DFIA FLA Workshop

​Developing Filipino Identity in the Arts

By Zesarinna Vivica Padre

Film and Literary Arts

Open Ended

REVIEW: What is your key take away from our last canvas activity?

Multiple Choice

Who is the foundational artists who defined Filipino identity on screen during the Golden age [1970's-1980's]?

• Cathy Garcia-Molina
• Ishmael Bernal

• Marilou Diaz-Abaya
• Lino Brocka

Multiple Choice

Who is the Iconic actress who personified the struggling Filipino masa. Her raw, non-glamorous portrayals in films like Himala challenged Western beauty standards and became a symbol of national resilience and identity.

• Marilou Diaz-Abaya

• Nora Aunor

• Sharon Cuneta

• Vilma Santos

Multiple Choice

Who is Known for complex character studies and films tackling gender, class, and disillusionment.

• Lino Brocka

• Nora Aunor

• Marilou Abaya

• Ishmael Bernal

Multiple Choice

Classic Era films were primarily shot on expensive 35mm film, making the industry heavily dependent on major film studios.

• TRUE

• FALSE

Multiple Choice

The Contemporary Era (Digital/Indie Boom) is characterized by the use of allegory and heavy symbolism to critique political regimes.

• TRUE

• FALSE

Multiple Choice

A major thematic shift in Contemporary Cinema is the focus on "Man vs. Self" conflicts, such as identity crises or personal struggles.

• TRUE

• FALSE

Multiple Choice

Directors like Lino Brocka and Ishmael Bernal were key figures who spearheaded the digital transition in the early 2000s.

• TRUE

• FALSE

Audio Response

Record "Ang Relo ni Leroy ay nagkalurayluray" If you are ready for the next phase of lesson and to know if you are in front of your MLD.

Open Audio Recorder

Developing Filipino Identity in the Arts [FLA 2.0]

Open Ended

“What's the best stage play you’ve ever seen or read?”

SCREEN VS. STAGE

Multiple Choice

Immediacy (The Time Constraint): The performance is edited and non-linear. A film can jump across minutes, years, or planets with a single cut. This gives the screenwriter power over time, but requires them to write for multiple takes and shots out of sequence.x

• STAGE

• SCREEN

Multiple Choice

Immediacy (The Time Constraint):

The performance is live and unedited. The action unfolds in real time, from start to finish. This forces the playwright to use dialogue and internal tension to sustain drama over long periods. If an actor messes up, the show must go on! 🏃

• STAGE

• SCREEN

Multiple Choice

Fixed Location (The Space Constraint):

You have unlimited locations. The camera is your audience's eyes and can go anywhere: inside a closet, across a continent, or into outer space. This means the screenwriter primarily writes with visuals—show, don't tell—because the camera does the describing.

• STAGE

• SCREEN

Multiple Choice

Fixed Location (The Space Constraint):

You are typically restricted to one or a few fixed locations (the stage). You can't write: "The character escapes the car crash and then jumps onto a speeding train." Therefore, the playwright must rely on dialogue to describe events that happen offstage (expository dialogue) and must keep the action focused and intimate.

• STAGE

• SCREEN

Multiple Choice

Reliance on Actor and Design (The Focus Constraint):

The performance relies heavily on the camera (close-ups, angles, editing) and sound (microphones). Screen acting is subtle, realistic, and intimate; a close-up can reveal a single tear. The writer has less control over the final visual interpretation, which is largely decided by the director and editor.

• STAGE

• SCREEN

Multiple Choice

Reliance on Actor and Design (The Focus Constraint):

he performance relies heavily on the actor's projection (voice and body language) and the design elements (lights, minimal set/props). To be seen from the back row, stage acting is often bigger, broader. The writer must trust the actor and director.

• STAGE

• SCREEN

Open Ended

This activity forces you to apply these constraints to a single plot idea.

The Scenario: A massive fight breaks out over a lost wallet.

1. Your Task: write down the most important thing a writer would focus on for each medium:

   • STAGE WRITER (Dialogue Focus): Where would you set the scene, and what is the single line of dialogue that reveals the stakes of the fight? (e.g., Maybe they're stuck in a tiny room, and the line is about the wallet containing a secret confession.)

   • SCREEN WRITER (Visual Focus): Where would you set the scene, and what is the single action/visual that shows the extreme scale or intimacy of the conflict? (e.g., Maybe they're fighting on the ledge of a skyscraper, or a camera close-up shows a bloodstain on the wallet.)

2. Quick Share: Be ready to share your setting and your single line (or visual) choice. Why does your choice work best for that specific medium?

The Blueprint: Script Anatomy

Multiple Choice

What is the first page of the script?

• Character Names

• Title Page

• Scene Heading

• Dialogue

Open Ended

Why do you think the title page should be the first page of the script?

The title page should be the first page of the script

Provides essential administrative and production information. It is the first impression of the work.

example:
Title: The Red Shoe Conflict
Author: [Student Name]
Dramatis Personae: JAY, The Mentor; VINCE, The Trickster

Multiple Choice

This is the part of the script where a brief description at the start of a new scene, often in ALL CAPS. It quickly establishes the location and time.

• Stage Directions

• Dialogue

• Scene heading

• Character Names

Scene heading

Purpose of the playwright

Signals a change in the physical setting or time of day, which cues the director and lighting/set designers. On stage, scene changes are usually minimal.

INT. DUSTY ATTIC - NIGHT EXT. BUS STOP - DAY

Multiple Choice

This is the part of the script where the name of the character speaking, written in ALL CAPS and typically followed by a colon or centered above the dialogue.

• Character Names

• Dialogue

• Scene Heading

• Stage Directions

Character Name

Clearly identifies who is speaking, preventing confusion for actors, directors, and readers.

Multiple Choice

This is the lines of speech spoken by the characters. It is the principal method of storytelling in a play.

• Dialogue
• Narration
• Monologue
• Stage Directions

Dialogue

Drives the plot forward, reveals the characters' inner thoughts (subtext), and establishes conflict. Dialogue is King on the stage.

Multiple Choice

This is the descriptive text, usually written in italics or enclosed in parentheses, that outlines character action, setting details, or sound/lighting cues.

• character dialogue
• scene description
• lighting effects
• stage directions

Stage Directions

Guides the actors' physical movements and emotions, and provides necessary instructions for the technical crew. They should be action-oriented.

Open Ended

Any questions about the Script Anatomy?

The Power of Archetype

Open Ended

Write your idea about: What is archetype?

Archetype

Archetype comes from the Greek words arkhe (original or primitive) and typos (model or type).

An archetype is a universal, recurring model of a character, plot, or image that is recognizable across many different cultures and stories. Think of them as pre-loaded character batteries for drama.

Why use them in playwriting?

Archetypes allow a playwright to quickly establish a character's core motivation and voice. The audience instantly understands the role the character is expected to play (e.g., they know the Mentor will offer wisdom, and the Trickster will cause chaos).

​	​	Theatrical Goal
The Hero	To prove worth through courageous action.	To overcome a great challenge.
The Mentor	To guide the Hero toward wisdom and truth.	To train, protect, or offer advice.
The Villain/Shadow	To destroy or obstruct the Hero's journey.	To cause conflict and chaos.
The Trickster	To disrupt the status quo through mischief.	To inject comedy or reveal absurdity.
The Innocent	To maintain goodness, safety, and purity.	To seek happiness or avoid corruption.

Poll

choose the two most theatrically opposite archetypes

• The Hero and the Villain

• The Hero and the Trickster

Open Ended

Define the conflict: Prompt: The two chosen archetypes walk into a bank (a neutral location). What do they each want based purely on their nature, and how does that immediately create conflict?

Example of Expected Outcome (The Innocent vs. The Trickster):

Innocent Wants: To open a simple savings account and leave safely.
Trickster Wants: To pull a non-violent prank on the teller or swap the labels on the deposit slips.
Immediate Conflict: The Innocent's desire for order is immediately threatened by the Trickster's need for chaos. The Innocent will try to correct or apologize for the Trickster's actions.

Open Ended

Instruction: Write one line of dialogue that only your chosen archetype would say in this bank scenario.
EXAMPLE

Archetype | Line | Why it works
The Innocent: "Oh, goodness, I think you might have accidentally put my slip in the shredder. It's totally fine, though! I can start over!"

Shows their inherent belief in goodness and avoidance of confrontation.

The Trickster: "No, no, that slip's for the 'Emergency Unicorn Fund.' Standard policy, sir. Don't worry, it's tax-deductible."

Creates disruption through absurdity and playful lies.

Poll

Now that you have a background knowledge about the anatomy of the script and archetype, are you ready to make one on your own?

If yes [you may open your canvas and start working on the given activity]
If not yet [Please stay and I am willing to explain what you think you need to know about]

• YES💕

• NOT YET 😬

The Heart of the Play: Dialogue

Dialogue & Action

Dialogue Functions:
1. Reveal Character (motivation, backstory).
2. Advance Plot (move action forward).
3. Establish Conflict (what characters want).
Concept: Subtext (what's not being said).

A character's language choice can subtly hint at their past (backstory) or what they truly believe (motivation).

Dialogue shows the audience who the character is, often through their choice of words and their unique voice.

Reveal Character (Motivation, Backstory):

If a line could be cut without affecting the action that follows, it's not advancing the plot. A character saying "I'm leaving" is dialogue that moves the action forward.

Dialogue must change the situation on stage. It contains the inciting incidents and the turning points.

Advance Plot (Move Action Forward):

The most dramatic dialogue involves characters fighting to achieve their goal with words, which makes the outcome unclear.

Conflict is the heart of drama. Dialogue often establishes conflict by showing the clash between what Character A wants and what Character B wants.

Establish Conflict (What Characters Want):

Multiple Choice

What do you think is a SUBTEXT?

• A synonym for text.
• The main idea of a story.
• A type of literary genre.
• The underlying meaning or implicit message in communication.

Multiple Choice

What do you think is the subtext of this script: : "I'm just so glad you could make it. I truly am." (Spoken with a forced smile.)

• The speaker is genuinely happy to see the other person.
• The speaker is excited about the meeting.
• The speaker is expressing gratitude sincerely.
• The speaker is likely feeling insincere or uncomfortable.

​Developing Filipino Identity in the Arts

By Zesarinna Vivica Padre

Film and Literary Arts

Open Ended

REVIEW: What is your key take away from the first part of the workshop?

Categorize

Options (18)

Immediacy [The time constraint]

Title Page

Dialogue

Character List

Scene Headings

Stage Direction

Fixed Location

Reliance on Actor and design

Hero

Mentor

The Innocent

Trickster

Shadow

Subtext

Advance Plot

Reveals Character

Exposition /Backstory

Establish Conflict

Organize these options into the right categories

Screen VS. Stage

Script Anatomy

Archetype

Dialogue

Stage Directions & Visuals

Stage Directions

SHOW DON'T TELL

Open Ended

What do you think about about "SHOW DON'T TELL"?

Stage Directions

Directions are for the actor and director. Use evocative language for setting and movement. Avoid: telling actors how to feel.

Example: Instead of (John is angry), write (John smashes the glass on the table).

Open Ended

Questions?

Draw

Draw your very own version of Sir James HAPPY FACE if you are ready to move forward to our ACTIVITY.

Before we start our activity lets have a quick ICE BREAKER.

Multiple Choice

Totoo bang nagsasalamin si Sir James

• LEGIT, YES!

• LIAR, NO!

Open your Written Work 4 on canvas

Poll

ANO ANG FINIFLEX ni SIR JAMES dito, may karapatan ba sya?

• MERON, LODI!

• WALA📢

Hotspot

Where is Sir James?

Multiple Choice

In this picture, one of SIr James's friend commented "James, ano na?" What do you think is his reply?

• Ahahahahaha! Nakapikit pala ako dito!

  Ang dialogue ko jan ay, "Ano na, nasaan na ung Iced Tea? Malapit na ako MATULOG wala pa rin ha!" Hahahahaha

• Ahahahahaha! Nakapikit pala ako dito!

  Ang dialogue ko jan ay, "Ano na, nasaan na ung Iced Tea? Malapit na ako MATAPOS wala pa rin ha!" Hahahahaha

• Ahahahahaha! Nakapikit pala ako dito!

  Ang dialogue ko jan ay, "Ano na, nasaan na ung Iced Tea? Malapit na ako MAGING BUTTERFLY wala pa rin ha!" Hahahahaha

• Ahahahahaha! Nakapikit pala ako dito!

  Ang dialogue ko jan ay, "Ano na, nasaan na ung Iced Tea? Malapit na ako MAGWALA wala pa rin ha!" Hahahahaha

Open Ended

What university did Sir James graduate from? Do you think he was a real graduate?

Poll

Who is this?

• Carlo Dalisay

• Ramon Tanggol Montenegro

• Coco Martin

• Nata de coco

Multiple Choice

What do you think is Based on the phot , what is Sir James favorite color?

• Yellow

• Red

• Skintone

• Black

Audio Response

Record your birthday message for Sir James

Open Audio Recorder