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ALICE in WONDERLAND 1. PROLOGUE - DOWN THE RABBIT HOLE IN WHICH THREE SISTERS LEAVE THEIR WORLD BEHIND SONGS: THE GLOW & WHEN YOU’RE FALLING [LIGHTS UP. SHOWCASE: VOICE lines the sides of the stage. Music begins and they sing:] THE GLOW LOOK AROUND TAKE IN ALL THAT YOU SEE YOU JUST MIGHT BE SURPRISED A WORLD OF ENCHANTMENT AND PURE MAJESTY YOU'LL BE DISCOVERING THE HERO THAT YOU'RE MEANT TO BE [Curtain opens. LORINA, ALICE and EDITH are having a picnic. ALICE and EDITH lay on a small hillside looking to the sky and pointing to clouds. LORINA remains on the picnic blanket, trying to be irritated with her sisters, yet it is also clear she loves them dearly.] THE STORY BEGINS WITH THE LIGHT IN YOUR HEART A FANTASY, A DREAM AND A SPARK ONCE YOU BELIEVE YOU ARE READY TO SHINE THE WONDER INSIDE YOU WILL SHOW YOU ARE THE GLOW... FEEL YOUR STRENGTH, YOU CAN FACE THE WORLD BELIEVE EVERY DAY, EVERYTHING IS POSSIBLE A MAGICAL JOURNEY AWAITS... EDITH I see... a duck... a white duck... And a white rabbit! LORINA They’re clouds, Edith. Of course they’re white. Come finish your plate. ALICE I see a mad queen — and she wants to cut off your head! EDITH No! LORINA Edith, Alice is only teasing. Alice, if you’re going to play, play nice. ALICE in WONDERLAND 2. ALICE It’s so dull here. I want to be on the river. (new thought) I wish it were summer and time for the fair! LORINA Unless you were on the river or at the fair and then you’d wish to be somewhere else. I don’t know why I even try to explain to you how— ALICE Neither do I. You’re not mother. EDITH (peace-keeper) Play with us, Lorina! LORINA (mostly to herself) Then who would serve the food or clean up everything after. It’s supposed to be a merry day for me too. [Enter WHITE RABBIT, unseen, stage left while LORINA speaks. She franticly pulls out pocket watch and pulls her ear, dreadfully worried.] RABBIT Dear me, I’m late - so terribly, terribly late. ALICE (dumbfounded) I see rabbit... white rabbit. EDITH (pointing up) I already spotted a rabbit. ALICE Not this one. EDITH (still searching clouds) Where are you looking? [ALICE turns EDITH’s head. EDITH gasps at the sight of the WHITE RABBIT.] ALICE in WONDERLAND 3. LORINA (fishing in picnic basket) Nowhere. Alice, your games are really tiresome. RABBIT (to self) What will I do? LORINA You’ll finish your lunch, like a good girl. [ALICE looks oddly at LORINA, who just answered the WHITE RABBIT as if it were ALICE who had spoken.] RABBIT Where’s that entrance got to now? LORINA What entrance? EDITH He’s awful peculiar in vest and pants. LORINA Now you’ve got Edith doing it— (she has looked up, jumps) There’s a rabbit. ALICE I told you. Let’s catch it! LORINA Alice, no!! [ALICE bounds toward the WHITE RABBIT. EDITH is on her heels. The WHITE RABBIT, spotting the girls, panics. Play 1st minute of CARMEN Suite No. 1. Rabbit races about the stage with ALICE and EDITH trying to corner her while LORINA tries to grab her sisters. ALICE in WONDERLAND 4. ALICE is on the rabbit’s heels as it races toward a tree. It has made several attempts at the tree, but one of the girls was always in the way. Now, with a clear path, the WHITE RABBIT leaps through, sliding down the opening. ALICE leaps in too, shrieks and tries to stop from falling. LORINA grabs her hands (ALICE has managed to turn herself around), but is pulled in to her waist. LORINA’s legs leave the ground. EDITH grabs her heels and pulls, but all three are pulled in. Moving shoulder to shoulder, SHOWCASE: VOICE moves to Center Stage. They sing: THE STORY BEGINS WITH THE LIGHT IN YOUR HEART A FANTASY, A DREAM AND A SPARK ONCE YOU BELIEVE YOU ARE READY TO SHINE THE WONDER INSIDE YOU WILL SHOW YOU ARE THE GLOW, YOU ARE THE GLOW WHOA, YOU ARE THE GLOW. WHEN YOU’RE FALLING [As music shifts to upbeat rhythms, screen descends and ENSEMBLE CAST enters from Stage Right and Stage Left. They dance behind SHOWCASE: VOICE, wave banners, animals march past, move streamers and sing the chorus. As SHOWCASE: VOICE sings, we see LORINA, ALICE and EDITH on the screen falling slowly down a seemingly endless hole.] EVERY DAY, YOU CRAWL INTO THE NIGHT A FALLEN ANGEL, WITH YOUR WINGS SET ALIGHT WHEN YOU HIT THE GROUND, EVERYTHING TURNS TO BLUE I CAN'T GET THROUGH THE SMOKE, THAT'S SURROUNDING YOU 'CAUSE WHEN YOU'RE FALLING I CAN'T TELL WHICH WAY IS DOWN AND WHEN YOU'RE SCREAMING SOMEHOW I DON'T HEAR A SOUND AND WHEN YOU'RE SEEING THINGS ALICE in WONDERLAND 5. THEN YOUR FEET DON’T TOUCH THE GROUND 'CAUSE WHEN YOU'RE FALLING I CAN'T TELL WHICH WAY IS DOWN I CAN SEE THROUGH THE CLOUDS, I CAN WALK RIGHT THROUGH THE WALLS HANG ME OFF THE CEILING, BUT I CAN'T TAKE THE FALL SHOULD I CROSS THE RIVER, WHEN I MAY GET SWEPT AWAY OUT THERE ON THE WATER, YOU CAN STILL SEE ME WAVE 'CAUSE WHEN YOU'RE FALLING I CAN'T TELL WHICH WAY IS DOWN AND WHEN YOU'RE SCREAMING SOMEHOW I DON'T HEAR A SOUND AND WHEN YOU'RE SEEING THINGS THEN YOUR FEET DON’T TOUCH THE GROUND 'CAUSE WHEN YOU'RE FALLING I CAN'T TELL WHICH WAY IS DOWN AND WHEN YOU'RE FALLING I CAN'T TELL WHICH WAY IS DOWN AND WHEN YOU'RE SCREAMING SOMEHOW I DON'T HEAR A SOUND SCENE 1 - STRANGE SIGNS AND STRANGER PEOPLE IN WHICH JACKIE DIAMOND ALERTS THE QUEEN OF FALLING COLORS [The ANIMALS of the BIRD CAUCUS are Stage Right including the extension. CATERPILLAR, TWEEDLE DEE and TWEEDLE DUM are up Stage Right on platforms by mushroom (only upper portion of CATERPILLAR can be seen at present time). MAD HATTER and tea party (MARCH HARE, DORMOUSE and MAY HAM) are at tea table down Stage left. DUCHESS soothes her child, KELE, up Stage left on platform as her CHEF cooks with vast amounts of pepper and the CHESIRE CAT slinks about. QUEEN of HEARTS sits beside the KING of HEARTS, though his chair does not reach the height of hers. Below, JACKIE SPADE, JACKIE HEART, and JACKIE CLUB and WHITE KNIGHT chat idly. ALICE in WONDERLAND 6. JACKIE DIAMOND enters from Stage Left at a run, not straight, but weaving through other scenes. She knocks into the CHEF, causing pepper to spill on KELE who wails and throws a fit. The DUCHESS yells after JACKIE DIAMOND. JACKIE DIAMOND spins TWEEDLE DEE and TWEEDLE DUM; bowls over some of the ANIMALS, races alongside Stage Right audience, along middle aisle, along Stage Left audience, bursts past the tea party, causing the MAD HATTER to spill tea (he cries out and begins to lick it off table). DORMOUSE wakes, emerging from sugar bowl, asking what is happening. MARCH HARE shoves lid down. Finally, he reaches the QUEEN of HEARTS at the center, bowling into the other JACKIES. SPADE KING Good heavens, what is it? CLUB HEART I’ll knock your Diamonds down to coal! WHITE KNIGHT Allow me to aid you in this fight, Jackie Club Heart! DIAMOND No fight! QUEEN OF HEARTS Jackie-love! What’s going on down there? HEART It’s Jackie Diamond, Mumsy! She’s entered all a fluster! QUEEN OF HEARTS Thank you, sweet-pea. (suddenly and violently) Off with her head! KING OF HEARTS Now, now, dear. Let’s hear what the Royal Astrologer has to say first... ALICE in WONDERLAND 7. QUEEN OF HEARTS Then off with her head. KING OF HEARTS Diamond, I’m surprised anything could pull you out of your observatory. DIAMOND (out of breath, and now worried for her head) Three stars... fallen... blue... pink... and green. SPADE KING You’re not making sense. CLUB HEART Hear that? You’re not making any cents! HEART (CONT’D) You’re not profitable. CLUB QUEEN Yes! Profit size more clearly! DIAMOND I have seen three colors fall through our sky: blue, pink and green. HEART KING What do you suppose it means, Jackie Diamond? DIAMOND Doom! KING OF HEARTS This is most strange! DIAMOND Indeed! KING OF HEARTS (not paying attention to Diamond) I seem to have been sitting on a newt! (he picks up small newt and flicks it away, to Jackie Diamond) What were you saying, Diamond? ALICE in WONDERLAND 8. DIAMOND (pause) Doom! WHITE KNIGHT ‘Tis the work of the Red Knight - the villain! CLUB QUEEN Oh, keep still about your Red Knight, will you? WHITE KNIGHT But he is out there - creating havoc. [Enter RED KNIGHT, riding. He stops at KELE, who is still crying (silent to audience). He hands her a large lollipop. She is instantly happy. The DUCHESS is thankful. The RED KNIGHT proceeds. The CHEF marches to the lollipop and sprinkles pepper on it, making KELE cry (silently) again.] WHITE KNIGHT (CONT’D) A more dastardly foe has never existed. [RED KNIGHT bows to CATERPILLAR as TWEEDLE DEE and TWEEDLE DUM look like admiring damsels in his presence. He spots ANIMALS and dismounts.] RED KNIGHT Ho, there, friends! [He jogs over.] WHITE KNIGHT Each word out of his mouth is like pitch and fire. RED KNIGHT Good ‘morrow to you all! Might I be of assistance in this time of need? [He immediately helps up the animals that are still on ground nursing wounds.
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  • A Reading of the Works by Fukazawa Shichiro By

    A Reading of the Works by Fukazawa Shichiro By

    Compelling Moments of Collaboration: A Reading of the Works by Fukazawa Shichiro by Chizu Kanada B. A., Tsuda College, Tokyo, 1988 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in The Faculty of Graduate Studies Department of Asian Studies We accept this thesis as conforming to the required standard The University of British Columbia August 1990 © Chizu Kanada, 1990 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of /UiflH SfaAieS The University of British Columbia Vancouver, Canada Date Au^t 30, 1110 DE-6 (2/88) ii Abstract This thesis is a study of the narrative strategies in the fiction of Fukazawa Shichiro (1914-87) and the ways in which these strategies work to solicit involvement in a compelling reading experience. The role of the narrator in each of the stories I discuss proves to be critical in the establishment of this relationship. And while I examine the thematic implications further enhanced by this solicitation, I have chosen to focus on how each story through its narrator produces those thematic messages. My emphasis on each work's technical aspect is also a deliberate, compensatory move, a reaction against the tendency of Japanese critics who slight the process of reading as a determining factor in their evaluation of Fukazawa's works.