Aristotle, in his Poetics, refers to plot as a knot tied by the author (he calls it a dêsis, a “binding up”) out of the manifold strands representing competing wills or desires or ideologies; an ugly and worrisome knot that will, in due course, ultimately come undone in a climactic moment of loosening or release of tension (the lysis, or “undoing”)—a concept that survives in our term “dénouement.”
There can, that is to say, be no theater unless bad things happen, unless there are terrible problems, insoluble knots; without them, there would be nothing for the characters to do. That “doing” gives us the very word by which we refer to what happens on stage: “drama” comes from the Greek drân, “to do” or “to act.” When we go to the theater, we want to see characters doing things. Bad things, preferably.
The inherent dramatic interest of badness helps explain the abiding fascination exerted by bad, or at the very least tormented, characters ....
- from Daniel Mendelsohn “The Truth Force at the Met”, a review of Phillip Glass’ “Satyagraha” in the New York Review of Books