THE SENIOR MUSICAL REVUE
SET LIST
St. Augustine Set
Executive Producer: Nicaela Aviles
Musical Featured Country/Culture Song/s Performance
The King and I Thailand / Siam Getting to Know You Ensemble
Solo-female
Les Miserables France/French Revolution On My Own Solo-female
Fame USA Fame Ensemble
Out Here On My Own Solo-female
Footloose Chicago, USA Footloose Solo-male
Let’s Hear it For the Boy Female-solo
Miss Saigon Vietnam Sun and Moon Duet-male & female
Mamma Mia Greece I Have A Dream Solo-female
Thank You for the Ensemble
Music
St. Therese Set
Executive Producer: Macky Tanaka
Musical Featured Country/Culture Song/s Performance
The Sound of Music Austria My Favorite Things Ensemble
Sixteen Going on Seventeen Duet-male & female
Camelot England If Ever I Would leave You Solo-male
Evita Argentina You Must Love Me Solo-female
Don’t Cry for me Argentina Solo-female
Singin’in the Rain/Glee USA Singin’in the Rain/Umbrella Ensemble
Solo-male
Solo-female
Wicked OZ (fictional setting) Defying Gravity Duet-male and female
Rent New York, USA Seasons of Love Ensemble
Paris, France (with French versions from
La Boheme)
Executive Producer: Nicaela Aviles
Musical Featured Country/Culture Song/s Performance
The King and I Thailand / Siam Getting to Know You Ensemble
Solo-female
Les Miserables France/French Revolution On My Own Solo-female
Fame USA Fame Ensemble
Out Here On My Own Solo-female
Footloose Chicago, USA Footloose Solo-male
Let’s Hear it For the Boy Female-solo
Miss Saigon Vietnam Sun and Moon Duet-male & female
Mamma Mia Greece I Have A Dream Solo-female
Thank You for the Ensemble
Music
St. Therese Set
Executive Producer: Macky Tanaka
Musical Featured Country/Culture Song/s Performance
The Sound of Music Austria My Favorite Things Ensemble
Sixteen Going on Seventeen Duet-male & female
Camelot England If Ever I Would leave You Solo-male
Evita Argentina You Must Love Me Solo-female
Don’t Cry for me Argentina Solo-female
Singin’in the Rain/Glee USA Singin’in the Rain/Umbrella Ensemble
Solo-male
Solo-female
Wicked OZ (fictional setting) Defying Gravity Duet-male and female
Rent New York, USA Seasons of Love Ensemble
Paris, France (with French versions from
La Boheme)
3rd Quarter Readings:
Copy and Paste on your browser if clicking the link doesn't automatically take you to the page:
Full text of The Iliad (we're discussing Books XXII and XXIV ) : http://www.planetebook.com/ebooks/The-Illiad.pdf
Full text of The Odyssey (we're discussing the part of Odysseus/Ulysses vs. The Cyclops):http://www.planetebook.com/ebooks/The-Odyssey.pdf
Full text of The Iliad (we're discussing Books XXII and XXIV ) : http://www.planetebook.com/ebooks/The-Illiad.pdf
Full text of The Odyssey (we're discussing the part of Odysseus/Ulysses vs. The Cyclops):http://www.planetebook.com/ebooks/The-Odyssey.pdf
3rd Quarter Research:
1. Definitions: MYTH, MYTHOLOGY, EPIC
2. All gods, heroes, and other beings from Greek mythology, including their Roman names
2. All gods, heroes, and other beings from Greek mythology, including their Roman names
The Senior Theatre Season is halfway over with the culmination of "The World's Greatest Monologues". Hats off to all those who performed! Best and notable performances will be recognized on NOVEMBER 9. Congratulations!
SENIORS, TAKE NOTE OF WHICH MONOLOGUES TO PERFORM BEGINNING SEPT. 28 (100% MEMORIZED, DRAMATIC) REMEMBER THIS IS YOUR MID-QUARTER EXAM.
MONOLOGUE FOR ST. THERESE GIRLS: AGANA, BUGHO, BUHAIN, FERMIN & ST. AUGUSTINE GIRLS:ADRIANO,ALSHAMMARI, DE ASIS, MARZAN
from The Phantom of the Opera by Gaston Leroux
CHRISTINE: The voice was not there. I locked my door and, with tears in my eyes, besought it, if it were still alive, to manifest itself to me. The voice did not reply, but suddenly I heard a long, beautiful wail which I knew well. It is the plaint of Lazarus when, at the sound of the Redeemer's voice, he begins to open his eyes and see the light of day. And then the voice began to sing the leading phrase, "Come! And believe in me! Whoso believes in me shall live! Walk! Whoso hath believed in me shall never die!...' I can not tell you the effect which that music had upon me. It seemed to command me, personally, to come, to stand up and come to it. It retreated and I followed. `Come! And believe in me!' I believed in it, I came....I came and-- this was the extraordinary thing--my dressing-room, as I moved, seemed to lengthen out...to lengthen out....Evidently, it must have been an effect of mirrors...for I had the mirror in front of me....And, suddenly, I was outside the room without knowing how! I was not dreaming, I was outside my room. Suddenly, there was no mirror before me and no dressing-room. I was in a dark passage, I was frightened and I cried out. It was quite dark, but for a faint red glimmer at a distant corner of the wall. I cried out. My voice was the only sound, for the singing and the violin had stopped. And, suddenly, a hand was laid on mine...or rather a stone-cold, bony thing that seized my wrist and did not let go. I cried out again. An arm took me round the waist and supported me. I struggled for a little while and then gave up the attempt. I was dragged toward the little red light and then I saw that I was in the hands of a man wrapped in a large cloak and wearing a mask that hid his whole face. I made one last effort; my limbs stiffened, my mouth opened to scream, but a hand closed it, a hand which I felt on my lips, on my skin...a hand that smelt of death. Then I fainted away.
MONOLOGUE FOR ST. THERESE GIRLS: KIM, LIM, MENDOZA, NIELSEN & ST. AUGUSTINE GIRLS:MOVILLON,NICOLAS,SALAZAR
from Wuthering Heights by Emily Bronte
CATHERINE: I wouldn't be you for a kingdom! Nelly, help me to convince her of her madness. Tell her what Heathcliff is: an unreclaimed creature, without refinement, without cultivation; an arid wilderness of furze and whinstone. I'd as soon put that little canary into the park on a winter's day, as recommend you to bestow your heart on him! It is deplorable ignorance of his character, child, and nothing else, which makes that dream enter your head. Pray, don't imagine that he conceals depths of benevolence and affection beneath a stern exterior! He's not a rough diamond - a pearl-containing oyster of a rustic: he's a fierce, pitiless, wolfish man. I never say to him, "Let this or that enemy alone, because it would be ungenerous or cruel to harm them;" I say, "Let them alone, because I should hate them to be wronged:" and he'd crush you like a sparrow's egg, Isabella, if he found you a troublesome charge. I know he couldn't love a Linton; and yet he'd be quite capable of marrying your fortune and expectations: avarice is growing with him a besetting sin. There's my picture: and I'm his friend -- so much so, that had he thought seriously to catch you, I should, perhaps, have held my tongue, and let you fall into his trap. Banish him from your thoughts. He's a bird of bad omen: no mate for you.
MONOLOGUE FOR ST. THERESE GIRLS: KOO,MAGLASANG,ROSAL,ROSARIO & ST. AUGUSTINE GIRLS:AVILES,SABIO,SALVACION,TORIO
from Ivanov by Anton Chekhov (SEE TEXT AFTER "FOURTEEN")
MONOLOGUE FOR ST. THERESE GIRLS: SANTOS,SUDARIO,VALENCIA,CASAS & ST. AUGUSTINE GIRLS:MACALLA,REYES,PACQUING
from Macbeth by William Shakespeare
LADY MACBETH: He has almost supped. Why have you left the chamber? Was the hope drunk Wherein you dressed yourself? Hath it slept since? And wakes it now to look so green and pale At what it did so freely? From this time Such I account thy love. Art thou afeard To be the same in thine own act and valor As thou art in desire? Wouldst thou have that Which thou esteem'st the ornament of life, And live a coward in thine own esteem, Letting "I dare not" wait upon "I would," Like the poor cat i' the adage? What beast was't then That made you break this enterprise to me? When you durst do it, then you were a man; And to be more than what you were, you would Be so much more the man. Nor time nor place Did then adhere, and yet you would make both. They have made themselves, and that their fitness now Does unmake you. I have given suck, and know How tender 'tis to love the babe that milks me: I would, while it was smiling in my face, Have plucked my nipple from his boneless gums And dashed the brains out, had I so sworn as you Have done this. If we should fail? Screw your courage to the sticking place And we'll not fail. When Duncan is asleep (Whereto the rather shall his day's hard journey Soundly invite him), his two chamberlains Will I with wine and wassail so convince That memory, the warder of the brain, Shall be a fume, and the receipt of reason A limbeck only. When in swinish sleep Their drenchèd natures lies as in a death, What cannot you and I perform upon Th' unguarded Duncan? what not put upon His spongy officers, who shall bear the guilt Of our great quell?
MONOLOGUE FOR ST. THERESE BOYS: GALLEGO,AFABLE,BANGUD,GALACGAC & ST. AUGUSTINE BOYS: GONZALEZ,ALIPALO,ANDRADE,ASAHI
from Doctor Faustus (first half) by Christopher Marlowe
FAUSTUS: Ah, Faustus. Now hast thou but one bare hour to live, And then thou must be damn'd perpetually! Stand still, you ever-moving spheres of heaven, That time may cease, and midnight never come; Fair Nature's eye, rise, rise again, and make Perpetual day; or let this hour be but A year, a month, a week, a natural day, That Faustus may repent and save his soul! O lente, lente currite, noctis equi! The stars move still, time runs, the clock will strike, The devil will come, and Faustus must be damn'd. O, I'll leap up to my God!--Who pulls me down?-- See, see, where Christ's blood streams in the firmament! One drop would save my soul, half a drop: ah, my Christ!-- Ah, rend not my heart for naming of my Christ! Yet will I call on him: O, spare me, Lucifer!-- Where is it now? tis gone: and see, where God Stretcheth out his arm, and bends his ireful brows! Mountains and hills, come, come, and fall on me, And hide me from the heavy wrath of God! No, no! Then will I headlong run into the earth: Earth, gape! O, no, it will not harbour me! You stars that reign'd at my nativity, Whose influence hath alotted death and hell, Now draw up Faustus, like a foggy mist, Into the entrails of yon labouring clouds, That, when you vomit forth into the air, My limbs may issue from your smoky mouths, So that my soul may but ascend to heaven! [The clock strikes the half-hour.]
MONOLOGUE FOR ST. THERESE BOYS: GARGANTA,KAWASHIRO,LAZARO,LLOVERAS & ST. AUGUSTINE BOYS: BAGATSING,BULAN,IGNACIO,LACUPANTO,PATNAO
from Doctor Faustus (SECOND half) by Christopher Marlowe
[The clock strikes the half-hour.] Ah, half the hour is past! 'twill all be past anon. O God, If thou wilt not have mercy on my soul, Yet for Christ's sake, whose blood hath ransom'd me, Impose some end to my incessant pain; Let Faustus live in hell a thousand years, A hundred thousand, and at last be sav'd! O, no end is limited to damned souls! Why wert thou not a creature wanting soul? Or why is this immortal that thou hast? Ah, Pythagoras' metempsychosis, were that true, This soul should fly from me, and I be chang'd Unto some brutish beast! all beasts are happy, For, when they die, Their souls are soon dissolv'd in elements; But mine must live still to be plagu'd in hell. Curs'd be the parents that engender'd me! No, Faustus, curse thyself, curse Lucifer That hath depriv'd thee of the joys of heaven. [The clock strikes twelve.] O, it strikes, it strikes! Now, body, turn to air, Or Lucifer will bear thee quick to hell! [Thunder and lightning.] O soul, be chang'd into little water-drops, And fall into the ocean, ne'er be found! [Enter Devils.] My God, my God, look not so fierce on me! Adders and serpents, let me breathe a while! Ugly hell, gape not! come not, Lucifer! I'll burn my books!
MONOLOGUE FOR ST. THERESE BOYS: MIGUEL, PETATE,TACCAD & ST. AUGUSTINE BOYS: LAPUT,MANIQUIS,OLIVA,ONG,DE VILLA
from Frankenstein by Mary Shelley
THE CREATURE: I expected this reception. All men hate the wretched. How, then, must I be hated, who am miserable beyond all living things! Yet you, my creator, detest and spurn me, thy creature, to whom thou art bound by ties only dissoluble by the annihilation of one of us. You purpose to kill me. How dare you sport thus with life? Do your duty toward me, and I will do mine toward you and the rest of mankind. If you will comply with my conditions, I will leave them and you at peace, but if you refuse I will glut the maw of death, until it be satiated with the blood of your remaining friends. Have I not suffered enough that you seek to increase my misery? Life, although it may only be an accumulation of anguish, is dear to me, and I will defend it. Everywhere I see bliss from which I alone am irrevocably excluded. The desert mountains and dreary glaciers are my refuge. I have wandered here many days. The caves of ice, which I only do not fear, are a dwelling to me, and the only one which man does not grudge. These bleak skies I hail, for they are kinder to me than your fellow beings. If the multitude of mankind knew of my existence, they would do as you do and arm themselves for my destruction. Shall I not then hate them who abhor me? I will keep no terms with my enemies. I am miserable and they shall share my wretchedness. Yet it is in your power to recompense me, and deliver them from an evil which it only remains for you to make so great that not only you and your family, but thousands of others, shall be swallowed up in the whirlwinds of its rage. Let your compassion be moved and do not disdain me. I was benevolent and good. Misery made me a fiend. Make me happy and I shall again be virtuous. Man will not associate with me, but one as deformed and horrible as myself would not deny herself to me. My companion must be of the same species and have the same defects. A female. This being you must create.
MONOLOGUE FOR ST. THERESE BOYS: TANAKA,TANJUAKIO,ESPINAS & ST. AUGUSTINE BOYS: REUBAL,VALENCIA,VERAYO,VILLANUEVA
from Antony and Cleopatra by William Shakespeare
ANTONY: All is lost! This foul Egyptian hath betrayed me: My fleet hath yielded to the foe, and yonder They cast their caps up and carouse together Like friends long lost. Triple-turned whore! 'tis thou Has sold me to this novice, and my heart Makes only wars on thee. Bid them all fly; For when I am revenged upon my charm, I have done all. Bid them all fly, begone. O sun, thy uprise shall I see no more. Fortune and Antony part here, even here Do we shake hands. All come to this? The hearts That spanieled me at heels, to whom I gave Their wishes, do discandy, melt their sweets On blossoming Caesar; and this pine is barked, That overtopped them all. Betrayed I am. O this false soul of Egypt! this grave charm, Whose eye becked forth my wars, and called them home, Whose bosom was my crownet, my chief end, Like a right gypsy hath at fast and loose Beguiled me to the very heart of loss. What, Eros, Eros! [Enter Cleopatra.] Ah, thou spell! Avaunt! Vanish, or I shall give thee thy deserving And blemish Caesar's triumph. Let him take thee And hoist thee up to the shouting plebeians; Follow his chariot, like the greatest spot Of all thy sex. Most monster-like be shown For poor'st diminitives, for dolts, and let Patient Octavia plough thy visage up With her preparèd nails. [Exit Cleopatra.] 'Tis well th' art gone, If it be well to live; but better 'twere Thou fell'st into my fury, for one death Might have prevented many. Eros, ho! The shirt of Nessus is upon me; teach me, Alcides, thou mine ancestor, thy rage. Let me lodge Lichas on the horns o' th' moon And with those hands that grasped the heaviest club Subdue my worthiest self. The witch shall die.
MONOLOGUE FOR ST. THERESE GIRLS: AGANA, BUGHO, BUHAIN, FERMIN & ST. AUGUSTINE GIRLS:ADRIANO,ALSHAMMARI, DE ASIS, MARZAN
from The Phantom of the Opera by Gaston Leroux
CHRISTINE: The voice was not there. I locked my door and, with tears in my eyes, besought it, if it were still alive, to manifest itself to me. The voice did not reply, but suddenly I heard a long, beautiful wail which I knew well. It is the plaint of Lazarus when, at the sound of the Redeemer's voice, he begins to open his eyes and see the light of day. And then the voice began to sing the leading phrase, "Come! And believe in me! Whoso believes in me shall live! Walk! Whoso hath believed in me shall never die!...' I can not tell you the effect which that music had upon me. It seemed to command me, personally, to come, to stand up and come to it. It retreated and I followed. `Come! And believe in me!' I believed in it, I came....I came and-- this was the extraordinary thing--my dressing-room, as I moved, seemed to lengthen out...to lengthen out....Evidently, it must have been an effect of mirrors...for I had the mirror in front of me....And, suddenly, I was outside the room without knowing how! I was not dreaming, I was outside my room. Suddenly, there was no mirror before me and no dressing-room. I was in a dark passage, I was frightened and I cried out. It was quite dark, but for a faint red glimmer at a distant corner of the wall. I cried out. My voice was the only sound, for the singing and the violin had stopped. And, suddenly, a hand was laid on mine...or rather a stone-cold, bony thing that seized my wrist and did not let go. I cried out again. An arm took me round the waist and supported me. I struggled for a little while and then gave up the attempt. I was dragged toward the little red light and then I saw that I was in the hands of a man wrapped in a large cloak and wearing a mask that hid his whole face. I made one last effort; my limbs stiffened, my mouth opened to scream, but a hand closed it, a hand which I felt on my lips, on my skin...a hand that smelt of death. Then I fainted away.
MONOLOGUE FOR ST. THERESE GIRLS: KIM, LIM, MENDOZA, NIELSEN & ST. AUGUSTINE GIRLS:MOVILLON,NICOLAS,SALAZAR
from Wuthering Heights by Emily Bronte
CATHERINE: I wouldn't be you for a kingdom! Nelly, help me to convince her of her madness. Tell her what Heathcliff is: an unreclaimed creature, without refinement, without cultivation; an arid wilderness of furze and whinstone. I'd as soon put that little canary into the park on a winter's day, as recommend you to bestow your heart on him! It is deplorable ignorance of his character, child, and nothing else, which makes that dream enter your head. Pray, don't imagine that he conceals depths of benevolence and affection beneath a stern exterior! He's not a rough diamond - a pearl-containing oyster of a rustic: he's a fierce, pitiless, wolfish man. I never say to him, "Let this or that enemy alone, because it would be ungenerous or cruel to harm them;" I say, "Let them alone, because I should hate them to be wronged:" and he'd crush you like a sparrow's egg, Isabella, if he found you a troublesome charge. I know he couldn't love a Linton; and yet he'd be quite capable of marrying your fortune and expectations: avarice is growing with him a besetting sin. There's my picture: and I'm his friend -- so much so, that had he thought seriously to catch you, I should, perhaps, have held my tongue, and let you fall into his trap. Banish him from your thoughts. He's a bird of bad omen: no mate for you.
MONOLOGUE FOR ST. THERESE GIRLS: KOO,MAGLASANG,ROSAL,ROSARIO & ST. AUGUSTINE GIRLS:AVILES,SABIO,SALVACION,TORIO
from Ivanov by Anton Chekhov (SEE TEXT AFTER "FOURTEEN")
MONOLOGUE FOR ST. THERESE GIRLS: SANTOS,SUDARIO,VALENCIA,CASAS & ST. AUGUSTINE GIRLS:MACALLA,REYES,PACQUING
from Macbeth by William Shakespeare
LADY MACBETH: He has almost supped. Why have you left the chamber? Was the hope drunk Wherein you dressed yourself? Hath it slept since? And wakes it now to look so green and pale At what it did so freely? From this time Such I account thy love. Art thou afeard To be the same in thine own act and valor As thou art in desire? Wouldst thou have that Which thou esteem'st the ornament of life, And live a coward in thine own esteem, Letting "I dare not" wait upon "I would," Like the poor cat i' the adage? What beast was't then That made you break this enterprise to me? When you durst do it, then you were a man; And to be more than what you were, you would Be so much more the man. Nor time nor place Did then adhere, and yet you would make both. They have made themselves, and that their fitness now Does unmake you. I have given suck, and know How tender 'tis to love the babe that milks me: I would, while it was smiling in my face, Have plucked my nipple from his boneless gums And dashed the brains out, had I so sworn as you Have done this. If we should fail? Screw your courage to the sticking place And we'll not fail. When Duncan is asleep (Whereto the rather shall his day's hard journey Soundly invite him), his two chamberlains Will I with wine and wassail so convince That memory, the warder of the brain, Shall be a fume, and the receipt of reason A limbeck only. When in swinish sleep Their drenchèd natures lies as in a death, What cannot you and I perform upon Th' unguarded Duncan? what not put upon His spongy officers, who shall bear the guilt Of our great quell?
MONOLOGUE FOR ST. THERESE BOYS: GALLEGO,AFABLE,BANGUD,GALACGAC & ST. AUGUSTINE BOYS: GONZALEZ,ALIPALO,ANDRADE,ASAHI
from Doctor Faustus (first half) by Christopher Marlowe
FAUSTUS: Ah, Faustus. Now hast thou but one bare hour to live, And then thou must be damn'd perpetually! Stand still, you ever-moving spheres of heaven, That time may cease, and midnight never come; Fair Nature's eye, rise, rise again, and make Perpetual day; or let this hour be but A year, a month, a week, a natural day, That Faustus may repent and save his soul! O lente, lente currite, noctis equi! The stars move still, time runs, the clock will strike, The devil will come, and Faustus must be damn'd. O, I'll leap up to my God!--Who pulls me down?-- See, see, where Christ's blood streams in the firmament! One drop would save my soul, half a drop: ah, my Christ!-- Ah, rend not my heart for naming of my Christ! Yet will I call on him: O, spare me, Lucifer!-- Where is it now? tis gone: and see, where God Stretcheth out his arm, and bends his ireful brows! Mountains and hills, come, come, and fall on me, And hide me from the heavy wrath of God! No, no! Then will I headlong run into the earth: Earth, gape! O, no, it will not harbour me! You stars that reign'd at my nativity, Whose influence hath alotted death and hell, Now draw up Faustus, like a foggy mist, Into the entrails of yon labouring clouds, That, when you vomit forth into the air, My limbs may issue from your smoky mouths, So that my soul may but ascend to heaven! [The clock strikes the half-hour.]
MONOLOGUE FOR ST. THERESE BOYS: GARGANTA,KAWASHIRO,LAZARO,LLOVERAS & ST. AUGUSTINE BOYS: BAGATSING,BULAN,IGNACIO,LACUPANTO,PATNAO
from Doctor Faustus (SECOND half) by Christopher Marlowe
[The clock strikes the half-hour.] Ah, half the hour is past! 'twill all be past anon. O God, If thou wilt not have mercy on my soul, Yet for Christ's sake, whose blood hath ransom'd me, Impose some end to my incessant pain; Let Faustus live in hell a thousand years, A hundred thousand, and at last be sav'd! O, no end is limited to damned souls! Why wert thou not a creature wanting soul? Or why is this immortal that thou hast? Ah, Pythagoras' metempsychosis, were that true, This soul should fly from me, and I be chang'd Unto some brutish beast! all beasts are happy, For, when they die, Their souls are soon dissolv'd in elements; But mine must live still to be plagu'd in hell. Curs'd be the parents that engender'd me! No, Faustus, curse thyself, curse Lucifer That hath depriv'd thee of the joys of heaven. [The clock strikes twelve.] O, it strikes, it strikes! Now, body, turn to air, Or Lucifer will bear thee quick to hell! [Thunder and lightning.] O soul, be chang'd into little water-drops, And fall into the ocean, ne'er be found! [Enter Devils.] My God, my God, look not so fierce on me! Adders and serpents, let me breathe a while! Ugly hell, gape not! come not, Lucifer! I'll burn my books!
MONOLOGUE FOR ST. THERESE BOYS: MIGUEL, PETATE,TACCAD & ST. AUGUSTINE BOYS: LAPUT,MANIQUIS,OLIVA,ONG,DE VILLA
from Frankenstein by Mary Shelley
THE CREATURE: I expected this reception. All men hate the wretched. How, then, must I be hated, who am miserable beyond all living things! Yet you, my creator, detest and spurn me, thy creature, to whom thou art bound by ties only dissoluble by the annihilation of one of us. You purpose to kill me. How dare you sport thus with life? Do your duty toward me, and I will do mine toward you and the rest of mankind. If you will comply with my conditions, I will leave them and you at peace, but if you refuse I will glut the maw of death, until it be satiated with the blood of your remaining friends. Have I not suffered enough that you seek to increase my misery? Life, although it may only be an accumulation of anguish, is dear to me, and I will defend it. Everywhere I see bliss from which I alone am irrevocably excluded. The desert mountains and dreary glaciers are my refuge. I have wandered here many days. The caves of ice, which I only do not fear, are a dwelling to me, and the only one which man does not grudge. These bleak skies I hail, for they are kinder to me than your fellow beings. If the multitude of mankind knew of my existence, they would do as you do and arm themselves for my destruction. Shall I not then hate them who abhor me? I will keep no terms with my enemies. I am miserable and they shall share my wretchedness. Yet it is in your power to recompense me, and deliver them from an evil which it only remains for you to make so great that not only you and your family, but thousands of others, shall be swallowed up in the whirlwinds of its rage. Let your compassion be moved and do not disdain me. I was benevolent and good. Misery made me a fiend. Make me happy and I shall again be virtuous. Man will not associate with me, but one as deformed and horrible as myself would not deny herself to me. My companion must be of the same species and have the same defects. A female. This being you must create.
MONOLOGUE FOR ST. THERESE BOYS: TANAKA,TANJUAKIO,ESPINAS & ST. AUGUSTINE BOYS: REUBAL,VALENCIA,VERAYO,VILLANUEVA
from Antony and Cleopatra by William Shakespeare
ANTONY: All is lost! This foul Egyptian hath betrayed me: My fleet hath yielded to the foe, and yonder They cast their caps up and carouse together Like friends long lost. Triple-turned whore! 'tis thou Has sold me to this novice, and my heart Makes only wars on thee. Bid them all fly; For when I am revenged upon my charm, I have done all. Bid them all fly, begone. O sun, thy uprise shall I see no more. Fortune and Antony part here, even here Do we shake hands. All come to this? The hearts That spanieled me at heels, to whom I gave Their wishes, do discandy, melt their sweets On blossoming Caesar; and this pine is barked, That overtopped them all. Betrayed I am. O this false soul of Egypt! this grave charm, Whose eye becked forth my wars, and called them home, Whose bosom was my crownet, my chief end, Like a right gypsy hath at fast and loose Beguiled me to the very heart of loss. What, Eros, Eros! [Enter Cleopatra.] Ah, thou spell! Avaunt! Vanish, or I shall give thee thy deserving And blemish Caesar's triumph. Let him take thee And hoist thee up to the shouting plebeians; Follow his chariot, like the greatest spot Of all thy sex. Most monster-like be shown For poor'st diminitives, for dolts, and let Patient Octavia plough thy visage up With her preparèd nails. [Exit Cleopatra.] 'Tis well th' art gone, If it be well to live; but better 'twere Thou fell'st into my fury, for one death Might have prevented many. Eros, ho! The shirt of Nessus is upon me; teach me, Alcides, thou mine ancestor, thy rage. Let me lodge Lichas on the horns o' th' moon And with those hands that grasped the heaviest club Subdue my worthiest self. The witch shall die.
Everyone's an actor!
These triads will all play lead roles in the play "Fourteen".
Best Cast (Triad) of each section will be awarded at the end of the session. Practice now! Read the text posted in "Fourteen".
St. Therese:
1-Afable, Rosal, Santos,Barbara
2-Agana, Lim, Tanaka
3-Bangud, Bugho, Mendoza
4-Buhain, Gallego, Casas
5-Fermin, Nielsen, Sudario
6-Galacgac, Kim, Petate
7-Garganta, Lazaro, Santos, Faye
8-Kawashiro, Taccad, Rosario
9-Koo, Lloveras, Espinas
10-Maglasang, Miguel, Valencia
11-Tanjuakio, Fermin, Rosal
St. Augustine:
1-Adriano, Marzan, Valencia
2-Alipalo, Bagatsing, Torio
3-Alshammari, Laput, Macalla
4-Andrade, Ignacio, Sabio
5-Asahi, Maniquis, Salazar
6-Aviles, Bulan, Movillon
7-De Asis, Pacquing, Reubal
8-Gonzalez, Oliva, Villanueva
9-Ong, Reyes, Patnao
10-Salvacion, Verayo, De Villa
11-Nicolas, Lacupanto, Asahi
These triads will all play lead roles in the play "Fourteen".
Best Cast (Triad) of each section will be awarded at the end of the session. Practice now! Read the text posted in "Fourteen".
St. Therese:
1-Afable, Rosal, Santos,Barbara
2-Agana, Lim, Tanaka
3-Bangud, Bugho, Mendoza
4-Buhain, Gallego, Casas
5-Fermin, Nielsen, Sudario
6-Galacgac, Kim, Petate
7-Garganta, Lazaro, Santos, Faye
8-Kawashiro, Taccad, Rosario
9-Koo, Lloveras, Espinas
10-Maglasang, Miguel, Valencia
11-Tanjuakio, Fermin, Rosal
St. Augustine:
1-Adriano, Marzan, Valencia
2-Alipalo, Bagatsing, Torio
3-Alshammari, Laput, Macalla
4-Andrade, Ignacio, Sabio
5-Asahi, Maniquis, Salazar
6-Aviles, Bulan, Movillon
7-De Asis, Pacquing, Reubal
8-Gonzalez, Oliva, Villanueva
9-Ong, Reyes, Patnao
10-Salvacion, Verayo, De Villa
11-Nicolas, Lacupanto, Asahi
2nd Quarter Notes:HOW TO WRITE ONE-ACT PLAYS
When people think of plays, many things come to mind. One of those things can occasionally be "Man, that was long!" While great plays sometimes make time fly, many full-length plays do in fact last for at least two hours. Some, like well-known plays by Shakespeare and Eugene O'Neil, are a lot longer - much longer. Some plays, however, come in under the hour mark and don't have any sort of intermission or mid-point curtain. These plays of half an hour to an hour in length are generally referred to as one-act plays. Writing a one-act play can offer challenges to first-time writers, playwrights used to the full-length play format and screenwriters used to considering stories in a three-act structure. On the other hand, writing a one-act play can be a great experience. Here are some ways to get started writing a one-act play. But keep in mind that writing a play, like most things, requires more than just following a process. Practice, experimentation, study, help from experts - and did I mention practice? - will be necessary, too.
- Read and/or see some one-act plays. My first suggestion to anyone taking up a new writing skill is usually to get some examples to follow. There are many one-act play compilations available where you can read work by both famous playwrights and up-and-coming writers. Study these scripts for their construction - what happens when? How many settings and characters are used? What is the time frame of the play's action - a day, a year? Plays vary greatly in content and form, of course, but that's just another reason to read, and if possible see, a lot of one-act plays if you're going to write one: You will know a variety of ways you can proceed with your story.
One-act plays often differ from full-length plays in their scope. They will have fewer characters, perhaps, or a more simple setting. Mainly, though, they will be very focused on a main character and a single incident or goal - there will be little time to go to subplots or scenes not involving the main character and his story. This is something you will notice as you read one-act plays, and something you will want to keep in mind as you go through the writing process. - Pick your main character. I really think there are a few main questions a writer should ask when she sits down to tell her story, unless the story is incredibly unconventional, in which case, you're on your own. The first question is "Who is your main character?" A story, even one with a sizable ensemble, needs that one lead focal point. In a short play, a one-act, chances are your cast will be small, maybe 4 or 5 people. Finding your lead should not be difficult. Ask "Whose story is this? Whose point of view do we see through?" That's your main character.
- Give the character a goal. Once you decide on your main character, figure out his goal. A character, in any work, should have one goal that he pursues throughout the story. Hamlet wants to do right by his father. Dorothy wants to get home to Kansas. To write your play, you must choose a goal for your main character. To get what he wants, he may have other subsidiary things he needs to do, but the main, overarching "want" should remain the same. In a sense, what your character wants is what your play is about.
- Brainstorm for obstacles your character will face. They always say the heart of dramatic writing is conflict. Once you know who your main character is and what she wants more than life itself, you need to do the hard part, which is to figure out the obstacles she will face and how she will overcome them (if she does...). Keep in mind, each obstacle should be harder than the next: You don't want to see someone kill his arch enemy and then have to look up directions to a house. You want the guy to find the directions - an easy obstacle to overcome - and then kill the enemy (perhaps the climactic moment of the story, depending on your character's goal).
- Work on the characters. As you work on the story obstacles, you always want to develop your characters, both the main character and whomever may support that main character. Think about what the supporting characters might want - they should also have goals. Think about how the characters function as obstacles for each other. Think also about how they can be "multi-dimensional" or in other words, have strengths and weaknesses, shades of gray, etc. See how characters in your favorite plays are revealed by how they deal with conflict, how they interact with others and how others describe them. Use those same techniques in your play as you build characters.
- Work on the setting. As you work out the story and characters of your script, also consider setting. Often, one-act plays will have simple settings which require an audience to use some imagination. Other times, one-acts may have elaborate sets. Keep in mind, if you're a beginning playwright looking to get your work produced, elaborate sets can sometimes be a strike against you - but, of course, do what best serves your play. Sometimes, setting is important. The Wizard of Oz needs Oz. Other times, you may be in a generic café or living room that doesn't have any particular effect on your characters. Consider the setting of some favorite plays - how it works in the story, how important it is, how the playwright describes it.
- Outline your scenes. A scene is a basic unit of drama within a play. It can be roughly described as a chunk of the play that happens in one time and place. If you read some plays, you can analyze how the playwright breaks the act into scenes. Some may have one scene, others may have many scenes, even in a short one-act. The key is for each scene to move the story and/or character revelation forward. In other words, each scene should involve a conflict, not just simply people chatting it up. And each conflict should, in some way, involve the main character pursuing his or her goal. (In a multi-act play, you might well have scenes where the main character isn't present, but you won't want to spend that kind of time away from your main character in a one-act.)
Your job becomes transforming your list of obstacles that stand in your main character's way into scenes. For instance, Wicked Witch becomes "Dorothy fights off the Wicked Witch and gets her broom." Some people prefer to go ahead and write the scenes instead of outlining them first. Sometimes I do that, but it is much more difficult to rewrite a whole scene than it is to rearrange a few lines of an outline.
- Write and rewrite. Once you know where your main character is going, it's time to actually write the play. There is no easy way to do this. If you've written anything before, you know that everything good takes several drafts. So when you write, bear in mind, it won't be perfect the first time through. That's fine. Just go for it!
Also take into consideration that creative writing of any form is a craft that has to be worked on over time and polished. I suggest taking a playwriting course if you don't have a writing background. If you do have some sort of writing background, you may find that analyzing plays is sufficient for "getting the hang of it."
Writers also often go back to the basics to see if they hit their marks: Is there a clear main character pursuing a goal? Are the obstacles and characters interesting? Is the dialogue authentic-sounding? They also might look at more intricate pieces of the play: Is the theme coming across? Are the metaphors working? In any case, it is almost impossible to objectively judge all of what you need to improve. You should go with your gut on most things, but don't work in a vacuum. Find a teacher, classmate, friend, fellow writer, paid consultant, or other trusted associate and have her tell you what she thinks could stand to be changed. Since this is dramatic writing, it might also help, as you go through different drafts, to have actors read your script in a workshop setting. This is often done with writers-in-residence at professional theatres and in academic sessions, but if you're just starting out, you can potentially find a community theatre where the company will be happy to help you.
Writing a play of any length can be a challenge. Writing a one-act play which covers all the bases in limited time - but which also has nuance, depth, and offers the audience a memorable experience - is no exception. Following good examples, taking time with the pre-writing portion of the process, and devoting yourself to rewriting as needed, will help you put your best foot forward and your best script on stage. Quick Tips: Start with a character who has a goal and then make it hard for him to reach that goal. Use existing one-act plays as your example of what works (and what might not).
First Quarter Lecture & Performance Assessments
ubd_unit_1_significant_human_experience-recap.pptx | |
File Size: | 120 kb |
File Type: | pptx |
First Quarter Performance Assessment 1: Round Table Discussions
(1)Form 7 groups, 1 for each geographical division. 2.Each group or round table will have only 45 minutes to go through the process of discussing the selected literary work. 3.Discuss the work from the spotlighted country based on prior knowledge (what they learned in other classes, in their own reading, etc.),geographical and cultural significance (Go Google Maps!) and “Significant Human Experience”. Discuss figurative language, imagery and poetic devices for poetry, and narrative devices for fiction. At least 5 vocabulary words must also be discussed. 4.Roles are as follows: (1) Moderator: introduces RDT members, the topic for discussion; facilitates the discussion to ensure maximum participation;
(2) Lead Discussants: Summarizes the work, points out important parts, explains the theme, relates personal connection to the work;
(3) Reactors: ask questions, concurs with or disagrees with points of lead discussants
5. Rubrics
(2) Lead Discussants: Summarizes the work, points out important parts, explains the theme, relates personal connection to the work;
(3) Reactors: ask questions, concurs with or disagrees with points of lead discussants
5. Rubrics
First Quarter Performance Assessment 2: World Lit Wall Collage
1.Each group researches on the other countries within their geographical division. Choose two authors from two different countries.
2.The group looks for works from these authors with a common theme, topic, or significant experience.
3.The group creates a collage of the ideas, themes, and experiences presented in these works.
4.All materials in the collage should be recycled.
5.The collages will be installed on walls in designated areas around the campus.
2.The group looks for works from these authors with a common theme, topic, or significant experience.
3.The group creates a collage of the ideas, themes, and experiences presented in these works.
4.All materials in the collage should be recycled.
5.The collages will be installed on walls in designated areas around the campus.
First Quarter Performance Assessment 3: MySHE Blogs
1.Your teacher will create a general blog account from which each student will create a personal blog site or online diary.
2. Contents of the blog:
Everything you’ve read, learned, and felt, and the answer to the essential questions.
3. Required blog entries per quarter: 2 (mid-quarter, pre-end of quarter)
2. Contents of the blog:
Everything you’ve read, learned, and felt, and the answer to the essential questions.
3. Required blog entries per quarter: 2 (mid-quarter, pre-end of quarter)