It reminds me a bit like a scenario planning matrix where you are using a main issue to be the center point in the 2x2. The two axis are the value and the shadow. You could then do it as a team through private ideation of each quadrant.
Yes it does. I was “hooked” by this whole idea also because screenwriting is a legacy of the theater, and theater, and the mysteries that preceded it, were used in ancient times as a “psychotherapeutic” tool. (If we have the right to say so).
I read the description of the ancient Egyptian mysteries (I don’t know to what extent it corresponded to the truth) - there in the first “acts” they talked about Osiris, his history, etc., always emphasizing his “sunny”, “summer” nature. And at the very end of the mystery, the priest whispered in the ear of the initiate: “Osiris is a dark god.” Even in a simple retelling, this phrase was to some extent a shock—at the same time as surprise and “synthesis”.
It reminds me a bit like a scenario planning matrix where you are using a main issue to be the center point in the 2x2. The two axis are the value and the shadow. You could then do it as a team through private ideation of each quadrant.
Yes it does. I was “hooked” by this whole idea also because screenwriting is a legacy of the theater, and theater, and the mysteries that preceded it, were used in ancient times as a “psychotherapeutic” tool. (If we have the right to say so).
I read the description of the ancient Egyptian mysteries (I don’t know to what extent it corresponded to the truth) - there in the first “acts” they talked about Osiris, his history, etc., always emphasizing his “sunny”, “summer” nature. And at the very end of the mystery, the priest whispered in the ear of the initiate: “Osiris is a dark god.” Even in a simple retelling, this phrase was to some extent a shock—at the same time as surprise and “synthesis”.