In on a secret? That's dramatic irony - Christopher Warner

1,759,737 views ใƒป 2013-01-29

TED-Ed


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ.

00:00
Translator: Andrea McDonough Reviewer: Bedirhan Cinar
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ืชืจื’ื•ื: Ido Dekkers ืขืจื™ื›ื”: Mark Freehoff
00:14
What do horror movies and comedies have in common?
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ืžื” ืžืฉื•ืชืฃ ืœืกืจื˜ื™ ืื™ืžื” ื•ืงื•ืžื“ื™ื•ืช?
00:18
The two genres might seem totally different,
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ืฉื ื™ ื”ื–'ืื ืจื™ื ืื•ืœื™ ื ืจืื™ื ืฉื•ื ื™ื ืœื’ืžืจื™,
00:21
but the reason they're both so popular
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ืื‘ืœ ื”ืกื™ื‘ื” ืฉืฉื ื™ื”ื ื›ืœ ื›ืš ืคื•ืคื•ืœืืจื™ื™ื
00:23
is perhaps because what they have in common:
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ื”ื™ื ืื•ืœื™ ื‘ื’ืœืœ ืžื” ืฉืžืฉื•ืชืฃ ืœื”ื:
00:25
their use of dramatic irony.
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ื”ื ืžืฉืชืžืฉื™ื ื‘ืื™ืจื•ื ื™ื” ื“ืจืžื˜ื™ืช.
00:27
First, let's clarify.
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ืจืืฉื™ืช, ื‘ื•ืื• ื ื‘ื”ื™ืจ.
00:28
There are three types of irony out there.
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ื™ืฉ ืฉืœื•ืฉื” ืกื•ื’ื™ ืื™ืจื•ื ื™ื” ืฉื ื‘ื—ื•ืฅ.
00:31
Situational irony is when you expect one thing,
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ืื™ืจื•ื ื™ื” ืžืฆื‘ื™ืช ื”ื™ื ื›ืฉืืชื ืžืฆืคื™ื ืœื“ื‘ืจ ืื—ื“,
00:33
but get the opposite.
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ืื‘ืœ ืžืงื‘ืœื™ื ืืช ื”ื”ืคืš.
00:35
Verbal irony is when someone says something,
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ืื™ืจื•ื ื™ ืžื™ืœื•ืœื™ืช ื”ื™ื ื›ืฉืžื™ืฉื”ื• ืื•ืžืจ ืžืฉื”ื•,
00:37
but truly means the opposite.
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ืื‘ืœ ื‘ืืžืช ืžืชื›ื•ื•ืŸ ืœื”ืคืš.
00:39
Dramatic irony, though,
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ืื™ืจื•ื ื™ื” ื“ืจืžื˜ื™ืช, ืขื ื–ืืช,
00:40
is what we will be looking at right now.
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ื”ื™ื ืžื” ืฉื ื‘ื™ื˜ ื‘ื• ืขื›ืฉื™ื•.
00:42
Dramatic irony is when the audience
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ืื™ืจื•ื ื™ื” ื“ืจืžื˜ื™ืช ื”ื™ื ื›ืฉื ืจืื” ืฉื”ืงื”ืœ
00:44
seems to know more about an event,
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ื™ื•ื“ืข ื™ื•ืชืจ ืขืœ ื”ืืจื•ืข,
00:46
a situation,
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ืžืฆื‘,
00:47
or a conversation
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ืื• ืฉื™ื—ื”
00:48
than the characters in the movie,
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ืžืืฉืจ ื”ื“ืžื•ื™ื•ืช ื‘ืกืจื˜,
00:50
on the show,
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ื‘ืžื•ืคืข,
00:51
or in the book do.
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ืื• ื‘ืกืคืจ.
00:52
The audience is in on a secret
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ื”ืงื”ืœ ืžื•ื“ืข ืœืกื•ื“
00:54
that the characters have missed.
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ืฉื”ื“ืžื•ื™ื•ืช ืคื™ืกืคืกื•.
00:56
This is a great story-telling device
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ื–ื” ืžื›ืฉื™ืจ ืกื™ืคื•ืจ ืกื™ืคื•ืจื™ื ื ืคืœื
00:57
that creates tremendous emotion within that text.
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ืฉื™ื•ืฆืจ ืจื’ืฉื•ืช ื—ื–ืงื™ื ื‘ืชื•ืš ื”ื˜ืงืกื˜ ื”ื”ื•ื.
01:00
Think about it for a moment.
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ืชื—ืฉื‘ื• ืขืœ ื–ื” ืœืจื’ืข.
01:02
How does it feel when, in a horror film,
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ืื™ืš ืืชื ืžืจื’ื™ืฉื™ื, ื›ืฉื‘ืกืจื˜ ืื™ืžื”,
01:04
you know that the scary villain is hiding
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ืืชื ื™ื•ื“ืขื™ื ืฉื”ื ื‘ืœ ื”ืžืคื—ื™ื“ ืžืชื—ื‘ื
01:06
behind that door in the darkened room.
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ืžืื—ื•ืจื™ ื”ื“ืœืช ื”ื”ื™ื ื‘ื—ื“ืจ ื”ื—ืฉื•ืš.
01:09
The music becomes eerie,
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ื”ืžื•ื–ื™ืงื” ื ืขืฉื™ืช ืžืคื—ื™ื“ื”,
01:10
the lighting creates complete shadows,
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ื”ืชืื•ืจื” ื™ื•ืฆืจืช ืฆืœืœื™ื ืฉืœืžื™ื,
01:13
this has to be bad for the hero!
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ื–ื” ื—ื™ื™ื‘ ืœื”ื™ื•ืช ืจืข ืœื’ื™ื‘ื•ืจ!
01:15
Of course, though, that hero must enter the room
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ื›ืžื•ื‘ืŸ, ืขื ื–ืืช, ื”ื’ื™ื‘ื•ืจ ื—ื™ื™ื‘ ืœื”ื™ื›ื ืก ืœื—ื“ืจ
01:18
to find the villain.
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ื›ื“ื™ ืœืžืฆื•ื ืืช ื”ื ื‘ืœ.
01:20
You feel tremendous tension and the suspense
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ืืชื ืžืจื’ื™ืฉื™ื ืžืชื— ืื“ื™ืจ ื•ืืช ื”ื“ืจื™ื›ื•ืช
01:23
of knowing that someone will jump out and be scary,
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ืฉืœ ืœื“ืขืช ืฉืžื™ืฉื”ื• ื™ืงืคื•ืฅ ื”ื—ื•ืฆื” ื•ื™ื”ื™ื” ืžืคื—ื™ื“,
01:26
but you just don't know when.
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ืื‘ืœ ืืชื ืคืฉื•ื˜ ืœื ื™ื•ื“ืขื™ื ืžืชื™.
01:28
That tension is dramatic irony:
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ื”ืžืชื— ื”ื–ื” ื”ื•ื ืื™ืจื•ื ื™ื” ื“ืจืžื˜ื™ืช:
01:31
you know something more than the characters in the film.
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ืืชื ื™ื•ื“ืขื™ื ืžืฉื”ื• ื™ื•ืชืจ ืžื”ื“ืžื•ื™ื•ืช ื‘ืกืจื˜.
01:34
Now, take the typical comedy.
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ืขื›ืฉื™ื•, ืงื—ื• ืงื•ืžื“ื™ื” ื˜ื™ืคื•ืกื™ืช.
01:36
There will probably be some type of "misunderstanding".
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ื›ื ืจืื” ื™ื”ื™ื” ืื™ื–ื” ืกื•ื’ ืฉืœ "ืื™ ื”ื‘ื ื”".
01:40
Again, we know more of what is going on
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ืฉื•ื‘, ืื ื—ื ื• ื™ื•ื“ืขื™ื ื™ื•ืชืจ ืขืœ ืžื” ืฉืงื•ืจื”
01:42
than the characters do.
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ืžืืฉืจ ื”ื“ืžื•ื™ื•ืช.
01:44
Picture two characters making a plan
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ื“ืžื™ื™ื ื• ืฉืชื™ ื“ืžื•ื™ื•ืช ืฉืขื•ืฉื•ืช ืชื•ื›ื ื™ืช
01:45
for a birthday surprise for their roommate
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ืœืžืกื™ื‘ืช ื”ืคืชืขื” ืœื™ื•ื ื”ื•ืœื“ืช ืœืฉื•ืชืฃ ืฉืœื”ื
01:47
while that roommate overhears
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ื‘ื–ืžืŸ ืฉื”ืฉื•ืชืฃ ื”ื–ื” ืฉื•ืžืข
01:49
the entire conversation from the hallway.
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ืืช ื›ืœ ื”ืฉื™ื—ื” ืžื”ืžืกื“ืจื•ืŸ.
01:51
From there, confusion and misunderstanding occur,
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ืžืฉื, ื‘ื™ืœื‘ื•ืœ ื•ื—ื•ืกืจ ื”ื‘ื ื” ืžืชืจื—ืฉื™ื,
01:55
and the tension builds.
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ื•ื”ืžืชื— ื ื‘ื ื”.
01:56
This isn't the same tension as the horror film
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ื–ื” ืœื ืื•ืชื• ืžืชื— ื›ืžื• ื‘ืกืจื˜ ื”ืื™ืžื”
01:59
since it is probably pretty funny
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ืžืื—ืจ ืฉื–ื” ื›ื ืจืื” ื“ื™ ืžืฆื—ื™ืง
02:00
as the character tries to figure out the whos and the whats,
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ื›ืฉื”ื“ืžื•ื™ื•ืช ืžื ืกื•ืช ืœื”ื‘ื™ืŸ ืžื” ืงื•ืจื”,
02:04
but it serves as a great example
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ืื‘ืœ ื–ื” ืžืฉืจืช ื›ื“ื•ื’ืžื” ื ืคืœืื”
02:05
of the tension and suspense of dramatic irony.
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ืฉืœ ื”ืžืชื— ื•ื”ื“ืจื™ื›ื•ืช ืฉืœ ืื™ืจื•ื ื™ื” ื“ืจืžื˜ื™ืช.
02:09
This tension or suspense in both genres
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ื”ืžืชื— ื•ื”ื“ืจื™ื›ื•ืช ื‘ืฉื ื™ ื”ื–'ืื ืจื™ื
02:11
drives the story and keeps the plot progressing.
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ืžื ื™ืขื™ื ืืช ื”ืกื™ืคื•ืจ ื•ืขื•ื–ืจื™ื ืœืขืœื™ืœื” ืœื”ืชื’ืœื’ืœ.
02:14
The audience wants, no, needs,
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ื”ืงื”ืœ ืจื•ืฆื”, ืœื, ืฆืจื™ืš,
02:17
to see the tension of the dramatic irony broken
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ืœืจืื•ืช ืืช ื”ืžืชื— ืฉืœ ื”ืื™ืจื•ื ื™ื” ื”ื“ืจืžื˜ื™ืช ื ืฉื‘ืจ
02:19
either by the scary person jumping out of the shadows
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ื‘ื™ืŸ ืื ืขืœ ื™ื“ื™ ื”ื˜ื™ืคื•ืก ื”ืžืคื—ื™ื“ ืฉืงื•ืคืฅ ืžื”ืฆืœืœื™ื
02:22
or by someone finally revealing someone's true identity
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ืื• ืขืœ ื™ื“ื™ ืžื™ืฉื”ื• ืฉืžื’ืœื” ืกื•ืฃ ืกื•ืฃ ืืช ื”ื–ื”ื•ืช ื”ืืžื™ืชื™ืช ืฉืœ ืžื™ืฉื”ื•
02:26
and clearing up the confusion.
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ื•ืžื‘ื”ื™ืจ ืืช ื”ื‘ืœื‘ื•ืœ.
02:28
So, when you feel like you are in on a secret,
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ืื–, ื›ืฉืืชื ืžืจื’ื™ืฉื™ื ื›ืื™ืœื• ืืชื ื™ื•ื“ืขื™ื ืืช ื”ืกื•ื“,
02:31
that is dramatic irony,
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ื–ื” ืื™ืจื•ื ื™ื” ื“ืจืžื˜ื™ืช,
02:33
a hallmark of all the great writers,
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ื–ื• ื—ื•ืชืžืช ื”ืื™ื›ื•ืช ืฉืœ ื›ื•ืชื‘ื™ื ื’ื“ื•ืœื™ื,
02:35
from Shakespeare to Hitchcock.
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ืžืฉื™ื™ืงืกืคื™ืจ ืœื”ื™ื˜ืฆ'ืงื•ืง.
ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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