The concept of storytelling having a beginning, middle, and end is most famously attributed to Aristotle. In his work “Poetics,” written in the 4th century BCE, Aristotle outlines his theories on dramatic structure. He emphasizes the importance of a cohesive plot, which he defines as having a clear beginning, middle, and end. According to Aristotle, this structure is essential for a story to be complete and whole, as it provides a framework that ensures the narrative is logically ordered and engaging for the audience. StudyMassCom.com The Film Fund Blog
Kurt Vonnegut on the Shapes of Stories https://www.youtube.com/watch?v=oP3c1h8v2ZQ
A guide on Story Structure https://vanillagrass.com/story-plot-structure-the-ultimate-guide-to-story-plot-structure-with-graphs/
Southeast Asian storytelling often employs non-linear, episodic, and cyclical narratives, as well as incorporating performative and interactive elements. Here are some key differences:
-
Non-Linear and Episodic Narratives:
- Wayang Kulit (shadow puppetry) in Indonesia often features stories from the Mahabharata and Ramayana that are presented in a non-linear fashion. Performances can last all night, with the dalang (puppet master) weaving in and out of various episodes and subplots, allowing for digressions and multiple storylines to be explored simultaneously.
- Similarly, the I La Galigo epic of the Bugis people in Sulawesi is an extensive narrative that does not follow a strict chronological order. Instead, it comprises a series of interrelated episodes that span multiple generations.
-
Performative and Interactive Elements:
- Traditional Southeast Asian storytelling often involves a high degree of performance. For example, in Thai Khon dance-drama, masked dancers enact episodes from the Ramakien (Thai version of the Ramayana) with elaborate costumes, dance, and music, emphasizing visual and auditory engagement over a linear plot.
- Apsara dance in Cambodia similarly combines storytelling with dance, music, and elaborate costumes, creating a multisensory experience that conveys stories through movement and expression rather than a linear narrative.
-
Cyclical and Repetitive Structures:
- Many Southeast Asian stories are cyclical, reflecting the region’s spiritual beliefs. For instance, Burmese Yama Zatdaw (Burmese Ramayana) performances often involve recurring themes and motifs, emphasizing the cyclical nature of karma and rebirth, which contrasts with the linear progression advocated by Aristotle.
-
Integration with Rituals and Cultural Practices:
- Storytelling in Southeast Asia is often intertwined with religious and cultural rituals. In Bali, for example, the Barong dance is not just a performance but a ritual to ward off evil spirits, blending narrative with spiritual practice. This integrative approach contrasts with Aristotle’s more secular and entertainment-focused framework.
-
Collective and Communal Participation:
- Southeast Asian storytelling traditions frequently involve communal participation. During Philippine epics like the Hinilawod, the storyteller, or chanter, often interacts with the audience, incorporating their reactions and sometimes even their suggestions into the narrative. This interactive aspect is less emphasized in Aristotelian drama, which tends to separate the audience from the performers.
Further Reading https://scholars.hkbu.edu.hk/ws/portalfiles/portal/80879600/G23THFL-043039T.pdf