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Volume 15, Issue 2
  • ISSN: 1759-7137
  • E-ISSN: 1759-7145

Abstract

This article delves into narrative elements of direct address and backstory in television, focusing on (2012–19), Shakespeare’s and (2011–19). Comparing dramaturgical approaches in stage plays and TV series, the study highlights ’ unique incorporation of a pragmatic use of the direct address to create ‘world-view’ for character exploration. The analysis extends to , emphasizing Tyrion Lannister’s self-descriptive addresses revealing a psychological struggle rooted in rejection and backstory. The article proposes a methodological framework linking first lines or direct addresses to character backstories, emphasizing the role of self-descriptive asides in character creation. It introduces the concept of a ‘psychological motivational arc’ within character arcs, exploring how direct addresses contribute to nonlinear character development. Concluding with an in-depth examination of ’ Frank Underwood, it scrutinizes Willimon’s ‘show, don’t tell’ approach, questioning its potential limitations on character depth and challenging traditional screenwriting advice. The analysis unravels the interplay between direct address, backstory, and character development in television series, offering insights into evolving narrative techniques and their implications for contemporary screenwriting.

Funding
This study was supported by the:
  • CONACYT – FUNDACIÓN INBA 2018 (Award 2018-000052-01EXTF-00160. 618042)
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2024-04-05
2025-01-17
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