Narrative talk

with Christian Llyod
reference taken from Wikipedia;

Freytag’s analysis

According to Freytag, a drama is divided into five parts, or acts, which some refer to as a dramatic arc: exposition, rising action, climax, falling action, and dénouement.

Although Freytag’s analysis of dramatic structure is based on five-act plays, it can be applied (sometimes in a modified manner) to short stories and novels as well. Nonetheless the pyramid is not always easy to use, especially in modern plays such as Alfred Uhry‘s “Driving Miss Daisy“, which is actually divided into 25 scenes without concrete acts.

Exposition or Introduction

1. a large-scale public exhibition or show, as of art or manufactured products: an exposition of 19th-century paintings; an automobile exposition. 2. the act of expounding, setting forth, or explaining: the exposition of a point of view. 3. writing or speech primarily intended to convey information or to explain; a detailed statement or explanation; explanatory treatise: The students prepared expositions on familiar essay topics. 4. the act of presenting to view; display: The singer gave a splendid exposition of vocal talent.

Rising action

A related series of incidents in a literary plot that build toward the point of greatest interest.

Climax

The third act is that of the climax, or turning point, which marks a change, for the better or the worse, in the protagonist’s affairs. If the story is a comedy, things will have gone badly for the protagonist up to this point; now, the tide, so to speak, will turn, and things will begin to go well for him or her. If the story is a tragedy, the opposite state of affairs will ensue, with things going from good to bad for the protagonist. Simply put, this is where the main part happens or the most dramatic part.

Falling action

During the falling action the conflict between the protagonist and the antagonist unravels, with the protagonist winning or losing against the antagonist. The falling action might contain a moment of final suspense, during which the final outcome of the conflict is in doubt.

Dénouement, resolution, or catastrophe

The dénouement comprises events between the falling action and the actual ending scene of the drama or narrative and thus serves as the conclusion of the story. Conflicts are resolved, creating normality for the characters and a sense of catharsis, or release of tension and anxiety, for the reader. Etymologically, the French word dénouement is derived from the Old French word desnouer, “to untie”, from nodus, Latin for “knot.” Simply put, dénouement is the unraveling or untying of the complexities of a plot.

The comedy ends with a dénouement (a conclusion) in which the protagonist is better off than at the story’s outset. The tragedy ends with a catastrophe in which the protagonist is worse off than at the beginning of the narrative. Exemplary of a comic dénouement is the final scene of Shakespeare’s comedy As You Like It, in which couples marry, an evildoer repents, two disguised characters are revealed for all to see, and a ruler is restored to power. In Shakespeare’s tragedies, the dénouement is usually the death of one or more characters.

More modern works may have no dénouement, because of a quick or surprise ending.

Symbolism and Structure
– Symbolism is the use of signs to create meaning

“Meaning is a product of representation:
representation is using one thing to stand for
(represent) something else.
Meaning is culturally constructed by
individual members of different cultures.
Different cultures will have different values,
they will hold different beliefs and they may,
therefore, give the same elements of
illustration different meanings. ”
Malcolm Barnard 2012

Bruce Mau

Incomplete Manifesto for Growth
http://www.brucemaudesign.com

“3. Process is more important than outcome.
When the outcome drives the process we will only ever go to
where we’ve already been. If process drives outcome we
may not know where we’re going, but we will know we want
to be there.
4. Love your experiments (as you would an ugly child).
Joy is the engine of growth. Exploit the liberty in casting your
work as beautiful experiments, iterations, attempts, trials,
and errors. Take the long view and allow yourself the fun of failure every day.
7. Study.
A studio is a place of study. Use the necessity of production
as an excuse to study. Everyone will benefit.
9. Begin anywhere.
John Cage tells us that not knowing where to begin is a
common form of paralysis. His advice: begin anywhere.”