oa Litnet Akademies : 'n Joernaal vir die Geesteswetenskappe, Natuurwetenskappe, Regte en Godsdienswetenskappe - Die heldereis as model vir karakterontwikkeling in dramadraaiboeke : geesteswetenskappe

Volume 10, Issue 3
  • ISSN : 1995-5928



Karakterontwikkeling is 'n abstrakte element wat dikwels deur draaiboekskrywers weggelaat of oneffektief aangewend word. Hierdie artikel evalueer die voorstel van Christopher Vogler in (1998; 2007) dat die heldereis as model vir karakterontwikkeling aangewend kan word. Indien dit wel die geval is, kan dit 'n praktiese hulpmiddel aan draaiboekskrywers bied waarmee die abstrakte inhoud van karakterontwikkeling bewerk kan word. Die rolprent (1997) word as 'n gevallestudie gebruik. Die karakterontwikkeling van Melvin en Simon word aan die hand van die 12 fases van die interneheldereis-model wat Vogler voorstel, ontleed. Die bevinding van die navorsing is dat die struktuur van Melvin en Simon se karakterontwikkeling, asook die struktuur van die intriges in , 'n direkte ooreenkoms toon met Vogler se 12 fases van die interne en eksterne heldereise. Die relevante argetipe-karakters wat Vogler identifiseer, is ook duidelik sigbaar en funksioneel tot die karakterontwikkeling. Die slotsom is dat die interneheldereis-model van Vogler 'n konkrete, dog buigsame model vir draaiboekskrywers bied waarmee karakterontwikkeling kreatief beplan kan word.

The ability of humans to change their personalities and behaviour is so limited that most changes can be regarded as cosmetic or temporarily induced by circumstances like danger or group pressure. If a permanent change does take place, it is in reaction to strong power vectors that impact on the person. According to Wolff and Cox (1988:52-3, 64-5), film viewers therefore find it fascinating to watch how characters apparently change when they are exposed to life's big demands.
Character change, together with a rounded and original character, can make the difference between film characters that hold interest for the moment and are forgotten afterwards, and those that viewers experience as exceptional and unforgettable. Films that cannot utilise intense negative emotions such as suspense, anxiety and fear, or impressive spectacles such as explosions and chase and war sequences, often make use of character development to increase the viewers' involvement. In such cases the character change becomes an important character, structural and plot technique. A character can change either by developing or by regressing. This article focuses only on development, but the principles can also be applied to regression.
Since character development is an abstract element of the screenplay writing process, it is often neglected or left out completely. This article evaluates the suggestion by Christopher Vogler in (1998; 2007) that the hero's journey can be used as a model for character development. If this is the case, it can offer a practical tool to screenwriters with which they can plan and implement the abstract content of character development.

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