INTRODUCTIONFree ClassesIntroductory video lessons to the course content.Video Class 1 - Course Presentation
“The Passions in the Narrative” is made up of 14 videos, divided into three modules: an introduction to the theory, derived from the Semiotics of Passions; a first module covering narrative structures; a second module on the effect of “passions” on characters; and a third module on the invisible layers of the characters, which form their dramatic arc, both at the action level and at the level of their sensations and emotions.
The course is basically composed of “seven theoretical schemes”: Narrative Program, Existential Simulacrum, Extraordinary Event, Surprise, Damage and Fracture, Cholera and Revenge. These schemes intersect to form narrative theory based on the actions and emotions of the characters.
In all modules, we will be addressing the process of creating the scripts for the movie “Roma” and the “Game of Thrones” series, using these theoretical frameworks that serve as the narrative framework, such as the Existential Simulacrum and the Extraordinary Event, and schemes that serve to character structure, such as Damage and Revenge.Video Class 2 - Origin of Theory
The theory applied in this scriptwriting course originates in the Semiotics of Passions and Narrative Semiotics, a new area of knowledge developed in France in the 1990 years by linguist AJ Greimas. The author Hermes Leal has accompanied, over the last three decades, the development of this new science that aims to understand the “meaning”, applying it in the development of the narrative of fiction.Video Class 3 - Who is Hermes Leal
Learn more about the author of the theory, Hermes Leal, a journalist who works with television, directs sitcoms, edits a movie site, and has a parallel life as a writer and adventurer, Indiana Jones biographer. After more than three decades of research, he became a PhD in Linguistics and a specialist in Passion Semiotics and Narrative.1 MODULE - ACTION STRUCTURESThe first module teaches how to structure a script through the basic and initial schemes, with the first class demonstrating how the character arc is formed from the three acts, called "Contract", "Manipulation" and "Sanction". The second class deals with the scheme of the Narrative Program, necessary to develop the journey of the characters, and formed by three functions that generate the conflicts: "subject", "object" and "destiny". And the third class is about the role of the originator and the object, and their role in the development of the script and the characters.Video Class 1 - Character Bow
This class shows the basic principles of this theory, highlighting the Narrative Program, and details how to operate the script structure scheme in three acts, now consisting of the 1º, 2º and 3º acts, respectively, by character phases in the script: Contract , Manipulation and Realization. Explains how to use a schema about the character's action structure from a contract as the starting point for a journey that will determine the arc of the characters. The theory is applied in order to show its bows in the characters of Sofia, “Roma”, Jon Snow, “Game of Thrones”, Django, “Free Django”, Justine, “Melancholy”, and Ryan, of “Gravity”.Video Class 2 - Narrative Program
Lesson on the basic scheme of this theory, the Narrative Program has its application in the script, as a necessary tool for each character to develop their journey in three acts. The scheme is formed from a dramatic core of only three functions in the script occupied by characters: subject, object and destination. This core of the Narrative Program is responsible for generating the intrigue. The theory is applied in the Narrative Programs, at the level of action and feel of the characters, Arya's revenge journey in Game of Thrones, and Cleo's mothering journey in Rome. Highlight for the first act, the Contract, because this is where the pilot of the series is formed as "Game of Thrones", when all the beginnings of the future arrangements of all the characters are made before their journey begins.Video Class 3 - Destinator
Class to highlight the role of the “destinator”, a role in the script that serves to generate conflict between the characters, as well as is a power generator for the subject to achieve the ability to move from one act to another on their journey.
The scheme shows different types of destiny, such as the Dragons, who give power to Daenerys, and Jaqar, who gives know-how to Arya, in “Game of Thrones,” just as the planet Melancholy is a transcendent destiny for Justine, in "Melancholy". The scheme shows the differences between a social allocator and a self-destiny, whose curve is formed by their own competencies, without depending on third parties.2 MODULE - PASSION SCHEMEThis module shows the effects of passions on characters, with schematics about the character's passion structure in the script. There are three classes: the first to show the difference between passions, such as "hate", which is enduring, and "anger", which is fleeting, and how they affect the characters, to the point that "hate" becomes a passion for “revenge”; The second class deals with the character's scheme of passion, as it turns into the effects of a passion; and the third class is to apply the theory in Arya's "Game of Thrones" Narrative Program.Video Class 1 - Tensivity of the Passions
Class to show how to use the effects of passions on characters, mastering the different types of passion and their characteristics, such as "hate", "anger", "boredom", "melancholy" and "anger". There are passions turned to the past, such as "remorse" and "revenge," and others to the future, such as "fear" and "fear." The theory is applied by proving its effectiveness in exploring the subjectivity of passions, and how they generate the tense structures of characters in series and films, such as "The Sound Around" and "Rome."Video Class 2 - Generative Scheme of Passions
Continued from the previous class, puts the passions affecting the characters in a scheme, in which a character, in the waiting state, is affected by an emotion that, depending on his inclination, such as Arya's for rebellion, will turn into a anger, then hatred, and finally a desire for revenge. Special focus on the passion of “cholera” as she rules the characters Sofia in “Rome” and Mr. Bombita in “Wild Tales”.Video Class 3 - Arya's Revenge
Lesson to address a particular passion, “revenge”, and how it is generated by “hate”, demonstrating in Arya's Narrative Program in “Game of Thrones” how his revenge scheme is worked out, and that This scheme can be applied to various revenge narratives. The scheme uses as reference characters in other revenge narratives, such as Shakespeare's "Hamlet." It shows how to ride dramatic arches based on the passions governing the actions of the characters, through Arya's hatred-clearing course in her revenge program.3 MODULE - INVISIBLE LAYER OF CHARACTERSThis module has five classes. This is where we will enter the densest and most invisible layers of the characters. The first class is about the Extraordinary Event scheme, which promotes turning points, and can occur with great actions, or just the feelings of the characters. The second class is about the Surprise scheme, how we can surprise a character and the viewer. The third class is about the "Jon Snow Fracture"; how a character is played on his journey by a passion, such as "revolt" and "resentment." The fourth class is about the Existential Simulacrum scheme, which reveals the three acts in the form of “Virtualization”, “Update” and “Realization”. And the last class applies these concepts in the script of “Rome,” to show how to build character bow from the feel of Cleo and Sofia.Video Class 1 - Extraordinary Event
Class to show the main scheme in the character structure, the Extraordinary Event, as the scheme that generates other schemes, such as the Surprise, and which promotes the plot's turning points. This outline shows how we should promote Extraordinary Character Events as necessary to bring about changes in character and narrative.
The event is a kind of action or emotion that interrupts the acting and feeling of the characters, an impact that changes the course of the story and the characters themselves, causing "damage" and "fractures" in their soul. It is the event that promotes the narrative and character arches. The method is applied in "Game of Thrones", "Gravity" and "Rome", where Extraordinary Events occur in the characters Arya, Ryan, Cleo and Sofia.Video Class 2 - Surprise Scheme
Class to show how we can cause surprises in the viewer, as well as working out the scheme of surprise in the narrative itself. The scheme teaches how to generate “surprise” in the character and narrative from a state of expectation and an unexpected object arrives causing, after the impact of the surprise, an admiration or a perception. How happened the concessive and unexpected events that surprised the characters Cleo, Sofia and Jon Snow, and that defined their destinies from surprises. Because the events of the surprise are “concessive,” they were not expected to happen, but they did happen.Video Class 3 - Jon Snow's Fracture
Lesson to deepen the learning of the scheme of the event and surprise, in which the “fracture” is the result of these two schemes, and causes the suffering in the character. Damage is what the character feels he has suffered during the occurrence of an Extraordinary Event, and how it has affected his passions. The damage can be physical, as in the case of "broken" characters from "Game of Thrones", or in the soul, as is the case with Jon Snow, whose "fracture" in his soul is being "bastard", causing him a strong passion of rebellion and rebellion because of this damage. It shows that the scheme of Disney and superheroes like Batman, Superman, and Spiderman, for example, is formed from "damage" and "fracture" in their souls.Video Class 4 - Existential Simulacrum
This class explains one of the deepest stages of narrative and character. The scheme of the three acts of the script is now elaborated in the subjective layer of the character, by their modes of existence: Virtualized, Updated and Realized. The scheme is formed by the "modes of existence" of the characters, governed by the verbal modes of "wanting" in the Contract phase, "knowing" in the Manipulation phase, and "power" in the Sanction. Like the Narrative Program, every character also has their Existential Simulacrum, where, in addition to these modes of existence, they also generate empowerment in a “concessive” way, skipping steps. We will apply examples to characters such as Cleo and Sofia from "Roma".Video Class 5 - Invisible Structure of “Rome”
Most important and dense class that aims to show how a character's bow develops only by his sensations, without necessarily going through major actions. Using the original script of "Rome", the class shows how to build dense characters such as Cleo and Sofia, building the curve of these types of characters with the turning points caused by their "sensations" and not their actions. The film shows how Cleo's curve, in a "Mothering" Narrative Program, has its arc from the feeling of having had a child, from the desire, later, that this child die, and in the third act, of feeling remorse for having had the previous sensations.