Interactive Chart of Story Characters’ Intentions

Abstract

Abstract. This paper presents a visualization of stories that aligns the hierarchy of story units and the hierarchy of characters' intentions, respectively, with the story text, subdivided into chunks. The solution takes inspiration from the design introduced by the movie narrative charts, and presents an interactive tool.

The Intangible Nature of Drama Documents

“…The workow of annotation in Drammar is incremental, and the consistency of the metadata can be tested at any moment through the application of reasoning techniques ( [13]) and visualization tool ( [18]). As the construction proceeds, more and more sophisticate structures augment the timeline of incidents extracted from the original text or video.…”

Bringing Authoritative Models to Computational Drama (Encoding Knebel’s Action Analysis)

“…Taking as input this set of instructions (yet informal) we may now proceed toward a formal representation using a computational ontology (Drammar), described and tested in other occasions [20] [16] [17] [14]. For the sake of brevity, here we encode only the first part of the scene, focusing on the subclasses that represent structures and entities of the drama, thus excluding the linguistic representation and the references to external knowledge (we do not describe the corresponding FrameNet frames).…”

“…Therefore, we neither refer to models of narrative theory, such as Propp's, nor to generative models of interactive storytelling (such as, for example, [25]). We aim to test the expressive qualities of an existing ontology of drama, Drammar [20]. We hope to spread the use of ontological representation as tool for analysing and annotating dramatic texts in a productive and didactic environment.…”

“…On the other hand, it stresses that building the formal representation of a complex cultural object requires an ongoing dialogue with the literature that has been proven representative of that object. Drammar was built starting from the literature on drama aesthetics and techniques, focusing on the authoring side [20]. Here we start considering the literature that analyses drama from the perspective of the artist in charge of enacting it.…”

“…Drammar [20] models drama in terms of an ontological representation that has identified and encoded the significant elements of the drama domain, namely story units, actions, characters, plans, goals, and story states. Drammar has been applied to the definition of drama as form of Intangible Cultural Heritage ( [28], [35]) to the safeguard and dissemination of the object "dramatic story" [15] [19].…”