Directing Mid Flashcards
by the end of a good story, the writer or storyteller should have proven their _____ to be _____
premise/true
why is it important for character to have a stake in the outcome of a story?
prevents compromise
true or false: according to Egri, it is possible in a good story for the hero and villain to reach a compromise
false
another way to describe the synthesis equation is
Unity of opposites
accoring to dialetical thinking, a change occurs when something encounters its
opposites
complete the following equation:
synthesis = thesis +
antithesis
Dialectics is a concept of logic dating all the way back to ancient Greece, where the word meant-
Conversation
according to Egri, the only thing constant in the world and all of humanity is what?
change
complete the following equation: Character = physiology + sociology + psychology +
environment
true of false: each factor in the character bone structure helps create a unique character that responds differently to obstacles
true
why is it important for a storyteller to write bone structures for their main characters?
details of their lives influence a character’s decisions
why is environment important to Egri’s ideas about character development
it is a catalyst for character change
how or when is premise revealed in a story
it should be seamlessly integrated
all of the following are reasons why premise is important to story except
it explains the story’s context
which of the following is an example of a strong premise?
bragging leads to humiliation
true or false: a story’s premise doesnt have to be true, nor does the writer have to believe it
false
what are the three parts to a story’s premise?
Character, conflict, ending
according to Egri, what drives the plot and action of a story?
character
the seminal work of Lagos Egri, which details his ideas about dramatic storytelling, is called.
Art of Dramatic Writing
Aristotle’s ideas about drama emphasized ______ above other elements of story, but Lagos Egri felt that the elements of a story spring from ____
plot/character
____________________ have 3 dimensions:
1) Physiology
2) Sociology
3) Psychology
These three dimensions can provide the reason for every phase of human conduct. They must be known, but need not be mentioned. They come through in the behavior of the character, not in any expository material about them.
tridimensional characters
The physical make-up of a character.
EX: Sex, Age, Height and Weight, Appearance, Defects, etc.
Physiology
The social life, social change, and the social causes and consequences of human behavior in a character.
EX: Class, Occupation, Education, Home Life, Religion, Race, Political Affiliations, Hobbies, etc.
Sociology
The science of mind and behavior; how people behave, think and feel.
EX: Morals, Temperament, Frustrations, Ambitions, Attitude Toward Life, Philosophies, Abilities, Complexes, IQ, etc.
Psychology
Is a character’s reaction to a conflict in which they are involved. A character can _______ through making the correct move, as well as the incorrect one — but they must _______, if they are to be a real character.
Growth
A Character must have the _________, the stamina, and the _______ to carry the narrative to its logical conclusion.
Each character has a well-defined premise in life. They know what they want — and fight for it.
A “weak character” is one who, for any reason, cannot make a decision to act.
Strength off Will
Is the Protagonist; the character who creates conflict and makes the story move forward. The Pivotal Character knows what they want. They must not merely desire something. They must want it so badly that they will destroy themselves or be destroyed in the effort to attain their goal.
Uncompromising Characters in pursuit of their goals, wants, desires, but most importantly, their needs
pivotal character
Is necessarily as strong and, in time, as ruthless as the pivotal character.
A fight is interesting only if the fighters are evenly matched.
Antagonist
Is one of the reasons for Rising Conflict in any play.
__________________ demands well-defined and uncompromising characters in opposition, moving from one pole toward another through conflict.
Well defined, strong, uncompromising characters in conflict commensurate to the movement of the play.
Orchestration
The intensity of the ___________ will be determined by the strength of will of the three-dimensional individual who is the protagonist.
In ___________ we are forced to reveal ourselves. It seems that self-revelation of others or ourselves holds a fatal fascination for everyone.
Without _________, life would not be possible on earth, or, for that matter, anywhere in the universe. The technique of writing is only a replica of the universal law which governs an atom or a constellation above us.
conflict
Conflict that does not move, change, or develop characters.
Attributed to “badly orchestrated characters”.
static conflict
Conflict that irrationally jumps to jurassic levels with lightning speed, without any logical transitions or progressions in thought, tension, or drama.
Attributed to “badly orchestrated characters”.
Jumping conflict
Conflict where the progression is understandable, logical, and entertaining.
Attributed to “well-orchestrated”, three-dimensional characters, who are both determined and uncompromising in reaching their goals.
rising conflict
The promise of future conflict.
Is not conflict yet, but we as the audience are eagerly waiting for the fulfillment of the promise of it.
Foreshadowing conflict
That point in which a character must make momentous decision; one that constitutes a turning point in the character’s life.
Often, the Key Incident/Plot Point #1
point of attack
The element which keeps the story moving without any breaks, jumps, or gaps. _____________ connects seemingly unconnected elements, such as winter and summer, love and hate.
Without _____________, there cannot be development or growth.
_____________ must be present to make a three-dimensional character believable. The lack of, produces melodrama.
transition
Human values remain the same if they grow naturally out of the forces around them.
In order to construct three-dimensional characters, we must strive to attain thorough knowledge of the customs, morals, philosophy, art, and language of that time. If you know the principles, you will be a better craftsman and artist.
The _____________________________ will be ________ if you realize that your characters in their physical, sociological, and psychological dimensions.
timelines of the story
How a character chooses in a true dilemma is a powerful expression of his _______ and of the world in which he lives
humanity
Character finds 2 things undesirable, wants neither, but must choose 1
Choice between lesser of 2 evils
Character finds 2 things desirable, he wants both, but circumstances force them to choose only 1
Choice between irreconcilable goods
True choice occurs in which 2 situations?
- Choice between irreconcilable goods
- Choice between lesser of 2 evils
True character can only be expressed through choice in _____________
dilemma
What one believes they want is the ____ of what they actually but unwillingly wants
Anti-thesis
Unconscious intent of the character, the inner problem, the true deep character, the “selfish” part of the motive
Unconscious desire
Protagonist has a need/ goal and knows it
Conscious desire
When ________ and ______ match, the role becomes repetitive with predictable behaviors
characterization and true character
Expressed through choice in dilemma, key to the character, behind the disrespect is motivation
true character
________ is our source of characterizations
observation
The sum of observable qualities: physical appearance, mannerisms, style of speech, gestures, sexuality, age, IQ, occupation, values, attitude, personality, where they live, how they live
Characterization
A character is not a ___________
human being
What are the 2 primary aspects to character?
- Characterization 2. True Character
Likable
Sympathetic
“Like me”
Empathetic
The protagonist must be _____, he may or may not be ________
Empathetic, sympathetic
The audience’s emotional involvement is self by the _____________
glue of empathy
Situations the character finds themselves in the choices the character has in those situations and the decisions the character makes between these choices
premise
Antagonist must be _______ as protagonist
as strong
The protagonist and antagonist must be ________ for each other
dangerous foes
A good pivotal character must have something _____________
very vital at stake
A pivotal character must not merely desire something, he must _____ it so badly that he will destroy or be destroyed in the effort to attain his goal
want
Those who have no power to put up a fight and cannot make a decision to act
weak character
A character’s reaction to a conflict in which he is involved
growth
The meaning of a word will go through innumerable metamorphoses, according to the ________, ___________, and __________ under which it is used
pace, climate, condition
a character is in
constant changes
No one escapes the effect of a __________
shortcoming
If we wish to understand the action of any individual, we must look at the ________ which compels him to act as he does
motivation
We must know _____ man is as he is, why his character is ____________, and ______ he wishes it or no
why, constantly changing, why
What are the 3 dimensions that every object has?
Depth, height, width
_______ is the fundamental material we are forced to work with
character
Hungarian playwright and author of the Art of Dramatic Writing
Lajos Egri
Writers work from intuition and ___________ the work to maintain a narrative logic between ____________, ______________, why they do what they do, and __________________
Analyze, who the character is, why/ what they want, feel the way they feel
Character action leads to _________
events
Vessel that contains Aristotle’s complete action, Stanislavski’s Through-line or super objective, Egri’s premise and Mckee’s Spine
character
