BERÄTTELSENS
1. DEN VANLIGA VÄRLDEN UTVECKLING
2. ROPET PÅ ÄVENTYR
3. VÄGRAN ATT DELTA I ÄVENTYRET
4. MÖTET MED EN MENTOR
5. FÖRSTA TRÖSKELN
6. PRÖVNINGAR, VÄNNER OCH FIENDER
7. INGÅNGEN TILL DEN INNERSTA GROTTAN
8. DEN STÖRSTA UTMANINGEN
9. BELÖNING
10. VÄGEN TILLBAKA
11. ÅTERUPPTÅNDELSE
12. KOMMA TILLBAKA MED ELIXIRETPERSONFUNKTIONER:
HUVUDPERSON/HJÄLTE
MENTOR
FIENDER
SKUGGOR
FORMSKIFTARE
TRICKSARE, CLOWNER
BUDBÄRARE
VÄNNER
VÄKTARE VID TRÖSKLARNA
SYMBOLISKA SAKER
SYMBOLISKA DJUR
STEG TVÅ: ROPET PÅ ÄVENTYR
"It's money and adventure and fame ! It's the trill of a lifetime! ... and a long sea voyage that starts at six o'clock tonwrrow!'
From the sercenplay King Kong by James Creelman and Ruth Rose
Den vanliga världen är för de flesta hjältar en statisk men ostadig situation. Förändringarnas frö är sått och det behövs inte mycket energi för att få dem att växa och förändras. Den nya energin, symboliserad på många olika vis i myter och sagor, är vad mytforskaren Joseph Campbell kallar: Ropet på förändring.
Ropet på förändring kan komma i form av en budbärare eller i form av ett meddelande.
Det kan vara en ny oväntad händelse som att ett krig utbryter, ett telegram anländer med hemska nyheter, t ex att en välkänd farlig förbrytare rymt ur fängelset och är på väg för att hämnas på åklagaren som satte fast honom. En efterlysning är ett vanligt rop på äventyr.
Fråga: Hur sätts historien i rullning i den roman eller film du analyserar?
The Call may simply be a stirring within the hero, a messenger from the unconscious, bearing news that its time for change. These signals sometimes come in the form of dreams, fantasies or visions. Roy Neary in Close Encounters of the Third Kind gets his Call in the form of haunting images of Devil's Tower drifting up from his subconscious.
Prophetic or disturbing dreams help us prepare for a new stage of growth by giving us metaphors that reflect the emotional and spiritual changes to come.
The hero may just get fed up with things as they are. An uncomfortable situation builds up until that one last straw sends him on the adventure. Joe Buck in Midnight Cowboy has simply had enough of washing dishes in a diner and feels the Call building up inside him to hit the road of adventure. In a deeper sense, his universal human nced is driving him, but it takes that one last miserable day in the diner to push him over the edge.
Q: How does the Call to Adventure come to your hero? From within or whithout?
TEMPTATION
The Call to Adventure may summon a hero with temptation, such as the allure of an exotic travel poster or the sight of a potential lover. It could be the glint of gold, the rumor of treasure, the siren song of ambition. In the Arthurian legend of Percival , the innocent young hero is summoned to adventure by the sight of five magnificent knights in armor, riding off on some quest. Percival has never seen such creatures, and is stirred to follow them. He is compelled to fmd out what they are, not realizing it is his destiny to soon become one of them.
HERALDS OF CHANGE
The Call to Adventure is often delivered by a character in a story who manifests the archetype of the Herald. A character performing the function of Herald may be positive, negative, or neutral, but will always serve to get the story rolling by presenting the hero with an invitation or challenge to face the unknown.
In some storics the Herald is also a Mentor for the hero, a wise guide who has the heros best interests at heart. In otbers the Herald is an enemy, flinging a gauntlet of challenge in the heros face or tempting the hero into danger.
Q: Who is the herald in your story?
Initially heroes often have trouble distinguishing whether a Enemy or an Ally lies behind the Heralds mask. Many a hero has mistaken a well-meaning mentors Call for that of an enemy, or misinterpreted the overtures of a villain as a friendly invitation to an enjoyable adventure. In the thriller and film noir genres, writers may deliberately obscure the reality of the Gall. Shadowy figures may make ambiguous offers, and heroes must use every skill to interpret them correctly.
Often heroes are unaware there is anything wrong with their Ordinary World and don't see any need for change. They may be in a state of denial. They have been just barely getting by, using an arsenal of crutches, addictions and defense mechanisms. The job of the Herald is to kick away these supports, announcing that the world of the hero is unstable and must be put back into healthy balance by action, by taking risks, by undertaking the adventure.
Q: Is your hero aware of the problem? Does he/she deny the Call to Adventure?
DISORIENTATION AND DISCOMFORT
The Call to Adventure can often be unsettling and disorienting to the hero. Heralds sometimes sneak up on heroes, appearing in one guise to gain a heros confidence and then shifting shape to deliver the Call. Alfred Hitchcock provides a potent example in Notorious. Here the hero is playgirl Ingrid Bergman, whose father has been sentenced as a Nazi spy. The Call to Adventure comes from a Herald in the form of Cary Grant, who plays an American agent trying to enlist her aid in infiltrating a Nazi spy ring.
First he charms his way into her life by pretending ta be a playboy interested only in booze, fast cars, and her. But after she accidentally discovers he's a 'copper", he shifts to the mask of Herald to deliver a deeply challenging Call to Adventure.Bergman wakes up in bed, hung over from their night of partying. Grant, standing in the doorway, orders her to drink a bubbly bromide to settle her stomach. It doesn't taste good but he makes her drink it anyway. It symbolizes the new energy of the adventure, which tastes like poison compared to the addictions she's been used to, but which ultimately will be good medicine for her. In this scene Grant leans in a doorway, silhouetted like some dark angel. From Bergmans point of view, this Herald could be an angel or a devil.
Q: Is the Call uncomfortable for the hero you are dealing with? Is it confusing?
In this sequence Hitchcock has used every symbolic element at his command to signal that a major threshold of change is approaching. The Call to Adventure is disorienting and distasteful to the hero, but nccessary for her growth.
LACK OR NEED
A Gall to Adventure may come in the form of a loss or subtraction from the herds life in the Ordinary World. The adventure of the movie Quest for Fire is set in motion when a Stone Age tribe's last scrap of fire, preserved in a bone fire-cage, is extinguished. Members of the tribe begin to die of cold and hunger because of this loss. The hero receives his Call to Adventure when one of the women puts the fire-cage in front of him, signalling without words that the loss must be made up by undertaking the adventure.
The Call could be the kidnapping of a loved one or the loss of anything precious, such as health, security, or love.
Q: Is there any need or lack Calling your hero to action in the Special World?
3. REFUSAL OF THE CALL
4. MEETING WITH A MENTOR
5. FIRST THRESHOLD
6. TESTS, ALLIES, ENEMIES
7. APPROACH TO THE INMOST CAVE
8. SUPREME ORDEAI.
9. REWARD (SEIZING THE SWORD)
10. THE ROAD BACK
11. RESURRECTION
12. RETURN WITH THE ELIXIR
CAST:
HERO
MENTOR
SHADOWS
SHAPESHIFTER
TRICKSTER, CLOWN
HERALD
ALLIES
THRESHOLD GUARDIANS
SYMBOLIC THINGS
SYMBOLIC ANIMALS
Epost: humlebo@iname.com
