Events that defy storytelling: Narrative and dramaturgical solutions in Chernobyl

The article starts from the premise that the success of Chernobyl was far from guaranteed. The show had to depict distant historical events, somewhat forgotten, set in a social context that could appear depressing and irrelevant, all while presenting an anxiety-inducing and tragic story. The article aims to demonstrate how the creator of the miniseries overcame these challenges – specifically, the narrative rhetoric employed to adapt the events of the Russian nuclear plant into an engaging story for the screen. The analysis is conducted using categories from screenwriting theory, which can be seen as a recent offshoot, aimed at audiovisual texts, of Wayne C. Booth's narrative rhetoric. In particular, the reasons behind the story's expressive power are examined on three levels. The first is the construction of the main characters, with dramatic arcs capable of generating tension both individually and through their interactions. The second level is an effective narrative structure that covers the entirety of the events without losing tension. The third level is the thematic depth of the story.