Vladimir Propp's narrative theory was created in the early twentieth Century. It involved the analysis of Russian folk tales, breaking them down into their simplest and irreducible narrative forms. After analysing 100 folk tales, he discovered that all of the evident characters could be categorised into 8 broad types of different characters:
1. The Villain - Struggles against the hero.
2. The Dispatcher - Character who informs the hero on lack and sends him on his quest.
3. The (magical) Helper - Helps hero during quest.
4. The Princess/Prize - Hero deserves to marry her, but cannot throughout the film because of the villain, often the quest is ended with the Hero and the Princess getting married.
5. Her Father - Gives Hero task and identifies False Hero, Propp noted that the Princess and the Father cannot be clearly distinguished.
6. The Donor - Prepares the Hero
7. The Hero or Victim/ Seeker Hero - Reacts to the donor and gets married to the Princess
8. False Hero - In order to marry the Princess, he takes credit for the Heroes actions to impress her.
Despite clearly stating the different categories of characters found in tales, Propp did not state that these had to apply to every one separate character; the villain could also be the father etc. Using Propp's theory, when a character has been correctly identified within a story, it is always predictable to what that character will do throughout, as each character has a sphere of action. After the initial situation is depicted, any story can be broken down into 31 different functional sections that supposedly incorporated all of the plot components that a story needed. According to Propp, a cohesive story can be created by the use of these 31 functional sections.
1. Absentation
- This section usually includes a member of a family to leave the security of their home. The instant division of family/lack of security at such an early stage in the film immediately injects the storyline with tension. This particular character usually ends up being the hero/heroin of the story, and usually returns to rescue a member of their family. The hero will be shown as an ordinary person in this section but will be perceived in a different way after they overcome a courageous situation and prove everyone they are the rightful heroes.
2. Interdiction
- The hero or main character is given an interdiction and warned against doing something. An example of this would be where there is a sign prohibiting access to a particular place, and at this point the hero has to decide whether to carry on in his quest or not. The hero always ends up taking the prohibited/dangerous route, this helps arise suspense for the viewers.
3. Violation of Interdiction
- When the hero has entered the prohibited place, the villain is introduced. This usually results in misfortune and involves many obstacles for them to overcome. The whereabouts of the villain is not always clear to the hero; this is because usually the villain is lurking around without hero knowing. Another probable situation is to place the villain at the heroes’ family home threatening to cause harm to the family members.
4. Reconnaissance
- The villain attempts to reconnaissance. Usually, the villain tries to find valuable family possessions or even take the children or young family members to obtain desired information. Children are often taken because they are perceived to be vulnerable and helpless, which may be the villains’ tactful thinking as he can obtain the desired information with ease. This also gives the chance for the hero to shine as he can save them from the evil grasp of the villain. However, this technique is often undertaken by the villain to lure the hero into confrontation and result in the meeting of the two vital characters.
5. Delivery
-Villain seeks to meet hero, already knowing why he is special. At this point the villain receives some of the acquired information, usually through the innocent and frightened family member.
6. Trickery
-Often at this particular point the villain and hero/victim have yet to meet, or have only briefly met prior to this point. Tricking takes place in this section, usually this includes gaining the confidence of the hero/victim by using tactful tricks and disguises. This is done to fool the hero/victim into the villain is in actual fact a friend. At this point the villain has also taken somebody close to the hero/victim as a hostage and requires the hero to supply the villain with certain information or possessions.
7. Complicity
-Hero/victim is taken in by the villains’ disguises and deception. Due to the false confidence that has been provided by the villain they naively help him without knowing that the information he is obtaining from them is working against the good.
8. Villainy or Lack
-Either friend of hero or family member desire or lack something that can be provided by the villain. Villain usually offers what is desired in exchange of some important information on the hero. An alternative to this is that usually the villain inflicts pain onto one of the characters closest to the hero. This can range from forced marriage to death.
9. Mediation
- Villainy or lack is discovered or made known to the hero.
10. Beginning Counter-action
-At this point, the ordinary person needs to make an important decision which will set out a course of strenuous obstacles that will define the mantle of heroism.
11. Departure
- Hero leaves home.
12. First Function of Donor
- The donor tests, interrogates and attacks the hero which allows preparation to defeat the villain.
13. Hero's Reaction
-Hero reacts to what is being inflicted by future donor/helper; this could be by failing tests presented to the hero or even refusal to submit entirely.
14. Receipt of Magical Element
- Hero acquired consumption of a magical element.
15. Guidance
- Heroes location changed to lead onto whereabouts of an object of the search.
16. Struggle
- The hero rebels and forms situation that leads to a confrontation with the villain, which usually results in direct combat.
17. Branding
- The hero is 'branded' by the villain during the combat; this is usually a serious wound that leads the audience to believe that the villain may win the battle. This helps arise suspense and tension for the audience.
18. Victory
- After 'branding' the hero somehow finds it within him to gather enough strength to defeat the villain and claim his rightful victory.
19. Liquidation
- The villainy or lack is resolved or overcome by the defeat of the villain and normality is replaced.
20. Return
- After the quest is over, the hero returns to his family home.
21. Pursuit
- On the way back to his home, the hero is pursued. The pursuer usually intends on killing or seriously harming the hero.
22. Rescue
- The hero is rescued from the pursuer; this is sometimes done by using obstacles and delaying the pursuer or by the hero going into hiding.
23. Unrecognised Arrival
- Hero is placed in an unfamiliar place, usually in another country, where he is unrecognised.
24. Unfounded Claims
- The false hero is now introduced, interpreting original heroes’ acts.
25. Difficult Task
- The hero is proposed with difficult tasks to prove that he is who he claims to be. This can be done through various tests and riddles.
26. Solution
-The tasks and riddles proposed to the hero are successfully overcome and his identity is reclaimed.
27. Recognition
- The hero is recognised, usually through the 'branding' earlier inflicted by villain.
28. Exposure
- False hero is finally exposed by the real hero.
29. Transfiguration
- The hero is given a new appearance; this is usually done by the use of new garments resulting from his courageous act.
30. Punishment
- Villain/False Hero is punished. This is usually done by imprisonment or banishment.
31. Wedding
- Hero marries and is rewarded for completing the torturous quest and overcoming the villain and other evil characters.
Despite being so detailed, Propp's theory remains heavily criticised. This is partially because it fails to take into account the fact that there are many contributions to change functions and character types within a narrative. Despite the fact that folk tales are usually oral, it removes all verbal considerations alongside tone, mood, character and anything that comprehends one story to another. However, his task was not to find elements which made each storyline different, but to find the typical basis that built up a suspense-filled narrative structure.
Despite being so detailed, Propp's theory remains heavily criticised. This is partially because it fails to take into account the fact that there are many contributions to change functions and character types within a narrative. Despite the fact that folk tales are usually oral, it removes all verbal considerations alongside tone, mood, character and anything that comprehends one story to another. However, his task was not to find elements which made each storyline different, but to find the typical basis that built up a suspense-filled narrative structure.
Information reference
1. The Villain - Struggles against the hero.
2. The Dispatcher - Character who informs the hero on lack and sends him on his quest.
3. The (magical) Helper - Helps hero during quest.
4. The Princess/Prize - Hero deserves to marry her, but cannot throughout the film because of the villain, often the quest is ended with the Hero and the Princess getting married.
5. Her Father - Gives Hero task and identifies False Hero, Propp noted that the Princess and the Father cannot be clearly distinguished.
6. The Donor - Prepares the Hero
7. The Hero or Victim/ Seeker Hero - Reacts to the donor and gets married to the Princess
8. False Hero - In order to marry the Princess, he takes credit for the Heroes actions to impress her.
Despite clearly stating the different categories of characters found in tales, Propp did not state that these had to apply to every one separate character; the villain could also be the father etc. Using Propp's theory, when a character has been correctly identified within a story, it is always predictable to what that character will do throughout, as each character has a sphere of action. After the initial situation is depicted, any story can be broken down into 31 different functional sections that supposedly incorporated all of the plot components that a story needed. According to Propp, a cohesive story can be created by the use of these 31 functional sections.
1. Absentation
- This section usually includes a member of a family to leave the security of their home. The instant division of family/lack of security at such an early stage in the film immediately injects the storyline with tension. This particular character usually ends up being the hero/heroin of the story, and usually returns to rescue a member of their family. The hero will be shown as an ordinary person in this section but will be perceived in a different way after they overcome a courageous situation and prove everyone they are the rightful heroes.
2. Interdiction
- The hero or main character is given an interdiction and warned against doing something. An example of this would be where there is a sign prohibiting access to a particular place, and at this point the hero has to decide whether to carry on in his quest or not. The hero always ends up taking the prohibited/dangerous route, this helps arise suspense for the viewers.
3. Violation of Interdiction
- When the hero has entered the prohibited place, the villain is introduced. This usually results in misfortune and involves many obstacles for them to overcome. The whereabouts of the villain is not always clear to the hero; this is because usually the villain is lurking around without hero knowing. Another probable situation is to place the villain at the heroes’ family home threatening to cause harm to the family members.
4. Reconnaissance
- The villain attempts to reconnaissance. Usually, the villain tries to find valuable family possessions or even take the children or young family members to obtain desired information. Children are often taken because they are perceived to be vulnerable and helpless, which may be the villains’ tactful thinking as he can obtain the desired information with ease. This also gives the chance for the hero to shine as he can save them from the evil grasp of the villain. However, this technique is often undertaken by the villain to lure the hero into confrontation and result in the meeting of the two vital characters.
5. Delivery
-Villain seeks to meet hero, already knowing why he is special. At this point the villain receives some of the acquired information, usually through the innocent and frightened family member.
6. Trickery
-Often at this particular point the villain and hero/victim have yet to meet, or have only briefly met prior to this point. Tricking takes place in this section, usually this includes gaining the confidence of the hero/victim by using tactful tricks and disguises. This is done to fool the hero/victim into the villain is in actual fact a friend. At this point the villain has also taken somebody close to the hero/victim as a hostage and requires the hero to supply the villain with certain information or possessions.
7. Complicity
-Hero/victim is taken in by the villains’ disguises and deception. Due to the false confidence that has been provided by the villain they naively help him without knowing that the information he is obtaining from them is working against the good.
8. Villainy or Lack
-Either friend of hero or family member desire or lack something that can be provided by the villain. Villain usually offers what is desired in exchange of some important information on the hero. An alternative to this is that usually the villain inflicts pain onto one of the characters closest to the hero. This can range from forced marriage to death.
9. Mediation
- Villainy or lack is discovered or made known to the hero.
10. Beginning Counter-action
-At this point, the ordinary person needs to make an important decision which will set out a course of strenuous obstacles that will define the mantle of heroism.
11. Departure
- Hero leaves home.
12. First Function of Donor
- The donor tests, interrogates and attacks the hero which allows preparation to defeat the villain.
13. Hero's Reaction
-Hero reacts to what is being inflicted by future donor/helper; this could be by failing tests presented to the hero or even refusal to submit entirely.
14. Receipt of Magical Element
- Hero acquired consumption of a magical element.
15. Guidance
- Heroes location changed to lead onto whereabouts of an object of the search.
16. Struggle
- The hero rebels and forms situation that leads to a confrontation with the villain, which usually results in direct combat.
17. Branding
- The hero is 'branded' by the villain during the combat; this is usually a serious wound that leads the audience to believe that the villain may win the battle. This helps arise suspense and tension for the audience.
18. Victory
- After 'branding' the hero somehow finds it within him to gather enough strength to defeat the villain and claim his rightful victory.
19. Liquidation
- The villainy or lack is resolved or overcome by the defeat of the villain and normality is replaced.
20. Return
- After the quest is over, the hero returns to his family home.
21. Pursuit
- On the way back to his home, the hero is pursued. The pursuer usually intends on killing or seriously harming the hero.
22. Rescue
- The hero is rescued from the pursuer; this is sometimes done by using obstacles and delaying the pursuer or by the hero going into hiding.
23. Unrecognised Arrival
- Hero is placed in an unfamiliar place, usually in another country, where he is unrecognised.
24. Unfounded Claims
- The false hero is now introduced, interpreting original heroes’ acts.
25. Difficult Task
- The hero is proposed with difficult tasks to prove that he is who he claims to be. This can be done through various tests and riddles.
26. Solution
-The tasks and riddles proposed to the hero are successfully overcome and his identity is reclaimed.
27. Recognition
- The hero is recognised, usually through the 'branding' earlier inflicted by villain.
28. Exposure
- False hero is finally exposed by the real hero.
29. Transfiguration
- The hero is given a new appearance; this is usually done by the use of new garments resulting from his courageous act.
30. Punishment
- Villain/False Hero is punished. This is usually done by imprisonment or banishment.
31. Wedding
- Hero marries and is rewarded for completing the torturous quest and overcoming the villain and other evil characters.
Despite being so detailed, Propp's theory remains heavily criticised. This is partially because it fails to take into account the fact that there are many contributions to change functions and character types within a narrative. Despite the fact that folk tales are usually oral, it removes all verbal considerations alongside tone, mood, character and anything that comprehends one story to another. However, his task was not to find elements which made each storyline different, but to find the typical basis that built up a suspense-filled narrative structure.
Despite being so detailed, Propp's theory remains heavily criticised. This is partially because it fails to take into account the fact that there are many contributions to change functions and character types within a narrative. Despite the fact that folk tales are usually oral, it removes all verbal considerations alongside tone, mood, character and anything that comprehends one story to another. However, his task was not to find elements which made each storyline different, but to find the typical basis that built up a suspense-filled narrative structure.
Information reference
Any account of research, such as this, should be framed with an initial paragraph stating why you have undertaken it, and should be tailored to what use you made out of it. For instance, have you used it as a framework for analysing your advanced production?
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