Basic framework for KS4 and 5 Drama and Performing Arts students. Also contains some slides about Narrative theory useful to cross over with Media Studies/Film students

1. Unit 3
Devising Guide

2. • SHARE – your ideas so far. Equal voice for every member
and every idea, rule nothing out.
• FOCUS – on your brief, your target audience and your
skills as a group.
• CREATE + EXPLORE – Practically explore the work as a
process. Try things even though you might not agree with
them – be professional.
• REVIEW+ OVERVIEW – set aside a time to reflect on
the progress so far
• ADAPT IDEAS – make changes to material, use additional
skills such as movement/abstract sound
• CONSOLIDATE –come together and agree on progress
and direction of the process. What are the next steps to
make?
• SHARED RESPONSIBILITY – who is doing what to
prepare for next time – specific, measurable targets.
• CHECK- double check rehearsal times and contacts for
meeting outside of class time.

3. Elements of Drama
Surprise Suspense
Empathy Humour
Fear Anger
Status

4. Narrative Theory - Todorov
Tzvetan Todorov’s Theory of Narrative
Todorov suggested that conventional narratives are
structured in five stages:
1. a state of equilibrium at the outset
2. a disruption of the equilibrium by some action
3. a recognition that there has been a disruption
4. an attempt to repair the disruption
5. a reinstatement of the equilibrium
This type of narrative structure is very familiar to us and
can be applied to many ‘mainstream’ film narratives.

5. Narrative Theory – Progression
• Equilibrium
starting point of the story
• Inciting Incident
something which changes the situation for those involved
• Rising Action
how the quest/relationship develops
• Dramatic Climax
point of confrontation
• Resolution
outcome of dramatic climax
• New Equilibrium
how the situation is at the end

6. Vladimir Propp’s Theory of Narrative
Vladimir Propp suggested that characters took on the role of narrative
'spheres of action' or functions. From a comprehensive study of folktales
Propp came up with seven different character types:
The hero, usually male, is the agent who restores the narrative equilibrium
often by embarking upon a quest (or search). Propp distinguishes between
the victim hero, who is the centre of the villain's attentions, and the seeker
hero who aids others who are the villains victims. The hero is invariably the
texts central character.
The villain who usually creates the narrative disruption.
The donor gives the hero something, it may be an object, information or
advice, which helps in resolution of the narrative.
The helper aids the hero in the task of restoring equilibrium.

7. The princess (the victim) is usually the character most threatened by the
villain and has to be saved, at the climax, by the hero. The father's (who
in fairy tales was often the king) role is usually to give the princess away
to the hero at the narrative's conclusion. He may also despatch the hero.
The dispatcher sends the hero on her or his task (who can typically be the
princess father)
The false hero appears to be good but is revealed, at the narrative's end, to
have been bad
Characters can fulfil more than one sphere character type, for
example, a princess may also be a helper.

8. Seven Basic Plots
• [wo]man vs. nature
• [wo]man vs. [wo]man
• [wo]man vs. the environment
• [wo]man vs. machines/technology
• [wo]man vs. the supernatural
• [wo]man vs. self
• [wo]man vs. god/religion

9. 20 basic plots
Quest Adventure
Transformation Pursuit
Maturation Rescue
Love Escape
Forbidden Love Revenge
Sacrifice The Riddle
Discovery Rivalry
Wretched Excess Underdog
Ascension Temptation
Descension. Metamorphosis

10. 36 Plots
Supplication Falling Prey to Enmity of Kinsmen Slaying of a Adultery Conflict with a God
Cruelty of Kinsman Loss of Loved
Misfortune Ones.
Deliverance Revolt Rivalry of Kinsmen Unrecognized Crimes of Love Mistaken Jealousy
Self-Sacrificing for
an Ideal
Crime Pursued by Daring Enterprise Murderous Self-Sacrifice for Discovery of the Erroneous
Vengeance Adultery Kindred Dishonour of a Judgement
Loved One
Vengeance taken Abduction Madness All Sacrificed for Obstacles to Love Remorse
for kindred upon Passion
kindred
Pursuit The Enigma Fatal Imprudence Necessity of An Enemy Loved Recovery of a Lost
(temptation or a Sacrificing Loved One
riddle) Ones
Disaster Obtaining Involuntary Crimes Rivalry of Superior Ambition Loss of Loved
of Love and Inferior Ones.