Dramatic conflict

In the narrative, the conflict is the challenge that the characters must solve to achieve their goals, that is, the opposition of two or more forces in a specific place and moment, which is constituted as catalyst of the plot of a play. The dramatic conflict expresses the contradictions of life, in which we all identify ourselves, which is why catharsis occurs.

Conflicts represent moments of change. According to the playwright Bertolt Brecht: "Crisis occurs when the old has not yet died and when the new has not yet been born." In drama (and in real life), conflict is a turning point, transitions between a situation that was in force (in the approach) and that now is no longer valid, so the characters are forced to make decisions and act. In this task, they will encounter external forces, some as support and others as obstacles. One way of analyzing these forces is by using Greimas' “actantial system”, applicable to any work with conflict, that is, any work.

History

As with other literary terms, these have gradually emerged as descriptions of common narrative structures. The conflict was first described in ancient Greek literature as the agon or central struggle of tragedy. According to Aristotle, to maintain interest, the hero must have only one conflict. The agon, or act of conflict, involves the protagonist (the "first fighter") and the antagonist (a more recent term), corresponding to the hero and villain respectively. The outcome of this struggle is not known in advance, and according to later critics such as Plutarch, the hero's struggle should be ennobling.

Literary critics have observed that the agon is the central unit of plot even in modern non-dramatic literature. The easier it is for the protagonist to succeed, the lower the value of the drama. In both internal and external conflict, the antagonist acts in opposition to the protagonist and at the beginning of the narrative may seem to outdo him. For example, in William Faulkner's "The Bear," nature could be seen as an antagonist. Although it is an abstraction, the natural creatures and the landscape oppose and resist the protagonist. In the same story, the young man's doubts about himself create an internal conflict, and seem to overwhelm him.

Similarly, when godlike characters (for example, Superman) enter, corresponding major villains must be created, or must possess natural weaknesses (in this case, Kryptonite), to allow the narrative to have drama. Alternatively, scenarios could be devised where the character's godlike powers are limited by some sort of code, or their respective antagonist.

Classification

The basic types of conflict in fiction have been commonly classified into three: "man vs. man", "man vs. nature", and "man vs. self". Although frequently cited, these three types of conflict are not universally accepted. Ayn Rand, for example, argued that "man vs. nature" is not a conflict because nature has no free will and therefore cannot make decisions. A fourth basic conflict, "man vs. nature," is sometimes described. society". Other types of conflicts sometimes mentioned include "man against machine" (as in The Terminator or Brave New World), "man against fate" (Slaughterhouse Five), “man against the supernatural” (The Shining) and “man against God” (Canticle by Leibowitz).

Man vs. man

Man vs. man conflict involves stories in which characters are pitted against each other. This is an external conflict. The conflict may be direct opposition, as in a shootout or robbery, or it may be a more subtle conflict between the desires of two or more characters, as in a romance or family epic. This type of conflict is very common in traditional literature, fairy tales, and myths. An example of "man vs. man" conflict is the relationship struggles between the protagonist and the antagonistic stepfather in This Boy's Life . Other examples include Dorothy's struggles with the Wicked Witch of the West in The Wonderful Wizard of Oz and Tom Sawyer's confrontation with Injun Joe in The Adventures of Tom Sawyer .

Man vs. nature

The "Man vs. Nature" conflict is an external struggle that pits the character against an animal or a force of nature, such as a storm, tornado, or snow. The "Man vs. Nature" conflict is central to E. Hemingway's The Old Man and the Sea, where the protagonist argues against a marlin. It is also common in adventure stories, including the novel Robinson Crusoe. The TV series Man vs. Wild not only takes its name from this conflict, but it's also a great example, featuring Bear Grylls and his attempts to keep control of nature.

Man vs. himself

With the "man against himself" conflict, the struggle is internal. A character must overcome his own nature or choose between two or more paths: good vs. evil, logic vs. emotion. The 1978 novel Requiem for a Dream by Hubert Selby Jr. provides a serious example of "man against himself", focusing on stories of addiction. In the novel The Chuck Palahniuk's Fight Club, published in 1994, as well as its 1999 film adaptation, sees the unidentified protagonist battle himself in what is revealed to be a case of dissociative identity disorder. >Bridget Jones's Diary also focuses on inner conflict, as the main character deals with her own neuroses and doubts.

Man vs. society

A fourth basic conflict, "man vs. society", is sometimes described. When man opposes a man-made institution (such as slavery or bullying), "man vs. man" conflict can become in "man against society". In such stories, characters are forced to make moral choices or frustrated by social rules to achieve their own goals. The Handmaid's Tale, The Man in the High Castle or Fahrenheit 451 are examples of "man vs. society" conflicts. So is Charlotte's Web, in which Wilbur the pig fights for his survival against a society that raises pigs for food.

Aristotelian structure of the conflict

The Aristotelian structure is the evolution in three acts that naturally have a dramatic conflict, which are the beginning (presentation of the conflict), the knot (development of the conflict) and the outcome (the resolution of the conflict).

Introduction

The conflict is the origin for a dramatic work. If there is no conflict there is no drama. The conflict refers to the opposing forces (struggling forces) that cause the plot development of the drama. Thus, at least two contrary positions arise, which will have to be discovered, those that can be manifested explicitly or found implicit in other situations (before or after) of the work.

The presentation of the conflict changes according to the work. We can differentiate, in general terms, four stages:

• Exhibition or situation of the protagonist.
• Purpose of the protagonist.
• Presentation of the conflict or obstacle.
• Fighting force strike (usually only two).

Development

The reality of the conflict advances until it reaches a decisive duel between the characters and their objections. It is what would be the knot, and it coincides with the moment of greatest tension (climax), and where the plot thickens. This is basic for the artistic dimension to the play. The various efforts to overcome the opposing force give rise to dramatic thinking.

Denouement

It is the moment in which the problem raised in the development of the work is solved. It is the removal of the obstacle (conflict resolution) or the disappearance of the protagonist.

When dealing with conflict, it can be observed from different points of view: (A) man with destiny (Oedipus Rex by Sophocles); (B) instinct with environment (Hamlet by William Shakespeare); (C) understanding with the environment (Mother Courage by Bertolt Brecht); (D) of free will with the environment (Doll House by Enrique Ibsen).

For this reason, the opposing force can be an external or internal element of the character himself, a force that hinders the purpose of the protagonist force.