A play is then split into five acts, which some call a dramatic arc: exposition, rising action, climax, falling action, and disaster. Freytag adds three moments or crises to the five parts: the exhilarating force, the sad force, and the force of the ultimate tension. These additional moments provide opportunities for characters to show their qualities and make an impact on the audience.
Exposition occurs in the first act and reveals facts about the characters and setting of the story that will help the audience understand what is happening. The facts also give the audience insight into the nature of humanity as well as the character of the main protagonist.
The second act begins with the rising action, when problems or conflicts involving the characters are introduced and developed through dialogue. This act often shows how each character reacts to the events surrounding them while trying to solve the problem at hand.
In the third act, the conflict intensifies as the characters struggle against each other while trying to avoid being defeated. The act usually contains a sequence of scenes in which the characters face off against opponents who are much stronger than themselves. These scenes are called "turning points" because they change the direction of the story by providing clues about who will win and who will lose.
A Shakespearean tragedy is generally divided into five sections, according to the Freytag pyramid of dramatic structure. Aristotle's poetics, which had a three-part perspective of story structure, inspired Freytag's interpretation. Exposition, Rising Action, Climax, Falling Action, and Denouement are the five components. Although other theorists have proposed different numbers of parts in the hierarchy, this is generally accepted as the standard format for defining a Shakespearean tragedy.
Exposition (or Preparation) presents the problem or issue that drives the play's action. It usually takes place in the first scene of the play and sets up the conflict between good and evil that will dominate the rest of the drama. Examination of the case(s) reveals the bad qualities of the protagonist(s) and the good qualities of the antagonist(s). This analysis allows the audience to understand why the characters do what they do. The solution to the problem(s) is also revealed at this time through some sort of foreshadowing. For example, if Iriving hears music while searching for his son and finds instead a corpse, we can assume that his son is dead. No matter how unlikely it seems, there's always hope that the body was merely injured and that Iriving will be able to find help.
The rising action begins when the protagonist(s) faces the crisis caused by the problem(s) at hand.
Exposition, increasing action, climax, declining action, and resolution are all components of a story's narrative. The five sections work together to produce tension and a fluid flow to create a coherent story line. This article will discuss each section in detail as well as provide some insight into how they can be applied to graphic novels.
Exposition: Exposition is the introduction of characters and settings through dialogue, imagery, and other means of communication. It allows the reader to understand who these people are and why they are important to the story.
Increasing Action: Increasing action is when the story's main character encounters difficulty accomplishing their goal. They may face opposition from another character, something that causes them to change their strategy or approach. The reader should always remain aware of what role this new information plays in advancing the story.
Cliffhangers: A cliffhanger is a dramatic way for a writer to signal that the story will continue in a future issue or page. Usually, there is no further action in a cliffhanger except for the expectation that the character will be alive and well at the end of the hiatus.
Resolution: Resolution comes at the end of the story when the problem or conflict is resolved either completely or temporarily.
The plot development of a tragedy, like that of a comedy, can be divided into five stages: I the exposition or introduction; (2) the complication, rising action, or growth; (3) the climax, crisis, or turning point; (4) the resolution, falling action, or consequence; and (5) the denouement, catastrophe, or conclusion. These categories are not rigidly fixed, nor are they exclusive to tragedies. For example, in Shakespeare's Hamlet, we do not reach the resolution until almost at the end of the play, when it becomes clear that Claudius is responsible for his father's death.
However, these categories do help us understand how tragedies differ from comedies, which have their own unique set of devices used to develop their plots. In comedies, the complication often involves something that goes wrong with what someone thinks is a sure thing, such as a bet or a promise. This causes them to do something unexpected that leads to laughter. The resolution comes when everything works out well for the character who has been going through difficulties.
In tragedies, things usually go wrong for our characters at some point during the complication stage. This can be because they are faced with a choice that affects how the story will play out (e.g., whether to save one person over another), or because they are forced into doing something they don't want to do (e.g., kill someone).
A play's plot structure consists of exposition, conflict, rising action, climax, declining action, and resolution (or denouement). These elements must be present in any good story plot. The more clearly these elements are understood by the writer, the easier it will be to write strong drama.
Exposition. Exposition tells us what has happened up to the point where the play begins. We learn this information from characters inside the play or through descriptions on the page. It can also include information about the world outside the play as well as facts about the people involved. For example, when Romeo discovers that Juliet is already married, this event constitutes exposition because we learn that there is a lot of history between these two characters.
Conflict. Conflict is the driving force behind every story plot. Without some kind of conflict, nothing would ever change nor would anything be resolved. So often writers think that adding more backstory or detailed descriptions of character thoughts and feelings will help make their plays more interesting. But they usually end up with confusion instead! To make matters worse, many writers add so much detail to their scripts that there is no longer a clear line between scene one and scene two. Or perhaps they don't even notice that they have lost this connection because they are too focused on other things.