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Bedürfnis/Need, Stoff & Storytelling

Literatur: Theme (Moral Argument) bei John Truby

Das dramaturgische Modell von Autor, Drehbuchlehrer und -berater John Truby

Eine Besonderheit von Trubys Ansatz besteht darin, dass „Theme“ bei ihm auch „Moral Argument“ ist und dass „Need“  sowohl eine psychologische, als auch moralische Komponente hat. André Georgi schreibt in einem Aufsatz für Scenario 2, dass Truby den Moralisten zuzurechnen sei und dass die Geschichten, die Trubys Dramaturgie hervorbringen, so auch um die Veränderung der Protagonisten kreisen würden. John Truby über sein Modell:

Der Aufbau des Buches „The Anatomy of Story“ ist an den Techniken orientiert, die nach Truby bei der Entwicklung von Geschichten eingesetzt werden sollen. Truby empfiehlt nach der Prämisse sieben struktur- und figurenspezifische Fragen zu klären. Ein Überblick über den Inhalt des Buches gibt dieser Auszug daraus:

  • Premise We begin with the premise, which is your entire story condensed to a single sentence. That premise will suggest the essence of the story, and we will use that to figure  out how to develop it so as to get the most out of the idea.
  • Seven Key Story Structure Steps The seven key sotry structure steps are the major stages of your story’s development and of the dramatic code hidden under its surface. Think of the seven structure steps as your story’s DNA. Determining the seven key steps will give your story a solid, stable foundation.(1. Weakness and need, 2. Desire, 3. Opponent, 4. Plan, 5, Battle, 6. Self-refelation, 7. New Equilibrium).
  • Character Next, we will create the characters, not by pulling them out of thin air but by drawing them out of your original story idea. We will connect and compare each character to every ohter character so that each one is strong and well defined. Then we’ll figure out the function each must perform in helping your hero develop.
  • Theme (Moral Argument) the theme is your moral vision, your view of how people should act in the world. But instead of making the characters a mouthpiece for a message, we will express the theme that is inherent in the story idea. And we’ll express the theme through the story structure so that it both surprises and moves the audience.
  • Story World Next, we’ll create the world of the story as an outgrowth of your hero. The story world will help you define your hero and show the audience a physical expression of his growth.
  • Symbol Web Symbols are packets of highly compressed meaning. We’ll figure out a web of symbols that highlight and communicate different aspects of the characters, the story world, the plot.
  • Plot From the characters we will discover the right story form; the plot will grow from your unique characters. Using the twenty-two story structure steps (the seven key steps plus fifteen more), we will design a plot in which all the events are connected under the surface and build to a surprising but logically necessary ending.
  • Scene Weave In the last step before writing scenes, we’ll come up with a list of every scene in the story, with all the plotlines and themes woven into a tapestry.
  • Scene Construction and Symphonic Dialogue Finally we’ll write the story, constructing each scene so that it furthers the development of your hero. We’ll write dialogue that doesn’t just push the plot but has a symphonic quality, blending many „insturments“ and levels at one time.

The Anatomy of Story: 22 Steps to Becoming a Master Storyteller. Faber & Faber, € 12,60, ISBN-13: 978-0865479937
Scenario 2: Film- und Drehbuch-Almanach. Bertz + Fischer, € 19,90, ISBN-13: 978-3865051851

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