DOCSLIB.ORG

2020 Cinderella Study Guide – Northwest Florida Ballet 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

2020 CINDERELLA STUDY GUIDE – NORTHWEST FLORIDA BALLET 1 WELCOME The Northwest Florida Ballet is proud to present the 40th annual production of The Nutcracker with live music by the Northwest Florida Ballet Symphony Orchestra. This study guide contains a variety of information about the production as well as theater etiquette, ballet terminology and several activities to engage your students prior to attending the performance. On behalf of NFB, thank you for taking the time to introduce a beloved art form to your students. Ballet is a cultural experience like none other and we are so pleased you have taken the time to share it with the next generation. We appreciate your support and look forward to seeing you at the theater. CEO/Artistic Director: A native of Fort Walton Beach, Florida, Todd Eric Allen was Todd Eric Allen a scholarship student at the Joffery School of Ballet in New York City for five years. He also attended Virginia Intermont College where he was awarded the 1985 Dance Magazine Scholarship to the Choreographers Conference. Mr. Allen has danced with Louisville Ballet, Boston Ballet, and Les Grands Ballets Canadienes, and has performed as a guest artist and teacher throughout the United States. He has performed featured roles in ballets by Twyla Tharp, Mark Morris, Jiri Kylian, Nacho Duato, and James Kudelka, and has performed with the Broadway cast of Movin’ Out in New York City. Mr. Allen has been praised for his choreography work for Boston Ballet, Rhode Island Festive Ballet, Sarasota Ballet and NBA Ballet in Tokyo, Japan. Northwest Florida Ballet: Located in the Sybil Lebherz Center for Dance Education in beautiful downtown Fort Walton Beach, Fla. 310 Perry Avenue SE Fort Walton Beach, Florida 32548 Phone: 850.664.7787 Fax: 850.659.7073 Web: nfballet.org Like us on Facebook & Follow Us on Instagram! 2 2020 CINDERELLA STUDY GUIDE – NORTHWEST FLORIDA BALLET THE STORY OF CINDERELLA “Cinderella” is arguably the most familiar and beloved fairy tale the world has ever known. Dating back to at least the ninth century A.D. when Chinese Folk tales praised the virtue and loveliness of women with tiny feet, Cinderella’s tale has taken on many forms in many different cultures. The “Cinderella” most Americans find familiar-not counting Walt Disney’s animated classic film, is based on the fairy tale by Charles Perrault, a 17th century French writer and political figure who, under the reign of Louis XIV, served as an administrator of the King’s buildings. Perrault would prove instrumental in facilitating the construction of the Louvre and Versailles, in addition to giving us tales like “The Sleeping Beauty,” “Puss-in-Boots,” and “Little Red Riding Hood.” Many of his fairy tales, including “Cinderella,” would later be collected for inclusion in Grimm’s Fairy Tales. Todd Eric Allen, Artistic Director of Northwest Florida Ballet, has based the ballet Cinderella on the Perrault story with several exceptions, most notably the inclusion of the Fairies of the Seasons at the end of Act I. ACT I The story begins with Cinderella’s Stepmother embroidering a scarf she will wear to the Palace Ball that evening. Her two daughters begin teasing Cinderella’s father unmercifully. Cinderella enters the room and entreats the Stepsisters to stop. Instead, they turn on Cinderella and insist that she clean the room. The Stepsisters drag the Father from the room. Left alone, Cinderella picks up a broom and begins sweeping. She takes a portrait of her dead mother from its hiding place and gazes at it with longing. Her father returns and is overcome with remorse when he sees the resemblance between Cinderella and his first wife. His daughter tries to reassure him, but the Stepsisters, who have snatched away the picture, drag them apart. Suddenly, a mysterious old woman enters the room and begs for food, but the Stepmother gives her the portrait of Cinderella’s real mother. The old woman does not take it and returns the portrait to Cinderella, who offers the woman some bread. She accepts Cinderella’s kindness then departs quickly. A Dressmaker and Wigmaker arrive to prepare the Stepsisters for the Ball. Much confusion ensues only to be compounded by the arrival of a Dancing Master who makes a valiant, but failed effort to teach the Stepsisters to dance gracefully. All depart for the Ball, leaving 2020 CINDERELLA STUDY GUIDE – NORTHWEST FLORIDA BALLET 3 Cinderella alone and dressed in rags, with only her broom to keep her company. Just as Cinderella bursts into tears over her fate, the beggar woman enters the room and transforms herself into a beautiful Fairy Godmother. She then turns the kitchen into a magnificent forest, which undergoes a dramatic change of seasons as the Fairies of Spring, Summer, Autumn, and Winter perform beautiful dances. The Fairy Godmother turns her attention to Cinderella, adorning her in a Ball gown and exquisite glass slippers. A pumpkin turns into a coach, mice into coachmen and Cinderella is ready for the Ball. Before Cinderella departs, the Fairy Godmother warns her to be back by midnight, the hour when the magic will fade. ACT II A Jester welcomes the guests to the Ball. The Prince invites six beautiful princesses in hopes of finding a bride. All are taken aback by the spectacle of the Stepsisters’ arrival, but the Prince gallantly invites both of them to dance. Suddenly Cinderella enters, and her gentle beauty overcomes the Prince. He falls madly in love with her. The guests are offered oranges-the rarest fruit in the land-and when one of the stepsisters is left without one; Cinderella gives up her own, without the Stepsisters realizing her identity. As the Prince and Cinderella are dancing, the clock begins to strike midnight. Cinderella flees, leaving behind only one glass slipper, which has fallen from her foot in her haste. ACT III Dressed again in rags, Cinderella sits in the kitchen and dreams about the Ball and the Prince. She discovers the other glass slipper, still intact, in her pocket. She quickly hides it as the Stepsisters return; proudly displaying the oranges the Prince had given them. The Stepmother suddenly announces that the Prince and his page have arrived in search of the owner of the glass slipper. The Stepsisters try in vain to squeeze their bulging feet into the tiny shoe. The Prince notices Cinderella sitting in a corner and despite her ragged appearance, asks her Father if she may try it on. She moves toward him and the other slipper falls from her pocket. The Prince is overjoyed and asks Cinderella to marry him. The Fairy Godmother returns and transforms the kitchen into a magical glade where Cinderella and the Prince are married. 4 2020 CINDERELLA STUDY GUIDE – NORTHWEST FLORIDA BALLET ABOUT THE COMPOSER: Sergei Prokofiev Prokofiev was a multitalented man and an innovative composer. He learned piano from his mother and chess from his father. He always had a chess set on his piano, and was able to play against the chess champions of his time. He studied music with Nikolai Rimsky-Korsakov, graduated with highest marks from the St. Petersburg Conservatory (1914), and was rewarded with a grand piano. He emigrated from Russia after the revolution, and made successful concert tours in Europe and the U.S. In 1918 in New York he met Spanish singer Carolina Codina (Lina Llubera), they married in Paris, in 1923, and had two sons. Prokofiev's radiant optimism and his childlike personality shines in his popular orchestral suite "Peter and the Wolf" and in the "Classical Symphony". His humorous irony and wit is popping up in piano pieces named "Sarcasms", also in his five piano concertos, ballets and film scores, all written in his instantly identifiable musical language. He wrote film scores for 'Lieutenant Kije (1934)', Alexander Nevsky (1938), 'Cinderella (1960)', and the two-part "Ivan the Terrible" (1944, 1958), directed by 'Sergei Eisenstein. His independent way of life and his free-spirited personality was irritating the Soviet authorities and some Soviet composers, who were jealous of his freedom and success. But the Soviet authorities kept inviting the world-famous composer, and paid him for his music and hotel in Moscow. That was a Soviet propaganda game, similar to the one played against the writer Maxim Gorky. When Prokofiev moved from Paris to Moscow with his wife and children - the trap closed. His Spanish wife was later exiled to a prison-camp in Siberia. All of his music, that he created while outside of the Soviet Union, was banned as cosmopolitan and antiSoviet. Some Soviet composers were gloating, and Shostakovich wrote in his "Testimony", that Prokofiev had "the soul of a goose" and was "scared out of his wits". Prokofiev's friend director Vsevolod Meyerhold was arrested and executed. Under such conditions Prokofiev wrote music score for the film of Sergei M. Eisenstein "Ivan the Terrible", alluding to Joseph Stalin. Prokofiev's second wife, Mira Mendelson, was his saviour. Their union was inspirational, and he wrote the powerful late symphonies and the brilliant ninth piano sonata for Svyatoslav Richter. But another official attack on his music and life started in 1948. The attack hurt Prokofiev and many other intellects, such as Boris Pasternak, Anna Akhmatova, Aram Khachaturyan, and ended only after the death Joseph Stalin. Ironically, Prokofiev died on the same day and hour, as Stalin. 2020 CINDERELLA STUDY GUIDE – NORTHWEST FLORIDA BALLET 5 BALLET 101: POSITION OF THE FEET & ARMS 6 2020 CINDERELLA STUDY GUIDE – NORTHWEST FLORIDA BALLET BALLET VOCABULARY Accent: A strong movement or gesture. Balance: A state of equilibrium referring to the balance of weight or the spatial arrangement of bodies.
Recommended publications
  • Prokofiev: Reflections on an Anniversary, and a Plea for a New

    Prokofiev: Reflections on an Anniversary, and a Plea for a New

    ИМТИ №16, 2017 Ключевые слова Прокофьев, критическое издание собрания сочинений, «Ромео и Джульетта», «Золушка», «Каменный цветок», «Вещи в себе», Восьмая соната для фортепиано, Янкелевич, Магритт, Кржижановский. Саймон Моррисон Прокофьев: размышления в связи с годовщиной и обоснование необходимости нового критического издания собрания сочинений Key Words Prokofiev, critical edition, Romeo and Juliet, Cinderella, The Stone Flower, Things in Themselves, Eighth Piano Sonata, Jankélévitch, Magritte, Krzhizhanovsky. Simon Morrison Prokofiev: Reflections on an Anniversary, And A Plea for a New Аннотация В настоящей статье рассматривается влияние цензуры на позднее Critical Edition советское творчество Прокофьева. В первой половине статьи речь идет об изменениях, которые Прокофьеву пришлось внести в свои балеты советского периода. Во второй половине я рассматриваю его малоизвестные, созданные еще до переезда в СССР «Вещи Abstract в себе» и показываю, какие общие выводы позволяют сделать This article looks at how censorship affected Prokofiev’s later Soviet эти две фортепианные пьесы относительно творческих уста- works and in certain instances concealed his creative intentions. In новок композитора. В этом контексте я обращаюсь также к его the first half I discuss the changes imposed on his three Soviet ballets; Восьмой фортепианной сонате. По моему убеждению, Прокофьев in the second half I consider his little-known, pre-Soviet Things in мыслил свою музыку как абстрактное, «чистое» искусство даже Themselves and what these two piano pieces reveal about his creative в тех случаях, когда связывал ее со словом и хореографией. Новое outlook in general. I also address his Eighth Piano Sonata in this критическое издание сочинений Прокофьева должно очистить context. Prokofiev, I argue, thought of his music as abstract, pure, even его творчество от наслоений, обусловленных цензурой, и выя- when he attached it to words and choreographies.
  • Study Guide for Teachers and Students

    Study Guide for Teachers and Students

    Melody Mennite in Cinderella. Photo by Amitava Sarkar STUDY GUIDE FOR TEACHERS AND STUDENTS 1 TABLE OF CONTENTS PRE AND POST-PERFORMANCE ACTIVITIES AND INFORMATION Learning Outcomes & TEKS 3 Attending a ballet performance 5 The story of Cinderella 7 The Artists who Created Cinderella: Choreographer 11 The Artists who Created Cinderella: Composer 12 The Artists who Created Cinderella Designer 13 Behind the Scenes: “The Step Family” 14 TEKS ADDRESSED Cinderella: Around the World 15 Compare & Contrast 18 Houston Ballet: Where in the World? 19 Look Ma, No Words! Storytelling in Dance 20 Storytelling Without Words Activity 21 Why Do They Wear That?: Dancers’ Clothing 22 Ballet Basics: Positions of the Feet 23 Ballet Basics: Arm Positions 24 Houston Ballet: 1955 to Today 25 Appendix A: Mood Cards 26 Appendix B: Create Your Own Story 27 Appendix C: Set Design 29 Appendix D: Costume Design 30 Appendix E: Glossary 31 2 LEARNING OUTCOMES Students who attend the performance and utilize the study guide will be able to: • Students can describe how ballets tell stories without words; • Compare & contrast the differences between various Cinderella stories; • Describe at least one dance from Cinderella in words or pictures; • Demonstrate appropriate audience behavior. TEKS ADDRESSED §117.106. MUSIC, ELEMENTARY (5) Historical and cultural relevance. The student examines music in relation to history and cultures. §114.22. LANGUAGES OTHER THAN ENGLISH LEVELS I AND II (4) Comparisons. The student develops insight into the nature of language and culture by comparing the student’s own language §110.25. ENGLISH LANGUAGE ARTS AND READING, READING (9) The student reads to increase knowledge of own culture, the culture of others, and the common elements of cultures and culture to another.
  • Into the Woods Character Descriptions

    Into the Woods Character Descriptions

    Into The Woods Character Descriptions Narrator/Mysterious Man: This role has been cast. Cinderella: Female, age 20 to 30. Vocal range top: G5. Vocal range bottom: G3. A young, earnest maiden who is constantly mistreated by her stepmother and stepsisters. Jack: Male, age 20 to 30. Vocal range top: G4. Vocal range bottom: B2. The feckless giant killer who is ‘almost a man.’ He is adventurous, naive, energetic, and bright-eyed. Jack’s Mother: Female, age 50 to 65. Vocal range top: Gb5. Vocal range bottom: Bb3. Browbeating and weary, Jack’s protective mother who is independent, bold, and strong-willed. The Baker: Male, age 35 to 45. Vocal range top: G4. Vocal range bottom: Ab2. A harried and insecure baker who is simple and loving, yet protective of his family. He wants his wife to be happy and is willing to do anything to ensure her happiness but refuses to let others fight his battles. The Baker’s Wife: Female, age: 35 to 45. Vocal range top: G5. Vocal range bottom: F3. Determined and bright woman who wishes to be a mother. She leads a simple yet satisfying life and is very low-maintenance yet proactive in her endeavors. Cinderella’s Stepmother: Female, age 40 to 50. Vocal range top: F#5. Vocal range bottom: A3. The mean-spirited, demanding stepmother of Cinderella. Florinda And Lucinda: Female, 25 to 35. Vocal range top: Ab5. Vocal range bottom: C4. Cinderella’s stepsisters who are black of heart. They follow in their mother’s footsteps of abusing Cinderella. Little Red Riding Hood: Female, age 18 to 20.
  • The Black and the White Bride: Dualism, Gender, and Bodies in European Fairy Tales

    The Black and the White Bride: Dualism, Gender, and Bodies in European Fairy Tales

    Jeana Jorgensen: The Black and the White Bride: Dualism, Gender, and Bodies in European Fairy Tales The Black and the White Bride: Dualism, Gender, and Bodies in European Fairy Tales Jeana Jorgensen Butler University* Fairy tales are one of the most important folklore genres in Western culture, spanning literary and oral cultures, folk and elite cultures, and print and mass media forms. As Jack Zipes observes: ‘The cultural evolution of the fairy tale is closely bound historically to all kinds of storytelling and different civilizing processes that have undergirded the formation of nation-states.’143 Studying fairy tales thus opens a window onto European history and cultures, ideologies, and aesthetics. My goal here is to examine how fairy-tale characters embody dualistic traits, in regard both to gender roles and to other dualisms, such as the divide between the mind and body, and the body’s interior and exterior (as characterized by the skin). These and other dualisms have been theorized from many quarters. As Elizabeth Grosz states: ‘Feminists and philosophers seem to share a common view of the human subject as a being made up of two dichotomously opposed characteristics: mind and body, thought and extension, reason and passion, psychology and biology.’144 Further, ‘Dichotomous thinking necessarily hierarchizes and ranks the two polarized terms so that one becomes the privileged term and the other its suppressed, subordinated, negative counterpart.’145 Thus, any discussion of dualisms is automatically also a discussion of power relations. This article begins by summarizing the trajectory of dualism in Western intellectual history and culture, including how dualism fits within folkloristic and feminist scholarship.
  • 1 Program Notes MONTANA CHAMBER MUSIC SOCIETY

    1 Program Notes MONTANA CHAMBER MUSIC SOCIETY

    Program Notes MONTANA CHAMBER MUSIC SOCIETY October 30, 2015, 7:30pm Reynolds Recital Hall, MSU Bozeman, 7:30pm MUIR STRING QUARTET Peter Zazofsky, violin Lucia Lin, violin Steven Ansell, viola Michael Reynolds, cello with guest Michele Levin, piano Quartet for Strings in C Minor, Quartettsatz, D. 703 (1820) FRANZ SCHUBERT [1797-1828] [Duration: ca. 10 minutes] "Picture to yourself," he wrote to a friend at this time, "a man whose health can never be reestablished, who from sheer despair makes matters worse instead of better; picture to yourself, I say, a man whose most brilliant hopes have come to nothing, to whom proffered love and friendship are but anguish, whose enthusiasm for the beautiful — an inspired feeling, at least— threatens to vanquish entirely; and then ask yourself if such a condition does not represent a miserable and unhappy man.... Each night, when I go to sleep, I hope never again to waken, and every morning reopens the wounds of yesterday." [Schubert, 1819] Schubert was extremely self-critical, leaving an unusually large number of incomplete works behind. The most celebrated is the Unfinished Symphony, however, many fragments survive of abandoned string quartets. Among these is the Quartettsatz ("Quartet Movement"), written just before Schubert turned 24, the only one to have entered the standard repertoire. When Brahms was working on the first scholarly edition of Schubert's music, he found, in the manuscript score of the Quartettsatz, the sketch (about 40 measures) for a second movement Andante in A-flat; apparently Schubert intended to write a four-movement work, though this movement is independently convincing and complete.
  • An Analysis of Figurative Language on Cinderella, Rumpelstiltskin, the Fisherman and His Wife and the Sleeping Beauty the Woods

    An Analysis of Figurative Language on Cinderella, Rumpelstiltskin, the Fisherman and His Wife and the Sleeping Beauty the Woods

    AN ANALYSIS OF FIGURATIVE LANGUAGE ON CINDERELLA, RUMPELSTILTSKIN, THE FISHERMAN AND HIS WIFE AND THE SLEEPING BEAUTY THE WOODS BY CHARLES PERRAULT AND THE BROTHERS GRIMM Poppy Afrina Ni Luh Putu Setiarini, Anita Gunadarma University Gunadarma University Gunadarma University jl. Margonda Raya 100 jl. Margonda Raya 100 jl. Margonda Raya 100 Depok, 16424 Depok, 16424 Depok, 16424 ABSTRACT Figurative language exists to depict a beauty of words and give a vivid description of implicit messages. It is used in many literary works since a long time ago, including in children literature. The aims of the research are to describe about kinds of figurative language often used in Cinderella, Rumpeltstiltskin, The Fisherman and His Wife and The Sleeping Beauty in the Woods By Charles Perrault and the Brothers Grimm and also give a description the conceptual meaning of figurative language used in Cinderella, Rumpeltstiltskin, The Fisherman and His Wife and The Sleeping Beauty in the Woods By Charles Perrault and the Brothers Grimm. The writer uses a descriptive qualitative method in this research. Keywords: Analysis, Figurative Language, Children. forms of communication, however some 1. INTRODUCTION children’s literature, explicitly story 1.1 Background of the Research employed to add more sensuous to Human beings tend to communicate each children. other through language. Likewise they Referring to the explanation use language as well as nonverbal above, the writer was interested to communication, to express their analyze figurative language used on thoughts, needs, culture, etc. Charles Perrault and The Brothers Furthermore, language plays major role Grimm’s short stories, therefore the to transfer even influence in a writer chooses this research entitled humankind matter.
  • To Whom the Shoe Fits: Cinderella As a Cultural Phenomenon in the Czech and Norwegian Context

    To Whom the Shoe Fits: Cinderella As a Cultural Phenomenon in the Czech and Norwegian Context

    Masaryk University Faculty of Arts Department of Germanic, Nordic and Dutch Studies To Whom the Shoe Fits: Cinderella as a Cultural Phenomenon in the Czech and Norwegian Context 2020 Mgr. Adéla Ficová Masaryk University Faculty of Arts Department of Germanic, Nordic and Dutch Studies Norwegian Language and Literature Mgr. Adéla Ficová To Whom the Shoe Fits: Cinderella as a Cultural Phenomenon in the Czech and Norwegian Context M.A. Thesis Supervisor: Mgr. Karolína Stehlíková, Ph.D. 2020 2 Statutory Declaration I hereby declare that I have written the submitted Master Thesis To Whom the Shoe Fits: Cinderella as a Cultural Phenomenon in the Czech and Norwegian Context independently. All the sources used for the purpose of finishing this thesis have been adequately referenced and are listed in the Bibliography. In Brno, 12 May 2020 ....................................... Mgr. Adéla Ficová 3 Acknowledgements I would like to express my sincere gratitude to my supervisor Mgr. Karolína Stehlíková, Ph.D., for her helpful guidance and valuable advices and shared enthusiasm for the topic. I also thank my parents and my friends for their encouragement and support. 4 Table of contents 1 Introduction ..................................................................................................................................... 6 1.1 Literature review ..................................................................................................................... 8 2 Historical genesis of the Cinderella fairy tale ................................................................................
  • Teacher Notes on Russian Music and Composers Prokofiev Gave up His Popularity and Wrote Music to Please Stalin. He Wrote Music

    Teacher Notes on Russian Music and Composers Prokofiev Gave up His Popularity and Wrote Music to Please Stalin. He Wrote Music

    Teacher Notes on Russian Music and Composers x Prokofiev gave up his popularity and wrote music to please Stalin. He wrote music to please the government. x Stravinsky is known as the great inventor of Russian music. x The 19th century was a time of great musical achievement in Russia. This was the time period in which “The Five” became known. They were: Rimsky-Korsakov (most influential, 1844-1908) Borodin Mussorgsky Cui Balakirev x Tchaikovsky (1840-’93) was not know as one of “The Five”. x Near the end of the Stalinist Period Prokofiev and Shostakovich produced music so peasants could listen to it as they worked. x During the 17th century, Russian music consisted of sacred vocal music or folk type songs. x Peter the Great liked military music (such as the drums). He liked trumpet music, church bells and simple Polish music. He did not like French or Italian music. Nor did Peter the Great like opera. Notes Compiled by Carol Mohrlock 90 Igor Fyodorovich Stravinsky (1882-1971) I gor Stravinsky was born on June 17, 1882, in Oranienbaum, near St. Petersburg, Russia, he died on April 6, 1971, in New York City H e was Russian-born composer particularly renowned for such ballet scores as The Firebird (performed 1910), Petrushka (1911), The Rite of Spring (1913), and Orpheus (1947). The Russian period S travinsky's father, Fyodor Ignatyevich Stravinsky, was a bass singer of great distinction, who had made a successful operatic career for himself, first at Kiev and later in St. Petersburg. Igor was the third of a family of four boys.
  • Three Levels of Questions (Cinderella)

    Three Levels of Questions (Cinderella)

    Three Level Questioning: The Cinderella Example Level of Example Questions Question 1. Recall Define What is a fairy tale? What is a ball? Describe What are Cinderella’s step-relatives like? List Tell the tasks that Cinderella has to do around the house. Name What were her stepsisters named? Observe How did Cinderella dress? Recite Say the line that lots of fairy tales start with. Scan Find the name of the prince. 2. Analyze Analyze Why are Cinderella’s step relatives so mean to her? Compare How is Cinderella like other fairy tale characters? Contrast How are Cinderella’s and the stepsisters’ lives different? Group Who are the evil characters in the book? Infer Why would Cinderella just take this kind of abuse? Sort What are the good and bad things that happen to Cinderella? Sequence What happened when Cinderella went to the ball? Combine Can we make up a more complex character who has some of the sisters’ AND Cinderella’s characteristics? 3. Application and Evaluation Apply principle It looks like the message is sometimes people get what is coming to them. Is this always true? Evaluate Do you think that the prince is such a prize? Why? Do you think that this is a good book for children to read? Why? What would happen if Cinderella hadn’t dropped her slipper? Hypothesize/guess Imagine that you lived with a mean stepfamily like hers. How would that feel? What would you do? Would you be different? Imagine Was a ball an effective way to get the prince a woman? What will happen now that Cinderella and the prince are married? Judge Why were the stepsisters so mean? Why did the fairy godmother appear? Predict What if she hadn’t shown up? Speculate .
  • Cinderella's Metamorphoses: a Comparative Study of Two English Translations of Perrault's Tales

    Cinderella's Metamorphoses: a Comparative Study of Two English Translations of Perrault's Tales

    Przekładaniec. A Journal of Literary Translation 22–23 (2009/2010): 249–266 doi:10.4467/16891864ePC.13.044.1461 MARTINE HENNARD DUTHEIL DE LA ROCHÈRE CINDERELLA’S METAMORPHOSES: A COMPARATIVE STUDY OF TWO ENGLISH TRANSLATIONS OF PERRAULT’S TALES Abstract: This comparative analysis of two translations of Charles Perrault’s “Cendrillon ou la petite pantoufle de verre” shows how the French conte was adapted for children in England at different moments and reflects different projects. Robert Samber’s “Cinderilla: or, The Little Glass Slipper,” published in Histories, or Tales of Past Times. With Morals (1729), is known as the first English translation of the tale. More recently, Angela Carter’s retranslation “Cinderella: or, The Little Glass Slipper,” published in The Fairy Tales of Charles Perrault (1977), pays homage to Samber but also modernises the tale to carry a more emancipatory message. While Samber’s translation reflects the working conditions of Grub Street writers and acculturation of Perrault’s fairy tale in Protestant England, Carter gives it a feminist twist as she turns it into a “fable of the politics of experience.” She would later rewrite it as “Ashputtle or The Mother’s Ghost” (1987), this time using Manheim’s English translation of the Grimms’ “Aschenputtel” as a starting point. Keywords: Charles Perrault, Cinderella, translation, Robert Samber, Angela Carter Ainsi une traduction n’est-elle qu’un moment d’un texte en mouvement. Elle est même l’image qu’il n’est jamais fini. Elle ne saurait l’immobiliser. 1 (Meschonnic 1999: 342) This comparative study of two translations of “Cendrillon ou La Petite Pantoufle de Verre,” from Charles Perrault’s famous collection, Histoires ou Contes du Temps Passé (1697), shows how the tale has been redirected 1 “Thus, a translation is an instant of a text in movement, even an image that it is never over.
  • Japanese Demon Lore Noriko T

    Japanese Demon Lore Noriko T

    Utah State University DigitalCommons@USU All USU Press Publications USU Press 1-1-2010 Japanese Demon Lore Noriko T. Reider [email protected] Follow this and additional works at: http://digitalcommons.usu.edu/usupress_pubs Part of the Cultural History Commons, and the Folklore Commons Recommended Citation Reider, N. T. (2010). Japanese demon lore: Oni, from ancient times to the present. Logan, Utah: Utah State University Press. This Book is brought to you for free and open access by the USU Press at DigitalCommons@USU. It has been accepted for inclusion in All USU Press Publications by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. Japanese Demon Lore Oni from Ancient Times to the Present Japanese Demon Lore Oni from Ancient Times to the Present Noriko T. Reider U S U P L, U Copyright © 2010 Utah State University Press All rights reserved Utah State University Press Logan, Utah 84322 Cover: Artist Unknown, Japanese; Minister Kibi’s Adventures in China, Scroll 2 (detail); Japanese, Heian period, 12th century; Handscroll; ink, color, and gold on paper; 32.04 x 458.7 cm (12 5/8 x 180 9/16 in.); Museum of Fine Arts, Boston; William Sturgis Bigelow Collection, by exchange, 32.131.2. ISBN: 978-0-87421-793-3 (cloth) IISBN: 978-0-87421-794-0 (e-book) Manufactured in the United States of America Printed on acid-free, recycled paper Library of Congress Cataloging-in-Publication Data Reider, Noriko T. Japanese demon lore : oni from ancient times to the present / Noriko T. Reider.
  • Sergei Prokofiev

    Sergei Prokofiev

    Sergei Prokofiev Sergei Sergeyevich Prokofiev (/prɵˈkɒfiɛv/; Russian: Сергей Сергеевич Прокофьев, tr. Sergej Sergeevič Prokof'ev; April 27, 1891 [O.S. 15 April];– March 5, 1953) was a Russian composer, pianist and conductor. As the creator of acknowledged masterpieces across numerous musical genres, he is regarded as one of the major composers of the 20th century. His works include such widely heard works as the March from The Love for Three Oranges, the suite Lieutenant Kijé, the ballet Romeo and Juliet – from which "Dance of the Knights" is taken – and Peter and the Wolf. Of the established forms and genres in which he worked, he created – excluding juvenilia – seven completed operas, seven symphonies, eight ballets, five piano concertos, two violin concertos, a cello concerto, and nine completed piano sonatas. A graduate of the St Petersburg Conservatory, Prokofiev initially made his name as an iconoclastic composer-pianist, achieving notoriety with a series of ferociously dissonant and virtuosic works for his instrument, including his first two piano concertos. In 1915 Prokofiev made a decisive break from the standard composer-pianist category with his orchestral Scythian Suite, compiled from music originally composed for a ballet commissioned by Sergei Diaghilev of the Ballets Russes. Diaghilev commissioned three further ballets from Prokofiev – Chout, Le pas d'acier and The Prodigal Son – which at the time of their original production all caused a sensation among both critics and colleagues. Prokofiev's greatest interest, however, was opera, and he composed several works in that genre, including The Gambler and The Fiery Angel. Prokofiev's one operatic success during his lifetime was The Love for Three Oranges, composed for the Chicago Opera and subsequently performed over the following decade in Europe and Russia.