Monday, October 30, 2017

3 Act Storytelling in Comics

How to Use 3-Act Story Structure in Comic Strips 

by Tim Stout

https://timstout.wordpress.com/2011/09/03/how-to-use-3-act-story-structure-in-comic-strips/

In just three to four comic panels, you can utilize three-act structure to tell a story. If there’s conflict and a character reacting to that conflict then you’ve got a story and that can easily fit within three or four comic panels.
Here’s the breakdown I used to discuss three-act story structure in the lecture:
Act 1 is the “Beginning”, where information is setup to provide CONTEXT for the story.
Act 2 is the “Middle”, where characters attempt to achieve GOALS and encounter CONFLICT.
Act 3 is the “End”, where there is a RESOLUTION to the CONFLICT and our character’s character is revealed.
Panel 1 (yellow) is Act 1. It provides the CONTEXT for the strip, answering the 5W’s: Where, When, Who, What and Why.
In this example (Calvin & Hobbes by Bill Watterson), the CONTEXT (5W’s) for the strip is:
  • Where are we? A white space. We may be inside or we may be outside, it doesn’t matter. The rest of the strip should make sense without that information. (If it doesn’t make sense, then Bill should have clarified).
  • When are we? Day or night is not specified, so it shouldn’t matter for the rest of the strip to make sense. (But it is set post-1932. How do we know that? The character is playing Superman, who was created in 1932.)
  • Who is involved? A kid. We know his name is Calvin from the title of the strip, Calvin & Hobbes, but within the CONTEXT of Panel 1, it doesn’t matter. All we really need to know is that the character is a kid who plays pretend.
  • What are they doing (their GOAL)? Playing Superman. And we know that by the use of Superman’s trademark line “Up, up and away!” along with the cape.
  • & Why are they doing that? Probably because playing Superman is fun.
Now that the CONTEXT has been established, we want to see the character attempt to achieve a GOAL and face CONFLICT in Act 2.
Panel 2 (blue) shows the character trying to achieve their GOAL – the WHAT from Panel 1 put into action. It can also be called the PREMISE of the strip.
Using the same example, Calvin’s GOAL is to play Superman, so in Panel 2 we get to see Calvin doing just that: playing Superman.
But there is no story without a problem. So, there must be CONFLICT. Something (a person, a thing, fate, or a force of nature) must CONFLICT with the character’s GOAL.
This CONFLICT brings the potential DEATH OF THE PREMISE.
In Panel 3 (red), gravity prevents Calvin from flying (CONFLICT). Will this be the DEATH of playing Superman?!
NO! Calvin continues to play Superman despite the reality of his situation, thus revealing something about his character.
Character is revealed through conflict and Panel 4 (green) is where we get to see that.
Panel 4 is the RESOLUTION of the CONFLICT, and that RESOLUTION lets the reader know something about your character.
This is where you get to show how your character behaves or thinks. In a well-written comic strip, it results in something funny or unexpected.
Calvin has every reason to give up pretending to be Superman but he refuses and improvs his way back into play. Why? Because play is more fun than reality (and if you’ve read Calvin & Hobbes, you’ll know just how true that is for Calvin).
Here’s another Calvin & Hobbes example:
Panel 1 [Act 1] – CONTEXT (5W’s):
  • Where are we? A white space.
  • When are we? Day or night is not specified, but it is set after those bubble bottles were created and mass-marketed for kids.
  • Who is involved? Calvin.
  • What are they doing (their GOAL)? Blowing a bubble.
  • & Why are they doing that? Blowing bubbles is fun?
Panel 2 [Act 2.1] – GOAL (WHAT in action. The PREMISE): Calvin blows a bubble.
Panel 3 [Act 2.2] – CONFLICT (DEATH OF THE PREMISE): Calvin is stopped in blowing a bubble. Is this the DEATH of blowing bubbles?
Panel 4 [Act 3] – RESOLUTION: Yes. Calvin’s reaction to what happened reveals his character.
THE END!
The best part about Panel 4 is that different characters can provide a totally different outcome or joke from the same PREMISE.
Here’s an example of a Nancy strip by Ernie Bushmiller (notice how Nancy’s reaction to the DEATH OF THE PREMISE provides an entirely different joke):
Panel 1 [Act 1 and 2.1] – CONTEXT (5W’s) & GOAL:
  • Where are we? Outside a store.
  • When are we? Daytime.
  • Who is involved? Nancy.
  • What are they doing (their GOAL)? Blowing a bubble.
  • & Why are they doing that? Blowing bubbles is fun?
  • GOAL (WHAT in action. The PREMISE): Nancy blows a bubble.
Panel 2 [Act 2.2] – CONFLICT (DEATH OF THE PREMISE): Nancy is stopped in blowing a bubble. Is this the DEATH of blowing bubbles?
Panel 3 [Act 3] – RESOLUTION: Yes. Nancy’s reaction to what happened reveals her character.
THE END!
So, when writing your own comic strips, keep this breakdown in mind and use Panel 4 to show the reader what makes your character interesting, funny or unique.
I hope that helps!

Friday, October 20, 2017

Questions to Consider about your Reenactment

What are the gestures & movements of the original version of your chosen performance? How did you recreate those actions with your body or direct other people's bodies to do them?

What props, costumes, materials were involved in your performance? How did you mimic them?

Where was your piece performed previously? How did the location affect the meaning of the piece? What qualities did you look for in a location to reenact this piece? How did your choice of location impact the work?

Who performed this piece originally and has it been reperformed by other people? How is the meaning of the piece affected by who performs it? How does who you are change or affect the meaning of the piece?

What was the time period in which the piece was first performed? How does the meaning of the piece change by reenacting it in our time? Can you use the shift in time periods as a part of the content of your performance?

What changes to the piece did you make intentionally in your reenactment? What changes had to be made due to shifts in circumstance? How did the meaning of the piece change because of these changes?

What do you feel worked well about your reenactment?

What would you have liked to go differently?

What was surprising, unexpected or satisfying about the experience of this performance reenactment for you?

Monday, October 16, 2017

Event Score Definition & Examples



http://www.aknowles.com/eventscore.html

http://www.deluxxe.com/beat/fluxusworkbook.pdf 

https://monoskop.org/images/2/2a/Ono_Yoko_Grapefruit_A_Book_of_Instructions_and_Drawings_by_Yoko_Ono_S_and_S_edition_excerpt.pdf

Peeking at Performance Art

 Performance PDF


Dada - Hugo Ball - Cabaret Voltaire
https://www.youtube.com/watch?v=z_8Wg40F3yo

https://www.youtube.com/watch?v=fkl92oV1kMc&t=84s

Yoko Ono
Cut Piece
https://www.youtube.com/watch?v=8Sc47KfJjcI

Dick Higgins
https://blogthehum.wordpress.com/2016/04/30/danger-music-the-scores-of-dick-higgins/

Alison Knowles
Make a salad
https://www.youtube.com/watch?v=pc5_pexVob8
On Fluxus working methods
https://vimeo.com/36770983
Celebration Red
https://vimeo.com/168957627

Merce Cunningham
Working process
https://www.youtube.com/watch?v=zhK3Ep4HiI0

Marina Abramovic & Ulay
Imponderability
https://www.youtube.com/watch?v=jn7m0bbk-oQ&has_verified=1
The Other:Rest Energy
https://www.youtube.com/watch?v=QcaaVZrUC44
The Artist is Present
https://www.youtube.com/watch?v=U6Qj__s8mNU

Tehching Hsieh
https://www.youtube.com/watch?v=FoNd254KrjU

Jerome Bel
Shirtology
https://www.youtube.com/watch?v=_U-d1IhX7jg
Cedric Andrieux
https://www.youtube.com/watch?v=Ps8-jICQYXU

Xavier Le Roy
Self Unfinished
https://www.youtube.com/watch?v=G3rv1TeVEPM
Working process
https://vimeo.com/146183006

Tino Sehgal
Kiss
https://www.youtube.com/watch?v=lwTvzERGj6E

Martin Creed
Work #850
http://www.tate.org.uk/context-comment/video/tateshots-martin-creed-work-no-850
https://www.theguardian.com/artanddesign/gallery/2008/jun/30/art

Improv Everywhere
https://improveverywhere.com/
https://www.youtube.com/watch?time_continue=187&v=T3hV1qSF-3U

Alexandra Pirici
https://vimeo.com/161640872 

Friday, October 13, 2017

Performance Readings

For Tuesday Week 4 read these two very short pieces about performance art:

Tehching Hsieh & Marina Abramovic interview each other

The Rise of Performance Art

In the comments section of this post write 2 questions that came up for you from the articles - they can be about things you don't understand or things you think are interesting and want to discuss.

Also choose one of the performance projects mentioned in these reading that stands out to you as being curious, exciting, frustrating or compelling. Note the performance you chose to focus on in the comments with a brief description of how it made you feel and what it made you think about.

Comments are due before class on Tuesday.