The diversity of narrative methods has opened up new horizons in the process of recounting events and entering into narrative sequences, after which the dramatic text follows varying levels in the movement of dramatic events. This overlap in the narrative has made the artworker have multiple options in shaping his graphic structure, beginning with the formation of the logical introduction, the appearance of the actor, and leading to conflict and confrontation and the creation of tension and excitement. These methods, the multiple reading of the dramatic text, the formation of events, the building of a vision, the treatment, the development of excretive solutions and the creation of a virtual world, run in many strange and fantasi places, for those worlds, and the transformations of the dramatic event accompanied by a shift in space and time. Based on the movement of the operator, the search for its objective, the overlapping of the narrative systems, and its use in accordance with the narrative sequences created by the artworkmaker, the recipient is able to keep track of the events and expand the narrative of the events, as determined by the artwork industry, thus creating a beautiful response and arriving at the composition of the meaning of the visual output. Therefore, the problem of research can be formulated with the following question: What are the ways in which the dramatic narrative and spatial intuitions can be reflected in the output? The aim of the research is to detect dramatic robotics and spatial structure transformations in visual output.
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Nov 21, 2024
Lixia Dang + 2
Open Access
Just Published
