramatic, Dreadful, Dull, Enjoy- able, Entertaining, Excellent, Exciting, Fascinating, Fast-Mov- ing, Flawed, Funny, Imaginative, Incredibly Tiresome, In- sightful, Inspirational, Intriguing, Lasting, Ordinary, Original, Outdated, Pleasant, Powerful, Predictable, Romantic, Sad, Satirical, Senseless, Sensitive, Sentimental, Silly, Slow, Static, Surprising, Suspenseful, Thought Provoking, Tired, Uneven, Uninteresting, Unpretentious, Uplifting, Uproarious, Violent, Wacky, Weak. http://descriptivewords.org/descriptive-words-for-movie-reviews.html Dying is something that almost everybody is scared about. Hence, whenpeople have the chance to know the death of a person due to his terminal illness,the relatives and loved ones optimize the remaining time to finding the cure orprolonging the life of the sick. This ordinary way of treating the ill relative ishowever, contradictory to the physicians’ point of view. Read the following text,and then analyze how they attain dignity in their death. Be ready also to comparethis with how the salesman, Willy, in the play Death of a Salesman–Requiempart differ.Death with Dignity: How Doctors Die Doctors routinely administer intensive care to patients who say they want it,but many refuse lifesaving treatment themselves. 617

Read more http://www.utne.com/mind-and-body/death-with-dignity-zm0z12mjzros.aspx#ixzz-2jzngTUcx Medical Overtreatment: A Broken System How has it come to this—that doctors administer so much care that theywouldn’t want for themselves? The simple, or not-so-simple, answer is this:patients, doctors, and the system. To see how patients play a role, imagine a scenario in which someone haslost consciousness and been admitted to an emergency room. As is so often thecase, no one has made a plan for this situation, and scared family members findthemselves caught up in a maze of choices. When doctors ask if they want “every-thing” done, they answer yes, often meaning “do everything that’s reasonable.”The problem is that they may not know what’s reasonable. For their part, doctorswho are told to do “everything” will do it, whether it is reasonable or not. This scenario is a common one. Feeding into the problem are unrealisticexpectations of what doctors can accomplish. Many people think of CPR as areliable lifesaver when, in fact, the results are usually poor. If a patient suffersfrom severe illness, old age, or a terminal disease, the odds of a good outcomefrom CPR are infinitesimal, while the odds of suffering are overwhelming. Poorknowledge and misguided expectations lead to a lot of bad decisions. But of course it’s not just patients making these things happen. Doctors playan enabling role, too. The trouble is that even doctors who hate to administer 618

futile care must find a way to address the wishes of patients and families. Imag-ine, once again, the emergency room with those grieving family members. Theydo not know the doctor. Establishing trust under such circumstances is a verydelicate thing. People are prepared to think the doctor is acting out of base mo-tives, trying to save time, or money, or effort, especially if the doctor is advisingagainst further treatment. In many ways, doctors and patients are simply victims of a larger systemthat encourages excessive treatment. In some unfortunate cases, doctors usethe fee-for-service model to do everything they can, no matter how pointless, tomake money. More commonly, though, doctors fear litigation and do whateverthey’re asked, with little feedback, to avoid getting in trouble. Even when the right preparations have been made, the system can still swal-low people up. One of my patients was a man named Jack, a 78-year-old whohad been ill for years and undergone about 15 major surgical procedures. Heexplained to me that he never, under any circumstances, wanted to be placedon life support machines again. One Saturday, however, Jack suffered a massivestroke and got admitted to the emergency room unconscious, without his wife.Doctors did everything possible to resuscitate him and put him on life supportin the ICU. This was Jack’s worst nightmare. When I arrived at the hospitaland took over Jack’s care, I spoke to his wife and to hospital staff about his carepreferences. Then I turned off the life support machines and sat with him. Hedied two hours later. Although he had thoroughly documented his wishes, Jack hadn’t died as he’dhoped. The system had intervened. One of the nurses, I later found out, evenreported my actions as a possible homicide. Nothing came of it, of course; Jack’swishes had been spelled out explicitly, and he’d left the paperwork to prove it. Butthe prospect of a police investigation is terrifying for any physician. I could farmore easily have left Jack on life support, prolonging his life, and his suffering,a few more weeks. I would even have made a little more money, and Medicarewould have ended up with an additional $500,000 bill. It’s no wonder manydoctors err on the side of overtreatment. But doctors still don’t overtreat themselves. Almost anyone can find a way todie in peace at home, and pain can be managed better than ever. Hospice care,which focuses on providing terminally ill patients with comfort and dignity, pro- 619

vides most people with much better final days. Amazingly, studies have found thatpeople placed in hospice care often live longer than people seeking active cures. Death With Dignity Several years ago, my older cousin Torch (born at home by the light of aflashlight, or torch) had a seizure that turned out to be the result of lung cancerthat had gone to his brain. I arranged for him to see various specialists, and welearned that with aggressive treatment, including three to five chemo-therapysessions a week, he would live perhaps four months. Ultimately, Torch decidedagainst any treatment and simply took pills for brain swelling. He moved inwith me. We spent the next eight months doing a bunch of things that he enjoyed,having fun together like we hadn’t in decades. We went to Disneyland, his firsttime. We’d hang out at home. Torch was a sports nut, and he was very happyto watch games and eat my cooking. He even gained a bit of weight, eating hisfavorite foods rather than hospital meals. He had no serious pain, and he re-mained high-spirited. One day, he didn’t wake up. He spent the next three daysin a coma like sleep and then died. The cost of his medical care for those eightmonths, for the one drug he was taking, was about $20. Torch was no doctor, but he knew he wanted a life of quality, not just quan-tity. Don’t most of us? If there is a state of the art of end-of-life care, it is this:death with dignity. As for me, my physician has my choices. They were easy tomake, as they are for most physicians. There will be no heroics, and I will gogentle into that good night. Like my mentor Charlie. Like my cousin Torch. Likemy fellow doctors.Ken Murray is clinical assistant professor of family medicine at the Universityof Southern California. Excerpted from Zócalo Public Square (November 30,2011), a project of the Center for Social Cohesion.Read more: http://www.utne.com/mind-and-body/death-with-dignity-zm0z12mjzros.aspx#ixzz-2jzpBdhXw 620

TASK 11 Digesting the Text Let us find out how you understood the selection you have just read. Answerthe following questions.1. What do the patients’ relatives usually ask doctors to do when the former is taken to a hospital unconscious?2. What is CPR? How do physicians perceive it?3. What is the usual reaction of the patients’ relatives if doctors advise against further medical treatment?4. Based on the selection, how can one die with dignity? Are you amenable to it? Why?5. What values does the text want to instill in us? Do you agree that these values are to be retained or preserved among others? Why?TASK 12 Comparing and Contrasting One’s Value System Willy Loman in Death of a Salesman died with only his family and a fewfriends attending the funeral. What can you say about the value system of theAmericans in the play? How do you compare this with your own value system?Be able to identify the possible causes of these differences. Write your ideas onthe fish bone. Indicate on the problem box a particular value and identify themajor causes and sub-causes of your disagreement. Explain what needs to beretained or changed in the value system you enumerated.The Play’s Characters’ Value System 621

My Own Value SystemHaving read the text in full, you now understand how the actions and dialogueswill affect your future stage play production. However, there is still need to dis-cuss further some technical terms essential for its success. Consider the followingactivity for the familiarization of these words.TASK 13 Familiarizing the Theater’s TerritoryTechnical Terms: wagon - informal abstaining props - a property, commonly shortened to prop (plural: props), an object used on stage or on screen by actors during a performance or screen production set piece - realistic piece of stage scenery constructed to stand by itself mask - an object normally worn on the face, typically for protection, disguise, performance, or entertainment. makeup - products adapted to all makeup styles - founda- tions, eye shadows, lipsticks, gloss, body makeup, eyeliner pencils, loose 622

costume - wardrobe and dress in general, or to the dis- tinctive style of dress of a particular people, class, or period poster blurb - brief advertisement or announcement, es- pecially a laudatory one playbill - a poster announcing a theatrical performance stage production - any work of theater, such as a staged play, musical, comedy, or drama produced from a written book or scriptFill-in the blanks with the appropriate words to complete the sentence. Chooseyour answers from the technical terms.1. She designed a ________________ for her stage performance.2. The artists wore heavy ______________ for the evening show.3. The summit delegates were requested to wear their national _____________ for the cultural presentation.4. ___________ are essential in making a play production more realistic.5. A ____________ is worn by an artist especially in comedy or horror to add impact to a movie or play.6. She wrote a nice ____________ to advertise her next theatrical production.7. Why don’t you join the ____________ of performers?8. The ____________ of a recently produced play was catchy and realistic. To prepare you for your ultimate performance, the following activities arecrafted for the development of your skills or hidden potentials. Be open in shar-ing what you want to do or accomplish as this will help you discover somethingnew about you. 623

TASK 14 A Renewed Character The characters in the play which you have read are flawed. In your group,(assigned by the teacher) discuss the changes which the characters have to un-dergo in order to establish a harmonious relationship among themselves. Assignmembers of the group act as director, makeup artist, props men, technical crew,actors or actresses, and a script writer. Then present a short skit depicting thesechanges. Use costumes, makeup, sounds, lightings, and props appropriate foryour mini-play.TASK 15 Be Acquainted with the Stars To get to know the people who crafted and portrayed the characters in themini–play, other groups (assigned by the teacher) will present a talk show whereall the mini-play crew and stars will be the guests. To do this better, considerthe following guidelines.1. Gather the members of the group, then assign a specific role or task for each member (e.g., host, co-host, avid fan, technical men, product endorser for the commercial, and pre-assigned audience to ask questions for the guests.)2. Prepare a script for a smooth flow of the talk show, particularly the questions to be asked by the host and co-host to the guests.3. Prepare an advertisement informing the public of the prominent guests in your talk show.4. Inform your guests (the crew and the stars of the mini-play) for them to be prepared for the talk show.TASK 16 Free–Style Feedbacking Groups are assigned to present their feedback pertaining to the two previouspresentations (mini-play and the talk show) should take down notes of their ob-servations during the conduct of the activities. Observations may be listed downbased on the perceptions of the observers to give them freedom to air what theywould like to say (free-style). To guide the group in noting their feedback, a fewpointers are suggested. 624

1. Comment on the strong and weak points of the following: • Delivery of the lines • Facial expressions • Clarity of voice • Appropriateness of pitch, gestures, conjuncture • Costume, sounds, lightings, makeup • Blockings • Overall projections • Setting (props/sets) • Characterization • Overall presentation2. Give suggestions for improvement YOUR FINAL TASK Making your ultimate performance in Grade 9 the best among your engage-ment activities entails a lot of effort, commitment, and a gradual accomplishmentof the essential requirement. Thus, to help realize your dream and develop yourhidden potentials, you will be tasked to do the following. 625

TASK 17 Blurbing the Tone, Mood, and Message of the TextA. Recall the play which you have read Death of a Salesman and then, make a poster blurb to emphasize its climax, tone, mood, and message. Keep your output as this will be used as stage background or design for your stage play. You may use any material whether authentic or electronic (tarpaulin type) in nature depending upon the class’ decision based on the needs of the stage play. See the samples below.Calling Freedom Posters Goodbye Nana Posterby Nico Optical Designed by Dreaming Again Dr. Jeykl & Mr. Hyde Play Act Vaudevillehttp://www.zazzle.co.nz/blurb+posters 626

Stage Design for Ostrovsky’s play Paint Stage Set for Act III of ‘Le Chateau Loch Vintage Poster THE SHOEMAKER DRAMAhttp://www.zazzle.com/stage+play+posters 627

MY TREASUREFor Whom I Need to ChangeThe ending of the play Death of a Salesman depicted that to focus on money asthe only measure of success, instead of fulfilling our obligation to our loved onesand to our society will not bring us happiness and contentment.As a student, a child, and a good patriotic citizen, what can you suggest in orderto leave a remarkable contribution for a family and societal reform? Expressthem by completing the phrases in your notebook.The habits which I should discard are the following:I intend to change them for…..My Friends: _______________________________________________My Family: ________________________________________________My Country: _______________________________________________ 628

LESSON 7UNCHANGING VALUES IN ACHANGING WORLD YOUR JOURNEY Have you experienced accomplishing something which you can never imag- ine or expect doing? That is what we consider as challenge. A challenge can be physical, mental, or emotional in nature. Now you are facing the greatest challenge of this year’s encounter which pushes you to the limits. As you go through the varied activities you will realize that you acquire and develop skills which motivate you to improve your craft. Your environment shall provide opportunities for you to constantly discover something new about yourself. Likewise, the circumstances that turn your life upside down shall eventually shape you to become a well – rounded individual. YOUR OBJECTIVES A systematic, skillful, and open- minded disposition are the qualifications of a successful stage play production. As a significant member, you must aim to: • take a stand on critical issues brought up in the material viewed • make generalizations • explain how a selection may be influenced by culture, history, environment, or other factors • get familiar with the technical vocabulary for drama and theater • analyze literature as a means of understanding unchanging values in a chang- ing world • judge the relevance and worth of ideas, soundness of author’s reasoning, and the effectiveness of the presentation • use appropriate multi-media resources appropriately, effectively and effi- ciently • compose a play review. (perform a stage play) • observe tense consistency in writing an evaluation 629

YOUR INITIAL TASKS Let’s flip your world around through the following exciting activities.TASK 1 Standing Up for a Reason Analyze the pictures and then answer the following questions. 630

1. What does each picture suggest?2. Using one of the pictures, what commitment as a person were you able to come up with? Start your statement as indicated below.3. Then share your output with your partner. My commitment: I stand up to commit myself in _________________ __________________________________________________TASK 2 Who’s In, Who’s Out? (In groups with ten members)1. In class, the music will be played by the teacher.2. While the music is playing, a picture will be shown to the entire student participants who are previously assigned by the teacher.3. After seeing the picture, think of a simple resolution, change, or assistance which you can extend to your friends, acquaintances, or relatives which is related to the picture being shown.3. While you are conceptualizing your ideas, go around the chairs which are previously arranged for this game.4. As the music stops, rush towards the chair and sit down. Don’t stand unless you are told to do so.5. Observers who are assigned to judge will go around to check who is in or out.6. Anyone who is caught standing will be out, while those who are seated will be asked to recite what he/she has prepared. Those who will be able to recite correctly the above mentioned task related to the picture will be given point cards previously prepared for games like this which can be used later as one of the gauges in assessing your class participation.7. The process will be repeated until all the pictures and all the groups have participated in this fun-learning activity.TASK 3 Trial or Convey? (In groups with ten members)1. Members of the group will be asked to look for a partner and sit beside each other.2. Once everybody is seated, the music will be played.3. Simultaneous with the playing of the music is a ball which is being passed on all the participants in the class.4. From time to time, the music will be stopped. Be alert in passing the ball to 631

the next member as whoever holds the ball as the music stops will be on “tri- al” (doing a consequence to be dictated by an assigned jury) or “convey” the message of the symbols(to be done through singing, rapping, or declaiming, and other creative expressions of ideas). 5 Symbols to be shown by the teacher will be taken from the play “Death of a Salesman.” 6. The process will continue until all the symbols prepared by the teacher and all the assigned groups have participated. TASK 4 Realizing the General Idea Listen as the teacher reads the article and then write the issues on the rays while the general idea at the center. State your overall generalization pertaining to the message implied in it. YOUR TEXT• February 5, 2013, 1:13 PM Text of Eric Cantor’s Policy Speech on ‘Shared Vision’ WASHINGTON, DC – JANUARY 04: U.S. House Majority Leader Rep. Eric Cantor (R-VA) (C) walks towards the House Chamber at the U.S. Capitol January 4, 2013 on Capitol Hill in Washington. Here is the prepared text of the remarks of House Majority Leader Eric Can- tor (R., Va.) set for delivery Tuesday at the conservative think tank American Enterprise Institute. As we previewed, Mr. Cantor is talking about how the federal government can help American families rather than focusing primarily on the need to reduce federal spending and tackle budget deficits. WASHINGTON, D.C. – Today, House Majority Leader Eric Cantor (R-VA) will deliver remarks at the American Enterprise Institute (AEI) at 1:00 p.m. EST outlining a number of major policy initiatives designed to “Make Life Work” for 632

more people. Watch the speech live on C-SPAN 2. The embargoed text of LeaderCantor’s speech, as prepared for delivery, appears below:Thank you Arthur. Arthur, you’ve been an inspiration for me, and so many ofmy colleagues.The work of Arthur and his colleagues at AEI has demonstrated an incredibleunderstanding of how conservatism leads to better lives for us all. Your insightand commitment in this vein has only begun to pay dividends. I really appreciateyour counsel and friendship.In Washington, over the past few weeks and months, our attention has been oncliffs, debt ceilings and budgets, on deadlines and negotiations. All of this is veryimportant, as there is no substitute for getting our fiscal house in order. There isno greater moral imperative than to reduce the mountain of debt facing us, ourchildren and theirs. The House Republican Majority stands ready for PresidentObama and his party to finally join us in our efforts to tackle the big problemsfacing America.But today, I’d like to focus our attention on what lies beyond these fiscal debates.Over the next two years, the House Majority will pursue an agenda based on ashared vision of creating the conditions for health, happiness, and prosperity formore Americans and their families. And to restrain Washington from interferingin those pursuits.We will advance proposals aimed at producing results in areas like education,health care, innovation, and job growth. Our solutions will be based on the con-servative principles of self reliance, faith in the individual, trust in the family,and accountability in government. Our goal – to ensure every American has afair shot at earning their success and achieving their dreams.It is my hope, that I can stand before you in two years and report back that ourside, as well as the President’s, found within us the ability to set differencesaside, to provide relief to so many millions of Americans who simply want theirlife to work again.In so many countries throughout history, children were largely consigned tothe same station in life as their parents. But not here. In America, the son of ashoe salesman can grow up to be President. In America, the daughter of a poorsingle mother can grow up to own her own television network. In America, thegrandson of poor immigrants who fled religious persecution in Russia can be-come the Majority Leader of the U.S. House of Representatives.In America, in Kitty Hawk, North Carolina, two bicycle shop mechanics gavemankind the gift of flight. The Wright brothers flew only 22 feet, 18 feet in the air,but they performed a miracle. As a result, only 66 years later, this great country 633

of ours put a man on the moon and brought him back. We can do an enormousamount. That’s who we are.The Wright brothers’ father, Milton, first inspired his sons with a toy helicopter.But he never wanted Orville and Wilbur to fly together, for fear he would losethem both. In 1910, seven years after the boys’ first flight, Milton gave thempermission to fly together, the only time they ever did, and it lasted six minutes.Later that day, Orville took 82-year-old Milton on the only flight of his life. Itlasted seven minutes, rising 350 feet, while his elderly father shouted: “Higher,Orville, higher.”What a great commentary. In America, we do have higher expectations for ournation. Since our founding, we believed we could be the best hope to mankind.That hope led generations of immigrants to risk everything, to endure a toughjourney to our shores, looking for a better future.The driving motivation for millions of immigrants passing by Lady Liberty inNew York Harbor was the generation that came after them. And because of thathope – those high expectations – coupled with a determination to see them cometrue, every generation since has had it better off than the one before. Until now.Lately, it has become all too common in our country to hear parents fear whethertheir children will indeed have it better than they have. And for all of us parents,that is a scary thought. Let’s face it. It has gotten a lot tougher to raise a familyhere in America. Our goal should be to eliminate this doubt gripping our nation’sfamilies, and to restore their hope and confidence so that parents can once againsee a better tomorrow for their children.Together, my wife Diana and I raised our three children, Evan, Jenna and Mikey,and we couldn’t be more proud of the young adults they have become. Our nestis now empty, but I understand the pressure all parents are under, and the tryingtimes they go through.Parents are working, saving for school, paying for braces, helping with homeworkand going from one after-school activity to the next. It’s not easy.That’s why we worry so much. Where can you find an affordable home in a goodneighborhood to raise your kids? Which health care plan can I afford that allowsyou to see your doctors? Will the children make it through high school and getinto a college of their choice, and if so, can you afford it? What about a career?Will that be available to them? These are real life concerns. This is what keepsparents awake at night fearful that life won’t work out the way they hoped.During the last several years with the stagnant economy, too many mothers andfathers have had to come home, walk into the kitchen and tell their families theydidn’t have a job anymore. How does a family like that save for a rainy day, when 634

it just got tough to even make it through the next month?These families are desperate to wake up in the morning and have the nightmareover. The best way to restore their hope for the future and to heal our countryis by making opportunity a reality for them and everyone. This comes with agrowing economy, business expansion, and start-ups creating jobs.Just like parents, Washington must start showing care for the generations aheadwhile leaving the parenting to the parents.Government policy should aim to strike a balance between what is needed toadvance the next generation, what we can afford, what is a federal responsibilityand what is necessary to ensure our children are safe, healthy, and able to reachtheir dreams.Opportunity and the belief in a better tomorrow start with an education systemthat works. In an 1822 letter, Thomas Jefferson wrote: “I look to the diffusion oflight and education as the resource to be relied on for ameliorating the condition,promoting the virtue, and advancing the happiness of man.”With an eye toward Mr. Jefferson’s vision, since 1965, the federal governmenthas poured hundreds of billions of dollars into improving schools in low-incomeareas – over $15 billion just last year. And frankly, the results have not matchedthe investment.Joining us here today is Joseph Kelley and his family. A heroic Dad, Josephworried that the public school wasn’t helping his son. Rashawn flunked the firstgrade, and by fifth grade was three years behind on most subjects. The schoolactually put him in special education classes. Joseph would try and sit in onclasses in order to help Rashawn, but was met with hostility, and even had toobtain a court order so Rashawn could have a tutor.Violence was so prevalent in Rashawn’s schools that eight D.C. police officerspatrolled it on a daily basis. Mr. Kelly heard of the D.C. Opportunity ScholarshipProgram and dedicated himself to making sure Rashawn and his three sisterscould gain access to a school that would put them on a path to graduation, andcollege – an opportunity he himself did not have.Within two years at a private school, Rashawn caught up to his classmates, andis now a student at the University of the District of Columbia. And his sisters,Domonique, Shakeyta and Rhunetta, are attending the Preparatory School ofDC and are on a similar path to opportunity.I visited this school yesterday, and it is impressive. The kids are in a safe en-vironment, with great teachers, terrific administrators, small class sizes and amission that every kid succeeds. 635

No one should deny Rashawn and his sisters this opportunity. Joseph Kelley,nor any parent, should have to wait for failing school systems to get their actstogether. Throughout the country there are promising signs that we can bringschools and parents together to improve our educational system.San Francisco Public Schools adopted a funding mechanism according to what’stermed a “weighted student formula.” Under this policy, the more students aschool attracts, the more money that school, its administrators and teachersreceive. Low-income students are weighted heavier in the funding formula asare children with disabilities, and those learning English as a second language.So, there’s incentive for schools to seek the more vulnerable population, andreasons for schools to differentiate themselves and excel.Imagine if we were to try and move in this direction with federal funding. Allowthe money we currently spend to actually follow individual children. Students,including those without a lot of money or those with special needs, would be ableto access the best available school, not just the failing school they are assigned to.And their options ought to include not just public schools or private schools,but also charter schools. A competitive environment, where schools compete forstudents rather than the other way around, gives every child from the inner cityof Washington to the streets of Los Angeles, an equal chance at a greater destiny.One of our priorities this year will be to move heaven and earth to fix our edu-cation system for the most vulnerable. And when those children graduate fromhigh school, we must expand their choices and college should be a viable option.In 1980, the average cost of college was roughly $8,000 a year. Today, it is over$20,000, and less than 60% of the students who enroll in a four-year programgraduate within six years. Clearly, something is broken.According to President Obama’s former jobs council, by 2020 there will be 1.5million jobs without the college graduates to fill them. While there is a persistentunmet demand of 400,000 to 500,000 job openings in the health care sectoralone. Recent reports indicate there are not enough applicants with the skillsnecessary to fill the jobs in the booming natural gas industry in America.Suppose colleges provided prospective students with reliable information onthe unemployment rate and potential earnings by major. What if parents hadaccess to clear and understandable breakdowns between academic studies andamenities? Armed with this knowledge, families and students could make betterdecisions about where to go to school, and how to budget their tuition dollars.Students would actually have a better chance of graduating within four yearsand getting a job.Helping students realize opportunity and a career, while keeping tuition costs 636

low makes common sense. Senators Rubio and Wyden have a proposal that theyunveiled here at AEI, which addresses this goal. I look forward to working withthem and Chairman John Kline in pursuing legislative action in the House.Over the course of this Congress, we will also work to reform our student aidprocess to give students a financial incentive to finish their studies sooner. Wewill encourage entrepreneurship in higher education, including for-profit schools.And we will fix the way we subsidize education by making the costs more trans-parent to parents, students and the millions of taxpayers who help pay some ofthe bill. We owe it to them.A good education leads to more innovation. Throughout our history, Americancolleges and universities have served as the crucible for the world’s innovation.They are a big part of why the United States remains the destination for theworld’s best and brightest. Investment in education leads to innovation, whichleads to more opportunity and jobs for all. Our problem? The investment wemake is not yielding maximum returns.Each year our colleges and universities graduate approximately 40,000 foreignnationals with Masters and PhDs, many of whom are then forced to leave thecountry because there are not enough visa slots in our immigration system topermit them to stay. So rather than being able to invent things here in America,grow businesses or start one on their own, they do all of those things somewhereelse.Fiona Zhou is here today. She is earning her Master’s degree at the GeorgeWashington University School of Engineering and Applied Science. Originallyfrom China, she’s been in the U.S. for five years, studying operations research inthe systems engineering department. She’s pretty smart. She would like to stayhere and invest her talents in America, and maybe even start her own company.But she has seen too many of her friends with advanced degrees have to go backhome despite sharing her same dreams and aspirations.Last year, the House passed the bipartisan STEM Jobs Act which helped fix thisproblem. We will act again in this Congress, and we hope the Senate chooses tojoin us this time. I look forward to Fiona realizing her dreams and our countryreaping the rewards of her hard work and talent.Whether it’s college or the cost of daycare, making life work for more familiesmeans reducing the economic insecurity plaguing so many working moms anddads. Over the last 20 years, the world has changed. It used to be that one couldmake a career out of working for one company. Today, the average worker staysat his or her job for barely four years.Median income in 2010 was about the same as it was in 1997. Experts correctly 637

point out that this statistic ignores that many working families are getting morebenefits like health care from their employer and not just wages.But, explaining that rising health care costs are depressing take-home pay is lit-tle consolation to a working mom. Her grocery bills are higher, her kids’ schoolneeds are more expensive, rent is up – and now, she’s just trying to get by. Andgetting by is not the American Dream.As job markets are changing, more skills training and education are needed.Federal jobs training programs ought to make it easier for Americans who areout of work or who are changing careers to get the skills they need.Yet today, the federal government has a patchwork of over 47 different over-lapping programs that are not dynamic or innovative enough to meet the needsof employers or potential employees. We can fix this, and we should be able tomuster bipartisan support to do so.If you’re a working parent, you know there’s hardly ever enough time at hometo be with the kids. Too many parents have to weigh whether they can afford tomiss work even for half a day to see their child off on the first day of school orattend a parent-teacher conference.Federal laws dating back to the 1930s make it harder for parents who hold hour-ly jobs to balance the demands of work and home. An hourly employee cannotconvert previous overtime into future comp-time or flex-time. In 1985, Congresspassed a law that gave state and municipal employees this flexibility, but todaystill denies that same privilege to the entire private sector. That’s not right.There’s a police officer at home in my district, her name is Vicki. She is workinga tough job, with long hours, while raising her children. Her life is made a littleeasier because as a local government employee, she is permitted to work someextra hours and save it up for a sick day or a school event.Imagine if we simply chose to give all employees and employers this option. Aworking mom could work overtime this month and use it as time off next monthwithout having to worry about whether she’ll be able to take home enough mon-ey to pay the rent. This is the kind of common sense legislation that should benon-controversial and moves us in the right direction to help make life workfor families.Another step we have to take is on taxes. There is a lot of talk about taxes inWashington right now. For most families, tax preparation is hard and it is timeconsuming – this time of year especially. Think about what they’re going through.What tax form are you supposed to fill out, is it more beneficial to file jointly asa married couple or separately? Is a truck or gas mileage deductible or are you 638

forgetting something that the IRS gives you credit for?In 1935, the Form 1040 was accompanied by a two-page instruction booklet.Today, taxpayers must wade through over 100 total pages of instructions. Justfilling out a W-4 at a new job is confusing. You shouldn’t need a worksheet toknow how many dependents you have. Chairman Dave Camp and his committeeare already underway in the effort to responsibly rewrite our nation’s tax laws.As in education policy, health care and all else, tax reform, should reflect thepriorities of working families and the future they’re trying to shape for theirkids. If nothing else, we must stop putting special interests ahead of our workingfamilies’ best interests.Loopholes and gimmicks benefitting those who’ve come to know how to workthe system in Washington, are no more defensible than the path of wasteful andirresponsible spending we’ve been on for decades. Working families should comefirst. Everyone agrees a fairer, simpler tax code would give us all more time.In our attempt to make the tax code simpler, we must continue to demonstratesupport for young parents who invest in having kids and raising a family. Theyare America’s most valued investors.In 1997, a Republican Congress created the child tax credit specifically to helpease the financial burden of families raising children. In 2001, it was expanded.Such a policy helps to limit the size of government and results in fewer Americanslooking to the government for support.Leading up to April 15th, families will be besieged by concerns over their taxes.But it’s health care and a concern for a healthy family that always worry parentsmost. Most Americans have come to expect the best health care in the world.But there’s no doubt our current system is too expensive and too complicated.President Obama’s health care law resulted in higher premiums and costs forfamilies, and has made access to quality health care and innovation tougher.If we want to reverse this trend, we should start by choosing to repeal the newtaxes that are increasing the costs of health care and health insurance, like themedical device tax.With us today is Erin Shucosky. Erin has been a clinical nurse for 30 years inBaltimore. She spent the past ten years coordinating the research on a study toapprove new replacement discs to treat patients suffering from crippling neckand back pain. Over time, Erin discovered she suffered from the very conditionher work aimed to treat. On her days off, Erin would spend time at her daugh-ter’s lacrosse tournaments barely able to move, and would then go home andspend most of her time there with an ice pack on her neck. So she went in forsurgery and got those new disc replacements. Erin’s in a cervical collar today, 639

but thankfully she’s on the mend.The new medical device tax in ObamaCare makes it harder for researchers todevelop these innovative devices in the U.S. and thus makes it harder for patientslike Erin to get the care they need.ObamaCare has unnecessarily raised the costs of our health care. Even thosewho have pre-existing conditions could get the coverage they need without atrillion dollar government program costing us all more. And that’s only the tipof the iceberg when we talk about health care reform.Many families, like mine, are dealing with the challenges presented by agingand very sick parents. They rely on Medicare for relief. In 1965 the federal gov-ernment created Medicare modeled after the standard Blue-Cross Blue Shieldinsurance plan commonly available at that time. In the past 50 years both healthcare and health insurance have changed dramatically, but the government andMedicare have not kept pace.Medicaid isn’t doing any better. Under the Medicaid system the rules are set inWashington, but much of the bills are paid in our state capitals. Collectively statesare spending more on Medicaid than they do on K-12 education. And states don’thave the flexibility to innovate in order to lower costs and provide better care.As a result, in many cases, patients have been swallowed up by the system, andhave become an afterthought. These programs are broken, and many patientsare going without proper care. That’s not fair to the people who depend on theseprograms. We’ve got to fix them.We can modernize Medicare so it isn’t so complicated for seniors or health careproviders and make it easier for them to get the care they need in a cost effectivemanner. We should begin by ending the arbitrary division between Part A, thehospital program, and Part B, the doctor services. We can create reasonable andpredictable levels of out-of-pocket expenses without forcing seniors to rely onMedigap plans.Seniors who choose to receive their health care treatment through a group ofdoctors and hospitals working together to control costs, should share in thesavings through lower Medicare premiums and out of pocket costs. This is bothcost effective and good for seniors.We can provide states more flexibility with respect to Medicaid that will allowthem to provide better care for low-income families in a way that ultimately lowerscosts. Options for states should include streamlining the process for determiningeligibility, and allowing them to offer health coverage through patient-directedhealth care or flexible benefit programs. And we must make it faster and simplerfor states to gain approval of federal waivers to modify their Medicaid programs. 640

Long term, controlling health care costs will require smarter federal investmentsin medical research. Many of today’s cures and life saving treatments are a resultof an initial federal investment. And much of it is spent on cancer research andother grave illnesses.One of the most courageous people I know is a young girl from Richmond namedKatie. I’ve known Katie for many years. Katie was diagnosed with a brain tumorjust after her first birthday. This is every parent’s worst nightmare. For years,she went through different treatments and therapies with little success. At age7, she and her parents headed to St. Jude Children’s Hospital in Memphis. Shehad a positive radiation treatment and is doing well today, but this month shewill again travel back to St. Jude as she often does.Katie became a part of my congressional office’s family and even interned withus. We rooted for her, and prayed for her. Today, she is a bright 12-year-old thatis making her own life work despite ongoing challenges. Katie is down here inthe front row. Katie, thank you for being here with us.Prayers for Katie’s recovery help. But we also must pray that scientists andresearchers find cures to these diseases so our parents and grandparents don’tleave us too soon, or that children like Katie are not robbed of a healthy life.There is an appropriate and necessary role for the federal government to ensurefunding for basic medical research. Doing all we can to facilitate medical break-throughs for people like Katie should be a priority. We can and must do better.This includes cutting unnecessary red tape in order to speed up the availabilityof life saving drugs and treatments and reprioritizing existing federal researchspending. Funds currently spent by the government on social science – includingon politics of all things – would be better spent helping find cures to diseases.Scientific breakthroughs are the result of and have helped contribute to America’sbeing the world’s capital of innovation and opportunity in nearly every field. Forthis and many other reasons, people across the globe want to become a part ofour country. We must never diminish that desire, or worse, become a place thatis no longer desirable.It’s no secret that there are more than 11 million people here illegally, many ofwhom have become part of the fabric of our country. They, like us, have familiesand dreams.While we are a nation that allows anyone to start anew, we are also a nation oflaws, and that’s what makes tackling the issue of immigration reform so difficult.In looking to solve this problem soon, we must balance respect for the rule oflaw and respect for those waiting to enter this country legally, with care for thepeople and families, most of whom just want to make a better life, and contrib- 641

ute to America.A good place to start is with the kids. One of the great founding principles ofour country was that children would not be punished for the mistakes of theirparents. It is time to provide an opportunity for legal residence and citizenshipfor those who were brought to this country as children and who know no otherhome.I’m pleased that many of my colleagues in both chambers of Congress on bothsides of the aisle have begun work in good faith to address these issues. And I’mpleased these discussions make border security, employment verification andcreating a workable guest worker program an immediate priority. It’s the rightthing to do for our families, for our security, and for our economy.There are some who would rather avoid fixing the problem in order to save thisas a political issue. I reject this notion and call on the President to help leadus towards a bipartisan solution rather than encourage the common politicaldivisions of the past.A sonnet by Emma Lazarus, “The New Colossus,” was placed at the Statue ofLiberty in 1903. Parts of it read: “Here at our sea-washed, sunset gates shallstand A mighty woman with a torch…From her beacon-hand Glows world-widewelcome…I lift my lamp beside the golden door!”The message of this sonnet should sound familiar to most of us. The image ofthe Statue of Liberty blended with the stories of our immigrant past serve ashumble reminders of who we are as a country. It’s the reason I’m able to standhere before you.Like so many of their generation living in Eastern Europe at the turn of the lastcentury, my grandparents fled the vicious anti-Semitic programs of the czars ofRussia to come to America. Widowed at a young age, my grandmother raisedher two sons in a tiny apartment atop a grocery store she and my grandfatherhad opened.With little but her faith, thrift, and hope for a better tomorrow, my grandmaworked seven days a week to ensure my dad and uncle could realize the promiseof this great country. And today, my children and I stand as proof of the possi-bility to what may have seemed to her like an impossible dream.To uphold this legacy of those who’ve come before us, Washington will need tomake choices. And in a divided government, these choices are often tough. Wein the House Majority remain committed to making those tough choices andstand ready to lead with this president.“Higher” – Milton Wright once shouted from the air. “Higher.” Making life work 642

for more working people, and all who want to work, is the best way to a future of higher growth and more opportunity. Thank You. Source: Eric Cantor’s office• Eric Cantor, gop http://blogs.wsj.com/washwire/2013/02/05/text-of-eric-cantors-policy- speech-on-shared-vision/ TASK 5 Walking the Dream into Reality Cantor’s vision as regards American family dream sounded to be so good. Below are statements extracted from his speech, judge whether these promises are likely to be realized or not. Explain the possible causes of success or failures of these goals. Do this in your group and be ready to present your output. 1. Reduce the mountain of debt facing us, our children and theirs. 2. Create the conditions for health, happiness and prosperity for more Ameri- cans and their families. 3. Advance proposals aimed at producing results in areas like education, health care, Innovation, and job growth. Our solutions will be based on the conser- vative principles of self reliance, faith in the individual, trust in the family and accountability in government. 4. Set differences aside, to provide relief to so many millions of Americans who simply want their life to work again. 5. In America, the son of a shoe salesman can grow up to be President. In America, the daughter of a poor single mother can grow up to own her own television network. In America, the grandson of poor immigrants who fled religious persecution in Russia can become the Majority Leader of the U.S. House of Representatives. 6. Opportunity and the belief in a better tomorrow start with an education system that……? 7. Federal jobs training programs ought to make it easier for Americans who are out of work or who are changing careers to get the skills they need. 8. Make life of a government employee a little easier because as he/she is per- mitte to work some extra hours and save it up for a sick day or a school event. 643

9. Tax reform, should reflect the priorities of working families and the future they’re trying to shape for their kids. If nothing else, we must stop putting special interests ahead of our working families’ best interests.10. Call on the President to help lead us towards a bipartisan solution rather than encourage the common political divisions of the past.TASK 6 What Influences a Text? The speech which you have just read focused on the vision of a politicalleader for American family. With a partner, discuss what prompted Mr. Cantorto come up with his visions. Explain how this speech may affect the disposition,aspirations, state policies, and lives of the citizens in general. Write your ideasin the organizer below. After assessing a write-up of different genre (speech), you will be moving onto another phase of learning which is the stage production. Turning a script into a theatrical production entails the talent of diverseindividuals which necessarily be addressed. The process can be exhausting andstressful but fruitfully rewarding. 644

TASK 7 Conquering the World of Stage Read the text about stage production and understand its mechanics to beable to apply the acquired knowledge and skills during the actual conduct of atheatrical production. How will you conquer the world of a stage play?Production Staff for a Stage Play A production staff includes the stage manager, assistant stage manager,technical director, set designer, scenic artist/set painter, master carpenter, setcrew, lighting designer, master electrician, lighting crew, light board operator,costume designer, master stitcher/tailor/seamstress, costume crew, makeupartist, choreographer, props manager, run crew, orchestra manager, publicitymanager, graphic designer, publicity crew, program designer, house managerand ticket manager. The production staff is basically responsible for every aspectof the production other than acting.Read more:http://www.ehow.com/info_8769211_production-staff-stage-play.htm-l#ixzz2hfnIWoy6Stage management is the practice of organizing and coordinating a theatri-cal production. It encompasses a variety of activities, including organizing theproduction and coordinating communications between various personnel (e.g.,between director and backstage crew, or actors and production management).Stage management is a sub-discipline of stagecraft.A stage manager is one who has overall responsibility for stage managementand the smooth execution of a production. Stage management may be performedby an individual in small productions, while larger productions typically employa stage management team consisting of a head stage manager, or “ProductionStage Manager”, and one or more assistant stage managers.Responsibilities The responsibilities and duties of stage management vary depending on thesetting of a production (i.e., rehearsal or performance) and the type of production(e.g., theater, dance, music). Most broadly, it is the stage manager’s responsibilityto ensure that the director’s artistic choices are realized in actual performance. 645

As the lighting, sound, and set change cues are developed, the stage managerrecords the timing of each as it relates to the script and other aspects of theperformance. The stage manager maintains a prompt book, sometimes called“the book” or “the bible,” which contains all cues, technical notes, blocking andother information pertinent to the show.During rehearsals, the stage manager typically serves as an adjunct to the directorby recording the blocking and ensuring that cast members stay on script, havethe requisite props, and follow the blocking. Stage managers are responsible forhelping establish a show’s rehearsal schedule and ensuring that rehearsals runon time. The stage manager typically documents each rehearsal in a rehearsalreport.Once the house opens for a performance, the stage manager controls all aspectsof the performance by calling the cues for all transitions (this is known as “call-ing the show”) and acting as communications hub for the cast and crew. Largeproductions may utilize a stage management team in which the manager is re-sponsible for calling the show while other team members operate backstage toensure actors and crew are ready to perform their duties. After a show opens, thestage manager is also responsible for calling brush-up, put in and understudyrehearsals to make sure that the show’s quality is maintained.]The stage manager ensures that lighting and sound cues are acted upon at theright time by issuing verbal standby and prompt calls. Each cue call begins withthe word “standby” to indicate that an action is imminent and, in response, thetechnician who will perform the action acknowledges readiness to perform theaction. At the appropriate time, the stage manager will prompt immediate exe-cution of the action by saying “go”.http://en.wikipedia.org/wiki/Stage_managementDesigning some Props Stage props or more specifically, properties are the items that actors handleor interact with onstage. A director may choose to use many, few or no props atall. The choice is generally based upon the type of play or the atmosphere thata director wishes to produce.Several plays are typically performed with the absence of props or with just afew (George Orwell’s “1984” and Thornton Wilder’s “Our Town,” for example).It was once acted in Shakespeare’s “Measure for Measure” with complete periodcostumes and dialogue, but no theater props. The play was set exclusively in aboxing ring. 646

A lack of theatrical props forces the audience’s attention solely onto the actors.It can give a play depth and heightened psychological quality. Often props arefound distracting if they are not used naturally. It is also sometimes difficult tosee or distinguish them.However, in many productions, props are a necessity. They are important forfairy tales, mysteries, and plot-driven drama (plays that are known for the strongplot and storyline more than for the acting). Essentially, props should enhanceour understanding and enjoyment of the show. In fairy tales, tales from othercultures and mystery, props like wands, jewel, golden goblets, weapons, and propswhich are clues add enjoyment. Children’s theater often relies upon lovely props.Here are some guidelines for designing your own. 1. Make a comprehensive list of all props you will need. 2. There are several rules of thumb when it comes to theater props. o Exaggerate them a bit to make them visible to the audience. o Some props should be made to replicate their actual, real-life weight; it would be difficult to use an extremely light-weight broadsword convincingly. Be careful never to compromise safety, though. o If appropriate to the play, make props brightly colored for better visi- bility. Use glue-on gems, metallic spray paint, tissue paper and tinsel to make them eye-catching. 3. First, before you make anything, do some scrounging for borrowed props. Make sure these are items of no intrinsic value; otherwise they will have to be insured. 4. Next, think about what could be purchased inexpensively from discount stores. 5. When these possibilities have been exhausted, list what you will need to make. 6. List materials you will need: wood, metals, fabric, decorations, etc. 7. Research where you can get the best prices. 8. Proper planning ensures that you can get the most props for your money, for example from a piece of material. 9. For the fabric props (curtains, banners, and garments), make these on a basic sewing machine. If someone has access to a machine with a serger (it cuts and sews professional seams), this would be very helpful for the large props like banners. 10. For wooden props, a basic band saw can be used. A jigsaw is also helpful. 647

11. Design wooden props to produce special effects with hinges. Wooden props can be very effective. 12. Cut wooden pieces to be removed and reassembled if necessary. 13. For metal props, use blunt, dulled metal scraps. 14. Some props can be made of foam. If a play calls for a prop to be smashed or shattered, you can make on solid prop and an identical one cut into pieces and reassembled. When it needs to be broken, use a glass smashing sound effect on tape. 15. A fog or bubble machine makes a splendid effect for underwater or magical elements in a play.Blocking (stage)Blocking is a theater term that refers to the precise movement and positioningof actors on a stage in order to facilitate the performance of a play, ballet, filmor opera. The term derives from the practice of 19th-century theater directorssuch as Sir W. S. Gilbert who worked out the staging of a scene on a miniaturestage using blocks to represent each of the actors (Gilbert’s practice is depictedin Mike Leigh’s 1999 film “Topsy-Turvy”In contemporary theater, the director usually determines blocking during re-hearsal, telling actors where they should move for the proper dramatic effect,ensure sight lines for the audience, and work with the lighting design of the scene.Each scene in a play is usually “blocked” as a unit, after which the director willmove on to the next scene. The positioning of actors on stage in one scene willusually affect the possibilities for subsequent positioning unless the stage iscleared between scenes. Once all the blocking is completed a play is said to be“fully blocked” and then the process of “polishing” or refinement begins. Duringthe blocking rehearsal usually the assistant director or the stage manager (orboth) take notes about where actors are positioned and their movement patternson stage.It is especially important for the stage manager to note the actors’ positions, asa director is not usually present for each performance of a play and it becomesthe stage manager’s job to ensure that actors follow the assigned blocking fromnight to night.By extension, the term is sometimes used in the context of cinema to speak ofthe arrangement of actors in the frame. In this context, there is also a need toconsider the movement of the camera as part of the blocking process. 648

Stage directions Up StageHouse left House rightStage right Stage left Down StageHouse left/right is from the audience’s perspectiveThe stage itself has been given named areas to facilitate blocking.• The rear of the stage is considered up-stage. This derives from the raked stage, where the stage sloped up away from the audience.• The front of the stage is down-stage.• Stage left and right, at least in British and North American theater, refer to the actor’s left and right facing the audience. Because this is sometimes mis- understood, the terms prompt (actor’s or stage left) and bastard/opposite prompt (actor’s or stage right) are also used.• House left and house right refer to how the audience perceives the stage. The audience’s left is referred to as house left, and the audience’s right is re- ferred to as house right. (These may also be called camera left and camera right for a filmed or sometimes unfilmed production or play.)TASK 8 Discovering What’s Beyond After reading the text, answer the questions which have implications in yourfuture decisions.1. What is the advantage of having varied personalities as the composition of a stage play production?2. What are the things to consider in organizing a stage play?3. How can you assure of a stage play success?4. What sacrifices do you have to face or take so as to be a successful actor/ actress/crew member of a stage play production?5. If there is any sacrifice you need to do at present in order to succeed in this endeavor, how do you intend to make up for the losses or shortcomings? 649

TASK 9 Facing the Real Emotions In your group, recall a soap opera which you like watching. Then, decide whoamong the members can impersonate a character or characters from the soapopera you have chosen. Present a prominent dialogue or action being portrayedby these actors/actresses. Be able to show appropriate facial expressions.TASK 10 Telling Me, Showing You Prepared are varied scenarios which will be drawn for the students. Pick astrip of paper, read and understand what is written on it, then portray in frontof the class the scenario being described. (e.g., a lady inside the church whodiscovered that her wallet is lost.) Apply appropriate dialog, gestures, and facialexpressions.YOUR DISCOVERYTASK 11 Mirroring Myself After discovering the mechanics of stage play production and engagingyourself in meaningful activities, you are now ready to assess your strengths andweaknesses. Fill out the table below with the result of your assessment.My Strengths My Weaknesses Traits/Skills that I Want to Improve/ExploreTASK 12 Committing Myself With the above self assessment that you made, you are now ready to commityourself to a more challenging activities. Come up with the ultimate role you wantto fulfill in this year’s endeavor to make you a part of a stage play production bywriting your final decision pertaining to the greatest performance of your life.Your commitment paper will be assessed by the teacher to know whether therole you have written in it will be assigned to you as tasks will be divided amongthe members of the class. 650

The Ultimate Role I My Responsibilities Things I Want to CommitWant to Portray in Grade 9YOUR FINAL TASKTASK 13 Reviewing a Play - Into a Real Production Watch the video of the “Death of a Salesman” once again for you to be ableto have an idea about the overall stage play production. Take note of the dia-logues, how they are delivered, the blockings, the setting, the props and sets,the costume, the audio, the lighting, and the stage directions which you have toemploy. Then practice for “The Actual Stage Play.” The rubrics below are provided to serve as your guide in your stage playproduction. Take note of the elements to be assessed for a better output. 4 321VOICE Student Student Student attempts Student usesMOVEMENT communicatesCHARACTER expressively, enunciates clearly, to enunciate, limited or enunciating and using variety of using rate, pitch, using vocal variety inappropriate rate, pitch, tone, and volume. and volume to and volume, but enunciation, Student moves express character. execution is weak. vocal variety, and expressively, using a variety volume. of gesture, body movement, and Student moves Student attempts Student uses facial expression cleanly, using to use gesture, limited or to effectively gesture, body body movement, inappropriate illuminate movement, and and facial movement. Use character. facial expression expression, but of script in hand to illustrate execution is detracts from Student character. weak. Use of performance. communicates script inhibits expressively, Student performance. illuminating the communicates life and world of clearly, expressing Student attempts Student uses the character. the life and world of the character. to express the limited or life and world of inappropriate the character, but acting technique execution is weak. to create character. 651

ENSEMBLE Student uses Student uses Student attempts Student lacksPLOT concentration concentration andSETTING and focus to concentration to collaborate focus resulting collaborate in limited seamlessly with and focus to with partner, but collaboration partner during during performance. collaborate concentration performance. Captivating appropriately with and focus are beginning, middle and end where partner during weak during dramatic tension builds to climax, performance. performance. while conclusion is satisfying and Clear beginning, With almost clear Lacks clarity plausible middle and end where dramatic beginning, middle, of beginning, Elaborate, vivid tension builds and arresting that to climax, while and end where middle, and end influences and conclusion is contributes to satisfying and dramatic tension where dramatic captivating and plausible inspiring action. attempts to build tension fails climax, while to build climax conclusion is a bit that resulted to satisfying . an unsatisfying conclusion. Vivid and Arresting that Disorganized which led to arresting that influences and errors in blockings and other influences and contributes to an characters’ moves contributes to action. captivating action.http://www.p12.nysed.gov/ciai/arts/pub/theatresupplement.pdfhttp://www.collierschools.com/english/la/docs/Drama%2520Guide.pdf MY TREASURE Cherishing My Greatest Moment Finally you were able to execute the greatest performance of your life as agrade 9 student. Now express what you think, and feel about your performanceas well as your plan in the future.A Glimpse in My Past Performance__________________________________________________________________________________________________________________________________________________________________________My Plans____________________________________________________________________________________________________________________________________________________________________________ 652

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GLOSSARY A account - reason given for a particular action or even acquainted - having personal knowledge as a result of study, experience, etc.; informed act - a division or unit of a drama adverb of manner - describes how an action or activity is performed adverbs of frequency - indicate “how often” an action is done adverbs of place - words that indicate location adverbs of time - words that indicate when affix - a word element that can be attached to a base or root to form a new word antagonist - a person or a situation that opposes the protagonist’s goals or desires apostrophe - a punctuation mark (‘) used to indicate either possession or the omission of letters or numbers archetype - idealized model of a person or concept from which similar instances are copied or emulated expressions argumentative texts - are essays aimed to persuade the readers to agree to the writer’s points of view; writers do so, not just by presenting information, but by showing the pros and cons of an issue articulation - the clear and precise pronunciation of words aside - a comment by a character that the audience hears but other characters on stage do not B blocking - is a theater term that refers to the precise movement and positioning of actors on a stage in order to facilitate the performance of a play, ballet, film, etc. blurbing - a brief advertisement or announcement, especially a laudatory one; She wrote a good blurb for her friend’s novel; verb (used with object); with pictures brainstorming - a group or individual creativity technique by which efforts are made to find a conclusion for a specific problem by gathering a list of ideas 659

bullying - any deliberate action that inflicts physical or psychological harmCcast of characters - a list of people who play a part in the storycharacter - refers to a person, creature, or entity with specific and distinguishing attributes portrayed by the actor in a playcharacter sketch - a portrait of a person drawn in words; its purpose is to create a vivid impression of the personcharacterization - the process of creating a believable character by exploring the character’s physical, social, and psychological aspects of the rolecharacters - people involved in the storyclimax - the point of greatest dramatic tension in a theatrical work; the highest or most intense point in the development or resolutioncomedy - a theatrical work that is intentionally humorousconceptualize - to form (an idea, picture, etc.) of something in your mindconflict - opposition of persons or forces giving rise to dramatic action; the element that occurs in every drama; it does not have to be quarrels and ar- gument; more often it is much more calm situations; it could be the inability to help, double loyalty or a dying man enjoying lifeconquer - to take control of (a country, city, etc.) through the use of force; to defeat (someone or something) through the use of force; to gain control ofconscience alley - technique for exploring any kind of dilemma faced by a charactercraft - a job or activity that requires special skillcrisis - decisive point in the plot of a play on which the outcome of the remain- ing action dependsDdepict - to represent or characterize in words; describedialogue - the words the character say to each other; the words each character says are written next to his or her namediscard - to throw something away because it is useless or unwanted; to removediscourse - denotes written and spoken communications 660