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Cesare Pugni: Esmeralda and Le Violon Du Diable
Cesare Pugni: Esmeralda and Le Violon du diable Cesare Pugni: Esmeralda and Le Violon du diable Edited and Introduced by Robert Ignatius Letellier Cesare Pugni: Esmeralda and Le Violon du diable, Edited by Edited and Introducted by Robert Ignatius Letellier This book first published 2012 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2012 by Edited and Introducted by Robert Ignatius Letellier and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-3608-7, ISBN (13): 978-1-4438-3608-1 Cesare Pugni in London (c. 1845) TABLE OF CONTENTS Introduction ............................................................................................................................... ix Esmeralda Italian Version La corte del miracoli (Introduzione) .......................................................................................... 2 Allegro giusto............................................................................................................................. 5 Sposalizio di Esmeralda ............................................................................................................. 6 Allegro giusto............................................................................................................................ -
Hunchback LIBVB.Pdf
THE HUNCHBACK OF NOTRE DAME Character List (in order of appearance) DOM CLAUDE FROLLO , Archdeacon of Notre Dame Cathedral JEHAN FROLLO , Claude’s reckless younger brother FLORIKA , a Gypsy FATHER DUPIN , a priest of Notre Dame and guardian of Claude and Jehan QUASIMODO , the deformed bell-ringer of Notre Dame and Claude Frollo’s charge CLOPIN TROUILLEFOU , King of the Gypsies PHOEBUS DE MARTIN , Captain of the Cathedral Guard FREDERIC CHARLUS , Lieutenant of the Cathedral Guard ESMERALDA , a beautiful and free-spirited Gypsy KING LOUIS XI , King of France, nicknamed the Prudent OFFICIAL , an officer of the court of King Louis XI MADAME , owner of a brothel and safe haven for Gypsies SAINT APHRODISIUS , a stained-glass image that comes to life CONGREGATION , an ensemble of storytellers who portray various GYPSIES, GARGOYLES, STATUES, SOLDIERS, REVELERS, PARISHIONERS, PRIESTS, PROSTITUTES and CITIZENS of Paris CHOIR CASTING NOTE A congregation of storytellers narrates The Hunchback of Notre Dame. The designations CONGREGANT, CONGREGANTS, and CONGREGATION are used when the ensemble is narrating individually, in succession or groups, or in unison, respectively. As the play progresses, the ensemble also takes on various roles within the tale, such as GYPSIES, GARGOYLES, and SOLDIERS and moves fluidly among them. Lines or lyrics in these generic roles should be assigned to ensemble members based on your production’s unique cast and staging. — i— The Hunchback of Notre Dame Scenes and Musical Numbers ACT ONE P. BARE STAGE . 1 (#1) Olim . CONGREGATION, CHOIR . 1 (#2) The Bells of Notre Dame (Part 1) . CONGREGATION, CHOIR . 1 (#2A) The Bells of Notre Dame (Part 2) . -
Actes Et Paroles – Volume IV
Victor Hugo Actes et paroles – Volume IV 2003 - Reservados todos los derechos Permitido el uso sin fines comerciales Victor Hugo Actes et paroles – Volume IV Depuis l'Exil 1876-1885 DEPUIS L'EXIL 1876-1885 1876 I POUR LA SERBIE Il devient nécessaire d'appeler l'attention des gouvernements européens sur un fait tellement petit, à ce qu'il paraît, que les gouvernements semblent ne point l'apercevoir. Ce fait, le voici: on assassine un peuple. Où? En Europe. Ce fait a-t-il des témoins? Un témoin, le monde entier. Les gouvernements le voient-ils? Non. Les nations ont au-dessus d'elles quelque chose qui est au-dessous d'elles les gouvernements. A de certains moments, ce contre-sens éclate: la civilisation est dans les peuples, la barbarie est dans les gouvernants. Cette barbarie est-elle voulue? Non; elle est simplement professionnelle. Ce que le genre humain sait, les gouvernements l'ignorent. Cela tient à ce que les gouvernements ne voient rien qu'à travers cette myopie, la raison d'état; le genre humain regarde avec un autre oeil, la conscience. Nous allons étonner les gouvernements européens en leur apprenant une chose, c'est que les crimes sont des crimes, c'est qu'il n'est pas plus permis à un gouvernement qu'à un individu d'être un assassin, c'est que l'Europe est solidaire, c'est que tout ce qui se fait en Europe est fait par l'Europe, c'est que, s'il existe un gouvernement bête fauve, il doit être traité en bête fauve; c'est qu'à l'heure qu'il est, tout près de nous, là, sous nos yeux, on massacre, on incendie, on pille, on extermine, -
The Hunchback of Notre Dame – the Musical”
Vol. 20 No. 2, Agustus 2019: 61-69 Mary, Esmeralda, and Frollo: A Hermeneutic Reading of “The Hunchback of Notre Dame – The Musical” Chrysogonus Siddha Malilang1 Malmö Universitet ABSTRACT This essay aims to analyze the multimodal storytelling involving songs inThe Hunchback of Notre Dame – The Musical. Two songs, “God Helps the Outcasts” and “Hellfire”, are chosen to be analyzed hermeneutically. The primary analysis is done through the scrutiny over the juxtaposition of different musical styles in the said songs. Comparisons to Victor Hugo’s original text and the Disney animated version – in which the musical is based on – is also done to shed more light on the new layers of interpretation. Keywords: musical juxtaposition; musical theater; liturgical music; multimodal storytelling ABSTRAK Mary, Esmeralda, dan Frollo: Pembacaan Hermeneutik tentang “The Hunchback of Notre Dame – The Musical”. Artikel ini bertujuan untuk mempelajari dan menganalisis multimodal story telling dalam rangkaian lagu-lagu pada The Hunchback of Notre Dame – the Musical. Dua lagu, “God Helps the Outcasts” dan “Hellfire” dipilih sebagai fokus penelitian hermeneutik. Analisis utama dilakukan melalui studi jukstaposisi gaya musik yang berbeda dalam lagu-lagu tersebut. Perbandingan dengan text asli karangan Victor Hugo dan versi animasi Disney – yang menjadi dasar naskah drama musikal ini – juga dilakukan untuk menggali interpretasi baru yang dihasilkan lebih dalam. Kata kunci: jukstaposisi musik; teater musikal; musik liturgis; multimodal storytelling Introduction When Disney re-wrote “The Hunchback of Notre Dame” into a musical performance, several As the writer began writing this essay, the news other songs from the animated version received the outlet from every corner of the world reported same treatment as “Hellfire”. -
Factsheet Penguin Kids Factsheetpenguin Kids
FACTSHEET PENGUIN KIDS FACTSHEETPENGUIN KIDS Level 5 Suitable for: young learners who have completed around 250 hours of study in English Type of English: American Headwords: 1000 Key words: 20 (see pages 2 and 5 of this Factsheet) Key grammar: will for offers, requests and with future meaning, when and so as conjunctions, zero conditional, infinitive of purpose he is going to find the gypsies’ hiding place and kill everyone there. Summary of the story Quasimodo and Phoebus try to warn Esmeralda Judge Frollo causes the death of a gypsy woman and her people about the attack, but they at Notre Dame Cathedral in Paris. Frollo wants to are too late and Frollo finds them. Esmeralda kill her deformed baby boy when a priest stops him chooses to burn at the stake rather than be with and insists that he save the child. Frollo agrees on Frollo. Quasimodo saves her and takes her to the condition that the boy lives in the cathedral. the cathedral. Frollo tries to kill Quasimodo, but The boy, Quasimodo, grows up a hunchback, Phoebus arrives just in time to save him. Frollo ringing the bells in the cathedral bell tower. He falls from the cathedral to his death. longs to escape and one day, against Frollo’s Phoebus and Esmeralda are together at last and orders, goes to a festival in the square. There, Quasimodo is welcomed as a hero. Quasimodo is chosen as the “King of Fools” and the people mock him. A beautiful gypsy girl, Background information Esmeralda, defends him. This angers Frollo, who The Hunchback of Notre Dame is the 34th Disney hates gypsies and people who are different. -
Clopin Trouillefou
SOCIAL STORY GOING TO COMMUNITY PLAYERS Welcome to Community Players! We look forward to having you as our guest! COMMUNITY PLAYERS THEATRE I am going to Community Players to see a show. GOING TO THE THEATRE If I drive or ride in a car to the theatre, I will park on the street in front of the theatre or in the parking lot across the street. LOBBY When I enter the building, I will be in the lobby. At the front desk someone will be there to greet me and help me get my tickets. SNACKS AND DRINKS If I get hungry or thirsty, I can visit the concession stand for popcorn, cookies, candy, and Coke products. If I just want a drink of water, I can use the drinking fountain by Concessions stand Drinking fountain the merchandise stand. BATHROOMS There are bathrooms in the lobby down the hallway. I can use the bathroom at any time during the performance SEATS When I’m ready, I can find my seat inside the theatre. If I need help finding a seat, I can ask an usher. THE STAGE The play will happen on the stage. Only people who work at the theatre are allowed on the stage. If I need to leave the theatre, I can go out the same way I entered but I should walk slowly. LIGHTS AND SOUNDS There may be different colored lights and the lights might flash during the play. There might be music and sounds that could sometimes be loud. I can always leave if I feel uncomfortable. -
Audition Pack
AUDITION PACK Please read all instructions carefully 1 ABOUT ‘HUNCHBACK’ What makes a monster and what makes a man? This is the central theme of The Hunchback of Notre Dame, a sweeping, grand-scale musical from Disney Theatrical. Based on the 1996 Disney film and Victor Hugo’s 1831 novel, The Hunchback of Notre Dame tells the story of Quasimodo, the hunchbacked bell-ringer of Notre Dame, and his desire to one day be a part of the outside world. When he summons the courage to attend the Feast of Fools, he meets Esmeralda, a compassionate gypsy who protects him from an angry mob. But at the same time, Quasimodo’s master, the archdeacon Dom Claude Frollo, and the new captain of the guard, Phoebus de Martin, fall in love with the beautiful girl. Adding to Quasimodo’s struggle is his punishment and derision from Frollo, following years of psychological abuse, and the danger posed by the gypsies, who are willing to kill any outsiders who venture into their secret hideout. But before Paris is burned to the ground, will Quasimodo be able to save Esmeralda from Frollo’s lust and anger? Will she return Quasimodo’s affection? Who is the true monster of Notre Dame? BOOK Peter Parnell MUSIC Alan Menken LYRICS Stephen Schwartz BASED ON THE PLAY/BOOK/FILM The Hunchback Of Notre Dame By Victor Hugo FIRST PRODUCED 2014 TIME & PLACE Paris, 1482 Directed and Produced by: Mr Huntington Assistant Director: Alex Moxon Choreography: Miss Hobbs Musical Director: Graham Brown Assistant MD: Mr Porter-Thaw Choir MD: Mr North Pianist: Melody Day Costumes/Props: -
The Hunchback of Notre Dame …………………………………
TEACHER PREPARATION GUIDE Music by ALAN MENKEN, Lyrics by STEPHEN SCHWARTZ, and Book by PETER PARNELL Based on the book by VICTOR HUGO Directed By VICTORIA BUSSERT TABLE OF CONTENTS Dear Educator ………………………………………………………………………..... 3 A Note to Students: What to Expect at the Theater…………………………………… 4 GLT: Our History, Our Future………………………………………………………... 5 Director’s Note .......................…………………………………………………………. 6 Victor Hugo ……….. ... ………………………………………………………………. 8 Scenes & Musical Numbers ……………………………………………………………. 9 Past Performances of The Hunchback of Notre Dame …………………………………. 10 Idaho Shakespeare Festival’s Production of The Hunchback of Notre Dame …………. 12 Costume Design………………………………………………………………………… 14 Scenic Design…………………………………………………………………………... 18 Questions for Discussion Prior to Attending the Performance ………………………… 20 Activities ……………………………………………………………………………….. 23 Writing Prompts …………………………………………………………………..…… 26 How to Write a Review ………………………………………………………………… 28 A Sample Review Written by a Student ……………………………………………….. 29 A Brief Glossary of Theater Terms …………………………………………………….. 30 Questions for Discussion After Attending the Performance …………………………… 32 Notes …………………………………………………………………………………… 37 Generous Support …………………………………………………………………….... 39 About Great Lakes Theater ………….…………………………………………………. 40 ן TEACHER PREPARATION GUIDE: THE HUNCHBACK OF NOTRE DAME 2 Fall 2017 Dear Educator, Thank you for your student matinee ticket order to Great Lakes Theater’s production The Hunchback of Notre Dame by Alan Menken, Stephen Schwartz and Peter Pamell, which will be performed in repertory with William Shakespeare’s A Midsummer Night’s Dream in the beautiful Hanna Theatre at Playhouse Square from September 29th through November 5th. As the bells of Notre Dame’s cathedral sound in fifteenth-century Paris, Quasimodo - a deformed, captive bell-ringer - observes the city’s Feast of Fools from afar. Escaping his captor Frollo to join the festivities, Quasimodo is rejected by every reveler except the beautiful Gypsy, Esmeralda – with whom he is immediately smitten. -
Resituating Transatlantic Opera: the Case of the Théâtre D'orléans, New
Resituating Transatlantic Opera: The Case of the Théâtre d’Orléans, New Orleans, 1819–1859 Charlotte Alice Bentley Emmanuel College October 2017 This dissertation is submitted for the degree of Doctor of Philosophy ABSTRACT This thesis examines the production and reception of French opera in New Orleans in the first half of the nineteenth century, through a focus on the city’s principal French-language theatre from 1819 to 1859, the Théâtre d’Orléans. Building on the small body of existing scholarship concerning the theatre’s history and repertoire, here I draw upon a greatly expanded range of sources—including court cases, sheet music, and novels—in order to understand more about the ways in which operatic culture shaped and was shaped by city life in this period. New Orleans’s operatic life relied on transatlantic networks of people and materials in order to thrive, and this thesis explores the city’s place within growing global operatic systems in the nineteenth century. The five chapters each reflect on different aspects of operatic translocation and its significance for New Orleans. The first two argue for the centrality of human agency to the development of transatlantic networks of production and performance by examining the management of the theatre and the international movement of singers in turn. Chapter 3 investigates the impact of French grand opéra on New Orleans, arguing that the genre provided a focus for the negotiation of local, national, and international identities among opposing critical (and linguistic) factions within the city, while also providing an impetus for the development of a material culture of opera. -
Stephen Schwartz Comments on Disney's the Hunchback of Notre
Stephen Schwartz Comments on Disney’s The Hunchback of Notre Dame The Disney animated feature The Hunchback of Notre Dame (1996) featured music by Alan Menken and lyrics by Stephen Schwartz. This PDF includes SECTION 1 – About The Hunchback of Notre Dame Project SECTION 2 – Songs ADDITIONAL RESOURCES The following questions and answers are from the archive of the StephenSchwartz.com Forum. Copyright by Stephen Schwartz 2010 all rights reserved. No part of this content may be reproduced without prior written consent, including copying material for other websites. Feel free to link to this archive. Send questions to [email protected] SECTION 1 – About The Hunchback of Notre Dame Project Hunchback question – getting started Question: Hi, Stephen. I don't remember ever reading in my many browsings through the forum archives, how you got involved with HUNCHBACK. Was this one of those assignments that you had to find the passion for, or was there something about the story that attracted you to the project? I think HUNCHBACK is my favorite of all the Disney stuff I've seen that you've done. I like the way Kwosimodo (sp) has to learn to see himself as a different person than what he's been led to believe he was all his life, and with that new vision of himself, he's able to make a difference in his community. Good stuff. :) So I'd be interested in hearing how you got involved with HUNCHBACK and what attracted you to the project. - Peggy Answer from Stephen Schwartz: After Alan Menken and I had been working on POCAHONTAS for about a year and it was clear that the project and collaboration were going well, the folks at Disney offered us a choice of a couple of ideas they had been developing as a follow-up. -
La Esmeralda
Victor Hugo La Esmeralda − Collection Théâtre − Retrouvez cette oeuvre et beaucoup d'autres sur http://www.inlibroveritas.net Livros Grátis http://www.livrosgratis.com.br Milhares de livros grátis para download. Table des matières La Esmeralda..............................................................................................1 LIBRETTO..........................................................................................2 PERSONNAGES.................................................................................4 ACTE PREMIER................................................................................5 SCENE PREMIERE............................................................................6 SCÈNE II...........................................................................................12 SCENE III..........................................................................................17 ACTE DEUXIÈME − SCENE PREMIERE.....................................22 SCENE II...........................................................................................24 SCENE III..........................................................................................28 SCÈNE IV.........................................................................................31 ACTE TROISIÈME − SCÈNE PREMIERE.....................................35 SCÈNE II...........................................................................................39 SCÈNE III..........................................................................................42 -
Auditions Information for the Arlington Players Presents the Hunchback
Auditions information for The Arlington Players Presents The Hunchback of Notre Dame ALL ROLES ARE AVAILABLE: The Arlington Players is excited to announce auditions for The Hunchback of Notre Dame. There are 5 principal acting roles, 3 males, 1 female, and 1 that could be any gender. The production will also feature an acting ensemble of 10-15 consisting of at least 5 males and 5 females who will play over 40 supporting and cameo roles including Gypsies, gargoyles, soldiers, and citizens of Paris. Finally, there is also a choral ensemble of 16-20 singers. See descriptions below for more information about principal and ensemble roles. Actors of any ethnicity or gender are encouraged to audition. Please prepare a 16-32 bars of a song in the style of the show that both shows off your voice and also your acting abilities. Please do not sing a song from Hunchback. Be prepared for a brief dance audition -- dress in comfortable clothing and footwear that you can move in safely. While adapted from the beloved Disney film, please be aware the show is a darker and more mature version, closer to Victor Hugo’s novel. If you are unfamiliar with the vocal range designations, see this chart to assist you - tinyurl.com/vocalrange123 If you have any questions please email the TAP’s Executive Producer at [email protected] CASTING BREAKDOWN (in order of appearance): Claude Frollo Archdeacon of Notre Dame Cathedral, Frollo is pious and holier than thou. A strong and imposing presence, he is the reluctant caretaker of Quasimodo.