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Culture / Cinema

Kinograph. A fragment from the book "Art of drama" by Lajos Egri The article 29.04.2020 at 08:38

Information-analytical on-line magazine about cinema news, reviews, analysis of domestic and foreign cinema business.

"In this book I'm going to offer a new approach to literary work in General and drama in particular," immediately warns the author of this classic work, in addition to having cool names, and an intriguing subtitle: "Creative interpretation of human motives". Very simple, very clear language it explains the basics of the writing craft: "the Plot or character – which is more important?", "The backbone of nature" and "Unity of opposites", "the Key character" and "Antagonist", "Cause and effect" and "Obligatory scene"... One of his heads Lajos Egri devotes the "premonition of the conflict" – and with the permission of the publishing house "Alpina non-fiction" we publish it in full (it is not very big – which is a good example from a movie).

the Premonition of conflict

If you want to read his manuscript relative or friend, do it, but don't ask him to Express his opinion. Most likely, he has no such knowledge as you and his advice will do more harm than good. In this regard, he will not be able to properly evaluate your text, and you put him in an uncomfortable and unpleasant situation.

But if you feel the need to read someone their piece, ask them to say at what point he will start to feel fatigue or boredom. This moment will show you that there is no conflict, and its absence is a sure sign of a bad arrangement of the characters, in other words, they are not ready to fight, between them there is no unity of opposites, as there is in your composition and uncompromising of a key character. If all is lost, you have no solid work — only a set of words.

You may argue that your audience does not have a high intellectual level required for conscious perception of your text. And what? Does this negate the above? No, it doesn't, because the smarter a person is, the faster he would get bored if from the beginning you will not experience a feeling of conflict.

the Reversal of the book of Lajos Egri's "Art of drama. The creative interpretation of human motives"

Conflict is the heart of any literary work. There was no light on such a conflict, that could not anticipate. Conflict is a huge thread that, like nuclear energy, one fire creates a series of explosions.

No night without dusk, morning, dawn, winter, no autumn, summer, which was not before the spring; they are the harbingers of the coming event. But it is a harbinger not always the same. In fact there are no two identical winters or sunsets.

a Play without conflict creates the atmosphere of desolation, a sense of decay.

Without conflict would not be possible life on Earth or, for that matter, in the entire Universe. Literary creativity is just a reflection of universal law that rules the atom, planets and constellations above our heads.

Put against each other two fanatics or two opposing groups, and can feel the feeling of the conflict of phenomenal power.

the Poster of the film "Thirty seconds to Tokyo."

the motion Picture "Thirty seconds to Tokyo" perfectly illustrates our point. The first two thirds of the film are devoid of any conflict, however, the audience followed the development of the story spellbound. Why? What kind of mojo directed has entangled the audience, attracted their attention to the screen? It is actually very simple. They foresaw the conflict.

One of the characters in the movie, the officer tells the assembled pilots: "Guys, you all volunteered to participate in a very dangerous mission. It is so risky that in your own interest not to discuss, even among themselves, where we can go."

This warning is the starting point of history. Then the heroes receive long-term training program for the upcoming dangerous mission, which they have been promised.

Warning very promising; in our case it is a conflict.

Was a prolonged wait justified or not in this story — the question is beyond the scope of our discussion. It is important to remember that the audience breathlessly waited for two hours until the moment when Tokyo will remain for 30 seconds way.

the scene from the movie "Thirty seconds to Tokyo."

If the pair of boxers are found in the ring, all expect to see an exciting fight. The same can be said about the scene.

You agree that this is so, but how to introduce a persuasive uncompromising characters, forcing the audience to anticipate the conflict at the beginning of the play or narrative?

I believe that this is the easiest of the tasks facing a writer. Take, for example, Helmer, hero of "a Doll's house". His intransigence towards the slightest misconduct is a harbinger of the inevitable problems in the future. What will he do when he finds out that Nora forged the signature for him? Will soften? We don't know if you just started to read the play. One thing is clear: the problem will arise. Any uncompromising hero raises such expectations.

Six dead soldiers, the characters of "Turn the fallen land," protesting against injustice. The act heralds the conflict. (They are uncompromising.)

the Feeling of conflict is what in theater is called stress.

the scene from the movie "a Doll's house"

the General public under the concept of psychology usually involves common sense and ingenuity. Any author that underestimate "common sense" of his audience, waiting for an unpleasant discovery.

On the end will judge that never heard about Freud the man sitting next to a professional critic. If there is no conflict, no tricks or brilliant dialogues will not affect this average representative of your audience. He knows that the play is bad. Where? He was bored. His common sense, his innate ability to distinguish good from bad told him this. He's asleep, isn't it? In his opinion, it is a sure sign that the play is bad. For us, this reaction means that in the play there is no conflict or at least hint at its occurrence in the future.

People don't trust strangers. Only in the process of conflict you can show what you are capable of. The conflict reveals your authentic "I". On the stage, as in life, everyone at first is a stranger who has not shown herself. About the person that supports you in hard times, we can say that he showed himself fully. No, the audience can not hold. Even an illiterate knows that politeness and smart it's not necessarily indicative of the sincerity or friendly disposition. Another thing — sacrifice. Similarly, it can be argued that the anticipation of how the hero will behave in a certain situation, as necessary as air is to humans.

the premonition of the conflict tells the audience that he would soon penetrate into the essence of things. Since most people tend to pretending and hiding from the world his true "I", we are interested to see what happens with the characters, compelled to reveal their true character under pressure of the conflict. The feeling of conflict is not a conflict, but we look forward to when the waiting will be justified. In conflict we are forced to open up. It seems that the self-exposure of others or ourselves to a certain extent, mesmerizing everyone's attention.

the Reversal of the book of Lajos Egri's "Art of drama. The creative interpretation of human motives"

We do not think that should convince every writer is sure to resort to it as a feeling of conflict. Important and the most difficult question is how to do it. For example, the first replica of the plays of Clifford odetsa "waiting for Lefty" heralds the incredible tension.

FAT. You're so wrong that I not even funny.

Fat and standing on the podium gangsters act against the strike. Those whom they invoke a speech — other characters in the play — for strike.

Poverty makes the potential strikers to do something to improve their situation. They are angry, hungry, determined. They have nothing to lose. They should strike if they want to survive.

on the other hand, is Fett and the gang. If the Union goes on strike, the bandits will be out of business. You see, it's not ordinary gangsters, but much worse. They represent the interests of a corrupt Union leadership. If the strike takes place, they will lose fat jackpot — Union dues. This is no ordinary strike is a revolution.

Each of the parties or is about to lose, or get all. In itself, a decisive confrontation between these people creates tension, which, according to our terminology, can be considered a harbinger of conflict.

determined people opposing each other in anticipation of the showdown, forcing us to anticipate the inevitability of conflict to the bitter end.

Mortal enemies under any circumstances can not go and will not compromise. One must destroy the other to survive. Keep it all together, and thus certainly will create a feeling of conflict.

the Cover of the book of Lajos Egri's "Art of drama. The creative interpretation of human motives"

see also:

Kinograph: the new "Alpina non-fiction"

Kinograph: "the Myth and life in the movie" Alexander Talal

Kinograph: "the Myth and life in the movie" Alexander Talal (selected quotes)

Kinograph. "The scripts of films by Andrei Zvyagintsev,"

book Review Guillermo del Toro and Cornelia Funke "pan's Labyrinth"

"Star wars" on paper: eleven Han Solo

"Star wars" on paper: new in the history of the Sith

Star Wars: the role of narrative motifs in the composition of the Saga of George Lucas

"One day in the war": a film that will never dare to deliver. Fragment 1

"One day in the war": a movie with no happy ending. Fragment 2