Today, while discussing film structure in a script analysis course I am taking in the basement of the Eugene Lang building at New School on 12th street, I gained a deeper meaning for the definition of character.
Our teacher, who speaks with a foreign accent and stammers with an "
uhh" whenever she makes eye contact with a student, made the assertion that the first step in traditional, dramatic structure was conflict. The middle-aged gentleman to my left who seemed intelligent, with his defined, strong features and steady, bass, slightly smokey, voice stated that he felt the first step in dramatic structure was characterization. Juxtaposed with our instructor's seemingly timid nature,
his poise was aiding his intellectual take-over of our topic. Although I did like the idea of intellectual mutiny, I saw the light.
With a touch of snobbery, I said, "There can be no character without conflict. Conflict is what builds character. Even our first impression of someone is based off the certain degree to which their appearance and manner
conflict with ourselves or our preconceived notion of them. Although these minor, subconscious or secret conflicts do not seem to have much importance, they are tributaries to the major conflict."