·CALIFORNIA STATE UNIVERSITY, NORTHRIDGE THE USE OF FAIRY TALES IN THEATRE FOR CHILDREN A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Theatre by Maria Fazio Truxaw May, 1983 The Thesis of Maria Fazio Truxaw is approved: Professor John S. Furman Professor ary Jane Evans, Chairperson California State University, Northridge -i i rABLE OF CONTENTS Page ABSTRACT . iv Chapter 1. INTRODUCTION . 1 2. THE SOURCES AND DEVELOPMENT OF FAIRY TALES 4 THE COMMUNAL ROOTS OF FOLK AND FAIRY LORE 4 THE HISTORICAL EVOLUTION OF LITERARY FAIRY TALE . 6 3. THE STRUCTURE AND STYLE OF FAIRY TALES . 9 4. THE COMPONENTS OF FAIRY TALES . 12 PHYSICAL THINGS IN FAIRY TALES . 12 ANIMALS IN FAIRY TALES . 14 5. FAIRY TALE CHARACTERS . 18 PROTAGONISTS . 18 SUPERNATURAL BEINGS . 21 6. FAIRY TALE THEMES . 23 7. PSYCHOLOGICAL IMPACT . 25 8. INTERPRETATION OF SPECIFIC FAIRY TALES . 30 SNOW WHITE AND THE SEVEN DWARFS . 30 CINDERELLA . 38 HANSEL AND GRETEL . 45 JACK AND THE BEANSTALK . 54 9. CONCLUSION . 60 10. NOTES . 64 BIBLIOGRAPHY . 69 iii ABSTRACT THE USE OF FAIRY TALES IN THEATRE FOR CHILDREN b.Y .Maria Fazio Truxaw .Master of Arts in Theatre Throughout the centuries artists have drawn upon fairy tale plots, characters and motifs as a source of inspiration. The early history of the children's theatre movement within the United States is notable for its use of fairy tales as a major resource for script material. The dramatic adaptation of fairy tales by playwrights for theatre for children is the central focus of this study. In order to review the transition of the narrative form of the original tales into a theatrical format, the fairy tale genre has been investigated in terms of development, structure and style, characters and thematic iv content. Fairy tales• psychological impact is included to determine their potential effect on the child. Versions of 11 Snow White, 11 11 Cinderella, 11 11 Jack and the Beanstalk 11 and 11 Hansel and Gretel .. have been analyzed and compared to a sampling of their dramatic adaptations. Conslusions are then drawn as to the scripts• utilization of the original fairy tale. v Chapter 1 INTRODUCTION 11 0nce upon a time ... 11 Few phrases have the power to conjure such complete worlds of magic as this simple introduction. The phrase calls forth images of royalty, witches, enchanted animals, long-suffering heroines and unlikely heroes engaged in impossible struggles that, as a ·matter of course, end happily ever after. Fairy tales are found in virtually every culture throughout the world. 1 They transcend time and place as they reveal the richness of common human experiences, wishes and dreams. Students of folk and fairy lore know that versions of individual stories, springing from a variety of widely diverse cultures, not only resemble one another but actually have specific details in ' 2 common. For example, there are over seven hundred recorded versions of "Cinderella," most of which center around a lost shoe. 3 In recent years, fairy stories have drawn a great deal of atten- tion from psychologists who recognize within them, among other things, an unparralleled guide for the maturation process of children, the inner workings of the human psyche and the spiritual evolution of man•s soul. Whether the simple structure and clarity of the tales can support such claims ultimately depends on individual opinion, for it is impossible to find absolute proof for one•s theories in the unscientific realm of faerie. There is one certainty: fairy tales have endured and remain fascinating to the many people who read and listen to them and come to the theatre to see them enacted. 1 2 Staying power, psychological insights and proven commercial appeal point to the inherent strenqth of the fairy tale, which can be fascinating to playwrights and producers of theatre for children. Throughout the centuries fairy tales have been used by authors, artists and playwrights as a basis for their works. In the United States, the early history of the children's theatre movement is notable for its use of fairy tales as a major source of script material. Many of the older scripts and most contemporary adaptations use the stories as a general outline, filling them with subplots and a variety of theatrical and dramatic evices which may alter the meaning and effect of the original tales. It would seem that directors should feel obliged to acquire knowledge of the structure, components and potential impact of fairy tales before attempting to bri·ng scripted material to life on the stage. One should think that playwrights would feel an even greater obligation to delve into the elements which provide the natural power of a fairy tale when they undertake to adapt it for the stage. The purpose of this study is to examine selected well-known fairy tales with attention to their origins, definitions, structure, themes and potential impact in order to interpret their meanings and then compare those interpretations to a sampling of dramatic adaptations. Conclusions will then be drawn as to the scripts• utilization of the original tales. Because the realm of folk and fairy lore is so vast, the major focus of the study is limited to European sources, from which the most widely-known versions of the stories come. The fairy tale's simple and clear structure follows a very tight rigid pattern, which is believed to be generally human and basic to all men. 4 The typical brief fairy tale plot is characterized by a 3 succession of motifs or episodes focusing on the elimination of some misfortune or lack. The basic structure moves from an initial depriva- tion to resolution through some quest or trial. The final resolution usually takes the form of a union between the tale•s positive male and female characters.5 The story is set in motion by the introduction of some tension-producing event, and all the proceeding action works toward the elimination of this tension and a return to a state of un­ disturbed harmony and happiness. 6 Time and place remain undefined within the fantastic world where magic is an integral part of realty.7 J. R. R. Tolkien describes the elements of the fairy tale as fantasy•s establishment of a secondary world, a recovery from deep despair, an escape from great danger and most importantly the consola­ tion of a happy ending with its denial of final defeat.8 According to Tolkien, fairy tales contain a return to the clear view of childhood, a harmonious integration with nature and the promise of future justice.9 Chapter 2 THE SOURCES AND DEVELOPMENT OF FAIRY TALES Turning to a general discussion of folk and fairy tales, one must note that many scholars believe the tales are the degeneration of ancient myths which through the ages have lost their cultural overlay • and become simple outlines of once-elaborate stories.10 Another :theory points to an individual's experience of the unconscious which through its retelling becomes exaggerated and takes on familiar motifs. 11 The forming of the tales is also thought to be "an essentially spiritual occupation."12 The spiritual world, the source of man's values and sense of beauty, is named as the fairy tales' basis of inspiration.13 The spark of creation is secondary to the ·evolution of the tales as they were shaped by centuries of human experience reflecting man's basic beliefs and perceptions of the world around him. THE COMMUNAL ROOTS OF FOLK AND FAIRY LORE The following synthesis of the work of several folklorists reflects their theories regarding the evolution of the fairy tales. Fairy tales, the creation of an anonymous folk peasantry, are a fundamental part of the folkloric tradition of a community, represent­ ing the learning, wisdom and art of its people. 14 "Folklore has a cultural and social base and is a definite realistic, artistic and communicative process."15 Tales, riddles, songs and ballads contain traditional solutions to recurrent communal problems. Folklore helps 4 5 ease 1 ife-threatening situations. through reinforcing the communal 16 sentiment and thereby insuring the continuity of the community. It establishes social and ethical guidelines, providing safety valves for inappropriate behavior and setting up mechanisms to handle the un­ expected.17 The controlling power of folklore lies in a primitive belief in the inherent sameness in situations. The ability to objectify a conflict situation, crystallize it in a symbol or image and give it a name provides the resolution of tension.18 Primitive man believed in the power of the spoken word; what one could name could ·be controlled.19 Folklore directed the action of the community through wit in the form of a storyteller•s performance. The tales had first to provide pleasure through organized and controlled persuasion--a dramatic presentation. Entertainment was merely the first step. The ultimate goal of a folkloric performance was the communal acceptance of and adherence to traditional values and definitions. The presentations conformed to the form, structure and attitudes which were accepted and understood. Folk tales not only provided entertainment for adults and instruction for the youth, but also reinforcement for the integrity of the group as a whole. 20 The performance of the folklore constituted a communal event and was one of the people•s most ••important means of artistic expression. 21 The stories were constantly created and re-created through the dynamic relationship between the story, audience and narrator. This 11 artisitic action 11 depended on the creativity of the storyteller, the aesthetic response of the listeners and the strength of the tale. 22 The renewal and development of folklore thrived on this active participation.