Christopher
Vogler
Vogler är författare till boken Writer’s journey, en tjock bok som försöker
visa den struktur som (enligt vad han menar) återfinns i alla berättelser. Han
arbetar mest med Hollywood-långfilmer, och det kan man ha i åtanke när man
läser hans modell nedan. Låt oss se hur denna modell kan appliceras på sagan om
Rödluvan.
THE STAGES OF THE
HERO’S JOURNEY
1.) The hero is introduced in his/her ORDINARY WORLD.
Most stories ultimately take us to a special world, a
world that is new and alien to its hero. If you’re going to tell a story
about a fish out of his customary element, you first have to create a contrast
by showing him in his mundane, ordinary world. In STAR WARS you see Luke
Skywalker being bored to death as a farm boy before he tackles the universe.
- Rödluvan är hemma
hos sin mamma i stugan.
2.) The CALL TO ADVENTURE.
The hero is presented with a problem, challenge or
adventure. Maybe the land is dying, as in the King Arthur stories about
the search for the Grail. In STAR WARS, it’s Princess Leia’s holographic
message to Obi Wan Kenobi, who then asks Luke to join the quest. In
detective stories, it’s the hero being offered a new case. In romantic comedies
it could be the first sight of that special but annoying someone the hero or
heroine will be pursuing/sparring with.
- Rödluvans mamma
ger henne i uppdrag att gå med en matkorg till mormor.
3.) The hero is reluctant at first. (REFUSAL OF THE
CALL.)
Often at this point the hero balks at the threshold of
adventure. After all, he or she is facing the greatest of all fears –
fear of the unknown. At this point Luke refuses Obi Wan’s call to
adventure, and returns to his aunt and uncle’s farmhouse, only to find they
have been barbecued by the Emperor’s stormtroopers. Suddenly Luke is no
longer reluctant, and is eager to undertake the adventure. He is motivated.
- Rödluvan frågar
sin mamma om det inte är farligt att gå ensam genom skogen där vargen bor.
4.) The hero is encouraged by the Wise Old Man or
Woman. (MEETING WITH THE MENTOR.)
By this time many stories will have introduced a character
who is the hero’s mentor. The mentor gives advice and sometimes magical
weapons. This is Obi Wan giving Luke his father’s light saber.
The mentor can go so far with the hero.
Eventually the hero must face the unknown by himself. Sometimes the Wise
Old Man/Woman is required to give the hero a swift kick in the pants to get the
adventure going.
- Rödluvans mamma
uppmuntrar henne att vara modig, det hänger på henne att mormor inte svälter
ihjäl i sin stuga! Hon förmanar också Rödluvan att hon ska gå raka vägen och
inte stanna och prata med någon.
5.) The hero passes the first threshold.
(CROSSING THE THRESHOLD.)
The hero fully enters the special world of the story
for the first time. This is the moment at which the story takes off and
the adventure gets going. The balloon goes up, the romance begins, the
spaceship blasts off, the wagon train gets rolling. Dorothy sets out on
the Yellow Brick Road. The hero is now committed to his/her journey and
there’s no turning back.
- Rödluvan stiger
ensam in i den stora, mörka, farliga skogen.
6.) The hero encounters tests and helpers. (TESTS,
ALLIES, ENEMIES.)
The hero is forced to make allies and enemies in the
special world, and to pass certain tests and challenges that are part of
his/her training. In STAR WARS the cantina is the setting for the forging
of an important alliance with Han Solo and the start of an important enmity
with Jabba the Hutt. In CASABLANCA Rick’s Café is the setting for the
“alliances and enmities” phase and in many Westerns it’s the saloon where these
relationships are tested.
- Rödluvan möter
vargen, en fiende som utger sig för
att vara en allierad (för att använda
Voglers termer på svenska). När Rödluvan inte låter honom följa med till
mormor, föreslår han istället att hon ska plocka lite blommor till sin mormor.
Medan Rödluvan går längre och längre från vägen i jakt på vackra blommor tar
vargen en genväg.
7.) The hero reaches the innermost cave.
(APPROACH TO THE INMOST CAVE.)
The hero comes at last to a dangerous place, often
deep underground, where the object of the quest is hidden. In the
Arthurian stories the Chapel Perilous is the dangerous chamber where the seeker
finds the Grail. In many myths the hero has to descend into hell to
retrieve a loved one, or into a cave to fight a dragon and gain a
treasure. In STAR WARS it’s Luke and company being sucked into the Death
Star where they will rescue Princess Leia. Sometimes it’s just the hero
going into his/her own dream world to confront fears and overcome them.
- Mormors stuga. Det
har blivit en mycket farlig plats nu, när vargen är där inne.
8.) The hero endures the supreme ORDEAL.
This is the moment at which the hero touches
bottom. He/she faces the possibility of death, brought to the brink in a
fight with a mythical beast. For us, the audience standing outside the
cave waiting for the victor to emerge, it’s a black moment. In STAR WARS,
it’s the harrowing moment in the bowels of the Death Star, where Luke, Leia and
company are trapped in the giant trash-masher. Luke is pulled under by
the tentacled monster that lives in the sewage and is held down so long that
the audience begins to wonder if he’s dead. In E. T. momentarily appears
to die on the operating table.
This is a critical moment in any story, an ordeal in
which the hero appears to die and be born again. It’s a major source of
the magic of the hero myth. What happens is that the audience has been
led to identify with the hero. We are encouraged to experience the
brink-of-death feeling with the hero. We are temporarily depressed, and
then we are revived by the hero’s return from death.
- Vargen sväljer
henne hel! Snacka om att ”die and be born again”! Men i sista sekunden dyker en
allierad upp: jägaren. I vissa versioner kommer han förbi av en slump, i andra
har han sett vargens spår till mormors hus eller på annat sätt anat att något
är galet. Han sprättar upp vargen och släpper ut mormor och Rödluvan.
9.) The hero seizes the sword. (SEIZING THE SWORD,
REWARD)
Having survived death, beaten the dragon, slain the
Minotaur, the hero now takes possession of the treasure he’s come seeking. Sometimes
it’s a special weapon like a magic sword or it may be a token like the Grail or
some elixir which can heal the wounded land.
The hero may settle a conflict with his father or with
his shadowy nemesis. In RETURN OF THE JEDI, Luke is reconciled with both,
as he discovers that the dying Darth Vader is his father, and not such a bad
guy after all.
- Visserligen är
Rödluvan vår hjälte, men hon får tyvärr inte möjlighet att klara upp
situationen på egen hand. Hon blir offer för vargen, och istället blir det
jägaren som tar den aktiva rollen. Men både Rödluvan, mormor, jägaren och alla
andra får belöningen: nu finns det ingen farlig varg i skogen mer!
10.) THE ROAD BACK.
The hero’s not out of the woods yet. Some of the
best chase scenes come at this point, as the hero is pursued by the vengeful
forces from whom he has stolen the elixir or the treasure.. This is the
chase as Luke and friends are escaping from the Death Star, with Princess Leia
and the plans that will bring down Darth Vader.
If the hero has not yet managed to reconcile with his
father or the gods, they may come raging after him at this point. This is
the moonlight bicycle flight of Elliott and E. T. as they escape from Keys, a
force representing governmental authority. By the end of the movie Keys
and Elliott have been reconciled and it even looks like Keys will end up as
Elliott’s step-father.
- På den här punkten
händer det inte mycket i Rödluvan. I de versioner jag läst går Rödluvan helt
enkelt hem igen, ibland i sällskap med jägaren. Ibland slutar historien hos
mormor, när alla tre mumsar på matkorgen.
11.) RESURRECTION.
The hero emerges from the special world, transformed
by his/her experience. There is often a replay here of the mock
death-and-rebirth of Stage 8, as the hero once again faces death and
survives. The Star Wars movies play with this theme constantly – all
three of the films to date feature a final battle scene in which Luke is almost
killed, appears to be dead for a moment, and then miraculously survives.
He is transformed into a new being by his experience.
- I vår saga kan det
här momentet se lite olika ut. I en version där Rödluvan går hem igen är det
uppenbart: hon återvänder till sin vardagsvärld. Men om sagan slutar i mormors
stuga är det snarare världen som ändrats. Utan varg är skogen ofarlig. The inmost cave har förvandlats till en
vardaglig plats.
12.) RETURN WITH THE ELIXIR
The hero comes back to the ordinary world, but the
adventure would be meaningless unless he/she brought back the elixir, treasure,
or some lesson from the special world. Sometimes it’s just knowledge or
experience, but unless he comes back with the elixir or some boon to mankind,
he’s doomed to repeat the adventure until he does. Many comedies use this
ending, as a foolish character refuses to learn his lesson and embarks on the
same folly that got him in trouble in the first place.
Sometimes the boon is treasure won on the quest, or
love, or just the knowledge that the special world exists and can be
survived. Sometimes it’s just coming home with a good story to tell.
- Oavsett om vår
Rödluva går hem eller inte, slutar sagan med att hon lärt sig en läxa. Aldrig
mer ska hon prata med främlingar eller vika av från den trygga vägen!
Tänkvärt och intressant!
SvaraRadera