SHS
Creative Writing
Module 6: Understanding
intertextuality as a technique of
drama
Creative Writing
Grade 11/12– Module 6: Understanding intertextuality as a technique of
drama
First Edition, 2020
Copyright © 2020
La Union Schools Division
Region I
All rights reserved. No part of this module may be reproduced in any form
without written
permission from the copyright owners.
Development Team of the Module
Author: JENILYN B. FERRER
Editor: SDO La Union, Learning Resource Quality Assurance Team
Illustrator: Ernesto F. Ramos Jr., P II
Management Team:
Atty. Donato D. Balderas, Jr.
Schools Division Superintendent
Vivian Luz S. Pagatpatan, PhD
Assistant Schools Division Superintendent
German E. Flora, PhD, CID Chief
Virgilio C. Boado, PhD, EPS in Charge of LRMS
Belen C. Aquino, PhD, EPS in Charge of English
Michael Jason D. Morales, PDO II
Claire P. Toluyen, Librarian II
Creative Writing
Module 6: Understanding
intertextuality as a technique of
drama
Target
In the previous module, you were introduced to the wonderful world of literary genre
called drama. You were able to dig deep into the definition of drama and the
underlying concepts of drama along its various types. The elements of drama as well
as some of the techniques were also discussed in the module.
But have you ever wondered why there are dramas which sound like as if you have
read them before or you have met them along the way in another form like a short
story or a novel or a song? Like the hit musical “Ang Huling El Bimbo”, you might be
wondering: Hey! Isn’t this one the hit song by the 90s rock band Eraserheads?
This module which you are about to tackle will provide you more information
to answer such questions.
After going through this module, you are expected to:
1. understand intertextuality as a technique of drama (HUMSS_CW/MPIj-IIc-
16);
2. identify the various types of intertextualities used in drama; and 3. analyze
a drama script based on intertextualities used by the writer.
You may start now with the module. Be sure to follow all instructions and try
to understand all the lessons as best as you could.
Enjoy learning and good luck!
INTERTEXTUALITY AS A TECHNIQUE IN DRAMA
In the previous module, you were introduced to the concepts and ideas on what is
drama. You also had a thorough understanding on the different types, elements and
techniques used in drama.
In this module, you will learn more about intertextuality as a technique in
drama.
Jumpstart
To jumpstart the lesson, do the following activities. Have fun and good luck!
Activity 1: What’s that Brand Again?
Directions: Below are parody logos. Figure out the actual brands they
represent. Write your answers on a separate sheet of paper.
1. - An car manufacturer
Answer: _______________________________
2. - A hiking & camp gear manufacturer
Answer: _______________________________
3. - A Hollywood movie studio
Answer: _______________________________
4. - A popular coffee shop
Answer: _______________________________
5. - A popular brand of shoes
Answer: _______________________________
6. - A burger fastfood
Answer: _______________________________
7. - A popular washing detergent
Answer: _______________________________
8. - A signature basketball shoes
Answer: _______________________________
9. - A popular Filipino fastfood
Answer: _______________________________
10. - A coffee brand
Answer: _______________________________
Were you able to answer them all correctly?
What you have just worked on is called logo parody. You may have felt a sudden
jolt of comic relief upon seeing them but the thing is that you also felt a sudden
memory recall like: “I’ve seen this thing before but it’s not like this”!
If you had that kind of feeling, then you are on your way to understanding
intertextuality.
Now let us take the activity farther. Answer the next activity.
Activity 2: The Who?!
Directions: In every item is a popular line from a song, poem, movie, or a
short story. Look for the corresponding intertextual relations in the choices
given below. Write the letter of your answer on a separate sheet of paper.
1. I II
I think I never want to see What was God
thinking on the day
another stinging honey bee he gave that bee a weapon anyway
A bee whose nasty stingers pressed Bees in summer are everywhere
into this flesh too near the breast oh do so ever do beware
III
For on this bosom it had lain and
stung me, oh the nasty swain the bee has stung this
silly me to think God made that stupid bee
--‘Bees’ by Elle De Jeune
This poem about bees sound funny but did you know that its beat and rhythm
were derived from a more serious poem you most likely met when you were in
elementary? What is the title of this poem written by Joyce Kilmer?
A. Beasts C. Breasts
B. Trees D. Grease
Lady: Hello?
2. Ghostface: I’m gonna kill you! I’m gonna slice you up!
Lady: Who is this?
Ghostface: I’m gonna chop you like liver!
Lady: What do you want?
Ghostface: I’m in the house. Do know where I am?
(https://www.youtube.com/watch?v=ZAerssgC4pc)
You must be familiar with the character of Ghostface who appeared in the
hit comedy movie Scary Movie in year 2000. But did you know that Ghostface first
appeared as a serious (not a comic) serial killer in a hit movie in 1996? What is
the title of this Hollywood blockbuster?
A. Scream C. Halloween
B. Wild Things D. I Know What You Did Last Summer
Napadaan sa sabungan, may nagsisigawan
Nung aking tingnan, manok na pula mukhang matapang
Your parents may put a little frown on their faces as they Ang pera ni misis
na dapat ay ihulog ko sana sa Palawan hear this popular
Aking pinusta sa manok na pula mukhang tatama yan
--lyrics from the song Manok na Pula, a cover by Vic Desucatan
(https://www.youtube.com/watch?v=V6VMH5YiGic)
3.
Your parents may put a little frown on their faces as they hear this popular
song with its music reminding them of the good old days. The music in this parody
was taken from the hit song of Anne Murray in 1984. What is the title of this song?
A. You Needed Me C. Just Another Woman in Love
B. You Won’t See Me D. Unchained Melody
“Cause you were Romeo, I was a Scarlet Letter;
4. And my Daddy said “Stay away from Juliet!”
But you were everything to me
I was begging you “Please don’t go!”
--lyrics from the song Love Story, sang and performed by Taylor Swift
4.
The lines remind you of a famous drama of the star-crossed lovers made
popular by William Shakespeare. What is the title of this drama?
A. Midsummer’s Night’s Dream C. A Winter’s Tale
B. As You Like It D. Romeo and Juliet
5. “Hindi na kailangan pang magpaalam”, ang wika ni Jori sa sarili. Nakapagsulat naman na
siya ng kanyang paalam sa kanyang mga kababayan at iyon na rin ang kanyang huli. Sa loob-
loob niya at sa mismong isip niya, nagawa na niya ang mga dapat ihanda. Ang laban niya sa
mga mapang-aping mga pulitiko at mga buwayang negosyante kasama na ang mapanlinlang
nilang pananampalataya ay nasugatan niya ng malalim. Tiniyak niyang pagkatapos ng
kanyang pagbitay ay guguho na ang institusyong umuto sa kanya at sa kanyang mga
kababayan ng napakatagal na panahon.
Lumapit and guwardiya sa kanyang selda at malamig na nagsabi, “Tumayo na po kayo,
doktor. Oras na po.”
Kampanteng tumayo si Jori. Naisip na niya ang huling postura bago bumagsak sa lupa
pagkatapos tumagos ang mga bala sa kanyang dibdib mamaya. Pipilitin niyang humarap sa
silangan para masilayan sa huling pagkakataon ang sinag ng araw.
--mga huling talata ng “Lumaban ka, Jori!”, maikling kwento ni Jenilyn Ferrer
Is the scene familiar to you? Does it bring a picture of a hero in your mind?
Who do you think is this hero in Philippine history?
A. Jose Rizal C. Gregorio Del Pilar
B. Andres Bonifacio D. Antonio Luna
Were you able to figure out all the correct answers?
Now that you have had your great jumpstart, let us take a moment first in
understanding the concepts behind intertextuality!
Discover
By now you already have a slight idea on what is intertextuality. In this part, you
are going to read more on what is intertextuality. Continue with your quest for
knowledge! Good luck!
WHAT IS INTERTEXTUALITY?
The use of intertextuality in literature is an effective tool used by writers to craft
meanings with multiple layers into their poems, short stories, songs, novels, and
dramas. With this, it is safe to say that intertextuality is a powerful and effective
technique to convey something in a package seemingly familiar to the readers.
However, intertextuality does not come easy to detect. This technique becomes
difficult to identify especially when the reader does not possess a wide knowledge of
different literary texts. This situation may have been experienced by you when you
were answering the jumpstart activities. For this reason, continually reading and
expanding one’s array of books, poems, films, songs, and plays become imperative.
The term intertextuality was first developed by the poststructuralist, Julia Kristeva
in the 1960s. Since then, intertextuality has become widely accepted by postmodern
literary critics and theoreticians.
Intertextuality happens when a text or any work of art is indirectly or directly
referring to another text or work of art through its genre, symbols, ideas, or even
style. Intertextuality appears with a distinctively recognizable elements of the
referenced text.
An implicit intertextual reference happens when the writer indirectly
alludes to another text through the genre, ideas, symbols and styles. On the other
hand, explicit intertextual reference happens when the writer directly states
quotes or reference another text in their work.
With intertextuality, writers are able to enrich and extend the meanings of
their literary work and reflect their perspectives on issues or message in a more
creative manner.
The concept of intertextuality can also be expanded to music, film, advertising,
and many more in a way that everything produced now is influenced by what came
before. References to pop culture in advertising, films that are made from books, and
disc tracks in rap can all be considered intertextual though they are not strictly texts.
INTERTEXTUALITY VARIATIONS
Intertextuality variations greatly depend on two factors: the intention of the
writer and the significance of the reference. These variations may come in three
forms.
First is the obligatory intertextuality wherein the writer deliberately invokes
a comparison or association between two or more texts. This is usually conscious
and directly injected by the writer into the literary text to help enrich and extend the
meanings.
Given the freedom and space in writing, there is also the variation called
optional intertextuality. The use of this variation creates a lesser impact on the
significance of the intertext within the work of literature.
The accidental intertextuality happens, as the word implies, by accident.
This often happens when readers connect a text with another text, cultural practice,
or a personal experience without any tangible anchor point within the original text.
INTERTEXTUALITY TECHNIQUES
There are five techniques used to create the sense of intertextuality in a literary
work. These are effective means to refer to texts in various ways and help create and
enrich meaning of literary texts.
ALLUSION
This is a literary technique commonly used in intertextuality where an indirect
reference to another text through characters, symbols, ideas which could be
historical, mythical, or religious in nature, are used to extend meaning.
Common allusions in literature and in drama are from characters, symbols and
events in Greeks mythology like the gods and goddesses, heroes like Achilles,
Hercules and Perseus, things like the Pandora’s Box, Golden Fleece, and many more.
PARODY
This is simply referred to by most literary scholars as ‘intellectually humorous
imitation’ of a work of art or literature. This so-called imitation of another text serves
the purpose of delivering satirical truths and mockery in a subtle yet effective
manner.
QUOTATION
This is a direct reference to another text with the use of famous lines.
Shakespeare’s “Hamlet” gave the famous lines “To be or not to be, that is the
question!” or in his historical drama “Julius Caesar” where Anthony is best
remembered with the lines “Friends, Romans, countrymen, lend me your ears!”
In World War II history, many works of literature place their characters
alaMcArthur with delivery of lines “I shall return!”
APPROPRIATION
This is the ‘reworking’ or the ‘re-imagination’ of a well-known work of art or a
piece of literature to change or extend its meanings.
The idea here is that there is already a pre-existing work of art (say for example
a painting) and that this artwork is ‘reworked’ by another either by applying new
media into it or whatever that is that the artist would like to present. An artist may
use Juan Luna’s “Spolarium” where the gladiator pulling a fallen comrade may
appear in his version to be pulling a crocodile in a coat and tie.
The use of appropriation technique becomes a legal case when copyright of the
original authors and intellectual property rights of the original artist are violated.
Andrew E (being the producer) and the Pinoy rap group Salbakuta have had a close
brush on this issue when fans of Barbara Streisand complained about the rap group
degrading the romantic impact of the song “Evergreen” into the chorus of the hit song
‘Stupid Love.’
ADAPTATION
This technique is most common in TV damas or stage plays where the plot is
largely based on popular literary works such as novels and short stories. A good
example is J.K. Rowling’s ‘Harry Potter’ series which made its way into the silver
screen as a film adaptation. Another one is the ‘Lord of the Rings’ novel by J.R.R.
Tolkien which garnered Oscar nominations and awards.
