Document Type : Original Article

Authors

• Ali Rajabzadeh Tahmasebi ¹
• GHolamreza Azari ²
• Zahra Aminipour ³

¹ Seda- v- Sima university

² Faculty members of Islamic Azad University Tehran Central Branch,Faculty of Communication Sciences and Media Studies

³ M.A Seda-v-Sima University

Abstract

Today, cinema and television are the most effective means of visual expression, which have been able to attract the imagination of children more than other arts. Also, the re-creation of folklore resources, structurally and content compatible with children's characteristics, provides the growth of "folk literature" and "dramatic literature" simultaneously. A screenwriter, who uses the folktales, investigates the capacity of material of film and evaluates this capability based on principles of dramatic. A screenwriter who benefits from legends; It examines the dramatic capacities of the film and by "recognizing" these capacities, it "removes", "adds" and "integrates" elements to make the transition from literature to drama. We know that dramatic literature is a type of art in which the artist expresses it by using his movements and performance and uses it as a dialogue in the performance. This type of literature was actually used since ancient Greece, which gradually spread. This article, by introducing these elements in the script and matching the framework of folk tales (With emphasis on the myth of One Thousand and One Nights) with the screenplay structure, will deal with how to make a play with a child audience. Thus, the principles for drama according to Aristotle and Vladimir Propp's morphological theory was studied and tried to analyze the relationship among folktale, screenplay and children’s audience, providing cases from One Thousand and One Nights folktales, so that children’s rational model’s script is provided.

Keywords

• dramatic elements
• folktales
• TV screenplay
• children