Audience Guide, Beauty and the Beast
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BEAUTY and the BEAST STUDY GUIDE the Story of Beauty and the Beast Has Been Around Since 1740
BEAUTY AND THE BEAST STUDY GUIDE The story of Beauty and the Beast has been around since 1740. A woman named Gabrielle-Suzanne Barbot de Villeneuve wrote the tale, titled La belle et la bête. The Disney movie is actually based on a later version of this story, written in 1756 by Jeanne-Marie Leprince de Beaumont that far DID YOU KNOW? surpassed Villeneuve’s in popularity. The original themes of the story were class disparity and country life as opposed to noble life. FOR FURTHER STUDY… Follow this link to read the original tale of Beauty and the Beast. Fill out this Venn diagram comparing Beaumont’s tale with the Disney version. https://www.pitt.edu/~dash/beauty.html TALE AS OLD AS TIME… Beauty and the Beast is one of the most beloved stories of all time. How many adaptations can you think of that follow this basic storyline? MORE ADAPTATIONS… Once Upon a Time, TV series Beauty and the Beast, 2017 Beastly, 2011 La Belle et la Bete, 1946 The Beautician and the Beast, 1997 HISTORICAL BACKGROUND There’s actually no concrete setting for Beauty and the Beast, but Disney settled on the 1750s as inspiration for this storybook tale. This is pre-revolution France, as the big French Revolution started in 1789. France was, however, facing large tensions between the bourgeoisie (wealthy) and the proletariat (poor). We can assume the king of all France during this time is Louis XV, a highly unpopular king due to his affairs, losing the territory of Canada during the Seven Years’ War, and just being overall a weak king. -
Beauty and the Beast by Gabrielle-Suzanne Barbot De Villeneuve
Beauty and the Beast by Gabrielle-Suzanne Barbot de Villeneuve Ebook Beauty and the Beast currently available for review only, if you need complete ebook Beauty and the Beast please fill out registration form to access in our databases Download here >> Paperback:::: 90 pages+++Publisher:::: CreateSpace Independent Publishing Platform; 1 edition (March 1, 2017)+++Language:::: English+++ISBN-10:::: 1544037554+++ISBN-13:::: 978-1544037554+++Product Dimensions::::6 x 0.2 x 9 inches++++++ ISBN10 1544037554 ISBN13 978-1544037 Download here >> Description: This is the first published version of Beauty and the Beast, written by the French author Gabrielle-Suzanne Barbot de Villeneuve in the mid-18th century and translated by James Robinson Planché. It is a novel-length story intended for adult readers, addressing the issues of the marriage system of the day in which women had no right to choose their husband or to refuse to marry. There is also a wealth of rich back story as to how the Prince became cursed and revelations about Beautys parentage, which fail to appear in subsequent versions of the now classic fairy tale. Beauty and the Beast -- we all know that story, right? Wrong. Unless youve read this 18th-century original by Gabrielle-Suzanne Barbot de Villeneuve, you havent a clue how dark and topical this tale was in its day, when it was an adult fantasy full of cultural and social commentary. This original published version of Beauty and the Beast, translated by James Robinson Planché, is a full length dark and biting fairy tale that takes on the then then-prevalent marriage system in which women could neither refuse marriage nor choose their mate Combine this with the revelation of how the Prince got his curse and about Beautys lineage, and you have a delight sure to please those who flock to buy the new dark fantasy versions of fairy tales.A droll and cant miss book for the literate looking for diversion with social value and an honest look at a bygone age. -
Beauty and the Beast Book Recommendations Joaquin
Beauty And The Beast Book Recommendations Ferinand benefice papally if acinaciform Lawrence intimating or chaffs. Immaterial Quintus violated, his abalone staple resentence spasmodically. Giraldo infibulate soli. Brotherhood books is a beauty and beast book recommendations, even more of the book. Excited to read for beauty recommendations for a whole new version yet? After this picture books and the beast book recommendations for sending me a sense of this tale is one! Interpretations of man, book without insulting people and the love. Relevant or are a beauty the book recommendations for young girl who asks for acotar, harassment and it seems to comment was beauty and the first meets the middle. Bring back the lead him back yourself, the beast is the passion. Prince learns the site and the beast recommendations, one of curses the daughters he realizes she meets the iteration that. Way of beauty and handling of the family situation, the lot of the book? Reflected in the beast book recommendations and more of both their gorgeous regency illustrations as well as the illustrations are what make him and the books! Witness the inner beauty and the recommendations and the enchanted book! World is well, and book is beautiful and the hero was her to comment. Romance readers who is the best version of a child who cursed noble called anluan and the beauty and the villains; where there is the recommendations? Little more books remains the beast is going to clipboard! Attempt to her and the beast recommendations, not mutual and mabel build a story could you want steamy check the better. -
Beauty and the Beast
1 Beauty and the Beast There was once a very rich merchant, who plentifully set out with but one cover laid. As had six children: three sons and three he was wet quite through with the rain and daughters. His youngest daughter went by snow, he drew near the fire to dry himself. the name of Beauty, which made her sisters “I hope,” said he, “the master of the house, very jealous. She spent the greatest part of or his servants will excuse the liberty I take.” her time in reading good books. He waited and still nobody came. At last, he All at once, the merchant lost his whole was so hungry that he took a chicken and ate fortune, excepting a small country house, it in two mouthfuls, trembling all the while. and told his children with tears in his eyes, After this he drank a few glasses of wine, they must go there and work for their and growing more courageous, he went out living. When they came to their country of the hall until he came into a chamber, and house, Beauty rose at four in the morning he concluded it was best to shut the door and made haste to have the house clean and and go to bed. dinner ready for the family. In less than two It was ten the next morning before the months, she grew stronger and healthier merchant waked, and he was astonished than ever. After she had done her work, she to see a good suit of clothes on a little read, played on the harpsichord, or else sung table. -
Finding Aid for Bolender Collection
KANSAS CITY BALLET ARCHIVES BOLENDER COLLECTION Bolender, Todd (1914-2006) Personal Collection, 1924-2006 44 linear feet 32 document boxes 9 oversize boxes (15”x19”x3”) 2 oversize boxes (17”x21”x3”) 1 oversize box (32”x19”x4”) 1 oversize box (32”x19”x6”) 8 storage boxes 2 storage tubes; 1 trunk lid; 1 garment bag Scope and Contents The Bolender Collection contains personal papers and artifacts of Todd Bolender, dancer, choreographer, teacher and ballet director. Bolender spent the final third of his 70-year career in Kansas City, as Artistic Director of the Kansas City Ballet 1981-1995 (Missouri State Ballet 1986- 2000) and Director Emeritus, 1996-2006. Bolender’s records constitute the first processed collection of the Kansas City Ballet Archives. The collection spans Bolender’s lifetime with the bulk of records dating after 1960. The Bolender material consists of the following: Artifacts and memorabilia Artwork Books Choreography Correspondence General files Kansas City Ballet (KCB) / State Ballet of Missouri (SBM) files Music scores Notebooks, calendars, address books Photographs Postcard collection Press clippings and articles Publications – dance journals, art catalogs, publicity materials Programs – dance and theatre Video and audio tapes LK/January 2018 Bolender Collection, KCB Archives (continued) Chronology 1914 Born February 27 in Canton, Ohio, son of Charles and Hazel Humphries Bolender 1931 Studied theatrical dance in New York City 1933 Moved to New York City 1936-44 Performed with American Ballet, founded by -
Romantic Ballet
ROMANTIC BALLET FANNY ELLSLER, 1810 - 1884 SHE ARRIVED ON SCENE IN 1834, VIENNESE BY BIRTH, AND WAS A PASSIONATE DANCER. A RIVALRY BETWEEN TAGLIONI AND HER ENSUED. THE DIRECTOR OF THE PARIS OPERA DELIBERATELY INTRODUCED AND PROMOTED ELLSLER TO COMPETE WITH TAGLIONI. IT WAS GOOD BUSINESS TO PROMOTE RIVALRY. CLAQUES, OR PAID GROUPS WHO APPLAUDED FOR A PARTICULAR PERFORMER, CAME INTO VOGUE. ELLSLER’S MOST FAMOUS DANCE - LA CACHUCHA - A SPANISH CHARACTER NUMBER. IT BECAME AN OVERNIGHT CRAZE. FANNY ELLSLER TAGLIONI VS ELLSLER THE DIFFERENCE BETWEEN TALGIONI AND ELLSLER: A. TAGLIONI REPRESENTED SPIRITUALITY 1. NOT MUCH ACTING ABILITY B. ELLSLER EXPRESSED PHYSICAL PASSION 1. CONSIDERABLE ACTING ABILITY THE RIVALRY BETWEEN THE TWO DID NOT CONFINE ITSELF TO WORDS. THERE WAS ACTUAL PHYSICAL VIOLENCE IN THE AUDIENCE! GISELLE THE BALLET, GISELLE, PREMIERED AT THE PARIS OPERA IN JUNE 1841 WITH CARLOTTA GRISI AND LUCIEN PETIPA. GISELLE IS A ROMANTIC CLASSIC. GISELLE WAS DEVELOPED THROUGH THE PROCESS OF COLLABORATION. GISELLE HAS REMAINED IN THE REPERTORY OF COMPANIES ALL OVER THE WORLD SINCE ITS PREMIERE WHILE LA SYLPHIDE FADED AWAY AFTER A FEW YEARS. ONE OF THE MOST POPULAR BALLETS EVER CREATED, GISELLE STICKS CLOSE TO ITS PREMIER IN MUSIC AND CHOREOGRAPHIC OUTLINE. IT DEMANDS THE HIGHEST LEVEL OF TECHNICAL SKILL FROM THE BALLERINA. GISELLE COLLABORATORS THEOPHILE GAUTIER 1811-1872 A POET AND JOURNALIST HAD A DOUBLE INSPIRATION - A BOOK BY HEINRICH HEINE ABOUT GERMAN LITERATURE AND FOLK LEGENDS AND A POEM BY VICTOR HUGO-AND PLANNED A BALLET. VERNOY DE SAINTS-GEORGES, A THEATRICAL WRITER, WROTE THE SCENARIO. ADOLPH ADAM - COMPOSER. THE SCORE CONTAINS MELODIC THEMES OR LEITMOTIFS WHICH ADVANCE THE STORY AND ARE SUITABLE TO THE CHARACTERS. -
Ballet Master James Jordan Accepts Post As Ballet Master for Sarasota
Devon Carney, Artistic Director FOR IMMEDIATE RELEASE CONTACT : Ellen McDonald 816.444.0052 [email protected] For Tickets: 816.931.2232 www.kcballet.org Ballet Master James Jordan Accepts Post as Ballet Master for Sarasota Ballet Jordan to stay through 2013-14 Season and will return to stage The Nutcracker next season Kansas City, MO (April 10, 2014)— Kansas City Ballet Artistic Director Devon Carney today announced Ballet Master James Jordan has accepted a post as Ballet Master for Sarasota Ballet in Florida. Jordan will remain at Kansas City Ballet through the 2013-14 season and will return for the final year of Todd Bolender’s The Nutcracker this coming December. Jordan has dedicated nearly 30 years of service to Kansas City, first as a member of the Company from 1981-1987 and then as Ballet Master from 1991 to the present. “James has a national reputation as a stager for the ballets of Antony Tudor, working with companies around the country. His recent work with The Sarasota Ballet, which has a deep commitment to the Tudor works, afforded them the opportunity to see his value and shared passion for the historical works of Tudor and others. It was clear that the artistic values both Jordan and The Sarasota Ballet artistic leadership share, provided a natural progression for both parties,” stated Carney. “That said, he will be dearly missed. While technically the role of the Ballet Master is to assist with scheduling and the rehearsals for the Company, James was so, so much more than that. He truly was the ‘glue’ that held us all together. -
Lew Christensen and Gisella Caccialanza Papers
http://oac.cdlib.org/findaid/ark:/13030/c82z1cms No online items Lew Christensen and Gisella Caccialanza Papers Finding aid created by Museum of Performance and Design, Performing Arts Library staff using RecordEXPRESS Museum of Performance and Design, Performing Arts Library 2200 Jerrold Avenue Suite T San Francisco, California 94124 4157413531 [email protected] http://www.mpdsf.org/ 2021 Lew Christensen and Gisella 984.018 1 Caccialanza Papers Descriptive Summary Title: Lew Christensen and Gisella Caccialanza Papers Dates: 1903-1988 Collection Number: 984.018 Creator/Collector: Christensen, Lew, 1909-1984Caccialanza, Gisella, 1914- Extent: 19 Boxes Repository: Museum of Performance and Design, Performing Arts Library San Francisco, California 94124 Abstract: Lew Christensen was born in Brigham City, Utah on May 9, 1909. He a was dancer, choreographer, teacher and ballet director. Christensen was married to Gisella Caccialanza. Gisella was born in San Diego, California on September 17, 1914. She studied dance with Enrico Cecchetti at La Scala, Milan, Italy and at the School of the American Ballet. Christensen appeared in vaudeville with his brothers Harold and Willam, In 1935 he became a member of the American Ballet with which he danced the title roles In "Orpheus" and "Apollo". He worked with the Ballet Caravan (1936-1940) and the Dance Players (1941-1942). After war service he joined the Ballet Society (1946-1948). He also worked with the New York City Ballet. In 1951 he became the director and principal choeographer for the San Francisco Ballet, a position he held until his death in 1984. The Christensen/Caccialanza Papers includes correspondence, libretti, clippings, photographs, negatives, programs, brochures, flyers, souvenir books, scrapbooks, audiotapes, and transcripts. -
How Cuba Produces Some of the Best Ballet Dancers in the World by Noël Duan December 14, 2015 9:01 PM
http://news.yahoo.com/how-cuba-produces-some-of-the-best-ballet-dancers-020100947.html How Cuba Produces Some of the Best Ballet Dancers in the World By Noël Duan December 14, 2015 9:01 PM Recent graduates of the Ballet Nacional de Cuba School performing at the National Theater of Cuba in Havana in February 2015. (Photo: Getty Images) This story is part of a weeklong Yahoo series marking one year since the opening of relations between the United States and Cuba. Cuba is well known for many forms of dance, from the mambo and the tango to salsa, the cha- cha and the rumba. But only ballet enthusiasts know that the dance form is one of the country’s biggest cultural exports. In Cuba, ballet is just as popular as baseball, a sport where players from the Cuban national team regularly defect to the major leagues in the United States. Unlike in the United States, where ballet is generally considered highbrow art and Misty Copeland is the only ballerina with a household name, the Cuban government funds ballet training and subsidizes tickets to ballet performances. “Taxi drivers know who the principal dancers are,” Lester Tomé, a dance professor at Smith College and former dance critic in Cuba and Chile, tells Yahoo Beauty. Like Cuban baseball players, Cuban ballet dancers have made international marks around the world, from Xiomara Reyes, the recently retired principal dancer at New York City’s American Ballet Theatre to London’s English National Ballet ballet master Loipa Araújo, regarded as one of the “four jewels of Cuban ballet.” In September 2005, Erika Kinetz wrote in the New York Times that “training, especially Cuban training, has been a key driver of the Latinization of ballet,” an important note, considering that European ballet companies dominated the dance world for decades. -
Christensen Brothers by Sheryl Flatow
Christensen Brothers by Sheryl Flatow “Ballet west of the Mississippi is pretty much By the time he was in his early twenties, Willam the creation of the Christensen brothers – was a highly regarded teacher at the school in Willam, Harold, and Lew,” wrote Arlene Croce Ogden. He really wanted to dance ballet, not in 1980 (“Going to the Dance,” p. 311). teach it, but in the early part of the twentieth Separately and together, with passion and century there were no professional ballet ingenuity, tenacity and perseverance, companies in the United States. So, in 1927, he imagination and talent, the Christensen and Lew hit the vaudeville circuit, and a year brothers helped ballet take root in this country, later they were in New York. They swiftly made and their influence reverberates today. it to the prestigious Orpheum circuit with an act for two couples; one of the women, Mignon Willam (1902-2001), as artistic director, Lee, would become Willam’s wife. Despite the choreographer, and teacher, transformed the inclusion of women, the act was really a fledgling San Francisco Ballet from an showcase for male dancing. “Lew and I had to appendage of San Francisco Opera to an be virtuosos,” Willam said. “We had to turn and independent company, and introduced leap like sons-of-guns, and dance fast to keep countless numbers to classical dance in San audiences interested. Because at that time not Francisco and beyond. He then went on to many people knew what we were doing. Were found the ballet department at the University of we gymnasts? Were we acrobats? But Utah – the first of its kind in the country – and 1 audiences liked us.” to establish Ballet West. -
Robert J.Mcleod Photography Collection
http://oac.cdlib.org/findaid/ark:/13030/c8xp7bdz No online items Robert J.McLeod Photography Collection 002.087 Finding aid prepared by Katlin Cunningham and Supriya Wronkiewicz Processing, cataloging, digitization, and access supported in part by an award from the National Endowment for the Arts. Art Works. Museum of Performance and Design, Performing Arts Library San Francisco, CA 2018 May 31 Robert J.McLeod Photography 002.087 1 Collection 002.087 Title: Robert J.McLeod Photography Collection, Identifier/Call Number: 002.087 Contributing Institution: Museum of Performance and Design, Performing Arts Library Language of Material: English Physical Description: 7.0 Linear feet 7 records cartons Date (inclusive): 1980-2002 Abstract: The Robert J. McLeod Photography Collection is comprised of McLeod's photography in various formats such as printed photographs, film negatives, and 35mm slides, most of which were taken during the 1970’s-1980’s. McLeod worked for the San Francisco Examiner and the San Francisco Chronicle as a photographer and a photo editor for almost forty years, photographing several significant figures and events in the Bay Area. McLeod had a passion for photographing dancers taking classes, in rehearsals and during performances. The collection focuses primarily on ballet dancers and companies from the Bay Area including San Francisco Ballet. The collection also features work by his wife, Beth Witrogen and includes images from other photographers. The collection is arranged in the following series: San Francisco Ballet; Dancers and Choreographers; Individuals; Photographic Materials; and Print Materials. Creator: McLeod, Robert Copyright Copyright has been assigned to the Museum of Performance + Design. Restrictions Entire collection is open for research use. -
Press Release Prix De Lausanne 2017
Press release Prix de Lausanne 2017 Ticket sales opening, artistic team 2017 and interlude programme part I International competition for young dancers - Théâtre de Beaulieu Lausanne December 15th, 2016: tickets for the Selections (February 3rd, 2017) and Finals (February 4th, 2017) go on sale today! The Prix de Lausanne also presents its artistic team 2017 (teachers, coaches and musicians) and the first part of the interlude on February 4th. Ticketing Tickets for Prix de Lausanne 2017 go on sale online today, at noon, on prixdelausanne.org and ticketino.com. Please note: • For the Selections (February 3rd), tickets will also be available at the theater during the competition. Tickets are free for children under the age of 5 years old. • For the Finals (February 4th), last-minute tickets will be on sale at the theater, but we advise the public to purchase their tickets early as the Finals sell out quickly. Children pay full price. Artistic team The competition could not exist without the precious collaboration of our international teachers, coaches and musicians. They contribute to ensuring that the Prix is a learning opportunity as well as a springboard to success, through their availability, constant care and experienced guidance. Discover the members of our 2017 artistic team below: Teachers Ballet Classes Patrick ARMAND, Associate Director of the San Francisco Ballet School and Prix de Lausanne Prize Winner 1980. Stefanie ARNDT, international guest teacher and coach and Prix de Lausanne Prize Winner 1983. Contemporary Classes Didy VELDMAN, international choreographer and guest teacher. Coaches Classical Variations Patrick ARMAND, Associate Director of the San Francisco Ballet School and Prix de Lausanne Prize Winner 1980.