The point of attack is the moment in the plot that the writer decides to begin dramatizing the action. During the climax, the key dramatic question is frequently answered. (t) Linear plots with a causal structure are frequently referred to as "well-executed plays." The point of attack for such a script would be the beginning of the third act since the climax occurs at t = 0.
For example, in William Shakespeare's Romeo and Juliet, the point of attack is at the end of Act I when Friar Laurence tells Romeo and Juliet that their marriage can still be saved. At this point, the audience is deeply involved in the love story and wants it to be resolved successfully. If the writers had started the play later in Act I, when Romeo first meets Juliet, for example, then it would have been impossible for the plot to progress without disrupting the interest of the audience.
Linear plots with a chronological structure are often called "time-lines." The point of attack for such a script would be at the beginning of the time line since the climax occurs at t = 0. For example, in George Bernard Shaw's Caesar and Cleopatra, the point of attack is when Mark Antony declares his intention to commit suicide rather than live without Cleopatra. This begins Caesar's descent into death while Cleopatra attempts to save him but is too late.
As the performance begins, the audience will see or hear the point of assault for the first time. It's the initial choice that may make or shatter a brilliant play concept. The point of attack can be anything from a character's appearance to their attitude toward life to an actual physical scene.
The point of attack is what brings attention to itself. Therefore, it must be significant. Otherwise, the audience wouldn't pay attention or stay awake.
The point of attack can be a speech act, like Iago's lines in Othello, which cause everyone else to react. It can also be less obvious, such as a character opening a door or turning on a light. These small actions add up to tell the audience something about the character, so they don't have to be spoken aloud.
Another example would be Hamlet's decision to attack Gertrude through a feigned madness. Here, too, we see that not everything said out loud needs to be spoken directly by someone with his/her mouth open. Actions can speak louder than words.
In general, the point of attack should reveal something about the character without telling the whole story, because then the audience would know more than needed for the plot development. The point of attack should also be significant enough to attract attention.
A quick attack, particularly one launched from a location surrounded by an adversary, a military strike, particularly by air, aimed to eliminate something specified but avoiding wider harm, such as killing only the enemy commander. It was used by several nations in various wars.
Sudden attacks were often used as a diversion while more serious actions were taken behind the scenes. For example, during the American Civil War, U.S. President Abraham Lincoln ordered an invasion of Virginia with the aim of ending slavery there, but told his generals not to take any risks and to return home if things went wrong.
In modern warfare, military attacks are usually declared in advance by issuing a statement through a news agency or on the Internet. The attacker can be a country, a group of countries, or a private person or entity. A military attack can also be defined as a hostile action directed against another state or nation undertaken by the use of armed force.
There are two types of military attacks: active and passive. An active military attack involves the use of armed forces in battle, while a passive military attack does not. For example, the United States has conducted military operations in other countries' territories without entering into direct conflict; these are called passive military attacks.