There are many Narrative Theories and Narrative Theorists, from the likes of Todorov to Syd Field, in this post I will attempt to give a brief outline of each of these theorists ideas. Todorov:
Todorov's Theory applies to most if not all forms of narrative. His theory is based on 5 stages that a narrative goes through; these are:
A state of equilibrium - Everything is peaceful/neutral no disruption or 'evil' present
A disruption of that order by an event - Usually the bad guy initiates his plan causing a disruption to the neutral world
A recognition that disorder has occurred - The hero will recognise the disruption and what he must do to stop it
An attempt to repair the damage of disorder - This is the most action packed part of the film, Hero vs. Villian, Good vs. Evil, The final battle etc.
A return or restoration of new equilibrium - This is a 'new' equilibrium as the it is a peaceful neutral world after the effects of the disruption I.E Avengers before Loki came the city was completely normal, after Loki attacks and is defeated, there is peace but the city
is in ruins and still recovering from the attack/not the same as the previous equilibrium.
Vladmir Propp:
Studied fairy-tale and folklore and he identified plot elements (31 generic functions in total), he turned these into 8 spheres of action
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Villain - The bad guy. The person/thing that is trying to disrupt the peace of the world, through their own evil motives
Hero - The person who is the complete opposite to the villain, usually becomes a hero by accident, by fate, or was born a hero
The Donor - Prepares the Hero for his task, usually gives a object that will aid the Hero on his quest I.E Obi Wan giving Luke a Lightsaber
The Helper - Helps the hero on his quest essentially a sidekick
The Princess/Damsel in Distress - This is the reward or prize for the hero for completing the quest and is usually the thing the Hero is trying to save or protect (It does not necessarily have to be a princess, it could also be an object)
Her Father - Gives the task to the hero and identifies the false hero, he is usually the one the Hero is trying to impress in order to gain the princesses trust (Propp noted that the princess and father are not completely distinguishable at first)
The Dispatcher - The person who sends off the Hero on their journey
The False Hero - Tries to take credit for the Hero's actions, in an attempt to try to steal the Hero's prize
Syd Field : Believes a typical Hollywood film can be separated into three separate dramatic sections of the acts. The setup, the confrontation and resolution
Levi Strauss: Came up with the idea of binary oppositions, there are a clear form of opposites in any narrative, the most obvious being Good and Evil
Jacques Derrida: Believes that these binary oppositions, and there is usually one opposite that is more powerful than the other again the most obvious being Good always triumphs over Evil (mostly)
Roland Barthes: Applied the analogy of a narrative being like a ball of string, and the plot is waiting to be uncovered, by using action and enigma codes. Action codes are things that typically happen before an event or disruption, most are universally recognisable and can be used in most narrative. Enigma code is the use of hiding or shadowing a character, object or event to make the audience curious and wanting to find out what is going to happen next
Joseph Campbell: Came up with the idea of the Hero's Journey 12 stages the Hero goes through in a narrative throughout the acts; these are:
1. THE ORDINARY WORLD. The hero, uneasy, uncomfortable or unaware, is introduced sympathetically so the audience can identify with the situation or dilemma. The hero is shown against a background of environment, heredity, and personal history. Some kind of polarity in the hero’s life is pulling in different directions and causing stress. {1}
2. THE CALL TO ADVENTURE. Something shakes up the situation, either from external pressures or from something rising up from deep within, so the hero must face the beginnings of change. {1}
3. REFUSAL OF THE CALL. The hero feels the fear of the unknown and tries to turn away from the adventure, however briefly. Alternately, another character may express the uncertainty and danger ahead. {1}
4. MEETING WITH THE MENTOR. The hero comes across a seasoned traveler of the worlds who gives him or her training, equipment, or advice that will help on the journey. Or the hero reaches within to a source of courage and wisdom. {1}
5. CROSSING THE THRESHOLD. At the end of Act One, the hero commits to leaving the Ordinary World and entering a new region or condition with unfamiliar rules and values. {1}
6. TESTS, ALLIES AND ENEMIES. The hero is tested and sorts out allegiances in the Special World. {1}
7. APPROACH. The hero and newfound allies prepare for the major challenge in the Special world. {1}
8. THE ORDEAL. Near the middle of the story, the hero enters a central space in the Special World and confronts death or faces his or her greatest fear. Out of the moment of death comes a new life. {1}
9. THE REWARD. The hero takes possession of the treasure won by facing death. There may be celebration, but there is also danger of losing the treasure again. {1}
10. THE ROAD BACK. About three-fourths of the way through the story, the hero is driven to complete the adventure, leaving the Special World to be sure the treasure is brought home. Often a chase scene signals the urgency and danger of the mission. {1}
11. THE RESURRECTION. At the climax, the hero is severely tested once more on the threshold of home. He or she is purified by a last sacrifice, another moment of death and rebirth, but on a higher and more complete level. By the hero’s action, the polarities that were in conflict at the beginning are finally resolved. {1}
12. RETURN WITH THE ELIXIR. The hero returns home or continues the journey, bearing some element of the treasure that has the power to transform the world as the hero has been transformed. {1}
Sources:
{1} http://www.thewritersjourney.com/hero's_journey.htm
