Memo from the Story Department. Christopher Vogler
Читать онлайн книгу.
from a deeper source, in the “collective unconscious” of the human race.
The repeating characters of the hero myth such as the young hero, the wise old man or woman, the shapeshifting woman or man, and the shadowy antagonist are identical with the archetypes of the human mind, as revealed in dreams. That's why myths, and stories constructed on the mythological model, strike us as psychologically true.
Such stories are true models of the workings of the human mind, true maps of the psyche. They are psychologically valid and realistic even when they portray fantastic, impossible, unreal events.
This accounts for the universal power of such stories. Stories built on the model of the hero myth have an appeal that can be felt by everyone, because they spring from a universal source in the collective unconscious, and because they reflect universal concerns. They deal with the child-like but universal questions: Who am I? Where did I come from? Where will I go when I die? What is good and what is evil? What must I do about it? What will tomorrow be like? Where did yesterday go? Is there anybody else out there?
The idea imbedded in mythology and identified by Campbell in The Hero with a Thousand Faces can be applied to understanding any human problem. They are a great key to life as well as being a major tool for dealing more effectively with a mass audience.
If you want to understand the ideas behind the hero myth, there's no substitute for actually reading Campbell's book. It's an experience that has a way of changing people. It's also a good idea to read a lot of myths, but it amounts to the same thing since Campbell is a master storyteller who delights in illustrating his points with examples from the rich storehouse of mythology.
Campbell gives a condensed version of the basic hero myth in chapter IV, “The Keys”, of The Hero with a Thousand Faces. I've taken the liberty of amending the outline slightly, trying to reflect some of the common themes in movies, illustrated with examples from contemporary films. I'm re-telling the hero myth in my own way, and you should feel free to do the same. Every storyteller bends the myth to his or her own purpose. That's why the hero has a thousand faces.
THE HERO'S JOURNEY OUTLINE
The Hero's Journey is a pattern of narrative identified by the American scholar Joseph Campbell that appears in drama, storytelling, myth, religious ritual, and psychological development. It describes the typical adventure of the archetype known as The Hero, the person who goes out and achieves great deeds on behalf of the group, tribe, or civilization.
Its stages are:
1 The Ordinary World. The hero, uneasy, uncomfortable or unaware, is introduced sympathetically so the audience can identify with the situation or dilemma. The hero is shown against a background of environment, heredity, and personal history. Some kind of polarity in the hero's life is pulling in different directions and causing stress.
2 The Call to Adventure. Something shakes up the situation, either from external pressures or from something rising up from deep within, so the hero must face the beginnings of change.
3 Refusal of the Call. The hero feels the fear of the unknown and tries to turn away from the adventure, however briefly. Alternately, another character may express the uncertainty and danger ahead.
4 Meeting with the Mentor. The hero comes across a seasoned traveler of the worlds who gives him or her training, equipment, or advice that will help on the journey. Or the hero reaches within to a source of courage and wisdom.
5 Crossing the Threshold. At the end of Act One, the hero commits to leaving the Ordinary World and entering a new region or condition with unfamiliar rules and values.
6 Tests, Allies and Enemies. The hero is tested and sorts out allegiances in the Special World.
7 Approach. The hero and newfound allies prepare for the major challenge in the Special World.
8 The Ordeal. Near the middle of the story, the hero enters a central space in the Special World and confronts death or faces his or her greatest fear. Out of the moment of death comes a new life.
9 The Reward. The hero takes possession of the treasure won by facing death. There may be celebration, but there is also danger of losing the treasure again.
10 The Road Back. About three-fourths of the way through the story, the hero is driven to complete the adventure, leaving the Special World to be sure the treasure is brought home. Often a chase scene signals the urgency and danger of the mission.
11 The Resurrection. At the climax, the hero is severely tested once more on the threshold of home. He or she is purified by a last sacrifice, another moment of death and rebirth, but on a higher and more complete level. By the hero's action, the polarities that were in conflict at the beginning are finally resolved.
12 Return with the Elixir. The hero returns home or continues the journey, bearing some element of the treasure that has the power to transform the world as the hero has been transformed.
STAGES OF THE HERO'S JOURNEY
1.) The hero is introduced in his/her Ordinary World.
Most stories ultimately take us to a special world, a world that is new and alien to its hero. If you're going to tell a story about a fish out of his customary element, you first have to create a contrast by showing him in his mundane, ordinary world. In Witness you see both the Amish boy and the policeman in their ordinary worlds before they are thrust into alien worlds—the farm boy into the city, and the city cop into the unfamiliar countryside. In Star Wars you see Luke Skywalker being bored to death as a farm boy before he tackles the universe.
2.) The Call to Adventure.
The hero is presented with a problem, challenge or adventure. Maybe the land is dying, as in the King Arthur stories about the search for the Grail. In Star Wars, it's Princess Leia's holographic message to Obi Wan Kenobi, who then asks Luke to join the quest. In detective stories, it's the hero being offered a new case. In romantic comedies it could be the first sight of that special but annoying someone the hero or heroine will be pursuing/ sparring with.
3.) The hero is reluctant at first (Refusal of the Call).
Often at this point the hero balks at the threshold of adventure. After all, he or she is facing the greatest of all fears—fear of the unknown. At this point Luke refuses Obi Wan's call to adventure, and returns to his aunt and uncle's farmhouse, only to find they have been barbecued by the Emperor's storm troopers. Suddenly Luke is no longer reluctant, and is eager to undertake the adventure. He is motivated.
4.) The hero is encouraged by the Wise Old Man or Woman (Meeting with the Mentor).
By this time many stories will have introduced a Merlin-like character who is the hero's mentor. In Jaws it's the crusty Robert Shaw character who knows all about sharks; in the mythology of the Mary Tyler Moore Show, it's Lou Grant. The mentor gives advice and sometimes magical weapons. This is Obi Wan giving Luke his father's light saber.
The mentor can go so far with the hero. Eventually the hero must face the unknown by himself. Sometimes the Wise Old Man/Woman is required to give the hero a swift kick in the pants to get the adventure going.
5.) The hero passes the first threshold (Crossing the Threshold).
The hero fully enters the special world of the story for the first time. This is the moment at which the story takes off and the adventure gets going. The balloon goes up, the romance begins, the spaceship blasts off, the wagon train gets rolling. Dorothy sets out on the Yellow Brick Road. The hero is now committed to his/her journey and there's no turning back.
6.) The hero encounters tests and helpers (Tests, Allies, Enemies).
The hero is forced to make allies and enemies in the special world, and to pass certain tests and challenges that are part of his/her training. In Star Wars the cantina is the setting for the forging of an important alliance with Han Solo and the start of an important enmity with Jabba