DOCSLIB.ORG

SLEEPING BEAUTY: RISE and SHINE Book by Ken Jones Music by Jamey Strawn Lyrics by Christine Jones

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SLEEPING BEAUTY: RISE and SHINE Book by Ken Jones Music by Jamey Strawn Lyrics by Christine Jones SLEEPING BEAUTY: RISE AND SHINE Book by Ken Jones Music by Jamey Strawn Lyrics by Christine Jones Copyright © MMXVIII by Ken Jones, Jamey Strawn, Christine Jones, All rights reserved. ISBN: 978-1-61588-469-8 CAUTION: Professionals and amateurs are hereby warned that this Work is subject to a royalty. This Work is fully protected under the copyright laws of the United States of America and all countries with which the United States has reciprocal copyright relations, whether through bilateral or multilateral treaties or otherwise, and including, but not limited to, all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention and the Berne Convention. RIGHTS RESERVED: All rights to this Work are strictly reserved, including professional and amateur stage performance rights. Also reserved are: motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all forms of mechanical or electronic reproduction, such as CD-ROM, CD-I, DVD, information and storage retrieval systems and photocopying, and the rights of translation into non-English languages. PERFORMANCE RIGHTS AND ROYALTY PAYMENTS: All amateur and stock performance rights to this Work are controlled exclusively by Heuer Publishing LLC. No amateur or stock production groups or individuals may perform this play without securing license and royalty arrangements in advance from Heuer Publishing LLC. Questions concerning other rights should be addressed to Heuer Publishing LLC. Royalty fees are subject to change without notice. Professional and stock fees will be set upon application in accordance with your producing circumstances. Any licensing requests and inquiries relating to amateur and stock (professional) performance rights should be addressed to Heuer Publishing LLC. Royalty of the required amount must be paid, whether the play is presented for charity or profit and whether or not admission is charged. AUTHOR CREDIT: All groups or individuals receiving permission to produce this Work must give the author(s) credit in any and all advertisement and publicity relating to the production of this Work. The author’s billing must appear directly below the title on a separate line where no other written matter appears. The name of the author(s) must be at least 50% as large as the title of the Work. No person or entity may receive larger or more prominent credit than that which is given to the author(s). PUBLISHER CREDIT: Whenever this Work is produced, all programs, advertisements, flyers or other printed material must include the following notice: Produced by special arrangement with Heuer Publishing LLC. COPYING: Any unauthorized copying of this Work or excerpts from this Work is strictly forbidden by law. No part of this Work may be reproduced, stored in a retrieval system, or transmitted in any form, by any means now known or yet to be invented, including photocopying or scanning, without prior permission from Heuer Publishing LLC. HEUER PUBLISHING LLC P.O. BOX 248 • CEDAR RAPIDS, IOWA 52406 TOLL FREE (800) 950-7529 • FAX (319) 368-8011 2 SLEEPING BEAUTY: RISE AND SHINE SLEEPING BEAUTY: RISE AND SHINE Book by Ken Jones Music by Jamey Strawn Lyrics by Christine Jones Commissioned and originally produced by the Children's Theatre of Cincinnati, Producing Artistic Director Roderick Justice. SYNOPSIS: This steam punk fairy tale cleverly deconstructs the traditional princess stereotype with humor, heart, and an empowering rock musical score. Princess Aurora, a bold, unconventional young heroine princess defies the age-old tradition of attending ‘Princess School.’ As her eighteenth birthday nears she encounters an evil witch and a cursed spinning wheel. Aurora is tested, when she fails, for the first time, to believe in her authentic self. Then with help from her sweet Prince Phillip, she awakens, ready to rock, and begins a whirlwind quest to defeat the witch COPYand to restore order to the kingdom. CAST OF CHARACTERS (8 females, 8 males) NARRATOR/BISHOP (m)NOT ........................... He is old… very, very old. The actor should be adept at physical comedy. (19 lines) KING CHARLES (m) ................................... A kind and warm ruler of the kingdom. He has a fascination DO with modern technology. (Actor, singer: Baritone) (31 lines) QUEEN GENEVIEVE (f) ............................ Cares for everyone. She is especially protective of the princesses. (Actor, Singer: Mezzo) (20 lines) KEN JONES, CHRISTINE JONES, JAMEY STRAWN 3 AURORA “RORY” (f) ................................. Bold, unconventional and independent. She is “Rory”, Sleeping Beauty. (Actor, Singer, Dancer: High Belt, Strong Mixer) (91 lines) MAGNILDA (f) ............................................ Aurora’s fairy godmother. (Actor, Singer. Must have ability to sing a Rock and Roll style. Belter/Rock Riff) (54 lines) BRINHILDA / SNOW WHITE (f) ............... Actor plays both Snow White’s fairy godmother and Snow White. (Actor, Singer, Dancer: Belt/Mixer) (23 lines) GRINHILDA / LITTLE MERMAID (f) ....... Actor plays both Little Mermaid’s fairy godmother and Little Mermaid. (Actor, Singer, Dancer: Belter) (13 lines) DRINHILDA / RAPUNZEL (f) .................... ActorCOPY plays both Rapunzel’s fairy godmother and Rapunzel. (Actor, Singer, Dancer: Mixer) (14 lines) PRINHILDA / GERDA (f) ........................... Actor plays both Gerda’s (Snow Queen’s) fairy godmother and NOTGerda . (Actor, Singer, Dancer: Belt/Mixer) (9 lines) TRINHILDA / CINDERELLA (f) ................ Actor plays both Cinderella’s fairy godmother and Cinderella. (Actor, Singer, Dancer: Mixer) DO (11 lines) PRINCE PHILLIP (m) .................................. Sensitive, awkward and surprisingly adorable. He is Aurora’s prince. (Actor, Singer, Dancer: Tenor) (65 lines) 4 SLEEPING BEAUTY: RISE AND SHINE THE PRINCES: All the following princes are stereotypical princes... strong, handsome and clueless. (3 Baritones, 2 Tenors) PRINCE EDWARD (m) ............................... Snow White’s prince. Also plays Nobleman 1, Guard 1, and Portrait Artist. (Singer, Dancer, and Actor with strong comedic timing.) (9 lines) PRINCE FREDERICK (m) .......................... Little Mermaid’s prince. Also plays Nobleman 2, Guard 2. (Singer, Dancer, and Actor with strong comedic timing.) (6 lines) PRINCE WILLIAM (m) ............................... Rapunzel’s prince. Also plays an Attendant, Dragon Puppeteer. (Singer, Dancer, and Actor with strong comedic timing.) (Non- Speaking) PRINCE CHRISTOPHER (m) ..................... Gerda’s (Snow Queen’s) prince. AlsoCOPY plays Attendant, Dragon Puppeteer. (Singer, Dancer, and Actor with strong comedic timing.) Has a physical trick in script. (Non-Speaking) PRINCE CHARMING (m) ........................... Cinderella’s prince. Also play an NOTAttendant, Dragon Puppeteer. (Singer, Dancer, and Actor with strong comedic timing.) (Non- Speaking) DURATION:DO 60 minutes. SETTING: Kingdom of Basille in the Land of Fairy Tales TIME: Long, long ago. KEN JONES, CHRISTINE JONES, JAMEY STRAWN 5 SETTING There are three primary settings: The Palace of King Charles and Queen Genevieve, The Castle of the Magnilda, and The Forest. The Palace of Charles and Genevieve: In the Kingdom of Basille the newest inventions and ideas are everywhere. These medieval innovations are enhanced by the steampunk modernization. The palace is medieval with steam punk upgrades. The doors and drawbridges are mechanized by gears and engines. The Castle of the Evil Magnilda: The grey stones form arches that create a cave effect. Giant windows reveal a large full moon. This is the home of the evil witch Magnilda, and later the lair of the dragon. The Forest: Filled with trees, bushes, and flowers. This is truly the land of the princesses. The trees are strong, beautiful with richly colored leaves. The forest frames a beautiful field, which serves as the acting area. A few carved stone benches form an area of reflection and reverenceCOPY. PRODUCTION NOTES CASTING NOTE: If a producing company wishes to incorporate more performers in the show, then seven dwarfs can be added to the ballet during the Snow White sequence.NOT These actors can be both male and female. If using these extra actors, please include them as courtiers in all the palace scenes, the forest funeral, and the wedding. Props, Costumes, and Additional Production Notes are available at end of script. DO MUSICAL NUMBERS SONG #1 FAIRYTALE ROCK INSTRUMENTAL SONG #2 THE SLEEPING BEAUTIES NARRATOR, FAIRY GODMOTHERS, KING, QUEEN 6 SLEEPING BEAUTY: RISE AND SHINE SONG #2A FUNKY WALK INSTRUMENTAL SONG #3 PRINCESS SCHOOL PRINCESSES, PRINCES SONG #4 WAKE UP RORY, ENSEMBLE SONG #5 THAT DREAM AGAIN RORY, PHILLIP SONG #6 LIKE YOU RORY SONG #6A FOREST SCENE CHANGE INSTRUMENTAL SONG #7 SICK–N–TIRED MAGNILDA SONG #7A DREAM SCENE CHANGECOPY INSTRUMENTAL SONG #8 DREAM BALLET INSTRUMENTAL SONG #9 AURORA’S DREAM RORY, PHILLIP, ENSEMBLE NOT SONG #9A CASTLE SCENE CHANGE & UNDERSCORE INSTRUMENTAL SONG #10 BATTLE SEQUENCE INSTRUMENTAL DO SONG #10A WEDDING SCENE CHANGE & UNDERSCORE INSTRUMENTAL SONG #11 WAKE UP REPRISE RORY, PRINCESSES, FULL COMPANY SONG #12 BOWS & EXIT MUSIC INSTRUMENTAL KEN JONES, CHRISTINE JONES, JAMEY STRAWN 7 SCENE 1 THE PALACE AT START: 18 years ago. In the Kingdom of Basille the newest inventions and ideas are everywhere. The medieval ideas and forms are enhanced by the steampunk modernization. The palace is a medieval palace with steam punk upgrades. The doors and drawbridges are mechanized by gears and engines.
Load more

Recommended publications
  • PDF Download Cinder Edna Pdf Free Download
    CINDER EDNA PDF, EPUB, EBOOK Ellen Jackson | 32 pages | 04 Nov 1999 | HarperCollins Publishers Inc | 9780688162955 | English | New York, NY, United States Cinder Edna PDF Book He goes on the search for Edna, but without using the loafer. In this lesson the students compare and contrast the two characters in the original Cinderella and Cinder Edna. Marrying someone after knowing her for only one evening is advisable if based on mutual unattractive This was given to me as a gift. One of two new takes on a tale that feminists justly find problematic see also Minters, below. The text is frequently only on one page, while illustrations take up the rest of the page and the page next to it. When you know how long it takes, and your parents know you can do the job well, negotiate a price. Cinder Edna and Rupert have decided to write a book together. It is definitely a funny story to read with children who are familiar with the classic Cinderella story because it takes those magical elements and discusses how they would play out in real life. What color is your hair? When I do that I ask a learner to say, "I agree that they are similar because they both were over worked, and I want to add that Cinderella was beautiful, but Edna was not. An alternative version to Cinderella with a 'Great Gatsby' type setting. Forget practicality. Answer: Randolph keeps turning his head so Cinder Edna can see his profile thinking that will impress her. Mostly I review the troops and sit around on the throne looking brave and wise.
    [Show full text]
  • MEDIA LITERACY THROUGH INTERTEXTUAL ANALYSIS a Project Presented to the Faculty of the Department of Graduate and Professional S
    MEDIA LITERACY THROUGH INTERTEXTUAL ANALYSIS A Project Presented to the faculty of the Department of Graduate and Professional Studies in Education California State University, Sacramento Submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in Education (Behavioral Sciences Gender Equity Studies) by Danielle Norman SUMMER 2020 © 2020 Danielle Norman ALL RIGHTS RESERVED ii MEDIA LITERACY THROUGH INTERTEXTUAL ANALYSIS A Project by Danielle Norman Approved by: __________________________________, Committee Chair Sherrie Carinci, Ed.D. ____________________________ Date iii Student: Danielle Norman I certify that this student has met the requirements for format contained in the University format manual, and this project is suitable for electronic submission to the library and credit is to be awarded for the project. __________________________, Department Chair ___________________ Carlos Nevarez, Ph.D. Date Department of Graduate and Professional Studies in Education iv Abstract of MEDIA LITERACY THROUGH INTERTEXTUAL ANALYSIS by Danielle Norman Using a critical pedagogy perspective, this project aims to integrate media literacy within elementary classrooms. Incorporating intertextual analysis of a traditional and non-traditional fairy tale will provide students with the opportunity to engage in the active process of understanding socially-constructed hegemony. The curriculum encompasses three academic weeks and is designed to be conducted within a small group setting. This project is tailored for grades four through siX, with the intention of raising media literacy consciousness with a focus on gender identity construction and ideas. The traditional fairy tale is an original interpretation of Cinderella. This story contains the consistent stereotypical messages that have been disseminated through multiple influential, male authors over the past 400 years.
    [Show full text]
  • [PDF] Disney Princess Cinderella, Tangled, Aladdin and More!- Look and Find Activity Book - PI Kids
    [PDF] Disney Princess Cinderella, Tangled, Aladdin And More!- Look And Find Activity Book - PI Kids Editors Of Phoenix International - download pdf Disney Princess Cinderella, Tangled, Aladdin And More!- Look And Find Activity Book - PI Kids Download PDF, Disney Princess Cinderella, Tangled, Aladdin And More!- Look And Find Activity Book - PI Kids by Editors Of Phoenix International Download, Disney Princess Cinderella, Tangled, Aladdin And More!- Look And Find Activity Book - PI Kids Full Collection, Free Download Disney Princess Cinderella, Tangled, Aladdin And More!- Look And Find Activity Book - PI Kids Full Popular Editors Of Phoenix International, I Was So Mad Disney Princess Cinderella, Tangled, Aladdin And More!- Look And Find Activity Book - PI Kids Editors Of Phoenix International Ebook Download, PDF Disney Princess Cinderella, Tangled, Aladdin And More!- Look And Find Activity Book - PI Kids Free Download, Download pdf Disney Princess Cinderella, Tangled, Aladdin And More!- Look And Find Activity Book - PI Kids, Download Disney Princess Cinderella, Tangled, Aladdin And More!- Look And Find Activity Book - PI Kids E- Books, Read Best Book Disney Princess Cinderella, Tangled, Aladdin And More!- Look And Find Activity Book - PI Kids Online, Read Disney Princess Cinderella, Tangled, Aladdin And More!- Look And Find Activity Book - PI Kids Books Online Free, Read Disney Princess Cinderella, Tangled, Aladdin And More!- Look And Find Activity Book - PI Kids Book Free, Read Disney Princess Cinderella, Tangled, Aladdin And More!- Look
    [Show full text]
  • Chapter Template
    Copyright by Colleen Leigh Montgomery 2017 THE DISSERTATION COMMITTEE FOR COLLEEN LEIGH MONTGOMERY CERTIFIES THAT THIS IS THE APPROVED VERSION OF THE FOLLOWING DISSERTATION: ANIMATING THE VOICE: AN INDUSTRIAL ANALYSIS OF VOCAL PERFORMANCE IN DISNEY AND PIXAR FEATURE ANIMATION Committee: Thomas Schatz, Supervisor James Buhler, Co-Supervisor Caroline Frick Daniel Goldmark Jeff Smith Janet Staiger ANIMATING THE VOICE: AN INDUSTRIAL ANALYSIS OF VOCAL PERFORMANCE IN DISNEY AND PIXAR FEATURE ANIMATION by COLLEEN LEIGH MONTGOMERY DISSERTATION Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY THE UNIVERSITY OF TEXAS AT AUSTIN AUGUST 2017 Dedication To Dash and Magnus, who animate my life with so much joy. Acknowledgements This project would not have been possible without the invaluable support, patience, and guidance of my co-supervisors, Thomas Schatz and James Buhler, and my committee members, Caroline Frick, Daniel Goldmark, Jeff Smith, and Janet Staiger, who went above and beyond to see this project through to completion. I am humbled to have to had the opportunity to work with such an incredible group of academics whom I respect and admire. Thank you for so generously lending your time and expertise to this project—your whose scholarship, mentorship, and insights have immeasurably benefitted my work. I am also greatly indebted to Lisa Coulthard, who not only introduced me to the field of film sound studies and inspired me to pursue my intellectual interests but has also been an unwavering champion of my research for the past decade.
    [Show full text]
  • Magnolia Hybrid Princess Cinderella
    Magnolia hybrid Princess Cinderella Common Name Michelia Height Tall (Taller than 3.0m) Spread Medium (1 - 2m) Growing Conditions Drought Tolerant, Full Sun, Well Drained Profile So many flowers you can hardly see the leaves! Cinderella is an evergreen tidy shrub, flowering in winter- spring and again in summer-autumn. Flowers are creamy white, lightly perfumed and contrast beautifully with the deep green leathery foliage. Can be grown as a small tree to 5m but is easily maintained as a 2-3m screen or hedge. Uses Large containers, Medium to tall hedges, Informal screening, Feature tree, Containers, Evergreen Tree, Fragrance, Hedging, Ornamental Tree, Scented Flowers, Screening, Shrubs Planting Full Sun Grows best in well drained soils. For clay soils use raised beds with plenty of organic matter added. Good drainage is essential for growing Princess Magnolias Space plants 80cm - 1m apart for a hedge or border. Dig planting hole approximately twice the size of the pot to be transplanted, adding organic matter to poor or clay soils will be necessary. Place plant into the hole ensuring that surrounding soil is no higher than the existing root ball and backfill with soil. Water well and apply mulch. Care Although drought hardy once established Princess Magnolias require regular deep watering for the first 3-4 months until established. Mulching will help to retain moisture levels in the soil and protect surface roots from extremes of temperature. Mulch layer should be 10cm deep and kept 10cm away from the base of the plant to help ensure adequate airflow around the stem. Lightly prune in early spring for shape if required.
    [Show full text]
  • Gender Portrayal in J.K. Rowling's •Œharry Potter and the Order of The
    South Dakota State University Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange Electronic Theses and Dissertations 2007 Gender Portrayal in J.K. Rowling's “Harry Potter and the Order of the Phoenix”: A Feminist Rhetorical Criticism Nicole Ackman South Dakota State University Follow this and additional works at: https://openprairie.sdstate.edu/etd Part of the Children's and Young Adult Literature Commons, Critical and Cultural Studies Commons, Feminist, Gender, and Sexuality Studies Commons, and the Gender, Race, Sexuality, and Ethnicity in Communication Commons Recommended Citation Ackman, Nicole, "Gender Portrayal in J.K. Rowling's “Harry Potter and the Order of the Phoenix”: A Feminist Rhetorical Criticism" (2007). Electronic Theses and Dissertations. 5143. https://openprairie.sdstate.edu/etd/5143 This Thesis - Open Access is brought to you for free and open access by Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. For more information, please contact [email protected]. Gender Portrayal in J.K. Rowling’s Harry Potter and the Order of the Phoenix: A Feminist Rhetorical Criticism By Nicole Ackman A thesis in partial fulfillment of the requirements for the Master of Science Major in Communication Studies and Journalism South Dakota State University 2007 ii Gender Portrayals in J.K. Rowling’s Harry Potter and the Order of the Phoenix: A Feminist Rhetorical Criticism This thesis is approved as a creditable and independent investigation by a candidate for the Master of Science degree and is acceptable for meeting the thesis requirements for this degree.
    [Show full text]
  • Children's Folklore Review
    CHILDREN’S FOLKLO RE REVIEW VOLUME 32 2010 PUBLISHED BY THE CHILDREN’S FOLKLORE SECTION OF THE AMERICAN FOLKLORE SOCIETY WITH SUPPORT FROM THE DEAN’S OFFICE OF HARPUR COLLEGE AT BINGHAMTON UNIVERSITY. CONTENTS FROM THE EDITOR . 5 HELP! I’M A FEMINIST BUT MY DAUGHTER IS A “PRINCESS FANATIC!”: DISNEY’S TRANSFORMATION OF TWENTY-FIRST-CENTURY GIRLS ALISA CLAPP-ITNYRE . 7 “I SAW MRS. SARAY, SITTING ON A BOMBALERRY”: RALPH ELLISON COLLECTS CHILDREN’S FOLKLORE ROBERT BARON . 23 BOISE IKASTOLA: BOISE BASQUE LANGUAGE IMMERSION PRESCHOOL JACQUELINE THURSBY . 53 WINNER OF THE 2010 WILLIAM WELLS NEWELL PRIZE “CHEEKY BEHAVIOR”: THE MEANING AND FUNCTION OF ‘FARTLORE’ IN CHILDHOOD AND ADOLESCENCE TREVOR J. BLANK . 61 BOOK REVIEWS . 87 CHILDREN’S FOLKLORE SECTION: 2009 ANNUAL MEETING . 93 NOTES AND ANNOUNCEMENTS . 95 CONTRIBUTORS . 97 FROM THE EDITOR ELIZABETH TUCKER As this thirty-second volume of Children’s Folklore Review goes to press, I feel grateful for the assistance of many people. The executive board of the American Folklore Society’s Children’s Folklore Section has helped me to affiliate our journal with Indiana University’s ScholarWorks, which will soon put back issues of Children’s Folklore Review online. It will be exciting for children’s folklore researchers to have easy access to all of our past issues. In this era of rapid online research, it is crucial to have this kind of availability. I want to thank the whole executive board and especially C.W. Sullivan III, the journal’s editor for thirty years, for helping to make this transition possible. I also want to thank the other members of our staff who have worked on this volume: Kristiana M.
    [Show full text]
  • Eveline” As a Fairytale
    Locus: The Seton Hall Journal of Undergraduate Research Volume 3 Article 10 October 2020 Far, Far, Away… in Ireland: Reading “Eveline” as a Fairytale Anne Pino Follow this and additional works at: https://scholarship.shu.edu/locus Recommended Citation Pino, Anne (2020) "Far, Far, Away… in Ireland: Reading “Eveline” as a Fairytale," Locus: The Seton Hall Journal of Undergraduate Research: Vol. 3 , Article 10. Available at: https://scholarship.shu.edu/locus/vol3/iss1/10 Pino: Far, Far, Away… in Ireland Far, Far, Away.. in Ireland: Reading “Eveline” as a Fairytale Anne Pino Seton Hall University Abstract princess. The tale of Cinderella ends with leav- ing her abusive past behind, making for a happy This paper gives a fresh new perspective ending presumably filled with comfort and luxury. on James Joyce’s classic short story “Eveline”. Eveline, on the other hand, fails to get her happy “Eveline” is read and analyzed through a fairy- ending. Instead, she is struck by “paralysis” as tale lens and compared to the classic Disney she freezes “like a helpless animal” who lets her princess Cinderella. This comparison provides only chance of escape sail away without her, leav- perspective on gender roles, Irish oppression, and ing her to remain in her brutal and lowly situation the purpose of Eveline’s ultimate paralysis. Gar- (Joyce 41). The paralysis in “Eveline” has become nering support from critics Gary Leonard, Margot a common Joycean theme, as well as epiphany. In Norris, and Maxwell Uphaus, this paper serves to addition to the common Joycean themes, the char- evaluate the importance of symbols and allegory acteristics between the characters of Eveline and in the text.
    [Show full text]
  • If the Shoe Fits: Cinderella and Women's Voice
    University of Central Florida STARS Honors Undergraduate Theses UCF Theses and Dissertations 2019 If The Shoe Fits: Cinderella and Women's Voice Farrah V. Kurronen University of Central Florida Part of the French and Francophone Literature Commons, and the Women's Studies Commons Find similar works at: https://stars.library.ucf.edu/honorstheses University of Central Florida Libraries http://library.ucf.edu This Open Access is brought to you for free and open access by the UCF Theses and Dissertations at STARS. It has been accepted for inclusion in Honors Undergraduate Theses by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation Kurronen, Farrah V., "If The Shoe Fits: Cinderella and Women's Voice" (2019). Honors Undergraduate Theses. 637. https://stars.library.ucf.edu/honorstheses/637 THE SHOE FITS: CINDERELLA AND WOMEN’S VOICE by Farrah Victoria Kurronen A thesis submitted in partial fulfillment of the requirements for the Honors in the Major Program in French in the College of Arts and Humanities and in the Burnett Honors College at the University of Central Florida Orlando, Florida Fall Term 2019 Thesis Chair: Dr. Charlotte Trinquet du Lys Abstract One of the fundamental stories in fairy tale studies is “Cinderella”: folkloric designation ATU 510A, the Persecuted Heroine. As Fairy tale and Folklore studies continue to evolve, authors beyond Basile, Perrault and Grimm are added into the Cinderella canon to lend a more nuanced approach to the study of this fairy tale. Yet “Cinderella” is still often interpreted as a tale of feminine submissiveness, in which the heroine is little more than a passive ornament or else a likeable social-climber.
    [Show full text]
  • CINDERELLA a Traditional English-Style Panto Created Especially for the Murder/Mystery Panto Can Be Murder
    CINDERELLA a traditional English-style panto created especially for the murder/mystery Panto Can Be Murder by David Jacklin SIXTH DRAUGHT Completed August 15, 2017 © 2017 David Jacklin 394 Keays Road, R.R. 1 Balderson, ON K0G 1A0 Canada 613 267 1884 [email protected] www.barndoorproductions.ca NOTES: This traditional English panto has been created specifically as the “onstage” part of the backstage murder/mystery thriller comedy Panto Can Be Murder . It is designed to fit into the playing of Panto Can Be Murder , with entrances and exits time-able to facilitate the playing of the mystery. It can be played separately, but only if the producing group also has permission to perform Panto Can Be Murder . Note that it is a part of the murder/mystery script and any performances of it alone count as performances of the whole and royalties for each performance apply. However, if it is played at, say, Christmas as a stand-alone panto, then later in the season, the murder/mystery is played, you can save a LOT on costumes, set, props, etc. Not to mention additional promotional tie-ins. CHARACTERS: The Fairy Godmother , an older woman Cinderella , a pretty girl in her late teens/early twenties Buttons , a comic character, male, in his early twenties Baron Hardup , a comic character, male, in his late fifties or early sixties Baroness Hardup , the Wicked Stepmother, the Dame, usually played by a male, forties or fifties Griselda Hardup , an Ugly Stepsister, usually played by a male, in their twenties Ammonia Hardup , an Ugly Stepsister,
    [Show full text]
  • Downloaded Into Her Brain — Every One Except Caroline’S
    Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _______________________________________ _____________________ Shannan Palma Date Tales as Old as Time: Myth, Gender, and the Fairy Tale in Popular Culture By Shannan Palma Doctor of Philosophy Women’s, Gender and Sexuality Studies _________________________________________ Laurie L. Patton, Ph.D. Advisor _________________________________________ Matthew Bernstein, Ph.D. Committee Member _________________________________________ Rosemarie Garland-Thomson, Ph.D. Committee Member Accepted: _________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date Tales as Old as Time: Myth, Gender, and the Fairy Tale in Popular Culture By Shannan Palma B.A., The Ohio State University, 2000 Advisor: Laurie L. Patton, Ph.D. An abstract of A dissertation submitted to the Faculty of the James T. Laney School of Graduate Studies of Emory University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Women’s, Gender and Sexuality Studies 2012 Abstract Tales as Old as Time: Myth, Gender, and the Fairy Tale in Popular Culture By Shannan Palma This dissertation theorizes the contemporary political value of myth through an examination of metonymic and narrative invocations of fairy tales in primarily, but not exclusively, American popular culture.
    [Show full text]
  • Prince Otto - a Romance
    PRINCE OTTO - A ROMANCE TO NELLY VAN DE GRIFT (MRS. ADULFO SANCHEZ, OF MONTEREY) AT last, after so many years, I have the pleasure of re-introducing you to 'Prince Otto,' whom you will remember a very little fellow, no bigger in fact than a few sheets of memoranda written for me by your kind hand. The sight of his name will carry you back to an old wooden house embowered in creepers; a house that was far gone in the respectable stages of antiquity and seemed indissoluble from the green garden in which it stood, and that yet was a sea-traveller in its younger days, and had come round the Horn piecemeal in the belly of a ship, and might have heard the seamen stamping and shouting and the note of the boatswain's whistle. It will recall to you the nondescript inhabitants now so widely scattered:- the two horses, the dog, and the four cats, some of them still looking in your face as you read these lines; - the poor lady, so unfortunately married to an author; - the China boy, by this time, perhaps, baiting his line by the banks of a river in the Flowery Land; - and in particular the Scot who was then sick apparently unto death, and whom you did so much to cheer and keep in good behaviour. You may remember that he was full of ambitions and designs: so soon as he had his health again completely, you may remember the fortune he was to earn, the journeys he was to go upon, the delights he was to enjoy and confer, and (among other matters) the masterpiece he was to make of 'Prince Otto'! Well, we will not give in that we are finally beaten.
    [Show full text]