Disney's Beauty and the Beast – June 27, 2016
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Makers: Women in Hollywood
WOMEN IN HOLLYWOOD OVERVIEW: MAKERS: Women In Hollywood showcases the women of showbiz, from the earliest pioneers to present-day power players, as they influence the creation of one of the country’s biggest commodities: entertainment. In the silent movie era of Hollywood, women wrote, directed and produced, plus there were over twenty independent film companies run by women. That changed when Hollywood became a profitable industry. The absence of women behind the camera affected the women who appeared in front of the lens. Because men controlled the content, they created female characters based on classic archetypes: the good girl and the fallen woman, the virgin and the whore. The women’s movement helped loosen some barriers in Hollywood. A few women, like 20th century Fox President Sherry Lansing, were able to rise to the top. Especially in television, where the financial stakes were lower and advertisers eager to court female viewers, strong female characters began to emerge. Premium cable channels like HBO and Showtime allowed edgy shows like Sex in the City and Girls , which dealt frankly with sex from a woman’s perspective, to thrive. One way women were able to gain clout was to use their stardom to become producers, like Jane Fonda, who had a breakout hit when she produced 9 to 5 . But despite the fact that 9 to 5 was a smash hit that appealed to broad audiences, it was still viewed as a “chick flick”. In Hollywood, movies like Bridesmaids and The Hunger Games , with strong female characters at their center and strong women behind the scenes, have indisputably proven that women centered content can be big at the box office. -
Music by ALAN MENKEN Lyrics by HOWARD ASHMAN & TIM RICE
JUL. 26 - AUG. 6, 2021 Music by Lyrics by Book by ALAN HOWARD ASHMAN LINDA MENKEN & TIM RICE WOOLVERTON Originally Directed by Rob Roth Originally Produced by Disney eatrical Productions Beauty and the Beast Jr. is presented through special arrangement with Music eatre International (MTI). All authorized performance materials are also supplied by MTI. www.mtishows.com SCENES & MUSICAL NUMBERS CAST OF CHARACTERS Prologue: A Castle Belle.............................................BRONWYN ANDREOLI Prologue Maurice..........................................................IULI PETERS Beast.....................................................CAMERON WARD Scene 1: e Village Gaston......................................................AMMON PEREZ Belle LeFou...........................................BRAEDON REYNOLDS Lumiere....................................................DANNY KENNY Scene 2: e Forest Cogsworth...................................................JADEN WILLIS Mrs. Potts..........................................MARIELLE SUTTON Scene 3: e Castle Babette..................................................BENZLEY TINNEY Scene 4: Belle’s Cottage Meadow Madame De Le Grande Bouche......................HANNAH EVANS Chip........................................................AVRI DAVIDSON Belle (Reprise) Silly Girl 1 (Soprano)..................................LAURA JACOBS Scene 5: e Castle Silly Girl 2 (2nd Soprano).........................BRIANNA ORME Silly Girl 3 (Alto)................................JOCELYN OSMOND Home (Tag) Narrator / -
Download Study Guide
BEHIND THE CURTAIN A CREATIVE & THEATRICAL STUDY GUIDE FOR TEACHERS MUSIC BY ALAN MENKEN LYRICS BY HOWARD ASHMAN & TIM RICE BOOK BY LINDA WOOLVERTON DIRECTED BY NANCY SCHAEFFER Disney’s BEAUTY AND THE BEAST JR is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. MTIShow.com RECOMMENDED FOR AGES 5 AND UP SEPTEMBER 22 - OCTOBER 27, 2019 PUBLIC SHOWS OCTOBER 11 - OCTOBER 25, 2019 STUDENT MATINEE As part of DCT’s mission to integrate the arts into classroom academics, the Behind the Curtain Resource Guide is intended to provide helpful information for the teacher and students to use before and after attending a performance. The activities presented in this guide are suggested to stimulate lively responses and multi-sensory explorations of concepts in order to use the theatrical event as a vehicle for cross-cultural and language arts learning. Please use our suggestions as springboards to lead your students into meaningful, dynamic learning; extending the dramatic experience of the play. Dallas Children’s Theater BEHIND THE CURTAIN A Creative & Theatrical Resource Guide for Teachers DCT Executive Artistic Director .....................................Robyn Flatt Resource Guide Editor ......................................................Jessica Colaw Play ..........................................................................................Disney’s BEAUTY AND THE BEAST Music by ...............................................................................Alan Menken Lyrics by ................................................................................Howard Ashman & Tim Rice Book by ................................................................................Linda Woolverton DALLAS CHILDREN’S THEATER, one of the top five family theaters in the nation, serves over 250,000 young people and their families from 197 zip codes, 101 cities and 89 counties and 27 states each year through its main stage productions, touring, educational programming and outreach activities. -
A Feminist Perspective “Belle Is a Feminist,” Said Beauty and The
A Feminist Perspective “Belle is a feminist,” said Beauty and the Beast’s screenwriter and book writer Linda Woolverton in a 1990 interview. “I wanted a woman of the ’90s, someone who wanted to do something other than wait for her prince to come." Twenty-five years after Disney introduced Belle to the world, debates still flare online and in numerous scholarly papers as to whether she’s a positive role model for girls. In a town that only praises her looks and scorns her intellect, Belle decisively remains true to her principles. But though Belle reads books, her favorite involves Prince Charming. Professor June Cummins of the National Center for the Study of Children’s Literature writes, “The trait that makes Belle different, more intelligent, and more ‘liberated’ than previous Disney heroines is that she likes to read books about Disney heroines.” Later, however, when she concludes that the Beast is “no Prince Charming,” she shares another one of her favorites, a tale that better reflects her determination: young King Arthur pulling the sword from the stone. Dissatisfied with her life, Belle doesn’t look for love as a solution, deftly rebuffing the bullying attention of Gaston. And while being held prisoner in a cursed castle isn’t the “adventure in the great wide somewhere” she dreamt about, Belle responds to a crisis admirably. She takes brave action to protect her father, who is weak and childlike, and she repeatedly defies her captor. That the Beast is Belle’s captor delivers the story’s most troubling message, summed up succinctly by freelance film critic Scott Mendelson: “I’ve long joked that I was able to ruin Disney’s Beauty and the Beast for others merely by uttering two words: Stockholm Syndrome.” Woolverton counters by viewing Belle in context, part of a continuum that has led to the heroines of Frozen and The Hunger Games, or to Disney’s 2010 Alice in Wonderland, which made Woolverton the first woman to get sole writing credit on a billion dollar movie. -
Study Guide Prepared by Jeri Hammond and Ann Sorvari
Disney’s Beauty and the Beast a Wheelock Family Theatre Study Guide prepared by Jeri Hammond and Ann Sorvari 200 Riverway │ Boston, MA 02215-4176 box office: 617.879.2300 │ www.wheelockfamilytheatre.org Be Our Guest at Wheelock Family Theatre’s Production of Disney’s Beauty and the Beast The story of Beauty and the Beast brings to Wheelock Family Theatre audiences a spunky, intellectually curious heroine in Belle. She is admirable from the first for her loyalty to her eccentric father, her love of reading (even though it brands her as “different”), and her refusal to accept a proposal of marriage from an arrogant and boastful nobleman. Over the course of the play, she learns that love sometimes comes from the least likely and least romantic of sources, that the surface is not the whole truth, and that home is where the heart is. Her Beast learns that love cannot be forced, that love means freeing, not caging, your beloved, and that true power comes from giving it away. These two are surrounded by an entertaining collection of characters—some comic, some caring, some evil, some beastly, some silly—who add spice to the central story and help underscore the overall message about the unselfish generosity of love. Welcome to the heartwarming world of this wonderful tale! On Your Way to the Theatre… Beauty and the Beast is a story with which many, or even all, students are likely to be familiar, especially in the Disney animated film version, which is the basis for the WFT production. Some students may be curious to see how a live stage production will deal with Lumiere, Mrs. -
Gender, Class and Ethnicity in the Disney Princesses Series – Kirsten Malfroid 1
Universiteit Gent Faculteit Letteren en Wijsbegeerte Gender, Class, and Ethnicity in the Disney Princesses Series Kirsten Malfroid Promotor: Masterproef ingediend met het oog op het behalen van de graad van Dr. Katrien De Moor Master in de Vergelijkende Moderne Letterkunde Academiejaar 2008 - 2009 ii ACKNOWLEDGEMENTS Real heroes and heroines stay in anonymity, but I would still like to extend some words of thankfulness to my family and friends, who “simply” were there with ceaseless support. I would also like to thank the Walt Disney Company, for releasing the movies that became my current material for analysis; my parents, for once taking me to the theater to see them; and Prof. dr. Àngels Carabí Ribera, who teaches at the University of Barcelona, for introducing me to “a whole new world” of gender studies to analyze them. In addition, Sebastian Loll deserves special mention for pointing to Donald Duck‟s collision with fascism, while Kasper Malfroid has spared me the desperation of trying to subdue Microsoft Office. But most of all, I am indebted to my promoter, dr. Katrien De Moor, who guided me with excellent advice and encouraging words until the end. Ghent, augustus 2009 iii TABLE OF CONTENTS Acknowledgements ...................................................................................................... ii Table of Contents ........................................................................................................ iii I. Introduction ......................................................................................................... -
Originally Produced by Disney Theatrical Productions Music By
Originally Produced by Disney Theatrical Productions Music by ALAN MENKEN • Lyrics by HOWARD ASHMAN & TIM RICE • Book by LINDA WOOLVERTON Originally Directed by Rob Roth Director's Note Be Our Guest! I can't possibly thank the amazing cast and crew enough for the incredible amount of work they’ve done for this musical. None of this would have come together without their dedication and passion for theatre. We hope you’ll thoroughly enough yourself. I have held the belief for a very long time that Disney’s adaptation of Beauty and the Beast is a textbook example of a perfect animated movie. There’s a reason it was nominated for Best Picture. Its characters, the pacing of events, the themes and of course, the music, all fit together so well. It’s the timeless, magical tale that teaches children not to judge a book by its cover. As I approached bringing this story to life on the stage, I came to realize not just how deeply that message runs, but how many more lessons we can derive from this content aimed towards a younger demographic. This is what surprised me the most: the fact that this “Kids’ Musical” has so much to offer and teach us that we as adults are so quick to forget. There are simple morals, to be sure, such as the value of being kind, seeing the best in other people, and that uniqueness is to be celebrated… all things we should always try to keep in mind. You may think that these are obvious lessons, and I hope you do, but we as a society have reached a point where they cannot be stated enough. -
Universidade Federal Do Ceará Centro De Humanidades Programa De Pós-Graduação Em Estudos Da Tradução
1 UNIVERSIDADE FEDERAL DO CEARÁ CENTRO DE HUMANIDADES PROGRAMA DE PÓS-GRADUAÇÃO EM ESTUDOS DA TRADUÇÃO IGOR PEREIRA RIBEIRO DOS SANTOS TRADUÇÃO DE MUSICAIS: O PRINCÍPIO DO PENTATLO DE LOW NA VERSÃO BRASILEIRA DA CANÇÃO BELLE, DO FILME A BELA E A FERA FORTALEZA 2020 2 IGOR PEREIRA RIBEIRO DOS SANTOS TRADUÇÃO DE MUSICAIS: O PRINCÍPIO DO PENTATLO DE LOW NA VERSÃO BRASILEIRA DA CANÇÃO BELLE, DO FILME A BELA E A FERA Dissertação apresentada ao Programa de Pós- Graduação em Estudos da Tradução da Universidade Federal do Ceará, como requisito parcial à obtenção do título de Mestre em Estudos da Tradução. Área de Concentração: Processos de Retextualização. Orientador: Prof. Dr. Rafael Ferreira da Silva. FORTALEZA 2020 3 4 IGOR PEREIRA RIBEIRO DOS SANTOS TRADUÇÃO DE MUSICAIS: O PRINCÍPIO DO PENTATLO DE LOW NA VERSÃO BRASILEIRA DA CANÇÃO BELLE, DO FILME A BELA E A FERA Dissertação apresentada ao Programa de Pós- Graduação em Estudos da Tradução da Universidade Federal do Ceará, como requisito parcial à obtenção do título de Mestre em Estudos da Tradução. Área de Concentração: Processos de Retextualização. Orientador: Prof. Dr. Rafael Ferreira da Silva. Aprovada em: ____/____/____. BANCA EXAMINADORA ______________________________________________________ Prof. Dr. Rafael Ferreira da Silva (Orientador) Universidade Federal do Ceará (UFC) ______________________________________________________ Profa. Dra. Gabriela Frota Reinaldo Universidade Federal do Ceará (UFC) ______________________________________________________ Prof. Dr. Fábio Nunes Assunção Universidade Federal do Ceará (UFC) ______________________________________________________ Profa. Dra. Luciana Nascimento de Almeida Universidade Federal do Rio de Janeiro (UFRJ) 5 AGRADECIMENTOS Primeiramente, agradeço a Deus e minha família, por me darem a dádiva da vida e uma base sólida na qual construí quem eu sou. -
CHAPTER III RESEARCH METHODOLOGY A. Type Of
CHAPTER III RESEARCH METHODOLOGY A. Type of Research Methodology Research is defines as an original contribution to the existing stock of knowledge making for its advancement. It is the pursuit of truth with the help of study, observation, comparison and experiment. In short, the search for knowledge through objective and systematic method of finding solution to a problem is research. The systematic approach concerning generalization and the formulation of a theory is also research.41 Research is an academic activity that consisting problem, hypothesis, collecting facts, analyzing the facts, and reaching the conclusion. Methodology is regarded as a kind of „action reading‟ or more precisely as, an „action repertoire‟. Action reading means: preparing a type of repertoire, based on a set of premises, (theoretical) considerations and practical conditions, according to which the researcher structures the logic of his research given the question he wants to answer. 42 The result when the researcher was done well, it is a dedicated customized methodology for the research project. A fundamental premise here is that the researcher is in a position to manage his research process and can be held responsible for the choices made. 43 41C. R. Kothari, Research Methodology: Methods & Techniques, (New Delhi: New Age International (P) limited Publishers, 2004), 1. 42Jan Jonker and Bartjan Pennink, The Essences of Research Methodology, (New York: Springer Heidelberg, 2010), 22. 43Ibid., 23. 34 35 The existence of the research methodology has a goal of guiding the researcher in order to work systematically. The research methodology covers a set research activities conducted by researcher. It involves: 1. -
Linda Woolverton Dives Down the Rabbit Hole!
Linda Woolverton dives down the Rabbit Hole! Character-Driven Writing by Vaughn, Goldman & Millar 2010 Sundance Coverage + Know Your Show: The Mentalist MARCH/APRIL 2010 Volume 17 Number 2 - - - - - - - - - - - - - - Allan Loeb writes the stimulus Beacham, Hay & Manfredi Noah Baumbach stresses us out $6.95 package for Wall Street: get Kracken on Clash of the Titans in Greenberg Money Never Sleeps "My head is spinning... my writing career is taking off...and I owe it all to entering my script in the Creative Screenwriting AAA Contest last fall!" — Robert Lugibihl, February 2009 OPEN NOW! DEADLINE APRIL 11, 2010 sponsored by Welcome to Creative Screenwriting’s annual screenplay competition. The AAA Contest is looking for the best and most talented writers from around the world. If you have written a great screenplay, please allow us to bring your work to the attention of the industry. The winner of the AAA contest will be profiled in Creative Screenwriting magazine and the names of the top ten finalists will be published in CS Weekly. Finalists and their screenplays will also be publicized in press releases and ads placed in industry publications. GRAND PRIZE — $7,500 CASH additional prizes, plus Acclaim and Access: • $7,500 cash • Winning script mailed to over 300 agents, managers, and development executives. • Free Gold Pass registration to the 2010 Screenwriting Expo ($300+ value) • Air fare up to $300 and lodging at the 2010 Screenwriting Expo headquarters hotel • Five free Golden Pitch Festival pitch tickets ($125 value, plus selection priority). Second Prize: $2,500 cash plus script sent to producers, agents, and managers, plus other prizes. -
The Hollywood Novelization: Film As Literature Or Literature As Film Promotion?
The Hollywood Novelization: Film as Literature or Literature as Film Promotion? Johannes Mahlknecht University of Innsbruck, American Studies Abstract Hollywood movie novelizations are novels based on mainstream films and published about the time these films are released in theaters. The present article explores the ambiguous status of this generally little- esteemed and frequently ignored form of adaptation. On the one hand, novelizations are works of literature that can be enjoyed without knowledge of the film they are based on; on the other, they can be (and often are) seen as mere tools of film advertising. This latter aspect becomes particularly evident when looking at the cover design of a novelization. It invariably features the film’s artwork (the poster image, stills, and/or typography used for promoting the film) and frequently highlights the film’s stars rather than the book’s author. By analyzing a selection of book covers of novelized versions of recent films and comparing the novelization of Terminator Salvation (Foster 2009b) with the film Terminator( Salvation 2009, dir. McG) it is based on, the article traces and exam- ines the frictions between the opposing forces—literature and film marketing—that define the genre. This article was written as part of the research project Framing Media: The Periphery of Fic- tion and Film at the University of Innsbruck, Austria, funded by the Austrian Science Fund (FWF) and headed by Mario Klarer. I would like to take this opportunity to thank Meir Sternberg and the anonymous referees of Poetics Today for their many priceless suggestions that helped improve this article. -
STRUCTURAL BREAKDOWN: STORY ANALYSIS: “THE LION KING” ANALYST: Dara Marks WRITTEN BY: Irene Mecchi, Jonathan Roberts and Linda Woolverton
STRUCTURAL BREAKDOWN: STORY ANALYSIS: “THE LION KING” ANALYST: Dara Marks WRITTEN BY: Irene Mecchi, Jonathan Roberts and Linda Woolverton A STORY B STORY C STORY PLOT INTERNAL SUBPLOT RELATIONSHIP SUBPLOT NAME OF SIMBA TAKES HIS PLACE AS KING AND SIMBA GROWS UPAND SIMBA MAKES PEACE WITH HIS PLOTLINE SAVES HIS PRIDELANDS ASSUMES HIS TRUE IDENTITY FATHER’S DEATH SET UP (PG 2) Simba is born and is introduced to the (PG 9) There’s more to being king (PG. 22) Mufasa has to rescue Simba from the pride. (PG 5) Scar is jealous of his newborn than getting everything that you hyenas. He tells him that he is very nephew. (PG 8) Mufasa tells Simba that want. (PG 16) Song “I just can’t disappointed in him. Mufasa also tells Simba someday he will rule the kingdom, everything wait to be king” demonstrates that he will always be there to guide him. the light touches – he is warned not to go to the Simba’s immature view of being dark place. (PG 17) Scar cons Simba into king. (PG 20) Simba is cornered by defying his father and taking Nala to the dark the hyenas, but is too small to stand place, where they are nearly killed. up to them. 1st TURNING (PG 26 ) Scar begins a plan to kill Mufasa. (PG 30) Simba lets himself be (PG.37) Scar leads Simba to believe that he is POINT (PG 32) Simba is caught in a stampede. seduced into Scar’s plan to kill him responsible for his father’s death.