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Other > Directing Mid > Flashcards

Directing Mid Flashcards

1
Q

by the end of a good story, the writer or storyteller should have proven their _____ to be _____

A

premise/true

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2
Q

why is it important for character to have a stake in the outcome of a story?

A

prevents compromise

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3
Q

true or false: according to Egri, it is possible in a good story for the hero and villain to reach a compromise

A

false

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4
Q

another way to describe the synthesis equation is

A

Unity of opposites

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5
Q

accoring to dialetical thinking, a change occurs when something encounters its

A

opposites

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6
Q

complete the following equation:
synthesis = thesis +

A

antithesis

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7
Q

Dialectics is a concept of logic dating all the way back to ancient Greece, where the word meant-

A

Conversation

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8
Q

according to Egri, the only thing constant in the world and all of humanity is what?

A

change

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9
Q

complete the following equation: Character = physiology + sociology + psychology +

A

environment

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10
Q

true of false: each factor in the character bone structure helps create a unique character that responds differently to obstacles

A

true

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11
Q

why is it important for a storyteller to write bone structures for their main characters?

A

details of their lives influence a character’s decisions

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12
Q

why is environment important to Egri’s ideas about character development

A

it is a catalyst for character change

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13
Q

how or when is premise revealed in a story

A

it should be seamlessly integrated

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14
Q

all of the following are reasons why premise is important to story except

A

it explains the story’s context

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15
Q

which of the following is an example of a strong premise?

A

bragging leads to humiliation

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16
Q

true or false: a story’s premise doesnt have to be true, nor does the writer have to believe it

A

false

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17
Q

what are the three parts to a story’s premise?

A

Character, conflict, ending

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18
Q

according to Egri, what drives the plot and action of a story?

A

character

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19
Q

the seminal work of Lagos Egri, which details his ideas about dramatic storytelling, is called.

A

Art of Dramatic Writing

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20
Q

Aristotle’s ideas about drama emphasized ______ above other elements of story, but Lagos Egri felt that the elements of a story spring from ____

A

plot/character

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21
Q

____________________ 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.

A

tridimensional characters

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22
Q

The physical make-up of a character.

EX: Sex, Age, Height and Weight, Appearance, Defects, etc.

A

Physiology

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23
Q

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.

A

Sociology

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24
Q

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.

A

Psychology

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25
Q

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.

A

Growth

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26
Q

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.

A

Strength off Will

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27
Q

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

A

pivotal character

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28
Q

Is necessarily as strong and, in time, as ruthless as the pivotal character.

A fight is interesting only if the fighters are evenly matched.

A

Antagonist

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29
Q

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.

A

Orchestration

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30
Q

The intensity of the ___________ will be determined by the strength of will of the three-dimensional individual who is the protagonist.

In ___________ we are forced to reveal ourselves. It seems that self-revelation of others or ourselves holds a fatal fascination for everyone.

Without _________, life would not be possible on earth, or, for that matter, anywhere in the universe. The technique of writing is only a replica of the universal law which governs an atom or a constellation above us.

A

conflict

31
Q

Conflict that does not move, change, or develop characters.

Attributed to “badly orchestrated characters”.

A

static conflict

32
Q

Conflict that irrationally jumps to jurassic levels with lightning speed, without any logical transitions or progressions in thought, tension, or drama.

Attributed to “badly orchestrated characters”.

A

Jumping conflict

33
Q

Conflict where the progression is understandable, logical, and entertaining.

Attributed to “well-orchestrated”, three-dimensional characters, who are both determined and uncompromising in reaching their goals.

A

rising conflict

34
Q

The promise of future conflict.

Is not conflict yet, but we as the audience are eagerly waiting for the fulfillment of the promise of it.

A

Foreshadowing conflict

35
Q

That point in which a character must make momentous decision; one that constitutes a turning point in the character’s life.

Often, the Key Incident/Plot Point #1

A

point of attack

36
Q

The element which keeps the story moving without any breaks, jumps, or gaps. _____________ connects seemingly unconnected elements, such as winter and summer, love and hate.

Without _____________, there cannot be development or growth.

_____________ must be present to make a three-dimensional character believable. The lack of, produces melodrama.

A

transition

37
Q

Human values remain the same if they grow naturally out of the forces around them.

In order to construct three-dimensional characters, we must strive to attain thorough knowledge of the customs, morals, philosophy, art, and language of that time. If you know the principles, you will be a better craftsman and artist.

The _____________________________ will be ________ if you realize that your characters in their physical, sociological, and psychological dimensions.

A

timelines of the story

38
Q

How a character chooses in a true dilemma is a powerful expression of his _______ and of the world in which he lives

A

humanity

39
Q

Character finds 2 things undesirable, wants neither, but must choose 1

A

Choice between lesser of 2 evils

40
Q

Character finds 2 things desirable, he wants both, but circumstances force them to choose only 1

A

Choice between irreconcilable goods

41
Q

True choice occurs in which 2 situations?

A
  1. Choice between irreconcilable goods
  2. Choice between lesser of 2 evils
42
Q

True character can only be expressed through choice in _____________

A

dilemma

43
Q

What one believes they want is the ____ of what they actually but unwillingly wants

A

Anti-thesis

44
Q

Unconscious intent of the character, the inner problem, the true deep character, the “selfish” part of the motive

A

Unconscious desire

45
Q

Protagonist has a need/ goal and knows it

A

Conscious desire

46
Q

When ________ and ______ match, the role becomes repetitive with predictable behaviors

A

characterization and true character

47
Q

Expressed through choice in dilemma, key to the character, behind the disrespect is motivation

A

true character

48
Q

________ is our source of characterizations

A

observation

49
Q

The sum of observable qualities: physical appearance, mannerisms, style of speech, gestures, sexuality, age, IQ, occupation, values, attitude, personality, where they live, how they live

A

Characterization

50
Q

A character is not a ___________

A

human being

51
Q

What are the 2 primary aspects to character?

A
  1. Characterization 2. True Character
52
Q

Likable

A

Sympathetic

53
Q

“Like me”

A

Empathetic

54
Q

The protagonist must be _____, he may or may not be ________

A

Empathetic, sympathetic

55
Q

The audience’s emotional involvement is self by the _____________

A

glue of empathy

56
Q

Situations the character finds themselves in the choices the character has in those situations and the decisions the character makes between these choices

A

premise

57
Q

Antagonist must be _______ as protagonist

A

as strong

58
Q

The protagonist and antagonist must be ________ for each other

A

dangerous foes

59
Q

A good pivotal character must have something _____________

A

very vital at stake

60
Q

A pivotal character must not merely desire something, he must _____ it so badly that he will destroy or be destroyed in the effort to attain his goal

A

want

61
Q

Those who have no power to put up a fight and cannot make a decision to act

A

weak character

62
Q

A character’s reaction to a conflict in which he is involved

A

growth

63
Q

The meaning of a word will go through innumerable metamorphoses, according to the ________, ___________, and __________ under which it is used

A

pace, climate, condition

64
Q

a character is in

A

constant changes

65
Q

No one escapes the effect of a __________

A

shortcoming

66
Q

If we wish to understand the action of any individual, we must look at the ________ which compels him to act as he does

A

motivation

67
Q

We must know _____ man is as he is, why his character is ____________, and ______ he wishes it or no

A

why, constantly changing, why

68
Q

What are the 3 dimensions that every object has?

A

Depth, height, width

69
Q

_______ is the fundamental material we are forced to work with

A

character

70
Q

Hungarian playwright and author of the Art of Dramatic Writing

A

Lajos Egri

71
Q

Writers work from intuition and ___________ the work to maintain a narrative logic between ____________, ______________, why they do what they do, and __________________

A

Analyze, who the character is, why/ what they want, feel the way they feel

72
Q

Character action leads to _________

A

events

73
Q

Vessel that contains Aristotle’s complete action, Stanislavski’s Through-line or super objective, Egri’s premise and Mckee’s Spine

A

character

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