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The three-act structure is a model used in narrative fiction that divides a story into three parts , often called the Setup, the Confrontation, and the Resolution. It has been described in different ways by Aelius Donatus in the fourth century A.D. and by Syd Field in his 1979 book Screenplay: The Foundations of Screenwriting .
The three-act structure is a common structure in classical film and other narrative forms in or associated with the West. [3] [4]First described in the fourth century A.D. by Aelius Donatus in his commentary on the works of Terence, the form was popularized by Syd Field in Screenplay: The Foundations of Screenwriting.
A story structure, narrative structure, or dramatic structure (also known as a dramaturgical structure) is the structure of a dramatic work such as a book, play, or film. There are different kinds of narrative structures worldwide, which have been hypothesized by critics, writers, and scholars over time.
Some story structures are so old that the originator cannot be found, such as Ta'zieh. Often in order to sell a script, the plot structure is made into what is called a treatment. This can vary based on locality, but for Europe and European Diaspora, the three-act structure is often used.
On a television program, for example, the story would unfold over many episodes. In television, the use of the story arc is common in sitcoms, and even more so in soap operas. In a traditional Hollywood film, the story arc usually follows a three-act structure.
Act I contains the setup. It is approximately the first quarter of a screenplay, and reveals the main character, premise, and situation of the story. Act II contains the confrontation. It lasts for the next two quarters of the screenplay, and clearly defines the main goal of the protagonist. Act III contains the resolution.
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Field's most notable contribution is his paradigm "three-act structure". In this structure, a writer sets a film's plot within the first twenty to thirty minutes. Then the protagonist experiences a plot point, providing the protagonist with a goal. About half of a movie's running time focuses on the protagonist's struggle to achieve this goal.