چکیده:
Without a doubt among the prominent works in Persian literature، Shahnameh is the richest source for screenplay adaptation. A good screenplay needs a solid structure which is provided by the recognition of super models. Wellknown masters of three act screenplay are Syd Field، representative of story based structural pattern، and Christopher Vogler، representative of character based or hero’s journey structural pattern. Shapour Shahbazi is the only Iranian who has suggested a new solid pattern for screenplay. The purpose of this article is to compare and evaluate the structure of the story of Rostam and Shoghad with the above patterns and reveal that not only Shahnameh is worthy of being compared with leading patterns but also it possesses such dramatic and cinematic potential that in itself is a role model since the final criterion for the excellence and success of a story does not necessarily lie on its agreement with the accepted patterns and indeed is dependent on the durable presence and the influence on the audience. Nevertheless، mal recognition of the literary text and not applying the efficient artistic patterns to screenplay is the major reason for the misfortune of the adapted films in Iran.
خلاصه ماشینی:
Evaluation and Adaptation of the Story of Rostam and Shaghad with the Most Prominent Structural Models of the Three-Act Screenplay Nosratullah Haddadi PhD student in Persian Language and Literature.
Among the renowned masters of the three-act screenplay, Syd Field represents the story-driven structural model, and Christopher Vogler represents the Hero's Journey or character-driven structural model.
In this article, the authors aim to demonstrate, through the adaptation and evaluation of the structure of the story of Rostam and Shaghad against these models, that Ferdowsi's Shahnameh is not only worthy of adaptation to prominent models but also possesses such dramatic and cinematic capacity that it constitutes a superior model itself; because the ultimate criterion for the success and excellence of a story is not necessarily conformity with accepted models, but rather depends on the endurance of its presence and its impact on the audience.
Adaptation, Screenplay Models, Field, Vogler, Shahbazi, the story of Rostam and Shaghad nosrat.
He examines structure by relying on six key tools that can be used to convert the structure of a long or short story into a screenplay structure: "1- Finding the starting point; 2- Removing scenes; 3- Compressing scenes; 4- Merging characters; 5- Adding new scenes; 6- Revising beginnings and endings" (Ibid: 280).
1-1- Syd Field's structural pattern and the story of Shaghad and Rostam 1-1-1- First Act: Beginning Field divides the first act into three 10-page sections titled beginning, middle, and end, which concludes at the first plot point.
In the final scenes of the first act, Shaghad designs a plan for the death of Rostam and offers a way forward to the King of Kabul.
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