Парадигма Сида Филда/ Syd Field's Paradigm

Статья Рашида Нугманова «Конструкция киносценария. 5-АКТНАЯ ПАРАДИГМА, или O ЧЁМ ВАМ НЕ РАССКАЗАЛ СИД ФИЛД»:

http://www.yahha.com/article.php?sid=54

Если английский позволяет, то на сайте www.englishtips.org можно скачать книгу Сида Филда «Screenplay» в формате PDF.

Кстати, моим первым учебником сценарного мастерства можно назвать «The Screenwriter’s Workbook» Сида Филда. Затем были другие книги того же автора - «Screenplay», «Selling a Screenplay», «The Screenwriter’s Problem Solver» и «Four Screenplays». Книги хорошие, но, на мой взгляд, не самые интересные. В Интернете и на прилавках магазинов (увы, не российских) давно лежат более толковые и практичные учебники. И всё же книга Сида Филда «Screenplay» была первой, посвящённой сценарному ремеслу. Именно поэтому мы, сценаристы, снимаем перед мистером Филдом шляпу и с благодарностью называем его своим гуру. Хотя нет, я всего лишь снимаю шляпу. :)

Syd Field’s Paradigm

Screenwriting guru Syd Field wrote the seminal book Screenplay, and posited a new theory, which he called the Paradigm. Field noticed that in a 120-page screenplay, Act Two was notoriously boring, and was also twice the length of Acts One and Three. He also noticed that an important dramatic event usually occurred at the middle of the picture, which implied to him that the middle act was actually two acts in one. So the Three Act Structure is notated 1, 2a, 2b, 3, resulting in Aristotle’s Three Acts divided into four pieces.

Field also introduced the idea of Plot Points into screenwriting theory. Plot Points are important structural functions that happen in approximately the same place in most successful movies, like the verses and choruses in a popular song. In subsequent books, Field has added to his original list, and students of his like Viki King and Linda Seger have added to the list of Plot Points. Here is a current list of the major Plot Points that are congruent with Field’s Paradigm:

Opening Image: The first image in the screenplay should summarize the entire film, especially its tone. Often, writers go back and redo this as the last thing before submitting the script.

Inciting Incident: Also called the catalyst, this is the point in the story when the Protagonist encounters the problem that will change their life. This is when the detective is assigned the case, where Boy meets Girl, and where the Comic Hero gets fired from his cushy job, forcing him into comic circumstances.

Turning Point 1: The last scene in Act One, Turning Point One is a surprising development that radically changes the Protagonist’s life, and forces him to confront the Opponent. In Star Wars, this is when Luke’s family is killed by the Empire. He has no home to go back to, so he joins the Rebels in opposing Darth Vader.

Pinch 1: A reminder scene at about 3/8 the way through the script (halfway through Act 2a) that brings up the central conflict of the drama, reminding us of the overall conflict. For example, in Star Wars, Pinch 1 is the Stormtroopers attacking the Millennium Falcon in Mos Eisley, reminding us that the Empire is after the stolen plans to the Death Star that R2-D2 is carrying and that Luke and Ben Kenobi are trying to get to the Rebel Alliance (the main conflict).

Midpoint: An important scene in the middle of the script, often a reversal of fortune or revelation that changes the direction of the story. Field suggests that driving the story towards the Midpoint keeps the second act from sagging.

Pinch 2: Another reminder scene about 5/8 through the script (halfway through Act 2b) that is somehow linked to Pinch 1 in reminding the audience about the central conflict. In Star Wars, Pinch 2 is the Stormtroopers attacking them as they rescue the Princess in the Death Star. Both scenes remind us of the Empire’s opposition, and using the Stormtrooper attack motif unifies both Pinches.

Turning Point 2: A dramatic reversal that ends Act 2 and begins Act 3, which is about confrontation and resolution. Sometimes Turning Point Two is the moment when the Hero has had enough and is finally going to face the Opponent. Sometimes, like in Toy Story, it’s the low-point for the Hero, and he must bounce back to overcome the odds in Act 3.

Showdown: About midway through Act 3, the Protagonist will confront the Main Problem of the story and either overcome it, or come to a tragic end.

Resolution: The issues of the story are resolved.

Tag: An epilogue, tying up the loose ends of the story, giving the audience closure. This is also known as denouement. In general, films in recent decades have had longer denouements than films made in the 1970s or earlier.

Источник: http://en.wikipedia.org/wiki/Screenwriting.

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Автор: Александр Волков, оригинал