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Yves Lavandier – IMDb
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Apr 18, Lee Goldberg rated lavandief liked dramtaurgie. The book was translated from the French edition by Bernard Dramtaurgie, so I am not exactly sure who I should blame for how dull the writing is.
But I can certainly point the finger at Yves yvess the pomposity and the sheer wordiness. WRITING DRAMA is actually a very good book about writing – whether it’s plays, scripts or books — with lots of practical advice and important lessons about story structure, character development, and dialogue to offer. Unfortunately, I’ve read software manuals that are more lively and engaging. Yves is obviously a bright, educated guy who has seen a lot of movies and thought hard about them So to get to his very good advice, you have to endure lots of irrelevant digressions, pointless footnotes, self-indulgent pontificating, and lots of tiresome repetition and far more examples and film references than are necessary.
However there’s so much practical wisdom in the book that I wish he’d had a decent editor or at least followed his own good advice: There’s a lot to criticize about the book, particularly his lecturing about what’s right and wrong about certain movies, his inane rules for writing for children, his ponderous deconstruction of comedy, and his opinions on television writing.
But all that said, I would highly recommend the book to aspiring writers It worked for me.
I am in the midst of adapting a book that I optioned and his book really got me thinking about my task. And I have been a working, professional screenwriter for a while now. Yves begins his book by stating a few points that should be self-evident, but it’s amazing how many writers of scripts and novels today seem to forget them: A work of drama exists only for and by virtue of the public.
It takes two to speak this language: Indeed, however much the actors pretend to be addressing each other, everything they say is directed in just one direction: Perhaps they believe that it is up to the public to be curious about their work, when it fact it is up to them to stimulate the public’s curiosity.
Whether he likes it or not, the writer’s role is to meet this need. Whenever I am writing, and a scene doesn’t work, there’s usually a problem with the conflict and the objectives each character is pursuing, or not pursuing, in the scene.
Yves offers a useful schematic for the basic dramatic process: Conflict is storytelling and it is character. His chapters on the Protagonist, Objectives and Obstacles are also full of good points and interesting observations: It is simply beyond them. They identify so much with their characters that they suffer if they have to make them suffer.
La dramaturgie by Yves Lavandier
They fail to realize that the best way of getting the spectator to share their concern and love for their protagonists is precisely to spare them nothing. And yet, he later advises: I can live with his apparent contradiction. Overall, there’s a lot a writer can learn from Yves’ book and, despite the wordiness and occasional pomposity, it may be one of the best books on screenwriting out there. As an aside and there are many, many, many of them in the bookhe’s also a persuasive defender of, and believer dramwturgie, writers as the primary creative force in film-making: In theory, the actors, director, production designer, composer or editor should not have to do anything more than recreate, using their respective skills, the meaning intended by the writer.
They are servants of the writer’s vision in a sense which, I stress, is by no means pejorative and furthermore requires real talent. Dramatugrie no longer exists. We are told the screenplay is a transitional phenomenon, existing only briefly, its relation to the film comparable to that of a caterpillar to a butterfly. This lavandoer be true of the object itself, the grubby manuscript that circulates from hand-to-hand on the set lavansier Now if only his publisher could come out with an abridged edition Aspiring and working screenwriters.
Are you looking for a really advanced screenwriting book? Are you aiming at writing quality screenplays that contain really good storytelling techniques? Have you read Seger, McKee, Snyder, Vogler and the likes and thought there might be something more to learn in screenwriting than what they teach to those people who are looking for short cuts and who have to depend on formulaic writing?
If yo Aspiring and working screenwriters.
If you’re ok with Seger that’s fine with me, but this book just doesn’t fit the same category. Those books are for beginners but not for people who want to work at a professional level. So you are really looking for an advanced screenwriting book? And I suppose you don’t have the money to move to LA and enroll in an expensive UCLA course but are interested in what those students learn lla there?
Stop right here then! This is a book for people who aspire becoming really advanced screenwriters and playwrights. This is a book pa people who aim at producing quality screenplays. It is a book, but it contains the information of a very good writing course. So yes, it is pages long but If you are really serious on becoming a better lavvandier and have the intention to live from your writing then I don’t think that will be a big obstacle. In my opinion, the views these authors provide are all complimentary and there is no reason for competition between them.
Those are all nr one screenwritig books. I propose you read all the authors I mentioned as well, they say all very intelligent things! And they all touch other aspects of screenwriting. That’s why you should never stick to one good screenwriting book.
All those authors unveil different aspects of writing so you can have a broad view on the subject. And yes, you CAN become a working professional it in Hollywood or wherever or write your pilot for a HBO television series if you’re willing to educate yourself.
For me personally, after reading this book I quit my job to become a screenwriter!!
Yes, that is right. That’s what this book can make you do.
So what makes this book so special and different from other books by American authors? First of all, it provides a French view on lacandier and screenwriting. The author is a fan of good storytelling though, which the Americans know so well and many of todays Lavzndier films unfortunately lack. European films often explore interesting themes but few of them are well told.
Lavandier explains very clearly a lot of classic storytelling techniques and cites many works to illustrate his viewpoints, many are classics, but also lesser known films. Italian films from what is called the commedia all’ italiana, french films you never heard of and also a good deal of plays.
Lavandier meticulously unravels all the techniques used by those clasical guys so you can put those in your toolbox as a writer. After reading this book you might want to read some of those plays to enjoy the storytelling techniques they used. Also, if you’d like to read some interesting views on what comedy really is about you could start here. Lavandier talks throughout the whole book on it and dedicates dramarurgie chapter to comedy.
You might find a fresh view in it and learn effective classical storytelling techniques and that’s what the studio’s and HBO is looking for, right? Lavandier might be France’s nr 1 screenwriting guru of today, but strangely his book is actually still little known to American screenwriters and film scholars, but I’m sure it won’t stay that way.
I think the book is self published at the moment but given its quality it will be picked up by an American publisher to give it a new, fresh edition so it will become an even better read. And if you happen to know some French, the author also wrote a very concise book on script doctoring and reading screenplays: In my view, this book should be a must for studio readers and script consultants.
It hasn’t got an English edition yet but I think it soon will. If you’re willing to make vyes career in filmmaking and interested in really good storytelling order then a copy of this book!
Reading a good book is of course not a garantee that you will write good screenplays, but I think it definitely increases the odds. The book is really comprehensive, so I chose not to disclose all its content.
Lavandier can explain it better than me anyway. But recently I came upon a youtube series lavandieer by the author in which he allready unveils some dramatic techniques that are discussed thoroughly in his book. So you might want to have a look at these: Jul drajaturgie, David Greenhalgh rated it it was amazing.
Available in English as Writing Drama. Probably the best book on writing drama available. The dramaturgue covers a large field of diverse drama in film and theatre, in English and other language.