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Ally. Enemy. Enemy. Ally. Shapeshifting personified.
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Joel Coen of the Coen brothers has said: “Every cine anytime fabricated is an attack to accommodate The Wizard of Oz.” Accurate or not, all I apperceive is I consistently advertence the blur in my teaching. Why? Because it contains so abounding archetypal anecdotal elements.
Therefore I was aggressive to booty on a week-long alternation absorption on screenwriting acquaint we can draw from The Wizard of Oz.
Today: Trickster.
Trickster is a loaded word. The root — “to trick” — implies guile, deceit, fraud, cheating. However, in the branch of belief and folklore, the bluff archetypal can accept a abundant added animated status. One analogue for bluff is:
“Supernatural amount actualization in assorted guises and about agreeable in arch activities, important in the ballad and belief of abounding archaic peoples and usually conceived as a ability hero.”
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“Culture hero.” How does a conniving amount end up in that admired position? To acknowledgment this, we accept to anticipate about animal acquaintance as the ancients did, disconnected into two realms: the Ordinary World and the World Out There.
The Ordinary World is home, area we live — the places we know, the bodies with whom we are familiar. Because we apperceive this place, these people, the Ordinary World is safe.
However, if we move above the boundaries of the Ordinary World into the World Out There, all bets are off. We do not apperceive these new places, we do not apperceive these new faces. Who can we trust? The aforementioned catechism pertains aback addition from the World Out There enters our Ordinary World. Can we assurance them?
That is the Trickster’s job: to analysis strangers in adjustment to ascertain their accurate nature. They use their guile and accuracy to analysis the appearance of strangers.
“The assumption of ambiguity is congenital into the belief and rituals of archaic peoples to an amazing degree… That clothing of ambivalence, aback we are ambidextrous with archaic perceptions and not abstruse conceptualizations… is… best anon accomplished in the amount of the trickster.” — “The Trickster,” Paul Radin
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Ambivalence. Ambiguity. This is the cerebral area of the Trickster.
In adjustment to succeed, the Protagonist needs to accept aplomb that what they accept abstruse and who they accept become has taken authority in their actual soul. To prove that, they charge to be activated beforehand. That’s the capital action of the Trickster.
In The Wizard of Oz, we accept a archetypal Trickster, one of the greatest examples of shapeshifting in cine history: Frank Morgan plays bristles altered roles: Professor Marvel, Gatekeeper, Guard, Carriage Driver, and the Wizard of Oz. With the barring of the Carriage Driver who has no dialogue, anniversary of these characters tests Dorothy:
Even aback the Wizard is defrocked — “Pay no absorption to that man abaft the curtain!”— and agrees to booty Dorothy aback to Kansas with him (Ally), he ends up aerial abroad abrogation Dorothy abandoned in Oz.
One trick, shapeshift, and analysis afterwards another, anniversary of them testing Dorothy’s will. That’s the role of the Trickster!
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Actually there’s addition Bluff in The Wizard of Oz, a appearance who consistently gets into trouble, but additionally helps to save Dorothy’s skin. Indeed this little adolescent bliss off the absolute anecdotal by digging up Miss Gulch’s garden. Yes, you estimated it: Toto.
In your stories, be on the anchor for a appearance who tests the will of your Protagonist, who shapeshifts from Enemy to Ally, Ally to Enemy.
You ability aloof accept a Bluff on your hands!
Part 1: Disunity to Unity
Part 2: Transformation
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Tomorrow: Ordinary Character, Amazing World.
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