New concepts in literature
Srinivasa K Murthy (skmurthy@ATTMAIL.COM)
Mon, 2 Jun 1997 14:15:40 +0000
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Absence of Interaction and Communication=0D
as effective tools:=0D
A new dimension in =0D
Literature, Stage, Movie and TV Media=0D
A fusion of thesis and antithesis.=0D
=0D
K.R.S. Murthy, Virtual Think Tank, California, USA=0D
=0D
Abstract: The theoretical foundations developed, and presented by me is =
essentially a=0D
fusion of thesis and antithesis; a strange complimentary alliance between=
interaction and=0D
isolation; an interplay between communication and indifference.=0D
=0D
On the night of Nov 22, 1996 I had a dream with interesting situations, c=
haracters and=0D
experiences. I will describe the dream as a prelude to my ideas, and then=
elaborate on the=0D
idea. The idea is applicable to all forms of literature, the stage, TV a=
nd movie media as well.=0D
The story is used as a tool to demonstrate a very simple example. The sto=
ry is intentionally=0D
left incomplete, to challenge the readers to continue and complete it and=
provide an=0D
opportunity to employ the theoretical foundations invented and presented =
by me.=0D
=0D
There were many characters in my dream. I was walking in a forest all alo=
ne. It was a=0D
beautiful forest with tall trees, lot of plants, shrubs, and also some g=
rass here and there. Even=0D
though it was full day, the dense forest had blocked the sun, letting onl=
y some streaks and=0D
bright beams of light on my path. Suddenly, I heard some whispering aroun=
d some beautiful=0D
bushes. It was strange. I have walked, or that is what I believe in my dr=
eam memory, for=0D
miles in this dense forest. I did not even see any animals. How is it tha=
t I am hearing this=0D
whisper =21 I bent over and looked above the bush line out of sheer cur=
iosity. It was a man=0D
talking to his woman. The whisper made me feel that they were romancing. =
I know it is not=0D
polite to disturb, or even go near them, as they deserve their privacy. I=
t is always tempting to=0D
know more of what is happening. Unaware of what I was doing, I walked clo=
ser and around=0D
the bush. It is difficult to say, whether I did it by instinct, or out of=
just curiosity.=0D
=0D
As I closed in, the romantic whisper turned into a brisk conversation bet=
ween them, and=0D
before I realized, a difference of opinion. They seemed to be unaware of =
my presence in their=0D
interaction, especially because I had walked in with out the slightest no=
ise. Soon they started=0D
quarreling. I was taken aback. I started to slowly step back. As their ar=
gument continued, I fell=0D
down tripping on a small rock. A pricky big thorn pierced my side and I =
shouted instantly.=0D
Pulling out the thorn, I stood up, and started apologizing to the couple.=
They did not seem to=0D
care at all. In fact, they did not turn towards me at all, as if they ign=
ored me completely. I=0D
realized that I was the intruder in their private moment. I felt that the=
y assumed that I will just go=0D
away, and it would be unimportant to respond to me. I really felt guilty.=
I repeated my apology,=0D
this time going closer to the couple, and attempting to get their attenti=
on. To my surprise, they=0D
did not seem to hear me at all. It was perplexing to me. I started sensin=
g that they were=0D
probably not seeing me or hearing my voice. It was strange and funny. I c=
ould see them, and=0D
hear them well, including their romantic whispers earlier. Is it really t=
rue that they can not see=0D
me or hear me ? Have I suddenly become invisible, and inaudible=21 Have=
I changed? I=0D
always believed that I have not changed and remained the same sensitive p=
erson all these=0D
years=21=0D
=0D
What has gotten into me ? I sat on the rock confused. I was trying to con=
vince myself that I did=0D
not intrude in their privacy, especially because they did not feel my pre=
sence all this time.=0D
=0D
As I kept wondering about me and the situation, sitting on the rock, I no=
ticed that the pace of=0D
their quarrel intensified, and they started walking away from each other =
in contempt of the=0D
other, while the other person watched, worried and followed the one walki=
ng away. This went=0D
on for some time. It is enough to say that it was a typical quarrel betwe=
en a fighting couple. I=0D
even felt that I should walk away from the scene, and go about my way. It=
is that temptation=0D
which kept me from moving. I may have spent few minutes on the rock with =
my hand resting=0D
my chin. The lady became very furious and walked briskly away from him, b=
ut was moving=0D
towards the rock, I was sitting on all the while. Realizing that she coul=
d not see me, and there=0D
is good chance that she may be tripped by me or the rock, I quickly tried=
to move away. It=0D
was a little late anyway. She had stepped on my feet, and lost balance. S=
he was taken=0D
aback. She tried to recover from the fall, but failed and fell into my ar=
ms, as I had tried to lift=0D
her as a simple reaction.=0D
=0D
As a matter of habit and courtesy, I asked her if she was hurt, not reali=
zing that she could not=0D
see me or hear me. She looked shaken, seeing a stranger holding her. I qu=
ickly realized that=0D
she was able to see me, and was confused to see someone that she tripped =
on. I first asked=0D
her if she did get hurt. She said she was OK, and looked into my eyes, th=
anking me.=0D
=0D
After a brief moment, I asked her if she did not see me witnessing their =
romantic whispers,=0D
and later their quarrel. She could only acknowledge that she noticed me, =
as she recovered=0D
from the fall after stepping on to some thing. I looked at the man and wa=
lked towards him, with=0D
the lady walking back with me. I said =22I am sorry sir, I did not mean t=
o intrude in your private=0D
moments, and I am on my way out.=22. He did not seem to see or hear me. =
I said to myself=0D
=22That is right. He does not know that I am here. She is the only one wh=
o can see me or hear=0D
me now.=22=0D
=0D
The lady started walking out again, as the man looked the other side, and=
ignored her. She=0D
said =22 I am really walking out on you this time. I will never come ba=
ck. This is it. Never=0D
never.... never. You can not do anything to get me back. Do you realize i=
t?=22. He did not seem=0D
to look towards her, as if he did not hear her at all. I thought, =22Wh=
at is happening =21 They have=0D
been arguing so intensely all this time. Is he really ignoring her or he =
can not even hear her?=22=0D
It started occurring to me that he could not hear her anymore. By this t=
ime, she had walked=0D
away from the bushes. I started going towards her, shouting, =22 Where a=
re you going ? Your=0D
husband is worried. Why don't you go back to him and cool down. People s=
ay a lot of things=0D
they don't mean when they are upset. It is just a matter of some time. Yo=
u guys will be back=0D
with each other again.=22=0D
=0D
'What do you know about him anyway ? You just came into the scene. I hav=
e been living with=0D
him all these years. He is the same man. He does not pay me any attention=
. He has never=0D
cared about what I want. He is so selfish. He does not even realize that =
I am part of his life. He=0D
is in love with himself.=22, she said.=0D
=0D
(The story is left intentionally incomplete to challenge the readers. Th=
e best way to=0D
understand the concepts and visualize the ideas presented in this paper i=
s by the reader=0D
trying to continue and complete the story / plot)=0D
=0D
=0D
Theoretical Foundations=0D
=0D
Literature of all forms and in all languages of the world is based on nar=
ration and interaction /=0D
communication between the various characters. This is also true for drama=
, movie and TV=0D
media. However, this paper proposes that lack or even absence of interact=
ion /=0D
communication between the characters can be used as effective tools / tec=
hniques in=0D
narration, and aids the author of the literary piece to provide a special=
perspective to=0D
relationships. The theoretical foundations developed, and presented by me=
is essentially a=0D
fusion of thesis and antithesis; a strange complimentary alliance between=
interaction and=0D
isolation; an interplay between communication and indifference.=0D
=0D
Let us assume that there are many roles in the drama. Let us call the rol=
es as A,B,C,D . . .Z.=0D
The interaction between the roles is dependent on many parameters. Some r=
oles may not=0D
naturally interact with each other, as they either come at different time=
s in the story / plot of the=0D
drama or do not need to interact at all. Generally, the interaction is bi=
lateral; that is, two are=0D
more roles interact with each other in both directions. However, this pa=
per presents=0D
techniques and ideas with unbalanced communication and interaction betwee=
n the roles.=0D
The idea can be used as a tool / technique to create symbolic situations,=
to show=0D
relationships, to weave a theme or to bring out conclusions, in the story=
or plot which=0D
otherwise may be tedious or impossible to do.=0D
=0D
The techniques can also be powerfully employed in dramas, TV episodes and=
movies. The=0D
story writer or the dramatist can incorporate the ideas, and the director=
can use it very=0D
effectively. I will use some examples to illustrate the idea.=0D
=0D
=0D
Unilateral communication and interaction:=0D
=0D
A can see E, but E can not see A. A talks to E, but E does not talk to A.=
A hears everything=0D
said by E, but E does not hear A. A feels E, but E does not feel A. Thi=
s can be represented=0D
by the following relationship.=0D
=0D
=0D
Interaction=09=09A=E0E=09E=E0A=09=0D
See=09=09=09Y=09N=09=0D
Hear=09=09=09Y=09N=09=0D
Talk=09=09=09Y=09N=09=0D
Touch or Feel=09Y=09N=09=0D
=0D
The relationship between A and E is completely one way. The following exa=
mples give=0D
partial one way, but some bilateral relationships.=0D
=0D
Partial Relationships:=0D
=0D
The reader may be familiar with the relationship expressions by now. So I=
will show partial=0D
relationship examples by expressions only.=0D
=0D
Interaction=09=09B=E0C=09C=E0B=09=0D
See=09=09=09N=09Y=09=0D
Hear=09=09=09Y=09Y=09=0D
Talk=09=09=09Y=09N=09=0D
Touch or Feel=09N=09N=09=0D
=0D
The relationships may not be limited to see, hear, talk and feel only. An=
y suitable type of=0D
relationship can be used depending on the needs and creativity of the wri=
ter and director.=0D
The relationships may not be limited to two individual characters.=0D
=0D
Group relationships can also be employed effectively. The relationship ca=
n also be used=0D
between people, animals and inanimate objects. The animals and inanimate =
objects can be=0D
played by people in a story or plot of the drama, TV episodes and movie.=0D=
=0D
A matrix of all possible combinations for relationships between two chara=
cters can be=0D
derived, so that suitable options can be selected for use in the story or=
plot. Such a matrix=0D
may be used by the author or director as an aid in envisioning possible r=
elations between the=0D
characters.=0D
=0D
=0D
Interaction=09=09A=E0B=09B=E0A=09=0D
See=09=09=09Y=09Y=09=0D
Hear=09=09=09N=09N=09=0D
Talk=09=09=09Y=09N=09=0D
Touch or Feel=09Y=09N=09=0D
=0D
The relationships can change between two characters over the duration and=
scope of the=0D
story or plot. The changes in relationships with time or events can be po=
werful symbols and a=0D
tool for effective story telling. The techniques can be used to present a=
theosophy or=0D
philosophy, as well.=0D
=0D
Triggers for status change in interaction / communication=0D
=0D
Interaction between two characters of the story or plot change from one s=
tate to the other as a=0D
result of a trigger. Let us take the example of the story in this paper. =
Let us call the couple X=0D
and Y, where X is the husband and Y is the wife. Let the person played by=
me in the dream be=0D
Z. In the beginning of story, X and Y were communicating between each ot=
her completely=0D
and well. However, interaction between Z and the couple was none. Z could=
see and hear X=0D
and Y. However, X and Y could not see or hear Z at all. However, as soon =
as Y tripped on ,=0D
and so touched, Z who was sitting on the rock, she started seeing and hea=
ring Z. In fact, Y did=0D
not even see the rock on which Z was sitting, probably because Z sitting =
on it. That is why she=0D
did not walk around the rock, avoiding it. This status change in interac=
tion / communication=0D
happened as soon as Y touched Z. This touch (can also be perceived as an =
event) triggered=0D
the change in status of interaction / communication between Y and Z. As w=
e read the story=0D
past this event, the status of interaction / communication between Y and =
X also changed. That=0D
is, X could not see or hear Y after the event. Please also notice that Y =
could see X, when she=0D
was talking to X, while walking out on him.=0D
=0D
Such an event can be termed as triggers. Many types of triggers could be=
designed and=0D
employed by the creator or author of the story or plot. Some examples of =
such triggers are=0D
listed below:=0D
=0D
Sensory Experiences=0D
Sensory experiences like seeing, hearing, smelling, eating, drinking, spe=
aking (certain words=0D
or phrases), touching and feeling. The sensory experiences can trigger in=
dividuals or pairs=0D
or a small group of people with some common characteristics.=0D
=0D
Sensory experience of one kind may trigger a change in status of another =
sensory=0D
perception. In the story, even though Y could not see or hear Z at all, t=
he status changed when=0D
Y touched Z, while tripping over him. In this case, a touch experience t=
riggered a change in=0D
the see and hear perception of Y towards Z. At the same time, see and hea=
r perception of=0D
X changed towards Y, because of the event of Y touching Z.=0D
=0D
Events=0D
Examples of events include birth, death, physical relationship (like love=
, fighting), travel,=0D
marriage and murder. Authors can introduce many types of events as trigg=
ers, with almost=0D
limitless possibilities, and a variety of effects, used as tools to drive=
home a variety of=0D
meanings in the story.=0D
=0D
Possession=0D
Possession of certain objects or wearing a particular dress or an ornamen=
t can be used as a=0D
trigger. As an example, some one could become invisible (or even inaudibl=
e) to one or a=0D
particular group of people ( or even animals) while wearing a particular =
dress, ornament or=0D
possessing an object in their hand (or any part of the body).=0D
=0D
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=5Cdeflang1033=5Cpard=5Cqc=5Cplain=5Cf7=5Cfs28=5Ccf0 Absence of Interacti=
on and Communication=0D
=5Cpar as effective tools:=0D
=5Cpar A new dimension in =0D
=5Cpar Literature, Stage, Movie and TV Media=0D
=5Cpar =5Cplain=5Cf7=5Cfs28=5Ccf0=5Cb=5Ci A fusion of thesis and antithes=
is.=0D
=5Cpar =5Cplain=5Cf7=5Cfs20=5Ccf0=5Cb=5Ci =0D
=5Cpar =5Cplain=5Cf7=5Cfs28=5Ccf0 K.R.S. Murthy, Virtual Think Tank, Cali=
fornia, USA=5Cplain=5Cf7=5Cfs32=5Ccf0=5Cb=5Ci =0D
=5Cpar =5Cplain=5Cf7=5Cfs32=5Ccf0 =0D
=5Cpar =5Cpard=5Cplain=5Cf7=5Cfs24=5Cb Abstract:=5Cplain=5Cf7=5Cfs24 =5C=
plain=5Cf7=5Cfs22 The theoretical foundations developed, and presented by=
me is essentially a fusion of thesis and antithesis; a strange complimen=
tary alliance between interaction and isolation; an interplay between com=
munication and indifference.=0D
=5Cpar =5Cplain=5Cf7=5Cfs20 =0D
=5Cpar =5Cplain=5Cf7=5Cfs22 On the night of Nov 22, 1996 I had a dream wi=
th interesting situations, characters and experiences. I will describe th=
e dream as a prelude to my ideas, and then elaborate on the idea. The ide=
a is applicable to all forms of literature, the stage, TV and movie medi=
a as well. The story is used as a tool to demonstrate a very simple examp=
le. The story is intentionally left incomplete, to challenge the readers =
to continue and complete it and provide an opportunity to employ the theo=
retical foundations invented and presented by me.=0D
=5Cpar =5Cplain=5Cf7=5Cfs24 =0D
=5Cpar =5Cplain=5Cf7=5Cfs22 There were many characters in my dream. I was=
walking in a forest all alone. It was a beautiful forest with tall trees=
, lot of plants, shrubs, and also some grass here and there. Even though=
it was full day, the dense forest had blocked the sun, letting only some=
streaks and bright beams of light on my path. Suddenly, I heard some whi=
spering around some beautiful bushes. It was strange. I=5Cplain=5Cf7=5Cfs=
24 have =5Cplain=5Cf7=5Cfs22 walked, or that is what I believe in my dre=
am memory, for miles in this dense forest. I did not even see any animals=
. How is it that I am hearing this whisper =21 I bent over and looked a=
bove the bush line out of sheer curiosity. It was a man talking to his w=
oman. The whisper made me feel that they were romancing. I know it is not=
polite to disturb, or even go near them, as they deserve their privacy. =
It is always tempting to know more of what is happening. Unaware of what =
I was doing, I walked closer and around the bush. It is difficult to say,=
whether I did it by instinct, or out of just curiosity.=0D
=5Cpar =0D
=5Cpar As I closed in, the romantic whisper turned into a brisk conversat=
ion between them, and before I realized, a difference of opinion. They se=
emed to be unaware of my presence in their interaction, especially becaus=
e I had walked in with out the slightest noise. Soon they started quarrel=
ing. I was taken aback. I started to slowly step back. As their argument =
continued, I fell down tripping on a small rock. A pricky big thorn pier=
ced my side and I shouted instantly. Pulling out the thorn, I stood up, a=
nd started apologizing to the couple. They did not seem to care at all. I=
n fact, they did not turn towards me at all, as if they ignored me comple=
tely. I realized that I was the intruder in their private moment. I felt =
that they assumed that I will just go away, and it would be unimportant t=
o respond to me. I really felt guilty. I repeated my apology, this time g=
oing closer to the couple, and attempting to get their attention. To my s=
urprise, they did not seem to hear me at all. It was perplexing to me. I =
started sensing that they were probably not seeing me or hearing my voice=
. It was strange and funny. I could see them, and hear them well, includi=
ng their romantic whispers earlier. Is it really true that they can not =
see me or hear me ? Have I suddenly become invisible, and inaudible=21 =
Have I changed? I always believed that I have not changed and remained th=
e same sensitive person all these years=21=0D
=5Cpar =5Cplain=5Cf7=5Cfs20 =0D
=5Cpar =5Cplain=5Cf7=5Cfs22 What has gotten into me ? I sat on the rock c=
onfused. I was trying to convince myself that I did not intrude in their =
privacy, especially because they did not feel my presence all this time.=0D=
=5Cpar =0D
=5Cpar As I kept wondering about me and the situation, sitting on the roc=
k, I noticed that the pace of their quarrel intensified, and they started=
walking away from each other in contempt of the other, while the other p=
erson watched, worried and followed the one walking away. This went on fo=
r some time. It is enough to say that it was a typical quarrel between a =
fighting couple. I even felt that I should walk away from the scene, and=
go about my way. It is that temptation which kept me from moving. I may =
have spent few minutes on the rock with my hand resting my chin. The lady=
became very furious and walked briskly away from him, but was moving tow=
ards the rock, I was sitting on all the while. Realizing that she could n=
ot see me, and there is good chance that she may be tripped by me or the =
rock, I quickly tried to move away. It was a little late anyway. She had =
stepped on my feet, and lost balance. She was taken aback. She tried to r=
ecover from the fall, but failed and fell into my arms, as I had tried to=
lift her as a simple reaction.=0D
=5Cpar =0D
=5Cpar As a matter of habit and courtesy, I asked her if she was hurt, no=
t realizing that she could not see me or hear me. She looked shaken, seei=
ng a stranger holding her. I quickly realized that she was able to see me=
, and was confused to see someone that she tripped on. I first asked her =
if she did get hurt. She said she was OK, and looked into my eyes, thanki=
ng me.=0D
=5Cpar =5Cplain=5Cf7=5Cfs20 =0D
=5Cpar =5Cplain=5Cf7=5Cfs22 After a brief moment, I asked her if she did =
not see me witnessing their romantic whispers, and later their quarrel. S=
he could only acknowledge that she noticed me, as she recovered from the =
fall after stepping on to some thing. I looked at the man and walked towa=
rds him, with the lady walking back with me. I said =22I am sorry sir, I =
did not mean to intrude in your private moments, and I am on my way out.=22=
. He did not seem to see or hear me. I said to myself =22That is right.=
He does not know that I am here. She is the only one who can see me or h=
ear me now.=22=0D
=5Cpar =5Cplain=5Cf7=5Cfs24 =0D
=5Cpar =5Cplain=5Cf7=5Cfs22 The lady started walking out again, as the ma=
n looked the other side, and ignored her. She said =22 I am really walk=
ing out on you this time. I will never come back. This is it. Never never=
.... never. You can not do anything to get me back. Do you realize it?=22=
. He did not seem to look towards her, as if he did not hear her at all. =
I thought, =22What is happening =21 They have been arguing so intensely=
all this time. Is he really ignoring her or he can not even hear her?=22=
It started occurring to me that he could not hear her anymore. By this=
time, she had walked away from the bushes. I started going towards her, =
shouting, =22 Where are you going ? Your husband is worried. Why don't =
you go back to him and cool down. People say a lot of things they don't m=
ean when they are upset. It is just a matter of some time. You guys will =
be back with each other again.=22=0D
=5Cpar =0D
=5Cpar 'What do you know about him anyway ? You just came into the scene=
. I have been living with him all these years. He is the same man. He doe=
s not pay me any attention. He has never cared about what I want. He is s=
o selfish. He does not even realize that I am part of his life. He is in =
love with himself.=22, she said.=0D
=5Cpar =0D
=5Cpar (The story is left intentionally incomplete to challenge the read=
ers. The best way to understand the concepts and visualize the ideas pres=
ented in this paper is by the reader trying to continue and complete the =
story / plot)=0D
=5Cpar =0D
=5Cpar =5Cplain=5Cf7=5Cfs22=5Cb=5Ci =0D
=5Cpar Theoretical Foundations=0D
=5Cpar =5Cplain=5Cf7=5Cfs22 =0D
=5Cpar Literature of all forms and in all languages of the world is based=
on narration and interaction / communication between the various charact=
ers. This is also true for drama, movie and TV media. However, this paper=
proposes that lack or even absence of interaction / communication betwee=
n the characters can be used as effective tools / techniques in narration=
, and aids the author of the literary piece to provide a special perspect=
ive to relationships. The theoretical foundations developed, and presente=
d by me is essentially a fusion of thesis and antithesis; a strange compl=
imentary alliance between interaction and isolation; an interplay between=
communication and indifference.=0D
=5Cpar =0D
=5Cpar Let us assume that there are many roles in the drama. Let us call =
the roles as A,B,C,D . . .Z. The interaction between the roles is depende=
nt on many parameters. Some roles may not naturally interact with each ot=
her, as they either come at different times in the story / plot of the dr=
ama or do not need to interact at all. Generally, the interaction is bila=
teral; that is, two are more roles interact with each other in both direc=
tions. However, this paper presents techniques and ideas with unbalanced=
communication and interaction between the roles. The idea can be used as=
a tool / technique to create symbolic situations, to show relationships,=
to weave a theme or to bring out conclusions, in the story or plot which=
otherwise may be tedious or impossible to do.=0D
=5Cpar =0D
=5Cpar The techniques can also be powerfully employed in dramas, TV episo=
des and movies. The story writer or the dramatist can incorporate the ide=
as, and the director can use it very effectively. I will use some example=
s to illustrate the idea.=0D
=5Cpar =5Cpard=5Cli360=5Cplain=5Cf7=5Cfs22 =0D
=5Cpar =0D
=5Cpar =5Cpard=5Cplain=5Cf7=5Cfs22=5Cb Unilateral communication and inter=
action:=0D
=5Cpar =0D
=5Cpar =5Cplain=5Cf7=5Cfs22 A can see E, but E can not see A. A talks to =
E, but E does not talk to A. A hears everything said by E, but E does not=
hear A. A feels E, but E does not feel A. This can be represented by t=
he following relationship.=0D
=5Cpar =0D
=5Cpar =0D
=5Cpar =5Cplain=5Cf7=5Cfs22=5Cb Interaction=5Ctab =5Ctab A=5Cplain=5Clang=
1024=5Cf8=5Cfs22=5Cb =5C'e0=5Cplain=5Cf7=5Cfs22=5Cb E=5Ctab E=5Cplain=5Cl=
ang1024=5Cf8=5Cfs22=5Cb =5C'e0=5Cplain=5Cf7=5Cfs22=5Cb A=5Ctab =0D
=5Cpar See=5Ctab =5Ctab =5Ctab =5Cplain=5Cf7=5Cfs22 Y=5Ctab N=5Ctab =0D
=5Cpar =5Cplain=5Cf7=5Cfs22=5Cb Hear=5Ctab =5Ctab =5Ctab =5Cplain=5Cf7=5C=
fs22 Y=5Ctab N=5Ctab =0D
=5Cpar =5Cplain=5Cf7=5Cfs22=5Cb Talk=5Ctab =5Ctab =5Ctab =5Cplain=5Cf7=5C=
fs22 Y=5Ctab N=5Ctab =0D
=5Cpar =5Cplain=5Cf7=5Cfs22=5Cb Touch or Feel=5Ctab =5Cplain=5Cf7=5Cfs22 =
Y=5Ctab N=5Ctab =0D
=5Cpar =0D
=5Cpar The relationship between A and E is completely one way. The follow=
ing examples give partial one way, but some bilateral relationships.=0D
=5Cpar =5Cplain=5Cf7=5Cfs22=5Cb =0D
=5Cpar Partial Relationships:=0D
=5Cpar =0D
=5Cpar =5Cplain=5Cf7=5Cfs22 The reader may be familiar with the relations=
hip expressions by now. So I will show partial relationship examples by e=
xpressions only.=0D
=5Cpar =0D
=5Cpar =5Cplain=5Cf7=5Cfs22=5Cb Interaction=5Ctab =5Ctab =5Cplain=5Clang1=
024=5Cf7=5Cfs22=5Cb B=5Cplain=5Clang1024=5Cf8=5Cfs22=5Cb =5C'e0=5Cplain=5C=
f7=5Cfs22=5Cb C=5Ctab C=5Cplain=5Clang1024=5Cf8=5Cfs22=5Cb =5C'e0=5Cplain=
=5Cf7=5Cfs22=5Cb B=5Ctab =0D
=5Cpar See=5Ctab =5Ctab =5Ctab =5Cplain=5Cf7=5Cfs22 N=5Ctab Y=5Ctab =0D
=5Cpar =5Cplain=5Cf7=5Cfs22=5Cb Hear=5Ctab =5Ctab =5Ctab =5Cplain=5Cf7=5C=
fs22 Y=5Ctab Y=5Ctab =0D
=5Cpar =5Cplain=5Cf7=5Cfs22=5Cb Talk=5Ctab =5Ctab =5Ctab =5Cplain=5Cf7=5C=
fs22 Y=5Ctab N=5Ctab =0D
=5Cpar =5Cplain=5Cf7=5Cfs22=5Cb Touch or Feel=5Ctab =5Cplain=5Cf7=5Cfs22 =
N=5Ctab N=5Ctab =0D
=5Cpar =5Cpard=5Cli360=5Cfi-360=5Cplain=5Cf7=5Cfs22 =0D
=5Cpar =5Cpard=5Cplain=5Cf7=5Cfs22 The relationships may not be limited t=
o see, hear, talk and feel only. Any suitable type of relationship can be=
used depending on the needs and creativity of the writer and director. T=
he relationships may not be limited to two individual characters.=0D
=5Cpar =0D
=5Cpar Group relationships can also be employed effectively. The relation=
ship can also be used between people, animals and inanimate objects. The =
animals and inanimate objects can be played by people in a story or plot =
of the drama, TV episodes and movie.=0D
=5Cpar =0D
=5Cpar A matrix of all possible combinations for relationships between tw=
o characters can be derived, so that suitable options can be selected for=
use in the story or plot. Such a matrix may be used by the author or dir=
ector as an aid in envisioning possible relations between the characters.=
=0D
=5Cpar =0D
=5Cpar =0D
=5Cpar =5Cplain=5Cf7=5Cfs22=5Cb Interaction=5Ctab =5Ctab A=5Cplain=5Clang=
1024=5Cf8=5Cfs22=5Cb =5C'e0=5Cplain=5Cf7=5Cfs22=5Cb B=5Ctab B=5Cplain=5Cl=
ang1024=5Cf8=5Cfs22=5Cb =5C'e0=5Cplain=5Cf7=5Cfs22=5Cb A=5Ctab =0D
=5Cpar See=5Ctab =5Ctab =5Ctab =5Cplain=5Cf7=5Cfs22 Y=5Ctab Y=5Ctab =0D
=5Cpar =5Cplain=5Cf7=5Cfs22=5Cb Hear=5Ctab =5Ctab =5Ctab =5Cplain=5Cf7=5C=
fs22 N=5Ctab N=5Ctab =0D
=5Cpar =5Cplain=5Cf7=5Cfs22=5Cb Talk=5Ctab =5Ctab =5Ctab =5Cplain=5Cf7=5C=
fs22 Y=5Ctab N=5Ctab =0D
=5Cpar =5Cplain=5Cf7=5Cfs22=5Cb Touch or Feel=5Ctab =5Cplain=5Cf7=5Cfs22 =
Y=5Ctab N=5Ctab =0D
=5Cpar =0D
=5Cpar The relationships can change between two characters over the durat=
ion and scope of the story or plot. The changes in relationships with tim=
e or events can be powerful symbols and a tool for effective story tellin=
g. The techniques can be used to present a theosophy or philosophy, as we=
ll.=0D
=5Cpar =0D
=5Cpar =5Cplain=5Cf7=5Cfs22=5Cb Triggers for status change in interaction=
/ communication=0D
=5Cpar =5Cplain=5Cf7=5Cfs22 =0D
=5Cpar Interaction between two characters of the story or plot change fro=
m one state to the other as a result of a trigger. Let us take the exampl=
e of the story in this paper. Let us call the couple X and Y, where X is =
the husband and Y is the wife. Let the person played by me in the dream b=
e Z. In the beginning of story, X and Y were communicating between each =
other completely and well. However, interaction between Z and the couple =
was none. Z could see and hear X and Y. However, X and Y could not see or=
hear Z at all. However, as soon as Y tripped on , and so touched, Z who =
was sitting on the rock, she started seeing and hearing Z. In fact, Y did=
not even see the rock on which Z was sitting, probably because Z sitting=
on it. That is why she did not walk around the rock, avoiding it. This =
status change in interaction / communication happened as soon as Y touche=
d Z. This touch (can also be perceived as an event) triggered the change =
in status of interaction / communication between Y and Z. As we read the =
story past this event, the status of interaction / communication between =
Y and X also changed. That is, X could not see or hear Y after the event.=
Please also notice that Y could see X, when she was talking to X, while =
walking out on him.=0D
=5Cpar =0D
=5Cpar Such an event can be termed as triggers. Many types of triggers c=
ould be designed and employed by the creator or author of the story or pl=
ot. Some examples of such triggers are listed below:=0D
=5Cpar =0D
=5Cpar =5Cplain=5Cf7=5Cfs22=5Cb Sensory Experiences=0D
=5Cpar =5Cplain=5Cf7=5Cfs22 Sensory experiences like seeing, hearing, sme=
lling, eating, drinking, speaking (certain words or phrases), touching an=
d feeling. The sensory experiences can trigger individuals or pairs or a =
small group of people with some common characteristics.=0D
=5Cpar =0D
=5Cpar Sensory experience of one kind may trigger a change in status of a=
nother sensory perception. In the story, even though Y could not see or h=
ear Z at all, the status changed when Y touched Z, while tripping over hi=
m. In this case, a =5Cplain=5Cf7=5Cfs22=5Cb touch=5Cplain=5Cf7=5Cfs22 ex=
perience triggered a change in the =5Cplain=5Cf7=5Cfs22=5Cb see=5Cplain=5C=
f7=5Cfs22 and =5Cplain=5Cf7=5Cfs22=5Cb hear=5Cplain=5Cf7=5Cfs22 percept=
ion of Y towards Z. At the same time, =5Cplain=5Cf7=5Cfs22=5Cb see =5Cpla=
in=5Cf7=5Cfs22 and =5Cplain=5Cf7=5Cfs22=5Cb hear=5Cplain=5Cf7=5Cfs22 per=
ception of X changed towards Y, because of the =5Cplain=5Cf7=5Cfs22=5Cb e=
vent of Y touching Z.=5Cplain=5Cf7=5Cfs22 =0D
=5Cpar =0D
=5Cpar =5Cplain=5Cf7=5Cfs22=5Cb Events=0D
=5Cpar =5Cplain=5Cf7=5Cfs22 Examples of events include birth, death, phys=
ical relationship (like love, fighting), travel, marriage and murder. Au=
thors can introduce many types of events as triggers, with almost limitle=
ss possibilities, and a variety of effects, used as tools to drive home a=
variety of meanings in the story.=0D
=5Cpar =0D
=5Cpar =5Cplain=5Cf7=5Cfs22=5Cb Possession=0D
=5Cpar =5Cplain=5Cf7=5Cfs22 Possession of certain objects or wearing a pa=
rticular dress or an ornament can be used as a trigger. As an example, so=
me one could become invisible (or even inaudible) to one or a particular =
group of people ( or even animals) while wearing a particular dress, orna=
ment or possessing an object in their hand (or any part of the body).=0D=
=5Cpar =5Cplain=5Cf9=5Cfs20 =0D
=5Cpar =5Cpard=5Cplain=5Clang0=5Cf3=5Cfs16 =0D
=5Cpar =7D=0D
=00=
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