The three-act structure is a model used in narrative fiction that divides a story into three parts (acts), often called the Setup, the Confrontation, and the Resolution. It was popularized by Syd Field in his 1979 book Screenplay: The Foundations of Screenwriting. Based on his recommendation that a play have a "beginning, middle, and end," the structure has been falsely attributed to Aristotle, who in fact argued for a two-act structure consisting of a "complication" and "dénouement" split by a peripeteia.[1]
As the story moves along, the plot usually progresses in such a way as to pose a yes or no question, the major dramatic question. For example, Will the boy get the girl? Will the hero save the day? Will the detective solve the mystery? Will the criminal be caught by law enforcement and brought to justice? Will the protagonist be murdered by the fugitive? This question must be answered in the climax of the story. The answer is often yes; no; maybe; yes, but...; or no, and what's more...[citation needed]
Structureedit
The first act, or opening narration, is usually used for exposition, to establish the main characters, their relationships, and the world they live in. Later in the first act, a dynamic incident occurs, known as the inciting incident, or catalyst, that confronts the main character (the protagonist). The protagonist's attempts to deal with this incident lead to a second and more dramatic situation, known as the first plot point, which (a) signals the end of the first act, (b) ensures life will never be the same again for the protagonist and (c) raises a dramatic question that will be answered in the climax of the film. The dramatic question should be framed in terms of the protagonist's call to action, (Will X recover the diamond? Will Y get the girl? Will Z capture the killer?).[2]
The second act, also referred to as rising action, typically depicts the protagonist's attempt to resolve the problem initiated by the first turning point, only to find themselves in ever worsening situations. Part of the reason protagonists seem unable to resolve their problems is because they do not yet have the skills to deal with the forces of antagonism that confront them. They must not only learn new skills, but they also must arrive at a higher sense of awareness of who they are and what they are capable of, in order to deal with their predicament, which in turn changes who they are. This is referred to as character development or a character arc. This cannot be achieved alone, and they are usually aided and abetted by mentors and co-protagonists.[2]
The third act features the resolution of the story and its subplots. The climax is the scene or sequence in which the main tensions of the story are brought to their most intense point and the dramatic question answered, leaving the protagonist and other characters with a new sense of who they really are.[2]
^Tierno, Michael (21 August 2002). "1. Let's Start at the Very Beginning, Middle, and End". Aristotle's Poetics for Screenwriters. Hyperion. ISBN0786887400.
^ abcTrottier, David: "The Screenwriter's Bible", pp. 5–7. Silman James, 1998.
External linksedit
by former WGA director James Bonnet, via filmmakeriq.com
three, structure, first, redirects, here, musical, instrument, manufacturer, first, second, redirects, here, film, starring, jennifer, lopez, second, film, this, article, possibly, contains, original, research, please, improve, verifying, claims, made, adding,. First act redirects here For the musical instrument manufacturer see First Act Second Act redirects here For the film starring Jennifer Lopez see Second Act film This article possibly contains original research Please improve it by verifying the claims made and adding inline citations Statements consisting only of original research should be removed October 2022 Learn how and when to remove this template message This article needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed Find sources Three act structure news newspapers books scholar JSTOR October 2022 Learn how and when to remove this template message The three act structure is a model used in narrative fiction that divides a story into three parts acts often called the Setup the Confrontation and the Resolution It was popularized by Syd Field in his 1979 book Screenplay The Foundations of Screenwriting Based on his recommendation that a play have a beginning middle and end the structure has been falsely attributed to Aristotle who in fact argued for a two act structure consisting of a complication and denouement split by a peripeteia 1 A visual representation of the three act structure as described by Syd Field in his book Screenplay The Foundations of Screenwriting Contents 1 Dramatic question 2 Structure 3 See also 4 References 5 External linksDramatic question editAs the story moves along the plot usually progresses in such a way as to pose a yes or no question the major dramatic question For example Will the boy get the girl Will the hero save the day Will the detective solve the mystery Will the criminal be caught by law enforcement and brought to justice Will the protagonist be murdered by the fugitive This question must be answered in the climax of the story The answer is often yes no maybe yes but or no and what s more citation needed Structure editThe first act or opening narration is usually used for exposition to establish the main characters their relationships and the world they live in Later in the first act a dynamic incident occurs known as the inciting incident or catalyst that confronts the main character the protagonist The protagonist s attempts to deal with this incident lead to a second and more dramatic situation known as the first plot point which a signals the end of the first act b ensures life will never be the same again for the protagonist and c raises a dramatic question that will be answered in the climax of the film The dramatic question should be framed in terms of the protagonist s call to action Will X recover the diamond Will Y get the girl Will Z capture the killer 2 The second act also referred to as rising action typically depicts the protagonist s attempt to resolve the problem initiated by the first turning point only to find themselves in ever worsening situations Part of the reason protagonists seem unable to resolve their problems is because they do not yet have the skills to deal with the forces of antagonism that confront them They must not only learn new skills but they also must arrive at a higher sense of awareness of who they are and what they are capable of in order to deal with their predicament which in turn changes who they are This is referred to as character development or a character arc This cannot be achieved alone and they are usually aided and abetted by mentors and co protagonists 2 The third act features the resolution of the story and its subplots The climax is the scene or sequence in which the main tensions of the story are brought to their most intense point and the dramatic question answered leaving the protagonist and other characters with a new sense of who they really are 2 See also editAct drama Dramatic structureReferences edit Tierno Michael 21 August 2002 1 Let s Start at the Very Beginning Middle and End Aristotle s Poetics for Screenwriters Hyperion ISBN 0786887400 a b c Trottier David The Screenwriter s Bible pp 5 7 Silman James 1998 External links editWhat s Wrong With The Three Act Structure by former WGA director James Bonnet via filmmakeriq com What s Right With The Three Act Structure by Yves Lavandier author of Writing Drama and Constructing a Story Retrieved from https en wikipedia org w index php title Three act structure amp oldid 1182454477, wikipedia, wiki, book, books, library,
