found, such as Ta'zieh. Often in order to sell a script, the plot structure is made into what is called a treatment. This can vary based on locality, but for Europe and European Diaspora, the three-act structure is often used. The components of this structure are the set-up, the confrontation and the resolution. Acts are connected by two plot points or turning points, with the first turning point connecting Act I to Act II, and the second connecting Act II to Act III. The conception of the three-act structure has been attributed to American screenwriter Syd Field who described plot structure in this tripartite way for film analysis. Furthermore, in order to sell a book within the United States, United Kingdom, Canada, New Zealand, and Australia, often the plot structure is split into a synopsis. Again the plot structure may vary by genre or drama structure used. Aristotle Many scholars have analyzed dramatic structure, beginning with Aristotle in his Poetics (c. 335 BC). In his Poetics, a theory about tragedies, the Greek philosopher Aristotle put forth the idea the play should imitate a single whole action. "A whole is what has a beginning and middle and end" (1450b27). He split the play into two acts: complication and denouement. He mainly used Sophocles to make his argument about the proper dramatic structure of a play. Two types of scenes are of special interest: the reversal, which throws the action in a new direction, and the recognition, meaning the protagonist has an important revelation. Reversals should happen as a necessary and probable cause of what happened before, which implies that turning points need to be properly set up. He ranked the order of importance of the play to be: Chorus, Events, Diction, Character, Spectacle. And that all plays should be able to be performed from memory, long and easy to understand. He was against character-centric plots stating “The Unity of a Plot does not consist, as some suppose, in its having one man as its subject.” He was against episodic plots. He held that discovery should be the high point of the play and that the action should teach a moral that is reenforced by pity, fear and suffering. The spectacle, not the characters themselves would give rise to the emotions. The stage should also be split into “Prologue, Episode, Exode, and a choral portion, distinguished into Parode and Stasimon...“ Unlike later,