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