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A three-act structure is a type of dramatic structure. It includes three broad actions:
- Setup (of the location and characters)
- Confrontation (with an obstacle)
- Resolution (culminating in a climax and a dénouement).
Three acts are still a common way to structure dramatic works, particularly plays and feature-length films. In both media the fraction of time devoted to each act is often ¼ for both the first and third acts and ½ for the middle act.[1]
The first act is used to establish the main characters, their relationships and the normal world they live in. Earlier in the first act, a dynamic, on screen incident occurs that confronts the main character (the protagonist), whose attempts to deal with this incident leads to a second and more dramatic situation, known as the first turning point, which (a) signals the end of the first act, (b) ensures life will never be the same again for the protagonist and (c) raises a dramatic question that will be answered in the climax of the film. The dramatic question should be framed in terms of the protagonist's call to action, (Will X recover the diamond?, Will Y get the girl? Will Z capture the killer?).[2]
The second act, also referred to as "rising action", typically depicts the protagonist's attempt to resolve the problem initiated by the first turning point, only to find themselves in ever worsening situations. Part of the reason the protagonist seems unable to resolve their problems is because they do not yet have the skills to deal with the forces of antagonism that confront them. They must not only learn new skills but arrive at a higher sense of awareness of who they are and what they are capable of, in order to deal with their predicament. This cannot be achieved alone and they are usually aided and abetted by mentors and co-protagonists.[2]
Finally, the third act features the resolution of the story and its subplots. The climax, also known as the second turning point, is the scene or sequence in which the main tensions of the story are brought to their most intense point and the dramatic question answered, leaving the protagonist and other characters with a new sense of who they really are.[2]
In Writing Drama, French writer and director Yves Lavandier shows a slightly different approach.[3]. He maintains that every human action, whether fictitious or real, contains three logical parts: before the action, during the action, and after the action. Since the climax is part of the action, Yves Lavandier considers the second act must include the climax, which makes for a much shorter third act than what is found in most screenwriting theories.
References
- ^ Three-act Structure from the Writing about Film website by a College of DuPage faculty member, citing Syd Field, author of Screenplay and The Screen Writer's Workbook
- ^ a b c Trottier, David: "The Screenwriter's Bible", pgs5-7. Silman James, 1998.
- ^ Excerpt on the three-act structure from Yves Lavandier's Writing Drama
External links
- What’s Wrong With The Three Act Structure by former WGA director James Bonnet, via writersstore.com
- What’s Right With The Three Act Structure by Yves Lavandier, author of Writing Drama
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