Multiple Genres: Analyzing Playwrights’ Use of Acts and Scenes (TEKS.ELA.8.8.C)
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Texas 8th Grade ELA › Multiple Genres: Analyzing Playwrights’ Use of Acts and Scenes (TEKS.ELA.8.8.C)
[Evening. A small living room. A tri-fold poster board leans against the couch. A printer hums.]
MAYA, 16, kneels on the rug, taping a crooked title. She smooths the same edge twice, then writes a line and crosses it out. LEO, 13, stands at the doorway, a game controller dangling from his wrist.
LEO: You want help?
MAYA: I got it. It's my grade. [She keeps her eyes on the board, smoothing the wrinkle again.]
LEO: Ms. Carter said partners—
MAYA: Partners in name. [She forces a laugh, glances at the clock.] If I don't fix the hypothesis, she'll say it's "unclear."
LEO: [Takes a step in, then notices the marker stains on Maya's hands and steps back.] Okay.
MAYA: [Softening.] Can you, um, print the graphs?
LEO: [Brightening.] Yeah! Which file?
MAYA: [Hand hovers over two versions on the laptop.] The... second one. Maybe. [She bites her lip, then nods.] The second.
LEO: Got it.
MAYA: [After a beat.] And maybe cut out the labels? Straight lines. [She passes him the scissors, then pulls her hand back a moment.] Careful. They're sharp.
LEO: [Half a smile.] I know.
MAYA: [Finally meets his eyes.] Thanks.
Which statement best explains what the combination of dialogue and staging reveals about Maya and Leo in this scene?
Maya is completely confident about the project because she says, "I got it," so Leo's help is unnecessary.
Leo is the more responsible partner because he mentions the teacher and knows exactly which file to print.
The messy living room shows they are both careless and only pretending to work hard for the assignment.
Maya tries to stay in control to hide her anxiety, while Leo feels tentative but wants to help, shown by Maya's repeated smoothing and hesitation and Leo stepping in, then back, before brightening when asked.
Explanation
The correct answer integrates dialogue and staging: Maya's words insist on control, but her repeated smoothing, crossed-out writing, and hesitations reveal anxiety; Leo's dialogue offers help, and his staging—stepping in, then back, then brightening—shows he's cautious yet eager to assist.
[Late afternoon outside a small hardware store in South Texas. Thunderheads build on the horizon. A bus timetable is tacked to a post. A cardboard box of keys sits on a stool.]
ELENA, 17, clutches a thick envelope. MR. CRUZ, 50s, adjusts the brim of his hat without looking at her.
ELENA: It's just a letter.
MR. CRUZ: [Checking the sky.] Storm will pass.
ELENA: [Half laughs.] I meant—college. Houston. Full ride.
MR. CRUZ: [Sets a small generator by the door, hands steady, eyes elsewhere.] Good. You earned it.
ELENA: Tía can't run the store alone. Not this month.
MR. CRUZ: [Rolls a ring on his finger, then nudges the box of keys toward her.] People figure things out.
ELENA: Do you want me to stay?
MR. CRUZ: [Finally meets her eyes, then looks away. Soft.] I want you to go. [He presses a key into her palm, closes her fingers around it, then lets go slowly.] For when you come back on breaks.
ELENA: [Steps closer to the bus schedule, then looks back.] You'll be okay?
MR. CRUZ: [Forces a smile, shoulders squared.] Stores don't close for weather.
ELENA: [Nods, breathes in.] Okay.
What do the dialogue and staging together reveal about Mr. Cruz's motivation in this moment?
Because he says, "I want you to go," he is indifferent about Elena's choice and doesn't care if she leaves.
He supports Elena's future even though it hurts to let her go, shown by his gentle words and the way he avoids eye contact, rolls his ring, and slowly presses the key into her hand.
The dark storm clouds prove Mr. Cruz is brave about weather, which shows he is always confident in every decision.
Mr. Cruz is trying to guilt Elena into staying by talking about the store and pointing at the sky to scare her.
Explanation
His dialogue expresses support, but the staging—averted eyes, fidgeting with his ring, and the slow, tender gesture with the key—shows he's swallowing his own feelings to prioritize Elena's opportunity.
[School auditorium after hours. Campaign posters lie blank on a table. A single work light glows.]
JAE paces in a tight line, flipping notecards. PRIYA sits cross-legged on the edge of the stage, swinging one foot.
JAE: We need perfect slogans. No typos. No off-message moments.
PRIYA: Or we could ask people what they actually want.
JAE: [Stops, then starts pacing again.] What they want is a plan.
PRIYA: [Grins.] Then plan to listen.
JAE: [Glances at the blank posters, exhales.] Listening isn't a slogan.
PRIYA: It's a start.
JAE: [Pacing slows. He lowers the notecards, then sits beside her, leaving a careful inch of space.] Okay. What would that look like?
PRIYA: Town-hall lunch. No speeches first. Just questions.
JAE: [Nods, tapping the cards against his knee, then tucks them into his pocket.] Then we write the slogans after we hear them.
PRIYA: [Bumps his shoulder.] Look at you, adapting.
JAE: [Smiles, a little sheepish.] Delegating.
Considering both the dialogue and staging directions, what do we learn about Jae's character development in this scene?
Jae shifts from a need to control to a willingness to collaborate, shown by his early pacing and card-flipping and later sitting beside Priya, pocketing the cards, and accepting her idea.
Jae remains a perfectionist the whole time because he says the word "perfect," so nothing about his approach changes.
Priya is intimidated by Jae throughout, which is clear from her grin and shoulder bump showing she wants him to stop talking.
Because they are in an auditorium, Jae only cares about being on stage and in the spotlight, proving he wants fame more than substance.
Explanation
Jae's dialogue and movement show growth: he moves from rigid pacing and notecards to sitting beside Priya and adopting her plan, indicating a shift toward collaboration.
[Galveston, 1900. A boarding house room. Wind rattles the window. A framed photograph lies on a dresser.]
THOMAS, 18, stuffs a small bundle into a satchel. LILA, 10, hugs a quilt, eyes wide.
LILA: It sounds angry.
THOMAS: [Briskly.] Little squall. We've seen worse.
LILA: [Peeks at the window.] The street's a river.
THOMAS: [Grips the window frame; his knuckles go white before he lets go.] I'll tie us together. Easy. [He pulls a length of rope, tests it, nods.]
LILA: You're not scared?
THOMAS: [Smiles too quickly.] Not with you.
[He tucks the photograph into his coat, then lifts Lila onto the sturdy table and ties the rope around her waist, double-knotting with shaking fingers.]
LILA: That hurts.
THOMAS: [Softening his hands.] Better safe. [He tightens his own end, breath catching.] On my count.
LILA: If it's little, why the rope?
THOMAS: [Looks at the door, then back at her, voice low.] Because I promised.
What do the combined dialogue and staging directions reveal about Thomas's true feelings and motivation?
Thomas isn't worried at all because he jokes that it's a "little squall," so he's just being casual and calm.
Thomas is reckless and dismissive, shown by his fast smile and the fact that he waits before tying any knots.
Thomas masks his fear to protect Lila, shown by his light words contrasted with white knuckles, shaking fingers, and careful, urgent actions to secure her and keep his promise.
Because it's 1900 and they don't have modern forecasts, Thomas is simply ignorant about storms, which explains everything about his behavior.
Explanation
His reassuring dialogue contrasts with staging that exposes fear—white knuckles, shaking fingers, and deliberate tying—revealing a protective motivation: he hides his fear to keep Lila calm and safe.
[The kitchen of a small apartment. Early morning light. A kettle hisses faintly on the stove. A cracked mug on the table; a backpack by the door. MIA, 16, wipes the same spot on the counter. LEO, 13, hovers near the door, hand on the backpack strap. She glances at the clock.]
MIA: Did you pack your lunch?
LEO: I'll buy something.
MIA: (still wiping) We talked about saving.
LEO: We also talked about you not playing mom.
MIA: (sets the towel down, steps between Leo and the door) I'm not—
LEO: (trying to squeeze past, half-smiling) Then let me go.
MIA: (voice soft) Not until you promise to meet me after school. No detours.
LEO: (rolls his eyes; fingers the cracked mug) You think I'm gonna shatter too?
MIA: That mug's held longer than we did last year. (takes a breath) Just—text me.
LEO: (shrugs) Fine. Happy?
MIA: (reaches for the backpack strap, then releases it) I will be.
LEO: (opens the door; pauses) I know you're trying.
MIA: (picks up the towel again, forcing a smile) Go. I'll be here.
Based on both the dialogue and the stage directions, what do we learn about Mia's character and motivation in this scene?
Mia is angry and wants to punish Leo, as seen in her sharp words and the early morning setting.
Mia takes on a protective role to manage her anxiety about losing family, shown by her repeated wiping, stepping between Leo and the door, and her careful, soft requests.
Leo is irresponsible because he says he'll buy lunch, proving he doesn't care about money.
The cracked mug symbolizes Leo's broken trust, so he refuses to meet after school.
Explanation
Mia's protective motivation is revealed by both dialogue and staging: she repeatedly wipes the counter, steps between Leo and the door, and speaks softly while asking for a promise—physical actions and words that show anxious care, not punishment.
[Hallway outside a small-town Texas football field. Friday night lights glow through a door. A trophy case gleams. COACH RIVERA, 40s, turns his cap in his hands. MRS. HALL, 30s, in a team jacket, stands planted by the door. Distant crowd noise and a whistle.]
MRS. HALL: My boy says his ankle's fine.
COACH: (avoiding her eyes) He's tough.
MRS. HALL: He's a starter.
COACH: (half-smiles, glances toward the field) And he's sixteen.
MRS. HALL: We need this win.
COACH: (lifts a clipboard, then lowers it) We need him healthy next week, too.
MRS. HALL: The scouts are here.
COACH: (the cap twists tighter) I know.
MRS. HALL: Then let him play.
COACH: (steps closer, voice steady but low) I saw him limp in warm-ups.
MRS. HALL: He hides it.
COACH: (finally looks at her) That's why I have to see it.
MRS. HALL: Are you saying no?
COACH: (hesitates, glances at the team photo in the case) I'm saying I'll put him in if he moves clean in the first series. If not—he sits.
MRS. HALL: (exhales, nods once) Fair.
COACH: (puts the cap back on, shoulders squaring) Tell him to stretch smart, not to prove something.
Considering both the dialogue and staging directions, what do we learn about Coach Rivera's motivation?
Coach is arrogant and wants to show power because he says, "I have to see it."
Coach only cares about trophies and fame, as shown by the trophy case and the Friday night lights.
Coach is indifferent to the player's future since he offers a compromise to keep the game moving.
Coach is balancing community pressure with the player's long-term safety, shown by him twisting his cap, avoiding eye contact, and choosing words that weigh winning against health.
Explanation
The coach's nervous gestures (twisting the cap, avoiding eye contact, hesitating) with his measured dialogue about health versus winning reveal he is torn but prioritizes safety under pressure.
[The front room of a storm-battered shop in Galveston, 1901. Sunlight slants through a boarded window. AUNT ROSA, sleeves rolled, lifts a ledger from a damp crate. LUCY, 14, holds a broom.]
LUCY: We could close. Start over in Houston.
AUNT ROSA: (sets the ledger on the counter, smoothing its swollen pages) This store fed three families.
LUCY: Abuela would say we can rebuild anywhere.
AUNT ROSA: (picks up a bent tin sign, then lays it gently by the ledger) Abuela also said don't turn your back on neighbors.
LUCY: (eyes the doorway) Dr. Patel needs new shelves.
AUNT ROSA: (nods, pockets a small brass key, then presses a coin into Lucy's palm) Take this to him. Tell him we'll trade labor for lumber.
LUCY: You don't have to act so strong.
AUNT ROSA: (pauses, hand lingering on the ledger) I'm not acting. I'm deciding.
LUCY: (softly) To stay?
AUNT ROSA: (lifts the broom from Lucy, hands her a hammer instead) To stand. Different thing.
LUCY: (half-smiles, tucks the coin away) I'll go.
AUNT ROSA: (watches Lucy to the door, then squares her shoulders) And come back quick. There's work enough for a town.
What do the combined dialogue and stage directions reveal about Aunt Rosa's character?
Aunt Rosa is determined to rebuild and support her community, shown by smoothing the ledger, pocketing the key, arranging trades, and her firm, deliberate statements about deciding to stand.
Aunt Rosa is reckless because she ignores the damage, proven by the sunlight and boarded window details.
Aunt Rosa secretly wants to move to Houston since she doesn't argue with Lucy's idea.
Aunt Rosa is only interested in money because she touches the ledger and gives a coin.
Explanation
Rosa's actions (smoothing the ledger, pocketing the key, giving a coin with a plan to trade) and steady, purposeful lines show resolve to rebuild and serve neighbors, not recklessness or greed.
[Backstage of a middle school auditorium. Half-painted flats lean against the wall. A work light throws long shadows. JAY, paint on his sleeves, holds a crumpled script. NOOR, a headset around her neck, inspects a cracked column prop.]
NOOR: Mr. Alvarez is going to ask who broke it.
JAY: (takes a step back into the shadow) It was an accident.
NOOR: We promised to check the wheels.
JAY: (glances at the exit curtain) I can talk to him.
NOOR: You didn't pull it alone.
JAY: (tightens his grip on the script, voice low) I pushed too fast.
NOOR: If you take the blame, you'll lose the role.
JAY: (a beat) Maybe I should.
NOOR: Jay—
JAY: (moves toward the column, kneels to steady it) You worked all summer for this show. I can handle a smaller part.
NOOR: That isn't fair.
JAY: (meets her eyes, then looks down) Fair is keeping the show standing.
NOOR: (sighs, sets the headset on a crate) We tell him together.
JAY: (exhales, nods, steps out of the shadow) Together.
What does the combination of dialogue and staging reveal about Jay's character in this moment?
Jay is careless and doesn't value the play, because he says it was an accident.
Jay is angry at Noor and wants to quit, as shown by him stepping into the shadow and looking at the exit.
Jay feels guilty but is loyal and willing to sacrifice his role, shown by tightening his grip on the script, stepping into and then out of the shadow, and offering to take blame while steadying the column.
Jay is skilled at building props since he kneels by the column in the backstage setting.
Explanation
His gestures (gripping the script, retreating into shadow and then stepping out) together with his words about taking blame and keeping the show standing reveal guilt balanced by loyalty and selflessness.