The character (sometimes known as fictitious characters ) is someone or another creature in a narrative (such as novel, drama, television series, film, or video game). Characters may be entirely fictitious or based on real-life people, in which case different "fictitious" versus "real" characters can be created. Derived from the ancient Greek word ????????, the English word comes from the Restoration, although it became widely used after its appearance in Tom Jones in 1749. From this, the taste of "The Section played by an actor "developed. Characters, especially when enacted by actors in theater or cinema, involve "the illusion of being human." In the literature, the characters guide the reader through their stories, helping them understand the plot and think of the theme. Since the late 18th century, the phrase "in character" has been used to describe effective imitation by an actor. Since the 19th century, the art of creating character, like that of an actor or writer, has been called characterization.
Characters that represent a particular class or group of people are known as types. Types include stock characters and those that are more fully individualized. The characters in Henrik Ibsen Hedda Gabler (1891) and August Strindberg Miss Julie (1888), for example, are representative of certain positions in classroom and gender social relations, such that conflicts between characters express ideological conflict.
The study of character requires an analysis of its relationship with all other characters in the work. The status of individual characters is defined through the network of opposition (proairetik, pragmatic, linguistic, proxemic) formed with other characters. The relationship between character and story action shifts historically, often mimicking the shift in society and its ideas about human individuality, self-determination, and social order.
Video Character (arts)
Creation
In fiction writing, the author creates dynamic characters with many methods. Sometimes characters are conjured up from the imagination; in other instances, they are created by reinforcing the character of a real person's character into a new fictional creation, or created from scratch as a matter of expediency.
Maps Character (arts)
Type
Round vs. flat
In his book Novel Aspects , EM Forster defines two basic types of characters, qualities, functions, and their importance for novel development: flat and round characters. The character is flat two-dimensional, because it is relatively uncomplicated. In contrast, rounded characters are complex figures with many different characteristics, which are progressing, sometimes enough to shock the reader.
Mary Sues is a character that especially appears in fan fiction. They have almost no flaws, and are therefore regarded as flat characters.
Dynamic vs. static
Dynamic characters are characters that change along the story path, while static characters remain the same throughout.
Regular, repeating, and guest characters
On television, ordinary, main or ongoing characters are characters that appear in all or most of the episodes, or in a series of significant episodes. Regular characters can be both core and secondary characters.
Repetitive characters often and often appear from time to time during the run of the series. Repetitive characters often play a major role in more than one episode, sometimes becoming the main focus.
Guest characters are characters that only act in multiple episodes or scenes. Unlike ordinary characters, guests need not be carefully inserted into the plot with all the consequences: they create a drama and then disappear with no consequences on the narrative structure, unlike the core character, in which any significant conflicts must be traced. for a considerable time, which is often seen as an unjustified waste of resources. There may also be guest characters that continue or recur. Sometimes guest characters can gain popularity and become commonplace.
Classic analysis
In the early work of the earliest dramatic theory, Poetics (c.335 BC), the classical Greek philosopher Aristotle concluded that the character ( ethos ) was one of the six qualitative parts of Athens tragedy and one of the three objects it represents (1450a12). He understands the character to not show a fictitious person, but the quality of the person who acts in the story and reacts to his situation (1450a5). He defines the character as "what expresses decisions, whatever" (1450b8). Therefore, it is possible to have a story that does not contain "character" in the sense of the word Aristotle, because the character always involves making an ethical disposition of those who perform clear actions. If, in a speech, the speaker "decides or not to avoid altogether", then the speech "has no character" (1450b9--11). Aristotle argues for the primacy of the plot ( mythos ) over the character ( ethos ). He writes:
But the most important of these is the incident structure. For (i) tragedy is a representation not of man but of action and life. Happiness and unhappiness lies in action, and the end [of life] is a kind of action, not of quality; people of a certain kind according to their character, but happy or otherwise in accordance with their actions. So [the actors] do not act to represent the characters, but they enter character for their actions "(1450a15-23).
Aristotle suggests that works are distinguished in the first instance according to the nature of the person who created them: "Greater ones represent good acts, good people" by producing "hymns of praise and poetry", while "ordinary people represent inferior people "by" composing information "(1448b20--1449a5). On this basis, the distinction between individuals represented in tragedy and in comedy arises: tragedy, along with epic poetry, is "a representation of a serious person" (1449b9--10), while comedy is "a representation of somewhat inferior people "(1449a32--33).
In Tractatus coislinianus (which may or may not be by Aristotle), Ancient Greek comedy is defined as involving three types of characters: clowns, ironic (eirÃÆ'Â 'N ), and a swindler or boaster ( alazÃÆ'Â'n ). All three are at the core of Aristophanes' old comedy.
At the time when Roman drama writer Plautus wrote his works two centuries later, the use of characters to define dramatic genres has been well established. Amphitryon begins with a prologue where Mercury claims that because the drama contains a king and a god, it can not be a comedy and should be a tragedy.
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Source of the article : Wikipedia
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