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The Storytelling Animal: The Science of How We Came to Live and Breathe Stories. By Maria Popova Where a third of our entire life goes, or what professional wrestling has to do with War and Peace.

The Storytelling Animal: The Science of How We Came to Live and Breathe Stories

“The universe is made of stories, not atoms,” poet Muriel Rukeyser memorably asserted, and Harvard sociobiologist E. O. Wilson recently pointed to the similarity between innovators in art and science, both of whom he called “dreamers and storytellers.” Stories aren’t merely essential to how we understand the world — they are how we understand the world. Gottschall articulates a familiar mesmerism: Human minds yield helplessly to the suction of story. Joining these favorite book trailers is a wonderful short black-and-white teaser animation: One particularly important aspect of storytelling Gottschall touches on is the osmotic balance between the writer’s intention and the reader’s interpretation, something Mortimer Adler argued for decades ago in his eloquent case for marginalia. The writer is not … an all-powerful architect of our reading experience.

Share on Tumblr. 20 intrigues types et comment les construire. D’après George Martin, il existe deux types d’écrivains : les jardiniers qui écrivent à l’instinct et cultivent leur histoire au fur et à mesure qu’ils écrivent et les architectes, qui ont besoin de savoir où ils vont avant de se lancer.

20 intrigues types et comment les construire

J’appartiens définitivement à la deuxième catégorie, et afin de parfaire mes connaissances sur l’art de la construction d’histoire, j’ai décidé de lire un peu de théorie sur le sujet. Voici donc les notes prises sur le livre « 20 master plots and how to build them » de Ronald Tobias. Le principe est simple : livrer un guide qui présente vingt intrigues types, avec leurs spécificités et comment les construire. Introduction Quand on parle de structure narrative, on pense roman ou film, mais notre vie de tous les jours est peuplée d’histoires qu’on raconte (des anecdotes, blagues…) qui utilisent des structures narratives. Aristote a théorisé ce que doit être une intrigue : une action unifiée qui crée un tout, composé d’un début, d’un milieu et d’une fin. Cours de dramaturgie : Scénodico. Monomyth. Joseph Campbell's monomyth, or the hero's journey, is a basic pattern that its proponents argue is found in many narratives from around the world.

Monomyth

This widely distributed pattern was described by Campbell in The Hero with a Thousand Faces (1949).[1] Campbell, an enthusiast of novelist James Joyce, borrowed the term monomyth from Joyce's Finnegans Wake.[2] Campbell held that numerous myths from disparate times and regions share fundamental structures and stages, which he summarized in The Hero with a Thousand Faces: A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.[3] A chart outlining the Hero's Journey.

Summary[edit] In a monomyth, the hero begins in the ordinary world, and receives a call to enter an unknown world of strange powers and events. Three-act structure. Three- act structure Plot Line Graph by Wendell Wellman The three-act structure is a model used in writing, including screenwriting, and in evaluating modern storytelling that divides a fictional narrative into three parts, often called the Setup, the Confrontation and the Resolution.

Three-act structure

Structure[edit] The second act, also referred to as "rising action", typically depicts the protagonist's attempt to resolve the problem initiated by the first turning point, only to find him- or herself in ever worsening situations. Part of the reason protagonists seem unable to resolve their problems is because they do not yet have the skills to deal with the forces of antagonism that confront them.

Interpretations[edit] In Writing Drama, French writer and director Yves Lavandier shows a slightly different approach.[2] He maintains that every human action, whether fictitious or real, contains three logical parts: before the action, during the action, and after the action. See also[edit] References[edit] Books. Scénario-Buzz.