dramaticStructureRole
P99131
predicate
Indicates the specific function or role an element plays within the overall dramatic structure of a narrative or performance.
All labels observed (6)
| Label | Occurrences |
|---|---|
| dramaticStructureRole canonical | 22 |
| storyStructureRole | 14 |
| dramaticPacingRole | 3 |
| dramaticStructureElement | 3 |
| dramaticFunctionOfChorus | 1 |
| narrativeRoleInInheritTheWind | 1 |
Description generation (PDg)
The one-sentence description above was generated by prompting gpt-5.1 with the predicate name and this instruction.
Instruction
Given a predicate that represents a relationship or action between entities, generate a one-sentence description explaining its meaning. # Instructions Focus on describing the relationship, not the entities themselves. # Response Format Begin the description with \' Indicates...\'
Input
Predicate: dramaticStructureRole
Generated description
Indicates the specific function or role an element plays within the overall dramatic structure of a narrative or performance.
Sample triples (44)
| Subject | Object |
|---|---|
|
Act II
surface form:
Act II (The Skin of Our Teeth)
|
rising action ⓘ |
|
Act II
surface form:
Act II (The Skin of Our Teeth)
|
climax of marital and moral tensions ⓘ |
|
Act III
surface form:
Act III (The Skin of Our Teeth)
|
denouement ⓘ |
| Helmer household | single-room setting for entire play ⓘ |
| Samantha Albertson | connects past and present timelines in the film via predicate surface "storyStructureRole" ⓘ |
| Ransom Stoddard | framing narrator in flashback via predicate surface "storyStructureRole" ⓘ |
| Act III of The Relapse | development of central romantic plots ⓘ |
| Act III of The Relapse | escalation of comic conflict ⓘ |
| Act III of The Relapse | complication of character relationships ⓘ |
| Act Two of Chess | resolution of main conflicts in Chess ⓘ |
| Act I | exposition ⓘ |
| Act I | rising tension setup ⓘ |
|
Act I
surface form:
Act I (Clybourne Park)
|
establishes historical context for Act II ⓘ |
|
Act II
surface form:
Act II (Our American Cousin)
|
rising action via predicate surface "dramaticStructureElement" ⓘ |
|
Act II
surface form:
Act II (Our American Cousin)
|
intensification of misunderstandings via predicate surface "dramaticPacingRole" ⓘ |
|
Act II
surface form:
Act II (Our American Cousin)
|
escalation of social conflict via predicate surface "dramaticPacingRole" ⓘ |
|
Act II
surface form:
Act II (Our American Cousin)
|
preparation for resolution in Act III via predicate surface "dramaticPacingRole" ⓘ |
| Act II of "The Price" | development of exposition from Act I via predicate surface "dramaticStructureElement" ⓘ |
| Act II of "The Price" | preparation for climax in Act III via predicate surface "dramaticStructureElement" ⓘ |
|
fictional town of Hillsboro (Inherit the Wind setting)
surface form:
Hillsboro
|
primary setting for most scenes via predicate surface "narrativeRoleInInheritTheWind" ⓘ |
| Jude Law as W. P. Inman | central viewpoint character via predicate surface "storyStructureRole" ⓘ |
| E Block (The Green Mile) | frame for Paul Edgecombe’s recollections in the novel via predicate surface "storyStructureRole" ⓘ |
| Francis Wayland Thurston | frame narrator via predicate surface "storyStructureRole" ⓘ |
| June Branch | central point-of-view character in Basketful of Heads via predicate surface "storyStructureRole" ⓘ |
| Mon Signor Hotel | connects four separate stories via predicate surface "storyStructureRole" ⓘ |
| Unnamed narrator of The Gold-Bug | listener to Legrand’s final explanation via predicate surface "storyStructureRole" ⓘ |
| Christian Slater as Daniel Molloy | listener to Louis’s confession via predicate surface "storyStructureRole" ⓘ |
| Christian Slater as Daniel Molloy | conduit between audience and vampire world via predicate surface "storyStructureRole" ⓘ |
|
Act III
surface form:
Act III (A Lie of the Mind)
|
denouement ⓘ |
|
Act II
surface form:
Act II (Götz von Berlichingen)
|
rising action ⓘ |
| Supplices | protagonist group via predicate surface "dramaticFunctionOfChorus" ⓘ |
| Clare Hunter | primary point-of-view character via predicate surface "storyStructureRole" ⓘ |
| Clare Hunter | main figure around whom conflicts develop via predicate surface "storyStructureRole" ⓘ |
|
Act I
surface form:
Act I (Design for Living)
|
sets tone and premise for the rest of the play ⓘ |
|
Heavenly Finley is Chance Wayne's former lover
surface form:
Heavenly Finley
|
offstage backstory driving present action ⓘ |
|
Act III
surface form:
Act III (Dear Brutus)
|
climax ⓘ |
|
Act III
surface form:
Act III (Dear Brutus)
|
denouement ⓘ |
| George | one half of a dual narrative structure via predicate surface "storyStructureRole" ⓘ |
|
Act II
surface form:
Act II (Romeo and Juliet)
|
rising action ⓘ |
| Susan Morrow | link between real world and fictional manuscript via predicate surface "storyStructureRole" ⓘ |
|
Act V
surface form:
Act V (Much Ado About Nothing)
|
comedic resolution ⓘ |
|
Act II
surface form:
Act II (Anna Christie)
|
middle act ⓘ |
|
Act III
surface form:
Act III (Anna Christie)
|
builds toward resolution in Act IV ⓘ |
|
Act III
surface form:
Act III (Anna Christie)
|
turning point in relationships among main characters ⓘ |