DRAMATIC STORYTELLING - the common understanding

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Post on 30-Jun-2015




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A power-point introduction to dramatic screen storytelling with an emphasis on the character-driven story.


<ul><li> 1. Dramatic StorytellingDramatic Storytelling Character, audience &amp; tribeCharacter, audience &amp; tribe </li></ul> <p> 2. Jung wrote that one cannot stand aloof from the images, actions and stories of the person whos being analysed. One has to enter them. Likewise, with dramatic characters. If you dont enter them, then your subconscious will never work. Youll never come up with anything that the audience couldnt have thought of better at home. - David Mamet 3. Our raison detreOur raison detre To facilitate effective, collaborative screen-based storytelling. 4. SOME DEFINITIONSSOME DEFINITIONS WHAT IS A DRAMATIC STORY? PROBLEMS GOALS PLANS 5. WHAT IS A COLLABORATION?WHAT IS A COLLABORATION? A mutually respectful, creative interaction between skilled individuals working towards a common goal based on a shared understanding concerning the nature of the work in which they are engaged. 6. So what is this shared understanding? 7. Dramatic stories are STRUCTURED presentations of emotional ENERGY generated by ACTIONS and SOUNDS perpetrated by CHARACTERS with INCOMPATIBLE AGENDAS (conflict, disconnection) 8. When acted upon, these conflicting agendas produce significant consequences with increasing threat to the characters well- being, forcing them to go on acting in the hope of re-establishing some degree of balance, safety, or control. 9. DRAMATIC ACTION = EMOTIONAL ENERGY 10. 2 things dramatic stories2 things dramatic stories do:do: they BUILD energy &amp;they BUILD energy &amp; they RELEASE energythey RELEASE energy 11. When they are NOT dramaticWhen they are NOT dramatic they DISSIPATE energy 12. A storys power = its EFFECTIVENESS in building and releasing energy (intensity) so long as the story action is FRESH SURPRISING CREDIBLE 13. When a story stops building energy, or is unable to effectively release it, the energy dissipates, which is another way of saying the story becomes undramatic. Therefore Regardless of form, effective storytellers will have a passionate interest in the sources, manifestations and transformations of emotional energy, i.e.: the characters and their actions 14. Effective learning, conducted collaboratively, is vastly enhanced when the team of storytellers includes the characters as essential members of the team. 15. The realisation and presentation of effective dramatic characters in screen-based storytelling - is mediated by the capture of images and sounds relevant to those characters, their world, and the dramatic questions the characters problems cause us as both storyteller and audience to ask. 16. A screen story that is dramatic and effective produces fresh, unexpected and credible images and juxtapositions of images and sounds. 17. The finding and capturing of fresh, unexpected and credible images and their juxtaposition is more likely to produce effective dramatic stories if the filmmaker/ storytellers are working from inside the emotional life of the characters. 18. When the capture, selection, weighting and ordering of images and sounds is guided by the a common understanding of the emotional life of the characters, and when the creative choices that are made illuminate what is most compelling, relevant, credible and ORIGINAL to the characters, including their specific problems, plans, and objectives, image and sound cannot fail but serve the story. 19. ThereforeTherefore All craft questions, at least implicitly, are questions concerning the most effective way of presenting emotional energy as enacted by characters in the context of the world or worlds in which the characters are acting. However 20. Dramatic storytelling isDramatic storytelling is DIALOGICDIALOGIC 21. Dramatic stories are conceived and told from a point of view, in a context, to an audience. hence Effective dramatic storytelling relies on the storytellers awareness of and engagement with not only the characters, but also the AUDIENCE and the TRIBE (or tribes) relevant to the telling. 22. THE THREE PRIMARY RELATIONSHIPS (or vantage points) Storyteller - Character (story) relationship Storyteller - Audience relationship Storyteller - Tribe relationship </p>