Indoor combat

The internal struggle marks the vacillation of a dramatic figure - for example the protagonist or antagonist - between two possibilities, whereby one can only be realized at the expense of the other. The representation of this inner conflict and its solution through a decision has been part of the dramaturgical structure of stage plays since the 19th century and has thus also found its way into film counting, and is now an essential element in almost every great film. In addition to the portrayal of external conflicts, the internal struggle associated with this often becomes a central theme. In screenwriting schools , methods of representing these invisible inner processes are taught. Examples of inner struggles are: Either the main character delivers his best friend to the knife, or he has to believe in it himself; either she sacrifices her pride or her love, her job. Either she accepts a certain truth, or she has to continue to live with a lie and its consequences.

prehistory

The trigger for the internal conflict and the implicit decision in internal combat are often events that lie in the prehistory of the main characters. The recapitulation of this prehistory is part of the plot . B. through flashbacks , dreams , appearances, or talking to the antagonist or a third person.

sorts

The nature of an internal struggle depends on whether what is mutually exclusive has to do with something future or past: in the first case, conflicting intentions (e.g. not being able to marry one and the other partner at the same time ), in the second incompatible notions (for example of what kind of person someone - e.g. the father - really was or is).

Self-challenge

A classic variety of internal combat is self-challenge: the protagonist has a secret weakness for the antagonist (e.g. Macbeth for Banquo) or vice versa (e.g. Darth Vader for Luke Skywalker in Star Wars ). A real opponent tries to bring such possible traitors of the protagonist into his service.

tension

Every intention, every goal pursued by a dramatic character can come into conflict with another of their attitudes or inclinations, which the will cannot tolerate without giving up on itself. In the expectation of the decision of this inner question of power (which of the fighting strivings will prevail at the expense of the other), there is tension in the inner struggle. He tenses and excites more than the external one (between protagonist and antagonist); because the possible traitor in one's own camp, in one's own psyche, is always the more dangerous opponent.

The course of the internal battle

Symptoms

The tension on the outcome of the inside fight sets in as soon as the viewer notices the second (secret) of the two mutually exclusive powers in the soul of the inside fighter. This point in the course always creates a certain palpitation of the heart in the viewer. The secret pursuit usually has a sabotaging effect on the pursued external goal. The inner saboteur will report himself or he will be instigated by the antagonist if the latter is thoroughly familiar with the soul of his enemy, what he should.

Prank

The moment the viewer perceives the treacherous tendency, the conflict in the hero need not have started yet. The hostilities begin with the first trick that the treacherous tendency plays on the inside fighter. This is the second necessary moment in the course of the internal struggle.

Compulsory voting

The third moment is the manifestation of compulsion to choose: the hero has to give up either one or the other of his inclinations forever, a harrowing moment if properly staged.

Result

In the end, the stronger tendency wins in the internal fight. At the same time, this can be the ultimate decision of history, if it also decides the main purpose. Otherwise an external battle (between protagonist and antagonist) has to be decided about its fulfillment .

Becoming visible

A secret striving cannot be perceived without further ado, except for the comic hero. If you tell a non-weird inside fighter, he can consciously only want one thing. What determines him unconsciously then appears in involuntary actions, reflex movements, slips and other symptoms (e.g. Ally McBeal's daydreams ). Or in the comments of other characters who know him better than he does himself. It is also possible to add a shadow to the hero (such as Hannibal Lecter or Mephisto ), which then adds to the adversity, the nobler or the mean self that is not (yet) conscious or wanted, gives mouth and hands.

The weather vane

The comical inner fighter wants several things at the same time, without being aware of the impression he leaves with it. He decides z. B. to make a diet and then allow himself a piece of cream cake first - he wants to tell his boss what he thinks and first cleans his car, etc. The jumping jack or the weather vane is a popular fool, especially in sitcoms .

literature

• Walter Harlan School of Comedy Berlin 1903