An Analysis of Greimas' Viewpoint of Actantial Model to Explore the Structure of Drama - Take the Korean TV drama Pinocchio as an example

• Main Authors: LIOU, SHIN-YUAN, 劉心瑗
• Other Authors: WU, SHU-MING
• Format: Others
• Language: zh-TW
• Published: 2018
• Online Access: http://ndltd.ncl.edu.tw/handle/44x653

碩士 === 東方設計大學 === 文化創意設計研究所 === 106 === In Taiwan, researches about analyzing Korean TV dramas in semiotic approach are rare and highly uncommon. Therefore, this research uses Algirdas Julien Greimas’s actantial model, along with semiotic theories of Ferdinand de Saussure, Roland Barthes, as well as Charles Saunders Peirce to analyze characters in Pinocchio, a Korean drama in 2014 and to find the reason behind its sensational success. This qualitative research follows methods of textual analysis to analyze screenwriter’s development and arrangement of plot as well as characters. It also aims to clarify screenwriter’s intension and meanings behind such arrangement. This research has found: 1. Pinocchio has a complete plot and theatrical structure. 2. The title of each episode is naming after fairy tales, novels, or dramas. Characters in the original stories can also be found in Pinocchio and hence provide more references to the plot. The brilliance of the screenwriter can thus be fully conveyed. 3. The actantial model of narrative is the same as that of characters. Both models evolve around the main actor, Ki Ha-myung’s actantial model and create dramatic effects that include teaser, inciting action, rising action, climax, and ending. 4. In terms of characters, the unresolved conflicts are created by two clans, a blood relation clan and a non-blood relation clan. Tension and imagination in Pinocchio are fueled by those conflicts. In terms of the plot, Song Cha-ok abandons the truthfulness of news in pursuit of power while Ki Ha-myung fights against lies and evil power in order to protect the truth. Whether it is between one character and another, or between characters and events, the trace of Greimas’s actantial model is undeniably clear. To sum up, this research shows that the screenwriter’s deliberate plot arrangement complete Pinocchio’s dramatical structure. In addition, the conflicts, compromises, emotional responses, as well as character structure such as blood relation clan in the drama have definitely piqued audiences’ interest to watch the drama. By analyzing Pinocchio, this research builds a preliminary structure of Greimas’s actantial model on TV drama. This research could serve as a reference for those who aim to conduct research on TV drama and for Taiwanese screenwriters who are aspired to improve the quality of local TV drama.