Multiple Genres: Analyzing Character Development in Drama Through Dialogue and Staging (TEKS.ELA.7.8.C)
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Texas 7th Grade ELA › Multiple Genres: Analyzing Character Development in Drama Through Dialogue and Staging (TEKS.ELA.7.8.C)
[Backyard in Houston at dusk. A grill sizzles. MARCO wipes his hands on a towel; LENA, his younger sister, balances paper plates. TÍA ROSA fans the smoke with a church bulletin.]
TÍA ROSA: You always act like the world sits on your shoulders, mijo.
MARCO: [half-smiles, then glances at Lena] It's just a long week, Tía.
TÍA ROSA: Long? The brisket isn't the only thing getting overcooked. [She steps closer.] Your boss calls again, and you don't answer?
MARCO: [jaw tightens; he sets the tongs down carefully] I'm off the clock.
LENA: [softly] Marco, it's okay. I can handle myself at practice.
MARCO: [moves between Tía Rosa and Lena, voice low] This isn't about practice.
TÍA ROSA: Then say what it's about.
MARCO: [exhales, eyes on the fence line where neighbors laugh] I don't want problems tonight. Not in front of her.
LENA: [touches his arm] I'm not made of glass.
MARCO: [nods, shoulders relaxing slightly] I know. But not everyone treats you like I do.
TÍA ROSA: [folds the bulletin, watching him] Hm.
What do Marco's dialogue and the staging directions reveal about his character in this scene?
He is relaxed and focused on cooking, shown by working the grill and joking with Tía Rosa.
He is mocking his aunt playfully, as seen in his half-smile and comments about being off the clock.
He is protective of Lena and trying to prevent a confrontation, shown by stepping between them, speaking in a low voice, and saying he doesn't want problems tonight.
He is careless and avoids responsibility, which is why he sets down the tongs and looks toward the neighbors.
Explanation
Marco's protective, conflict-avoiding nature is revealed when he moves between Tía Rosa and Lena, lowers his voice, and says he doesn't want problems tonight. The stage directions (jaw tightens; stepping between them) and his words show both motivation and trait. The other options either confuse setting details (grill) with character, misread tone as playful, or ignore the staging that shows careful control rather than carelessness.
[Community center in San Antonio. Folding chairs face a poster of a sprawling live oak. A microphone squeaks. MS. DELGADO, a science teacher, stands at the podium. MR. CRUZ, a developer in a crisp suit, sits near the front. Neighbors murmur.]
MS. DELGADO: [clearing her throat; hands grip the edges of the podium] This tree is older than our street names. Students have tested the soil beneath it.
MR. CRUZ: [smiles thinly] We all love trees. But we also love jobs.
MS. DELGADO: [measured] We can have both. The plan can move fifty feet west. [She lays a folded map on the podium, but keeps a steady gaze on the crowd.] The roots won't survive grading.
NEIGHBOR 1: Sounds expensive.
MS. DELGADO: [a breath; one hand trembles, then stills] Costs are choices.
MR. CRUZ: Or emotions. [He leans back, crossing his legs.]
MS. DELGADO: [voice firm now] It's not just emotion. It's evidence—ring counts, drought resilience. [She taps the map once, then steps away from the mic to make space for others.]
NEIGHBOR 2: She's got a point.
[Ms. Delgado folds the map, nodding to a student in the back row.]
Based on the dialogue and staging, what do we learn about Ms. Delgado?
She is nervous but determined to protect the tree, shown by her trembling hand that steadies, steady gaze, and evidence-focused statements.
She is sarcastic and dismissive of jobs, as shown when she mocks the developer by laughing at him.
She cares mostly about looking important in front of the crowd, which is why she stands at a podium under a poster.
She is indifferent to the outcome, suggested by stepping away from the mic so others can speak.
Explanation
Ms. Delgado's hand trembles and then steadies, and she maintains a steady gaze while citing evidence, revealing nervousness paired with resolve. The distractors misread tone (no mockery), confuse setting/staging (podium/poster) with character motivation, or ignore that stepping away after speaking shows respect and confidence, not indifference.
[School auditorium. A single work light glows onstage. JAY clutches a crumpled script. MIA, the stage manager, checks her clipboard. MR. THOMAS watches from the first row.]
MIA: Act two, scene three. Go ahead, Jay.
JAY: [grins too wide] Sure, yeah, totally. "My—uh—my heart gallops like—like—"
MR. THOMAS: Like thunder over the plains.
JAY: Right. That. [He chuckles, eyes skimming the pages.] I was going to… improvise. Keep it fresh.
MIA: You said you had the lines down.
JAY: [waves a hand, then shoves the script behind his back] I do. It's just… I don't want to peak too early, you know? [He looks toward the dark seats, then back to Mia.]
MIA: [gently] Do you want to run it once?
JAY: [nods quickly; moves to his mark, feet shuffling] Yeah. One run. For you.
MR. THOMAS: From "gallops," please.
JAY: [swallows; voice softens] "My heart gallops like thunder over the plains." [He relaxes a little.]
What do Jay's dialogue and the staging suggest about his feelings during rehearsal?
Jay is confident and bored because he wants to improvise and keeps smiling.
Jay is angry at Mia for pressuring him, which is why he shoves the script behind his back.
Jay is focused only on the setting of the play, shown by his line about plains.
Jay is embarrassed about forgetting his lines and tries to hide it with jokes and forced confidence, shown by his too-wide grin, fidgeting, and excuses about "keeping it fresh."
Explanation
Jay's forced grin, script shoving, fidgeting, and excuses reveal embarrassment and a cover-up attempt. The other options misread tone (his smile isn't confident), invent anger not supported by words or staging, or confuse a scripted line about plains with characterization.
[City bus shelter. Rain taps the plastic roof. ARI holds a damp wallet; COUSIN NIA stands with an umbrella, checking the route map. A bus hisses in the distance.]
NIA: We can turn it in at the depot. They'll call.
ARI: [thumb on a crumpled bill poking out] What if no one claims it?
NIA: [raises an eyebrow] What if they do, and you kept it?
ARI: [glances toward the bus, then tucks the bill back inside] I didn't say that.
NIA: You didn't have to. [She shifts the umbrella to cover him.]
ARI: [quietly] The rent's late.
NIA: I know. [She straightens, then points to an ID card inside.] There's a phone number.
ARI: [takes a breath; hands steady now] Okay. I'll call. [He steps away from the shelter to get service.]
NIA: [smiles, a little proud, watching him dial]
ARI: [into the phone] Hi—uh—we found your wallet.
[The bus pulls up; the driver opens the doors. Ari lifts a finger to ask for a minute.]
What do Ari's words and the staging choices reveal about him in this moment?
Ari is careless and doesn't notice the money until Nia points it out.
Ari feels tempted because of rent but chooses to do the right thing, shown by putting the bill back, steadying his hands, and calling the number despite the arriving bus.
Nia is angry and controlling, shown by covering him with the umbrella and pointing to the ID card.
Ari is excited to ride the bus and ignores the wallet, which is why he lifts a finger to the driver.
Explanation
Ari admits the rent is late (motivation), but the staging shows him tuck the bill back, hands steady, and call the number even as the bus arrives—signals a choice toward honesty. The other options confuse staging of setting (umbrella, bus) with character traits or misread Nia's supportive actions as anger.
[Late afternoon at the Blanco County Fair. The family barbecue tent bustles; smoke curls from a metal pit. A line waits.] RUBEN: Folks are hungry, mija. Slices got to be right. [He steadies his knife, then glances toward a small community stage across the lawn.] MAYA: The mariachi auditions start in ten minutes. If I miss my slot - RUBEN: We promised brisket. [He wipes his hands, fixes a crooked banner, then fingers a worn belt buckle.] TIO LEO: I can plate for a while. Go hear the girl sing. RUBEN: It's not about hearing. It's about being there when family needs you. [He meets Maya's eyes; his voice softens.] Bring your guitarron? MAYA: Always. [She pats the case.] I can be back in twenty minutes. RUBEN: Twenty is a long time with this line. [He studies the customers, then the stage, then nods once.] Go. We'll manage. Make the Ruiz name proud there, like we do here. [He turns to the pit, fanning smoke, shoulders set.] TIO LEO: I'll slice. RUBEN: Careful on the bark. [To Maya.] Sing from your ribs. [He watches her jog off, then returns to the board, working faster.]
Which inference about Ruben is best supported by both the dialogue and the stage directions?
Ruben is careless because the fair is casual and the line is long.
Ruben just wants to listen to music and ignores the booth.
Ruben is proud of the family's work and protective of their reputation, but he still supports Maya's goal.
Ruben is angry at the customers for rushing him and refuses to help.
Explanation
Ruben's words about family, reputation, and 'making the Ruiz name proud,' plus the staging of him fixing the banner, fanning smoke, and steadying his knife, show pride and responsibility; his soft tone and nod letting Maya go show support for her goal.
[After-school rehearsal in the middle school auditorium. Scattered scripts on seats. A bare bulb hums.] MR. ELLIS: Props table is empty. Who took the crown and lantern home? PRIYA: They were on the cart at lunch. [Jordan clutches his script, chews his lip.] JORDAN: It was me. I forgot to bring them back. MR. ELLIS: That puts us behind. Opening is Friday. [He rubs his temples.] JORDAN: I can fix it. I'll call the shop and remake what we need. [He avoids Priya's eyes.] MR. ELLIS: Costumes aren't a game. If you say you'll fix it, you fix it tonight. PRIYA: Jordan - [Jordan shakes his head slightly.] JORDAN: I will. [He pulls out his phone, hands trembling.] MR. ELLIS: Thank you. Take the list. [He exits.] PRIYA: You didn't take them. I did. You don't have to cover for me. JORDAN: I'm already in two scenes. They'll forgive me faster. [He forces a breathy laugh, then lowers his voice.] And your mom's working late. You can't get a ride back. [He dials.] Hi - do you have cardboard crowns?
What do the dialogue and stage directions together reveal about Jordan's motivation?
Jordan wants extra attention from Mr. Ellis, so he causes problems on purpose.
Jordan is trying to protect someone else while also taking responsibility to fix the mistake.
Jordan doesn't care about the play because the auditorium is mostly empty.
Jordan is joking about the missing props and thinks it's funny.
Explanation
Jordan lies to shield Priya and immediately starts calling to replace the props; his trembling hands and avoiding eye contact show worry, not a desire for attention or a joke.
[Early morning on a small San Antonio duplex porch. Cicadas buzz. A city bus sighs at the corner.] NICO: Coach says I have to sell my show goat at the auction today. I'm not going to school. ELENA: You're going. [She sets two folding chairs, lays a lunch sack on one.] Skipping class won't change the rules. NICO: It's not fair. I raised Lucky since February. ELENA: I know. [She keeps her voice even, tying her work apron.] Bills don't wait. The auction check keeps the lights on. NICO: You don't get it. ELENA: I do. [She meets his eyes, then looks away toward the bus.] I also get attendance letters. You can be mad on the ride. [She places the lunch in his hands.] Eat. NICO: I'm not hungry. [He wipes his face with his sleeve.] ELENA: Keep it anyway. [She slips bus fare into his pocket.] After school, I'll stand with you at the ring. You hand the lead. I'll do the part where you look away. [A bus approaches. She nudges him toward the steps.] Let's move.
What do the dialogue and stage directions reveal about Elena's relationship with Nico?
Elena acts as a protective caregiver, balancing firmness with quiet support for Nico.
Elena is carefree and unconcerned because the morning feels relaxed on the porch.
Elena is mocking Nico and trying to embarrass him in front of neighbors.
Elena wants Nico to skip school so they can both avoid the problem.
Explanation
Elena's steady tone, setting out a lunch, slipping bus fare into his pocket, and promising to stand with him at the ring show firm guidance paired with care, not mockery or indifference.
[Saturday morning inside a community food bank. Pallets of cans tower; a small crowd waits at the door.] BEN: We promised twenty produce boxes. We have twelve. LILA: We can split the apples. [She scans the shelves, then exhales through her nose.] Move the beans to the front table. Build two lanes. BEN: But the labels - LILA: People need food, not matching labels. [She drags a folding table into place, sleeves rolled.] You run crates to the door. I'll portion. BEN: We'll run out. LILA: Not if we think. [She stacks apples into neat rows of three, then breaks a bag of rice into smaller bags.] When Mrs. Ruiz arrives, give her a seat near the fan. BEN: You look stressed. LILA: I am. [She cracks a quick grin, then keeps working.] Stress means I care. [She waves two volunteers over with a nod and pantomimes two lines.] We start now. BEN: Copy. [He hustles with a dolly.] LILA: Thank you. [She squares her shoulders, then opens the doors wide.]
What do the dialogue and stage directions most strongly suggest about Lila's character?
Lila is rude and disorganized because the warehouse is loud and crowded.
Lila doesn't care about the people waiting and moves slowly on purpose.
Lila is calm and relaxed, ignoring the shortage.
Lila is resourceful and takes charge under pressure, adjusting the plan to serve everyone.
Explanation
Lila gives clear directions, rearranges tables, portions food, and opens the doors while acknowledging stress; her words and actions show leadership and problem-solving, not rudeness or indifference.