Illustrator ArtFanat

Translator Ksenia Sterlenko

© Maxim Bukhteev, 2020

© ArtFanat, illustrations, 2020

© Ksenia Sterlenko, translation, 2020

ISBN 978-5-4498-1447-0

Created with Ridero smart publishing system

Introduction

Who is Vladimir Yakovlevich Propp, quoted by many foreign screenplay manuals? Why had his work become so popular among screenwriters, that in the professional community people even started talking about overusing of this approach?

Indeed, many other scholars were engaged in folk art, and they have also noticed that many elements in fairy tales repeat themselves constantly. Attempts to somehow describe and systematize these recurrences to create a lean fairy tale structure, have been made repeatedly. However, it was only Propp who has managed to create a methodology flexible and versatile enough, which allowed it to be applied to other formats as well. By the way, this has happened already against the author’s will, as he had deliberately limited his research solemnly by fairy tales, being afraid of losing some in scientific accuracy.

So, right from the start I would like to focus your attention on the fact that the Russian philologist, folklorist, Leningrad University professor has never written anything about movies. On the one hand, this is a very bad start for the “how to write a screenplay” book. But on the other hand, Joseph Campbell, the worldwide famous American mythology explorer, has not written anything about screenplays either. However, his works are in every serious Hollywood screenwriter’s library.

How did that happen?

A motion picture is a young art comparing to painting, literature and poetry, and it didn’t have a solid theoretical basis from the beginning. While a motion picture was just an attraction, this basis wasn’t really required. The first directors were just filming crowd on a street. And it was enough for a box-office success. Everything was done by one single person and a separate screenwriter profession did not exist at all.

Sure enough, a viewer got bored of watching the screen, as through the window to the street, pretty fast, and authors started making up new tricks. They were moving a camera and went to different places with it. Then circus actors came into movies – clowns, acrobats and bearded women. Then gradually camera started filming actors and acting out simple scenes as in a theatre.

And when a motion picture became more complicated, it got clear that viewers like good stories a lot more than they like tricks and simple special effects. They started to take a backseat and that’s how a screenwriting was born.

But a weak foundation cannot hold a big and complicated construction. Writers came to the movies aid. For some time, film adaptation of books worked pretty well, but all the more movies were filmed. They were becoming more and more complex and a viewer was getting choosier. It was not easy to surprise him, and the literary material was ending.

Gradually a motion picture has become an independent art, but for quite a long time the screenwriting theory was limited with just general words. Every author could hope only for his own hunch, experience and talent. This continued until George Lucas had filmed his famous Star Wars. Film release was like an explosion. It has created a new motion picture and its own mythology. As an indirect process of this phenomenon, there was a surge of interest in common mythology. Although Lucas wrote the first movie in the old way, by touch, after its tremendous success the director has found out with surprise that he had been walking the same way as authors of ancient myths had.

There was nothing surprising about it. Firstly, viewers story perception has its laws, common to all humanity. Secondly, George Lucas himself studied these laws at Modesto Junior College, where he was taught anthropology, sociology and literature.

After success of his movies, Lucas reread “The Hero with a Thousand Faces” by Joseph Campbell, which he had studied in college, and in creating his next movies he deliberately used the mythology structure. George Lucas’s loud public announcements about kinship of fantastic plots and myths have led to popularity increase of Campbell scientific writings as well.

To facilitate a screenwriter work over a complicated book, Christopher Vogler, a Hollywood producer, writes a small manual “A Practical Guide to The Hero with a Thousand Faces”. And in 2007 he issues an expanded version of it – “The Writer’s Journey: Mythic Structure for writers”.

What does it all have to do with Vladimir Yakovlevich Propp, the Russian scientist, who wrote his most famous “The Morphology of the Fairy-tale” writing in 1934? The thing is, his researches resonate closely with what Campbell describes. Not without reason Christopher Vogler mentions Propp frequently in his writing.

After it became clear to everyone, that stories told by movies were of the same nature as all other stories in the world, there was a surge of interest in their theory. This is where Propp’s work came in handy.

Propp’s book went down in the history of European philology in 1958, when it was translated into English. The American edition has immediately received a lot of enthusiastic responses in press. Many scholars believe that the philologist’s writing was far ahead of his time. Therefore, it is no coincidence that around the same time a new science of cybernetics gained recognition, the science with which Propp methods had much in common.

And in his motherland Propp’s writing was known by specialists only. Actually, it’s no wonder, considering constant authority attacks on this whole scientific direction because of its disagreement with Marks and Lenin teaching.

As the professor Elizabeth Warner, the Head of the Russian Language Department at Durham University, writes in her book “Vladimir Propp, 1895 1970: The Study of Russian Folklore and Theory”: “…it may be suggested that ‘Morphology’ could’ve been left relatively unknown in Russia, except to the specialists circle, if foreign critics would have failed to pay attention to it”.

Personally, I am sure that practical western writers, journalists and screenwriters have appreciated immediately the Russian scholar writing’s potential, as they understood how it could be used in their daily work, namely creation of new stories. But there was no simple and clear methodology on how to do it when creating screenplays, until now. And this is the gap I hope to fill.

Why Propp if there is the Campbell writing?

The most ancient and widespread stories are myths and fairy tales. Although they are close relatives, nevertheless these forms should not be confused.

Let’s begin with the fact that the fairy tale scheme by itself is a lot more developed and complicated, than the mythology one. A myth is an ancient conservative form, but it lies in the basis of a fairy tale, as Vladimir Yakovlevich Propp writes. A myth tells about creation of the world, in which gods and similar heroes act. This is largely a sacred text, narrating about creation of all things existing.

This is what Campbell tells us about the difference between a fairy tale and a myth in his “The Hero with a Thousand Faces” book: “As a rule, a fairy tale hero achieves a local victory within his microcosm, whereas a myth hero achieves worldwide historical macrocosm triumph. While a fairy tale hero is the youngest or despised child, who gets extraordinary abilities and defeats his own abusers, a myth hero at the end of his adventure obtains a means of revival of all his community in whole”.

That is, in fairy tales, even with a presence of variety of magical creatures, the main characters are simple humans. Which naturally makes stories like this a lot closer to nowadays viewers. Besides, working with a fairy tale is a lot more convenient.

In his writing Propp specifies several times, that he works with a very narrow topic, which is a folklore. He keeps his distance deliberately and tries not to touch any other form of creativity, although he mentions them from time to time. It’s clear that this is the absolutely correct scientific approach. However, as the time has shown, a certain fairy tale case helps to uncover many general laws of making story.

In fact, this is exactly why the Russian scholar’s writing has become world famous, having created the basis for the modern text theory. Experienced screenwriters know how to put plane scientific facts to good practical use.

I use their approach, just like Christopher Vogler did with Campbell theories, and I will try to create a comprehensive instruction for screenwriters.

I hope it will help authors, and Propp will come to having his own George Lukas.

Functions

To figure out how Propp’s discoveries can be used in screenwriting, it is necessary to understand what exactly he had discovered. How does his approach differ from methods of other researchers, who studied the same topic?

The basis in the Propp approach are functions. When the scholar started analyzing fairy tales, he found out that with all the diversity of magic stories, it is precisely the functions that are repeated. Meaning, that some actions and situations are found again and again, regardless of characters, conditions and an environment. For example, in terms of the fairytale structure, it does not matter who fights whom and when. The main thing is the battle itself. And it makes no difference if the prince is fighting a witch or if the peasant is fighting a dragon. Important things are the place and the result of this battle in the overall dramatic structure.

This structure works as a unified system, and its basis is separate elements and the logical connection among them. Every story has its own set and combination of these elements, which provides diversity and originality of plots. These elements are functions.

This discovery allowed Russian scholar to systematize fairy tales, identify patterns of their structure, as well as to outline a creative method of making new stories.

Propp writes: “A fairy tale attributes easily the same actions to people, items and animals… Fairy tales have one special feature: composite parts of one story can be transferred to the other one without any changes… Let’s take a theme ‘a Serpent kidnaps the king’s daughter.’ This theme decomposes into 4 elements, each of which can vary separately. The Serpent can be replaced by Koshei, a whirlwind, a demon, a falcon, a warlock. The kidnaping can be substituted with vampirism or with any actions that lead to disappearance in the fairy tale. The daughter can be replaced by a sister, a fiancée, a wife, a mother. The king can be replaced by a king’s son, a peasant, a priest”.

Here is this very degree of freedom, which Campbell mythological structures lack!

Further it will be more interesting.

And for now, for starters, let’s figure out what kind of functions can be there in fairy tales.

(Note: I will give the basic wording, names and designations of functions strictly according to Propp. I give examples of functions from the collection which the scientist worked with (Alexander Nikolaevich Afanasyev, “Folk Russian Tales”), as well as from world-renowned fairy tales and movies.)

absentation

– One of the family members leaves the house (definition – the absentation)

An absentation can be different. Propp identifies three types of it in fairy tales. A temporary absentation, like parents leaving, their death or children absentation. In a fairy tale parents might go to a fair or to work, and children go to the forest for mushrooms.

It is important to notice, that family may be conditional. The main thing is that the group member, who provides safety and stability, leaves. Let’s say, in the Russian tale “The cat, the rooster and the fox”, the old man and the cat leave, and the rooster stays to guard the house.

As you understand there are many more options like this in movies.

One of the brightest examples of the temporary “absentation” is Home Alone, 1990. The whole family departs, leaving the character by himself. Also, the absentation in the form of “death” is pretty interesting. In Russian “Sivko-Burko” tale the father of three brothers, in dying, asks them to sleep on his grave alternatively.

In a movie it can serve as a starting point for the beginning of a story in a variety of genres, including thrillers and horrors. This method is used, for example, in Lemony Snicket’s a Series of Unfortunate Events, 2004 and Grave of the Fireflies, 1988.

Although, not only parents leave in movies. The point of the function is to trouble the balance and to give a push to the story, preparing the ground for some misfortune. That is, it is the person, who was keeping the balance, is to leave. Let’s say, in The Lord of the Rings: The Fellowship of the Ring, 2001, it is Bilbo Baggins, who was keeping the ring for a long time, but was forced to leave, having passed the valuable item on to Frodo.

That is, normally “absentation” in a movie is the most common and simple way for the character to start the journey and get into some adventures. After all, the only thing required for it is for one character to leave the house.

interdiction