Character Guide

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CHARACTER GUIDE THE PHANTOM lives beneath the Paris opera house. He teaches Christine how to sing as her Angel of Music. He wears his mask and is very secretive, and runs the opera by sending letters. CHRISTINE is a chorus dancer at the Paris opera house. She is getting voice lessons from The Angel of Music, who is also The Phantom. She replaces Carlotta as lead opera singer. RAOUL is a new patron of the opera house. He knew Christine when they were children. He loves her now, and he tries to protect her from The Phantom. MADAME GIRY is the dance mistress at the opera house. She works closely with The Phantom and gets his letters. She is very strict, controls dancers with her walking stick, and is Meg’s mother. MEG is Christine’s best friend. She is a dancer at the opera house with Christine, and she is Madame Giry’s daughter. CARLOTTA is the leading lady at the opera house, but she is replaced by Christine. She hates Christine for that. The Phantom hates Carlotta. She is always with CHARACTERUbaldo Piangi. GUIDE UBALDO PIANGI is the leading man at the opera house. He is always with Carlotta and defends her when The Phantom tries to replace her with Christine. ANDRE & FIRMIN are the new managers of the opera house. They are always together and care about money. They do not believe that The Phantom is really a threat or to be taken seriously. SYNOPSIS The Phantom of the Opera lives anonymously underneath the Paris opera house and controls everyone through threats and magic. Carlotta quits because of him, and Christine replaces her in the opera. Raoul sees Christine and falls in love with her, but The Phantom is also in love with her. She loves them both. The Phantom is anry at everyone trying to stop his plans from going through, both for the opera and to get Christine to fall in love with him. Through the musical, The Phantom continues to try to seduce Christine, and everyone else tries to capture The Phantom. .

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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.
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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).
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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.
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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).
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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).
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“No One Ever Sees the Angel" : Adapting the Phantom of the Opera Mcmurtry, LG
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The Characterization of Phantom in Gaston Leroux's the Phantom of the Opera by Shu-Ling Cheng (鄭淑玲) Adviser: Professor L
The Characterization of Phantom in Gaston Leroux’s The Phantom of the Opera BY Shu-Ling Cheng (鄭淑玲) Adviser: Professor Li-Li Lin (林莉莉) Department of Applied English Yuanpei University of Technology January 2010 Hsinchu, Taiwan, R.O.C. The article written by Shu-Ling Cheng has been accepted in its present form by Department of Applied English of Yuanpei University of Technology as satisfying the project requirement for the degree of Bachelor of Arts. Advisor ___________________________ Chairman of the Department ___________________________ January 2010 Acknowledgements I wish to thank my advisor, Professor Li-Li Lin, for her guidance and her being extraordinarily generous in helping me finish this paper. To my former partner, Naima, I wish to thank her for helping me find reference last semester and giving me some ideas. ii Abstract Based on the dark side of his personality, most critics assume that Phantom is a frenzied and violent person (JOYCE Y CHIOU, 2006; Pei Zhong Yang, 2006). This study aims at exploring the reason why he gives the reader such an impression and why we find that he is not so inhuman. We will put our emphasis on the weak side of his personality, on which he is full of sense of inferiority and hatred. Our conclusion is that Phantom is characterized as a human instead of a demon. iii TABLE OF CONTENTS Acknowledgements….………………………….…...................ii Abstract…………………………………….……………….....iii Introduction……………………………….…………………….1 Summary………………………………….…………………….1 Review of Literature……………………………………...…….1 Conclusion…………………………….…..……………………5 Work Cited…………………………………………………..….5 i Introduction The Phantom of the Opera is a French novel written by Gaston Leroux (1910). The novel was sold very poorly.
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University of Edinburgh Postgraduate Journal of Culture and the Arts Issue 07 | Autumn 2008
University of Edinburgh Postgraduate Journal of Culture and the Arts Issue 07 | Autumn 2008 Title Palimpsest, Pasolini, Poe and Poetics, or the phantoms haunting Dario Argento’s Opera (1987) Author Keith Hennessey Brown Publication FORUM: University of Edinburgh Postgraduate Journal of Culture and the Arts Issue Number 07 Issue Date Autumn 2008 Publication Date 12/12/2008 Editors Jack Burton & Jana Funke FORUM claims non-exclusive rights to reproduce this article electronically (in full or in part) and to publish this work in any such media current or later developed. The author retains all rights, including the right to be identified as the author wherever and whenever this article is published, and the right to use all or part of the article and abstracts, with or without revision or modification in compilations or other publications. Any latter publication shall recognise FORUM as the original publisher. Palimpsest, Pasolini, Poe and Poetics, or the phantoms haunting Dario Argento’s Opera (1987) Keith Hennessey Brown University of Edinburgh Italian horror and thriller auteur Dario Argento’s films are replete with images and themes of haunting: the solidified residue of malign, murderous thoughts sensed by the medium at the parapsychology conference which opens Profondo Rosso (1975) or the literal haunted houses inhabited by the witches Mater Tenebrarum, Suspiriorum and Lachrymarum in the horror films Suspiria (1977) and Inferno (1980). Above all, Argento’s gialli – i.e. Italian-style thrillers – from The Bird with the Crystal Plumage (1970) onwards present a succession of protagonists who find themselves haunted by some vital fragment of sound or image that they cannot quite recall, going up against antagonists whose inability to overcome the haunting legacy of some incident in their past compels them to kill again and again.
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The Phantom of the Opera Chapter 2 Meanwhile, Christine Daae Uttered
The phantom of the opera Chapter 2 Meanwhile, Christine Daae uttered a deep sigh, which was answered by a groan. She turned her head, saw Raoul and started. She looked at the doctor, on whom she bestowed a smile, then at her maid, then at Raoul again. "Monsieur," she said, in a voice not much above a whisper, "who are you?" "Mademoiselle," replied the young man, kneeling on one knee and pressing a fervent kiss on the diva's hand, "I AM THE LITTLE BOY WHO WENT INTO THE SEA TO RESCUE YOUR SCARF." Christine again looked at the doctor and the maid; and all three began to laugh. Raoul turned very red and stood up. "Mademoiselle," he said, "since you are pleased not to recognize me, I should like to say something to you in private, something very important." "When I am better, do you mind?" And her voice shook. "You have been very good." "Yes, you must go," said the doctor, with his pleasantest smile. "Leave me to attend to mademoiselle." "I am not ill now," said Christine suddenly, with strange and unexpected energy. She rose and passed her hand over her eyelids. "Thank you, Doctor. I should like to be alone. Please go away, all of you. Leave me. I feel very restless this evening." The doctor tried to make a short protest, but, perceiving the girl's evident agitation, he thought the best remedy was not to thwart her. And he went away, saying to Raoul, outside: "She is not herself to-night. She is usually so gentle." Then he said good night and Raoul was left alone.
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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.
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Phantom of the Opera? More Like Phantom of the SLOPERA
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