The Phantom of the Opera
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Teacher's Notes
PENGUIN READERS Teacher’s notes LEVEL 5 Teacher Support Programme The Phantom of the Opera Gaston Leroux underground house on the lake below the Opera. She believes he is the Angel of Music, who her father promised to send after he died. To her horror she discovers, when she sees him for the first time that she is in the grip of a terrible monster. Count Chagny’s brother Raoul, the viscount, is also in love with Christine but she cannot return his love for fear of what the monster will do if he finds them together. The monster and the viscount are jealous of each other, but the monster is far cleverer and Raoul ends up in Erik’s torture room with the Persian who is helping him find Christine. When it seems that there is no hope and that they will die in the torture room, the Persian reminds Erik that he once saved Erik’s About the author life. This saves the two men. When Christine touches the monster’s hand, mixes her tears with his, and allows the Gaston Leroux, born in Paris in 1868, was trained in monster to kiss her, he has his first and last taste of human law, but chose a career in writing. He wrote stories, plays, affection and love. How can he now allow Christine to poems, novels and screenplays. His own extensive travels go away with Raoul? We learn towards the end of the around the world and his knowledge of the layout of the story that Erik was born with no nose and yellow eyes. -
The Phantom of the Opera: a Case Study of Severe Major Depressive
essio epr n D an f d Tobia et al., J Depress Anxiety 2017, 6:4 o A l a n n x r DOI: 10.4172/2167-1044.1000282 i e u t y o J Journal of Depression and Anxiety ISSN: 2167-1044 Research Article Article Open Access The Phantom of the Opera: A Case Study of Severe Major Depressive Disorder with Psychotic Features Anthony Tobia*, Roseanne Dobkin, Shawen Ilaria, Rehan Aziz, Viwek Bisen and Adam Trenton Department of Psychiatry, Rutgers Robert Wood Johnson Medical School, USA Abstract Objective: Portrayals of psychiatry in the arts have been enjoyed by audiences for almost a century. Courses designed to teach psychopathology have used examples from the arts to emphasize major teaching points. This paper frames Elisabeth Kübler-Ross’s stage theory of grief within selected scenes of Andrew Lloyd Webber’s musical, The Phantom of the Opera, to achieve course objectives such as the etiology, course, and levels of severity of Major Depressive Disorder. Methods: Course content from our Psychopathology course was transformed into a dialogue between an examining psychiatrist and a Broadway performer who was in character. The performance was part of a special Grand Rounds reviewing the Mood Disorders. Results: Goals and objectives were readily achieved with over 450 faculties in attendance. Conclusions: Organizing a curriculum with performing arts is an innovative teaching method that allows for review of mental disorders such as those demonstrated in The Phantom of the Opera. Keywords: Media; Teaching methods; Depression; Psychopathology in character, responded in song. This paper reviews the major points from our event formulating the dialogue as a case of Major Depressive Introduction Disorder (MDD). -
Garwood Council Creates Parks and Recreation Committee Cranford
Happy Hanukkah 2019 Ad Populos, Non Aditus, Pervenimus Published Every Thursday Since September 3, 1890 (908) 232-4407 USPS 680020 Thursday, December 19, 2019 OUR 129th YEAR – ISSUE NO. 51-2019 Periodical – Postage Paid at Rahway, N.J. www.goleader.com [email protected] ONE DOLLAR Cranford School District to See Share of Birchwood PILOT By CHRISTINA M. HINKE would not see taxes from that resi- Under the PILOT agreement with Specially Written for The Westfield Leader dential development, had the town- Birchwood Developers, the township CRANFORD – The township com- ship committee not formed this shar- is to receive 11 percent of revenue in mittee passed an ordinance Tuesday ing agreement with the school dis- the first 15 years of the 30-year tax that formalizes an agreement with the trict. The township made an agree- abatement. Cranford school district to share a ment to provide the district 70 per- Superintendent of Schools Scott portion of the Annual Service Charge cent of the Annual Service Charge Rubin, Ed.D., said to the committee, from Birchwood Developers Urban received in the calendar year of the “On behalf of the board of Renewal Associates, LLC, commenc- Annual Service Charge start date; 70 education...we really appreciate the ing upon Birchwood’s substantial percent of the Annual Service Charge opportunity you afforded us to advo- completion of a residential develop- received in the first full calendar year cate on behalf of our students and ment along Birchwood Avenue. following the Annual Service Charge faculty.” The apartment complex is under start date; and 55 percent of the An- Two developments going up in the development currently. -
The Phantom of the Opera Music: Andrew Lloyd Webber Lyrics
The Phantom of the Opera Music: Andrew Lloyd Webber Lyrics: Charles Hart + Richard Stilgoe Book: Andrew Lloyd Webber + Richard Stilgoe Premiere: Thursday, October 9, 1986 THE STAGE OF THE PARIS OPERA, 1905 (The contents of the opera house is being auctioned off. An AUCTIONEER, PORTERS, BIDDERS, and RAOUL, seventy now, but still bright of eye. The action commences with a blow from the AUCTlONEER's gavel) AUCTIONEER Sold. Your number, sir? Thank you. Lot 663, then, ladies and gentlemen: a poster for this house's production of "Hannibal" by Chalumeau. PORTER Showing here. AUCTIONEER Do I have ten francs? Five then. Five I am bid. Six, seven. Against you, sir, seven. Eight. Eight once. Selling twice. Sold, to Raoul, Vicomte de Chagny. Lot 664: a wooden pistol and three human skulls from the 1831 production of "Robert le Diable" by Meyerbeer. Ten francs for this. Ten, thank you. Ten francs still. Fifteen, thank you, sir Fifteen I am bid. Going at fifteen. Your number, sir? 665, ladies and gentlemen: a papier-mache musical box, in the shape of a barrel-organ. Attached, the figure of a monkey in Persian robes playing the cymbals. This item, discovered in the vaults of the theatre, still in working order. PORTER (holding it up) Showing here. (He sets it in motion) AUCTIONEER My I start at twenty francs? Fifteen, then? Fifteen I am bid. (the bidding continues. RAOUL. eventually buys the box for thirty francs) Sold, for thirty francs to the Vicomte de Chagny. Thank you, sir. (The box is handed across to RAOUL. -
Master Reference
Master Phantoms of the Source Text : Retranslation and the English Translations of Gaston Leroux's Le Fantôme de l'Opéra HEWITT, Rachel Abstract The retranslation hypothesis as it is understood today states that later translations of a given text tend to be closer to the source text both in terms of language and cultural impact than earlier translations. This hypothesis stems from an essay written by Antoine Berman in 1990. However, it has since been challenged by a number of theorists. This paper discusses the retranslation hypothesis and the criticism it has received. Through a critical analysis of Gaston Leroux's novel, Le Fantôme de l'Opéra, and its six English translations that span more than a century, this paper challenges the theories put forward by Berman in his essay and analyses various textual elements of Leroux's work and the choices made my those who translated it. Reference HEWITT, Rachel. Phantoms of the Source Text : Retranslation and the English Translations of Gaston Leroux's Le Fantôme de l'Opéra. Master : Univ. Genève, 2016 Available at: http://archive-ouverte.unige.ch/unige:92538 Disclaimer: layout of this document may differ from the published version. 1 / 1 Rachel Hewitt Phantoms of the Source Text: Retranslation and the English Translations of Gaston Leroux’s Le Fantôme de l’Opéra Directrice : Ashley Riggs Juré : James Tarpley Mémoire présenté à la Faculté de traduction et d’interprétation pour l’obtention de la Maîtrise universitaire en traduction, mention traduction spécialisée Université de Genève 2016 Hewitt !2 Déclaration attestant le caractère original du travail effectué J’affirme avoir pris connaissance des documents d’information et de prévention du plagiat émis par l’Université de Genève et la Faculté de traduction et d’interprétation (notamment la Directive en matière de plagiat des étudiant-e-s, le Règlement d’études de la Faculté de traduction et d’interprétation ainsi que l’Aide-mémoire à l’intention des étudiants préparant un mémoire de Ma en traduction). -
Cast Biographies Chris Mann
CAST BIOGRAPHIES CHRIS MANN (The Phantom) rose to fame as Christina Aguilera’s finalist on NBC’s The Voice. Since then, his debut album, Roads, hit #1 on Billboard's Heatseekers Chart and he starred in his own PBS television special: A Mann For All Seasons. Chris has performed with the National Symphony for President Obama, at Christmas in Rockefeller Center and headlined his own symphony tour across the country. From Wichita, KS, Mann holds a Vocal Performance degree from Vanderbilt University and is honored to join this cast in his dream role. Love to the fam, friends and Laura. TV: Ellen, Today, Conan, Jay Leno, Glee. ChrisMannMusic.com. Twitter: @iamchrismann Facebook.com/ChrisMannMusic KATIE TRAVIS (Christine Daaé) is honored to be a member of this company in a role she has always dreamed of playing. Previous theater credits: The Most Happy Fella (Rosabella), Titanic (Kate McGowan), The Mikado (Yum- Yum), Jekyll and Hyde (Emma Carew), Wonderful Town (Eileen Sherwood). She recently performed the role of Cosette in Les Misérables at the St. Louis MUNY alongside Norm Lewis and Hugh Panero. Katie is a recent winner of the Lys Symonette award for her performance at the 2014 Lotte Lenya Competition. Thanks to her family, friends, The Mine and Tara Rubin Casting. katietravis.com STORM LINEBERGER (Raoul, Vicomte de Chagny) is honored to be joining this new spectacular production of The Phantom of the Opera. His favorite credits include: Lyric Theatre of Oklahoma: Disney’s The Little Mermaid (Prince Eric), Les Misérables (Feuilly). New London Barn Playhouse: Les Misérables (Enjolras), Singin’ in the Rain (Roscoe Dexter), The Music Man (Jacey Squires, Quartet), The Student Prince (Karl Franz u/s). -
Allusions and Historical Models in Gaston Leroux's the Phantom of the Opera
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2004 Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera Joy A. Mills Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the French and Francophone Literature Commons, Other Theatre and Performance Studies Commons, and the Translation Studies Commons Recommended Citation Mills, Joy A., "Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera" (2004). Honors Theses. 83. https://scholarlycommons.obu.edu/honors_theses/83 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Gaston Leroux's 1911 novel, The Phantom of the Opera, has a considerable number of allusions, some of which are accessible to modern American audiences, like references to Romeo and Juilet. Many of the references, however, are very specific to the operatic world or to other somewhat obscure fields. Knowledge of these allusions would greatly enhance the experience of readers of the novel, and would also contribute to their ability to interpret it. Thus my thesis aims to be helpful to those who read The Phantom of the Opera by providing a set of notes, as it were, to explain the allusions, with an emphasis on the extended allusion of the Palais Garnier and the historical models for the heroine, Christine Daae. Notes on Translations At the time of this writing, three English translations are commercially available of The Phantom of the Opera. -
“No One Ever Sees the Angel" : Adapting the Phantom of the Opera Mcmurtry, LG
“No one ever sees the Angel" : adapting The Phantom of the Opera McMurtry, LG Title “No one ever sees the Angel" : adapting The Phantom of the Opera Authors McMurtry, LG Type Book Section URL This version is available at: http://usir.salford.ac.uk/id/eprint/48439/ Published Date 2018 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. “No One Ever Sees the Angel”: Adapting The Phantom of the Opera Leslie McMurtry There are many ways that interpretations of The Phantom of the Opera (1910)i lend themselves to the Gothic mode. The plethora of adaptations over the past centuryii, with varying degrees of similarity to the source text, have taken on a life of their own. Criticism of POTO is still relatively underdeveloped; as Ann C. Hall notes, while the novel has been critiqued through its associations (mainly its links to Gothic fiction and its Freudian and Jungian interpretations), these readings tend to “diminish” author Gaston Leroux’s skill and readers’ enjoyment (Hall 2). This chapter will not focus on Freudian or Jungian readings, but instead I hope to explore an element of the Leroux novel and the adaptations that has been overlooked, and in so doing, give some suggestions as to what qualities have contributed to making this story so enduring. -
THE MASK of ERIK by Rick Lai © 2007 Rick Lai [email protected] In
THE MASK OF ERIK by Rick Lai © 2007 Rick Lai [email protected] In The Phantom of the Opera (1910), Gaston Leroux (1868-1927) created a colorful past for the title character who was also known as Erik. Leroux pretended that his novel was not a work of fiction. He perpetrated the hoax that the Phantom’s story had been unearthed through interviews with actual people including former employees of the Paris Opera House. A careful reading of the novel indicates that its events transpired decades before its year of publication. The novel’s prologue indicated that the story took place “not more than thirty years ago.” At one point, Erik made the farcical prediction that a young girl, Meg Giry, would be an Empress in 1885. The novel happened sometime between 1880 and 1884. Of the years available, I favor 1881 (1). The Phantom was born in a French town not far from Rouen. His exact year of birth was unstated, but it was probably around 1830 (2). The Phantom’s skeletal visage was a defect from birth. The makeup of Lon Chaney Sr. in the famous 1925 silent movie faithfully followed Leroux’s description of the Phantom’s face. Since the silent film was made in black and white, Chaney could never duplicate the bizarre yellow eyes of the Phantom. Very little is known of the Phantom’s parents (3). His father was a stonemason. The Phantom’s mother was repelled by her son’s ugliness. She refused to ever let him kiss her. Furthermore, she insisted that he wear a mask at all times. -
Phantom of the Opera? More Like Phantom of the SLOPERA
Phantom of the Opera? More like Phantom of the SLOPERA A review by Laura Kay, Theatre Critic I must admit, my review is greatly colored by a tragic accident that occurred right after Ben Crawford (who, I learned today from long time Phantom Company Manager and trusted source Steve Greer, is actually the great-Grandson of the original Phantom, Michael Crawford, who originated the role in 1787 on Broadway) sang “Music of the Night.” I was so inspired by Crawford’s seemingly non-functional hands that I reached over to my companion to caress her face in the same manner he had just caressed Christine. And through a series of unfortunate events, my finger slipped right up her nostril. Fits of muffled laughter ensued, that were only amplified when we turned our attention back to the stage just in time to witness Crawford on his belly, slithering like a snake across the stage. I think I blacked out for a full twenty minutes. My eyes saw nothing but the tears from my laughter. When I came to, somewhere around the end of Prima Donna, many questions came flooding into my mind: what is up with the Phantom’s vowels? Why is Raul so tall? Why were some of the lights out in the house during preshow? Intermission allowed me to regain some much needed composure and move past Nostrilgate 2020 (as the event is now being called by theatre staff and world news outlets) to really focus on the essence of the show and its message. Is The Phantom the original incel? The original “nice guy in a fedora” who does all those nice things for Christine only to be left in the end? Yes. -
The Phantom of the Opera
THE PHANTOM OF THE OPERA Based Upon the Novel by GASTON LEROUX Book by JOSEPH ROBINETTE Music by ROBERT CHAULS Lyrics by JOSEPH ROBINETTE and ROBERT CHAULS The Dramatic Publishing Company Woodstock, lllinois • London, England • Melooume, Australia © The Dramatic Publishing Company, Woodstock, Illinois *** NOTICE *** 'Ine amateur and stock acting rights to this work are controlled exclu sively by THE DRAMATIC PUBLISHING COMPANY without whose pennission in writing no perfonnance of it may be given. Royalty fees are given in our current catalogue and are subject to change without notice. Royalty must be paid every time a play is perfonned whether or not it is presented for profit and whether or not admission is charged. A play is perfonned anytime it is acted before an audience. All inquiries concerning amateur and stock rights should be addressed to: THE DRA MATIC PUBLISHING COMPANY, 311 Washington St., Woodstock, Illinois 60098. COPYRIGHT LAW GIVES THE AUTHOR OR IDS AGENT THE EXCLUSIVE RIGHT TO MAKE COPIES. TIlls law provides authors with a fair return for their creative efforts. Authors earn their living from the royalties they receive from book sales and from the perfonnance of their work. Conscientious observance of copyright law is not only ethical, it encourages authors to continue their cr~tive work. This work is fully protected by copyright. No alterations, deletions or substitutions may be made in the work without the prior written consent of the publisher. No part of this work may be reproduced or transmitted in any fonn or by any means, electronic or mechanical, including photocopy, recording, videotape, fihn, or any infonnation stor age and retrieval system, without pennission in writing from the pub lisher. -
Phantom of the Opera
Phantom of the Opera by Gaston Leroux Gaston Leroux was born in Paris in 1868, and The Life and grew up in Normandy in the north of France. He Career of Gaston became interested in literature at an early age. Leroux He studied law in Paris, but quickly gave up1 this profession to concentrate on journalism. His first real success came when L'Echo de Paris published a series of his poems2 about Parisian actresses. Leroux's father died in 1889, and he inherited3 a fortune4 of one million francs. He immediately5 began to live on a grand scale6, eating in the best restaurants and entertaining7 splendidly8. He spent the whole of his inheritance9 in a period of six months, and then had to consider 10 how he would earn his living. In 1890 he became a court11 reporter for L'Echo de Paris. Soon after, he was given a job on the more prestigious newspaper, Le Matin. He was one of the first 'investigative'12 journalists, and he became famous when 1 to give up = vzdát se 2 a poem = báseň 3 to inherit = zdědit 4 a fortune [ˈfɔːtʃən] = jmění 5 immediately [ɪˈmiːdɪətlɪ] = okamžitě 6 on a grand scale = ve velkém (měřítku) 7 to entertain = pobavit 8 splendidly = skvěle, ohromně 9 an inheritance = dědictví 10 to consider = zvážit, promyslet 11 a court [kɔːt] = soud → a court reporter = soudní reportér 12 investigative = vyšetřovací, investigativní he solved a sensational13 case14 before it reached15 the law courts. Leroux combined journalism with novel16 writing and stories. His first novel, The Seeking17 of the Morning Treasures18, appeared19 in 1903.