Vladimir Propp, born April 17, 1895, was a Russian and Soviet scholar who analyzed the basic plot components of Russian folk tales to identify their simplest narrative elements. He had two main theories about the typical narrative structure of videos.
One theory was within a normal structure there is a sequence of 31 functions. These being:
- ABSENTATION: This is when a member of a family leaves the security of the home environment. This could be the hero or some other member of the family that the hero will later rescue. The hero may be introduced here, often being shown as an ordinary person which would help the audience identify with the hero.
- INTERDICTION: This is when the hero is warned against some action (given an 'interdiction').
- VIOLATION of INTERDICTION: The interdiction is violated (villain enters the tale). This generally proves to be a bad move and the villain enters the story, although not necessarily confronting the hero. Perhaps they are just a lurking presence or perhaps they attack the family whilst the hero is away.
- RECONNAISSANCE: The villain makes an attempt at reconnaissance (either villain tries to find the children/jewels etc.; or intended victim questions the villain). The villain makes an attempt at seeking information, for example searching for something valuable or trying to hold someone hostage. They may speak with a member of the family who innocently gives information. They may also seek to meet the hero, perhaps knowing already the hero is special in one way or another.
- DELIVERY: The villain gains information about the victim and their seeking now pays off and they now acquire some form of information which is often about the hero or victim. Other information can be gained, for example about a map or treasure location amongst many other objects.
- TRICKERY: The villain attempts to deceive the victim to take possession of victim's belongings. The villain now presses further, often using the information gained in seeking to deceive the hero or victim in some way, perhaps appearing in disguise. This may include capture of the victim, getting the hero to give the villain something which they wouldn't want to give.
- COMPLICITY: Victim taken in by deception and therefore unwittingly helping the enemy. The trickery of the villain now works and the hero or victim naively acts in a way that helps the villain. This may range from providing the villain with something (perhaps a map or magical weapon) to actively working against the good people in the situation (due to trickery).
- VILLAINY or LACK: Villain causes harm/injury to family member (by abduction or some other act which would cause distress); or a member of family lacks or wants something (such as a magical potion, for example). There are two options for this function, either or both of which may appear in the story.
- MEDIATION: Misfortune or lack of it is made known, (hero is dispatched, hears call for help etc. The alternative is that victimized hero is sent away, freed from imprisonment). The hero now discovers the act of villainy or lack, perhaps finding their family or community devastated or caught up in a state of anguish.
- BEGINNING COUNTER-ACTION: Seeker agrees to, or decides upon counter-action. The hero now decides to act in a way that will resolve the problem, for example finding a needed magical item, rescuing those who are captured or otherwise defeating the villain. This is a defining moment for the hero as this is the decision that sets the course of future actions and by which a previously ordinary person takes on the mantle of heroism.
- DEPARTURE: Hero leaves home;
- FIRST FUNCTION OF THE DONOR: Hero is tested, interrogated, attacked etc., preparing the way for his/her receiving magical agent or helper;
- HERO'S REACTION: Hero reacts to actions of future helper (withstands/fails the test, frees captive, reconciles disputants, performs service, uses adversary's powers against him);
- RECEIPT OF A MAGICAL AGENT: Hero acquires use of a magical agent by a possible variety of ways such as it being directly transferred, located, purchased, prepared, spontaneously appears, eaten/drunk, help offered by other characters;
- GUIDANCE: Hero is transferred, delivered or led to whereabouts of an object of the search;
- STRUGGLE: Hero and villain join in direct combat;
- BRANDING: Hero is branded (wounded/marked, receives ring or scarf);
- VICTORY: Villain is defeated;
- LIQUIDATION: Initial misfortune or lack of it is resolved;
- RETURN: Hero returns;
- PURSUIT: Hero is pursued (pursuer tries to kill, eat, undermine the hero);
- RESCUE: Hero is rescued from pursuit (obstacles delay pursuer, hero hides, or hero saved from attempt on his/her life etc.);
- UNRECOGNIZED ARRIVAL: Hero unrecognized, arrives home or in another country;
- UNFOUNDED CLAIMS: False hero presents unfounded claims;
- DIFFICULT TASK: Difficult task proposed to the hero (trial by ordeal, riddles, test of strength/endurance, etc.);
- SOLUTION: Task is resolved;
- RECOGNITION: Hero is recognized (by mark, brand, or thing given to him/her);
- EXPOSURE: False hero or villain is exposed;
- TRANSFIGURATION: Hero is given a new appearance (is made whole, handsome, new garments etc.);
- PUNISHMENT: Villain is punished in one way or another;
- WEDDING: Hero marries and ascends the throne (is rewarded/promoted).
There is another theory which sums up and reinforces the placement of characters in this narrative structure. This includes:
- The villain — struggles against the hero.
- The donor — prepares the hero or gives the hero some magical object.
- The (magical) helper — helps the hero in the quest.
- The princess or prize.
- Her father — gives the task to the hero and identifies the false hero. Propp noted that functionally, the princess and the father can not be clearly distinguished.
- The dispatcher — character who sends the hero off.
- The hero or victim/seeker hero — reacts to the donor, weds the princess.
- False hero — takes credit for the hero’s actions or tries to marry the princess
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