The Hero's journey:
The concept of The Hero's journey was introduced to us during a lecture on 20th Century performance. The different stages of this journey and the personal call to arms of being the hero really appealed to our collaborative group project. We studied ideas, phrases and images in relation to this journey and how we could apply this powerful literary tool to our dots and lines performance event.
This Website had some great descriptions of the hero's journey useful as research:http://www.thewritersjourney.com
The Hero's Journey Outline (taken from website above)
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.
ARCHETYPES are recurring patterns of human behavior, symbolized by standard types of characters in movies and stories.
Central figures in stories. Everyone is the hero of his or her own myth.
Villains and enemies, perhaps the enemy within. The dark side of the Force, the repressed possibilities of the hero, his or her potential for evil. Can be other kinds of repression, such as repressed grief, anger, frustration or creativity that is dangerous if it doesn’t have an outlet.
The hero’s guide or guiding principles. Yoda, Merlin, a great coach or teacher.
One who brings the Call to Adventure. Could be a person or an event.
The forces that stand in the way at important turning points, including jealous enemies, professional gatekeepers, or your own fears and doubts.
In stories, creatures like vampires or werewolves who change shape. In life, the shapeshifter represents change. The way other people (or our perceptions of them) keep changing. The opposite sex, the way people can be two-faced.
Clowns and mischief-makers, Bugs Bunny and Daffy Duck, Richard Pryor and Eddie Murphy. Our own mischievous subconscious, urging us to change.
Characters who help the hero through the change. Sidekicks, buddies, girlfriends who advise the hero through the transitions of life.
Here are some notes from group discussions around this theme:
call to adventure -
setting objective/ a mission
stamping passport/ VISA
spirit animal daemon
shadow play becoming animal
Resulting in a completion-
adding all pieces together
issuing something small visual to participant
leaving your mark
changing the journey/ changing the process
Technicians - facilitating and guiding
cards being issued at beginning, additional cards issued at each station? cards being punched or marked by technicians
Key words of 'a hero's journey' :
- call to adventure
- meeting a mentor
- overcoming an obstacle
collecting a Talisman
leaving an impact on the world
MAKE A JOURNEY AND LEAVE YOUR MARK
process for the journey and leave your mark
something that is accumulated.
Journey - Start , middle , end
Start - Check in point , Greeting, Giving out a physical passport with a code - leaving a mark (call to adventure)
Floor projection - different patterns that correspond with the code on the card - Different journeys (PATTERN ON THE FLOOR IN TAPE THE WHOLE WAY?)
on the gallery?
continuous - spelling out the hero's journey in morse code (obstacle)
Wall Projection - shadow - element of human (meeting a mentor)
End - Finding a way to link the human element with the dots and lines (collecting a talisman / returning home