An anarchism is a dramatic element of action. The Anagnorisis describes the recognition of two persons in the dramatic work. The concept goes back to the poetics of Aristotle. This anagnorisis has preceded the mistake of Hamartia, while the protagonist does not recognize the true nature of opponents, states, or himself. The anagnorisis is, therefore, the recognition or the examination of the true situation.

The term can be derived from the Greek and translated by means of recognition. As a result, the meaning of the word already points to the fundamental point: namely, the recognition of two figures, which can be demonstrated especially in dramas. Anagnorisis, when it coincides with the peripetia, is most effectively the height and turning point of a work.

As an anagnorisis, the recognition of a friend who has previously been perceived as an enemy or a stranger is, in truth, the beloved, perhaps also a relative, can also be considered. Such recognition often leads to the turning point in the work. Thus, a happening that ends at a bitter end and ends well (comedy) or a drama with a supposedly good ending turns into a catastrophe (tragedy).

As an example, the Odyssey of Homer can be cited. Here Odysseus sees his wife Penelope again after twenty years of the wandering. Penelope himself was, in the meantime, courted by numerous suitors who emanate from the death of Odysseus. When Odysseus returns, his nurse first recognizes him Eurycleia and then his wife Penelope. This recognition is an anagnorisis.

Anagnorisis in the film
The term has also been preserved in script literature. This is not so much the recognition of two persons as the recognition of the truth. This discovery usually changes the figure constellation of the film and thus the ratio of the figures to each other.

For example, the endangered figure can find a weapon or discovers a special ability and can behave differently from now on. Perhaps a character who is supposed to be lied to the connoisseur and overhears a conversation or finds secret records and is thus informed of the intriguing plans. Or someone finds evidence and becomes a witness, but must now be protected.

It is important that the anagnorisis in the film always changes the field of action of the characters and that what has been assumed so far proves to be wrong. As a result, the scene of cognition, as in the Aristotelian drama, is usually associated with a turning point in the film.

Anagnorisis with Aristotle
Aristotle not only named the Anagnorisis in Poetics, but dismissed them as one of the three essential components of the plot (plot) of a drama. Apart from this, Aristotle still has the turning point (peripetia) and the emotional actions (pathos).

Under Anagnorisis, Aristotle understands the recognition of two figures, as was customary in Roman and Greek literature, but also the recognition of a truth. So his view is comparable to the anagnorisis in the film. It defines the concept as the turning over of ignorance.

He also argues that the anagnorisis should coincide with the peripetia of a work in order to achieve the greatest possible effect and to arouse the fear and compassion of the spectator, leading to catharsis, a cleaning of the spectator.

Anagnorisis and peripetia usually coincide in classical drama.

Overview: Importance, Function and Effect of Anagnorisis
Anonymity is the recognition of two persons in the dramatic text. However, the term can also be extended to other literary genres and also the film, but basically means the same.
In the film, and even in Aristotle, the concept can also mean cognition itself. It means, therefore, the fact that the agent is experiencing what is actually the case. It is therefore the knowledge of turning over ignorance.
Often, such a (re) recognizes a turning point in the work, which changes the ratio of the figures and decisively affects the end. Aristotle points out that the anagnorisis, which coincides with the turning point, have the greatest effect.

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