DOCSLIB.ORG

Beauty and the Beast Jr Dara Evan Davis Central Washington University

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Central Washington University ScholarWorks@CWU Graduate Student Projects CWU Archival Content 2011 Direction of the Play: Beauty and the Beast Jr Dara Evan Davis Central Washington University Follow this and additional works at: http://digitalcommons.cwu.edu/thesis_projects Part of the Theatre and Performance Studies Commons Recommended Citation Davis, Dara Evan, "Direction of the Play: Beauty and the Beast Jr" (2011). Graduate Student Projects. Paper 48. This Graduate Project is brought to you for free and open access by the CWU Archival Content at ScholarWorks@CWU. It has been accepted for inclusion in Graduate Student Projects by an authorized administrator of ScholarWorks@CWU. Direction of the Musical: Disney's Beauty and the Beast Jr. A Project Report Presented to the Graduate Faculty Central Washington University In Partial Fulfillment of the Requirements for the Degree Master of Arts Theatre Production by Dara Evan Pickren-Davis July 2011 CENTRAL WASHINGTON UNIVERSITY Graduate Studies We hereby approve the project report of Dara Evan Pickren-Davis Candidate for the degree of Master of Arts: Theatre Production APPROVED FOR THE GRADUATE FACULTY Date of Professor Scott Robinson Signature Committee Chair Professor Christina Barrigan Date of Signature Date of Professor Elise Forier Edie Signature Please note: The signatures have been redacted due to security reasons. ABSTRACT PROJECT REPORT Disney's Beauty and the Beast Jr. The Island Players Theatre Directed by Dara Evan Pickren-Davis July, 2011 This project entailed the selection, background research and documentation, musical analysis, casting, direction, vocal coaching, and post-production analysis of The Island Players Young People's Summer Workshop production of Disney's Beauty and the Beast Jr. Documentation includes research and analysis of the play, its music, and an evaluation of the musical as a production vehicle for The Island Players Theatre. CENTRAL WASHINGTON UNIVERSITY Graduate Studies Final Examination of Dara Evan Pickren~Davis B.A. Florida State University, 2003 for the Degree of Master of Arts Theatre Production Committee in Charge Professor Scott Robinson Professor Christina Barrigan Professor Elise Forier Edie Black Hall Room 138 July 28, 2011 9:00AM Dara Evan Pickren-Davis Courses presented for the Master's degree Course No. Course Title Number of Instructor Quarter Credits Comoleted TH501 Introduction to Graduate Studies 1 Bellah Summer2008 TH510 Studies in Dramatic Literature 4 Hubbard Summer 2008 TH560 Stage and TV Makeup 3 McMillen Summer2008 TH568 Lighting Techniques 3 Barrigan Summer2008 TH568 Design Methodology 3 Barrigan Summer2008 TH511 Analysis and Criticism 4 Pederson Summer2009 TH520 Exploring Drama in the Classroom 3 Forier Edie Summer2009 TH539 Directing and Teaching Young Actors 3 Forier Edie Summer2009 TH540 Graduate Directing I 3 Smith Summer2009 TH566 Masks and Makeup 3 Mc Millen Summer2009 TH584 Puppetry in the Classroom 3 Hawkins Summer2009 TH502 Introduction to the Creative Project 1 Robinson Summer2010 TH531 Mime and Movement 3 Bellah Summer2010 TH534 Improvisational Techniques 3 VanAuken Summer2010 TH541 Graduate Directing II 3 Hubbard Summer2010 TH542 Musical Theatre Directing 4 T. Brown Summer2010 TH545 Voice and Dialects 3 Smith Summer2010 TH700 Masters Thesis Project 6 Robinson Summer2011 Total Credit Requirements - 56 BIOGRAPHICAL INFORMATION Dara Evan Pickren-Davis Undergraduate Study: Florida State University, 2001-2003 B.A. Music Minor in Theatre Certificate in Vocal Performance Graduate Study: Central Washington University, 2008-2011 M.A. Theatre Production Professional Experience: High School Teacher: 2004-2005, 2008 Glynn Academy High School, Brunswick, GA 2004-2005 Mt. Vernon Presbyterian School, Atlanta, GA 2008 Music and Drama Director: 2001-Present The Island Players Theatre, St. Simons Island, GA 2001-2007, 2010-2011 Amelia Island Montessori School, Amelia Island, FL 2011 Bethel United Methodist Church, Stockbridge, GA 2007-2010 St. Luke United Methodist Church, Savannah, GA 2006-2007 ACKNOWLEGEMENTS I would like to thank my thesis chair, Professor Scott Robinson and my committee, Professors Christina Barrigan and Elise F orier Edie for their support and wonderful classes that inspired me to take chances that I never would have without their instruction. I would also like to thank Dr. Nadine Pederson for inspiring me to look at analysis and criticism in a way that can inspire creativity. Professors Michael Smith, David Brown, Cat McMillen, and Dr. Terri Brown, I am deeply grateful to you for sharing your knowledge and your willingness to connect with all of your students. I am indebted to my all of my fellow classmates. Shannon Geiken Hom, Nick Hutchinson, Janice Carroll, Stephanie Claire, Teresa Hansen, and Tracie Gallagher: Thank you for the help, laughter, and the shoulders to lean on when things got rough. Without the support and dedication of the following people, this project would not have been possible: Katie Per-Lee (Ella's wonderful nanny), my mentor, Joan B. Harris, Beatrice Soler, Beverly Fetter, Dawana Gibbs, Jessica Gibbs, Josh Sinyard, Al and Joyce Ledingham, Barbara Mueller, Neil Nilsson, Anne Hom, Sue Ledingham, Travis Hart, Michaela Soler, the participants of the 2011 Young People's Summer Workshop, and The Island Player's 2010-2011 Board of Directors. Lastly, I would not be where I am today without the love and support of my family. Thank you to my Husband, Howard H. Davis IV and my children, Hall and Ella Davis for understanding who I am and letting me "do my thing." I owe my deepest gratitude to my grandmother, Frances J. Rowland and my mother, Tonia R. Pickren. Both women taught me to be strong and go after what I wanted, no matter what. To my mother: Thank you for all you've done to help me in this adventure. With your help, I am truly "out of the box!" TABLE OF CONTENTS Section Page I SECTION 1: PRIMARY INFORMATION 1 Copy of Committee and Option Approval Form 1 Copy of Playscript Approval Form 2 Project Parameters and Schedule 3 Permission of Hiring Authority at the Producing Venue 5 Evaluation of the Play as a Production Vehicle 6 Concept Statement 8 Project Schedule 11 II SECTION 2: PRE-PRODUCTION ANALYSIS 14 Initial Action/Conflict Analysis 14 Given Circumstances 15 Analysis of Dialogue 35 Analysis of Dramatic Action 47 Character Analysis 47 Ideas of the Play, Identification of Main Ideas 55 Moods of the Play 60 Previous Reviews 84 Research on the Playwright, Composer, and Lyricists 94 List of Leaming Goals or Student Outcomes 100 III SECTION 3: POST-PRODUCTION MATERIALS 101 Production Journal 101 Written Evaluations of Project 110 Final Self-Evaluation 112 Other Documentation 116 IV WORKS CITED 117 V APPENDIXES Appendix A- Analysis of Dramatic Action- Original Script Show Script Appendix B- Supporting Materials Appendix C- Production Photographs GRADUATE COMMITTEE AND OPTION APPROVAL FORM CENTRAL WASHINGTON UNIVERSITY Pickren-Davis 1 (Submit the original) Note: This form is to be completed as soon as the student has formed a committee and selected an option from the list below. Submit original to the Office of Graduate Studies in Barge 305. Birth Date Student ID Email: ~~~~~~~~~~~~~~~ Check option: Indicate credits to be received for the thesis or option: D Written Exam* TH 700 Master's Thesis 6 D Project Course No. Title Credits r8J Creative Project D Studio Project Course No. Title Credits D Portfolio Review MLA ih Edition D Thesis (standard) Style Manual for Thesis/Project D Thesis (journal-ready) 0 Provide journal guidelines plus a recent article from that journal in student's field of study. *Students taking written exam option may omit items 1~5 below. 1. Proposed Direction of the Production Disney's Beauty and the Beast Jr. Title (and title of targeted journal if appropriate): The direction of the Island Players Young People's Summer Workshop production of 2. Purpose of Disne't_'s Beaut't_ and the Beast Jr. serves as the culminating ex12erience in the Theatre Study: Arts Graduate Studies. Documentation based u12on the 12re12aration of 12re-12roduction research, post-production 3. Scope of evaluation, the direction of the production (including casting and rehearsal of actors, Study: preparation of the Director's Production Book, and oral examination) shall benefit both the student and the theatre arts department. 4. Procedure Three phases of study shall be included: 1.} Pre-Production Research and Thesis to be used: Documentation in MLA style, 2.) Rehearsal and Direction of Production, 3.) Post- Production Evaluation and Documentation. 5. Does the procedure involve collection of data obtained from Human Subjects (including use of surveys)? ............... ........ ........ ............. Yes** D No ~ Use of Animals? ........................................................................... .. ... ....... Yes** D No ~ ** If yes, your procedures must be approved in writing by the Human Subjects Committee or the Animal Care and Use Committee before you initiate your research. Committee Chair (typed or printed) Committee Chair (signature} Date Committee Member (typed or printed) Committee Member (signature) Date Committee Member (typed or printed) Committee Member (signature) Date Approved by: Approved by: Dept Chair/Designee* (signature)Date Dean of Graduate Studies Date •in the case of interdisciplinary programs, this form should be signed by the relevant Program Director/Co-Director AND relevant Dept chair. In cases where they cannot agree to sign for approval, the approval
Recommended publications
  • Makers: Women in Hollywood

    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.
  • A Production Spring 2011 | Follies Chicago Shakespeare Theater About CST

    A Production Spring 2011 | Follies Chicago Shakespeare Theater About CST

    A production Spring 2011 | Follies CHICAGO SHAKESPEARE Theater About CST Chicago Shakespeare Theater (CST) is a leading international theater company, known for vibrant productions that reflect Shakespeare’s genius for intricate storytelling, musicality of language and depth of feeling for the human condition. Recipient of the 2008 Regional Theatre Tony Award, Chicago Shakespeare’s work has been recognized internationally with three of London’s prestigious Laurence Olivier Awards, and by the Chicago theater community with 62 Joseph Jefferson Awards for Artistic Excellence. Under the leadership of Artistic Director Barbara Gaines and Executive Director Criss Henderson, CST is dedicated to producing extraordinary productions of classics, new works and family fare; unlocking Shakespeare’s work for educators and students; and serving as Chicago’s cultural ambassador through its World’s Stage Series. At its permanent, state-of-the-art facility on Navy Pier, CST houses two intimate theater spaces: the 500-seat Jentes Family Courtyard Theater and the 200-seat Carl and Marilynn Thoma Theater Upstairs at Chicago Shakespeare. Through a year-round season encompassing more than 600 performances, CST leads the community as the largest employer of Chicago actors and attracts nearly 200,000 audience members annually—including 40,000 students and teachers through its comprehensive education programs. n BOARD OF DIRECTORS Raymond F. McCaskey William L. Hood, Jr. Glenn R. Richter Chair Stewart S. Hudnut Mark E. Rose Mark S. Ouweleen William R. Jentes Sheli Rosenberg Treasurer Gregory P. Josefowicz John W. Rowe James J. Junewicz Robert Ryan Frank D. Ballantine Jack L. Karp Carole B. Segal Brit J. Bartter John P.
  • Beauty and the Beast

    Beauty and the Beast

    BEAUTY AND THE BEAST CHARACTER DESCRIPTIONS: BELLE (Stage Age: 18-30) Belle is the original fairy tale heroine–kind, gentle, and beautiful–but with an important 21st Century twist. She is a strong, intelligent, spirited and independent young woman. Belle is the moral conscience of the story, elevated by her thoughts and deeds. The maturity and depth of her character allow her to see the true beauty and spirit within The Beast, and to love him for it. This role requires a very strong singer who portrays innocence with her singing and speaking voice. MezzoSoprano: Low A-High F THE BEAST (Stage Age: 21-35) The Beast’s tortured soul is evident for all to see. He is paying the ultimate price for a moment of mean-spiritedness, and wishes beyond wishing that he could rectify his mistake. There is anger and menace in The Beast’s appearance and behavior, but increasingly we see his soft and endearing side as he interacts with Belle. It becomes clear that he is a loving, feeling, human being trapped within a hideous creature’s body. This role requires a very strong singer, and the actor must have a strong speaking voice and stage presence. Baritone: A–High F GASTON (Stage Age: 21-35) Gaston is the absolute antithesis of The Beast. Although he is physically handsome, he is shallow, completely self-centered, not very bright, and thrives on attention. However, when his ego is bruised he becomes a very dangerous foe for The Beast, Belle and Maurice. This role requires a strong singer and character actor who moves well.
  • Music by ALAN MENKEN Lyrics by HOWARD ASHMAN & TIM RICE

    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

    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

    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.
  • Beauty and the Beast

    Beauty and the Beast

    Theatre 308 presents… Disney’s Beauty and the Beast Book by Linda Woolverton, Music by Alan Menken, Lyrics by Howard Ashman & Tim Rice Originally Directed by Robert Jess Roth, Originally Produced by Disney Theatrical Productions Artistic Director/Producer Musical Directors Nancy A. Herman Chris Andrade Dwayne Condon Production Manager Business Manager Alex Speiser Michael O’Brien Master Carpenter Stage Manager Lee Strecker Jen Chirles Lighting Designer Orchestra Conductor Dennis Tully Jonathon Grauer Choreographers Ass’t Student Musical Shmulik Gov‐Ari Director Kathryn Avery Collin Shay Lauren DiStefano Disney’s Beauty and the Beast is presented through special arrangement with Music Theatre International Cast List Act I Belle……………………………………………………….. Emily Elliott PROLOGUE Beast……………………………………………………... Alex Rankine SCENE ONE:…….....The Town Gaston……………...…………………….……..……. Jordan Washer SCENE TWO: ……...The Forest SCENE THREE: ....The Castle Interior LeFou………….……………………………………….. Robbie Florian SCENE FOUR: …….Exterior of Belle’s Cottage Cogsworth………………..……………………………....Collin Shay SCENE FIVE: ……...Castle Interior Lumiere……………………………………….…………...Max Hanau SCENE SIX: …..…….The Tavern SCENE SEVEN:... ..Castle Interior Mrs. Potts…………………………..…………Elizabeth Leimkuhler Babette…………………………………………………. Abby Leinroth Wardrobe………………………………….……….... Marin Amyotte Act II Chip………………………………………………......Alexandra Burke Maurice…………………………………………………. Reed Morgan SCENE ONE:………...The Forest SCENE TWO:………..Castle Interior D’Arque ……………………….……………….….…..Misha Kushnir SCENE THREE:
  • Study Guide Prepared by Jeri Hammond and Ann Sorvari

    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.
  • Disney Dazzle (12:40 – Track 1 on Practice CD 2016)

    Disney Dazzle (12:40 – Track 1 on Practice CD 2016)

    Disney Dazzle (12:40 – track 1 on practice CD 2016) Be Our Guest Be our guest, be our guest, Put your service to the test. Tie your napkin ‘round your neck, chérie and we provide the rest. Soup du jour! Hot hors d’oeuvres! Why, we only live to serve. Try the grey stuff, it’s delicious! Don’t believe me? Ask the dishes! (spoken) They can sing! They can dance. After all Miss, this is France! And dinner here is never second best. Go on, unfold your menu, take a glance And then you’ll be our guest, oui (spoken), our guest, be our guest. Beef ragout! Cheese soufflé! Pie and pudding “en flambé!” We’ll prepare and serve with flair a culinary cabaret. You’re alone and you’re scared but the banquet’s all prepared. No one’s gloomy or complaining while the flatware’s entertaining. We’ll tell jokes. I do tricks with my fellow candle sticks. (all spoken) And it’s all in perfect taste. That you can bet! Come on and lift your glass. You’ve won your own free pass to be our guest. Be our guest. Be our guest, please. Be our guest. Belle Bonjour! (5x – spoken) There goes the baker with his tray, like always, the same old bread and rolls to sell. Ev’ry morning just the same since the morning that we came to this poor provincial town, Good morning Belle! Bonjour. Good day. How is your fam’ly? Bonjour. Good day. How is your wife” I need six eggs.
  • Jesuit Drama 2014 Winter Musical

    Jesuit Drama 2014 Winter Musical

    Jesuit Drama 2014 Winter Musical 47th Anniversary Season The Beast Music by Alan Menken Lyrics by Howard Ashman & Tim Rice Book by Linda Woolverton Information Meeting for Performers &Technicians Black Box Theater Harris Center, 900 Gordon Lane Tuesday December 33,, 2013 4:00pm 2014 Winter Musical Staff Welcome to Jesuit Drama! DESIGN STAFF Mr. Chris Adamson, Design/Construction Ms. Rachel Malin, Costuming/Properties Mr. Brian O’Neill, Sound/Special Projects Mr. Spencer Price, Production Supervisor/Media/Technology Ms. Sally Slocum, Tech Direction/Lighting MANAGEMENT STAFF Mr. Earl Andrews, Assistant Principal for VPA Mr. David Bischoff, VPA Program Director/Chair Ms. Cindy Dunning, Beyond the Black Box Coordinator Mrs. Cathy Levering, Managing Direction/Patrons Ms. Calleen Wilcox, House Management/Hospitality REHEARSAL STAFF Sam Bassel ‘16, Assistant Stage Manager Taber Brown ’14, Student Rep Erin Cairns ’14, Student Rep Andrew Callens ‘14, Assistant Stage Manager/Light Intern Rev. Phil Ganir, S.J. Guest Vocal Coach Rev. Michael Gilson, S.J. Dramaturge Mr. Paul LeBoeuf, Chaplain Mrs. Cathy Levering, Co-Music Direction Ms. Pamela Kay Lourentzos, Dance/Choreography Reed Miller ’14, Assistant Stage Manager/Sound Intern Mr. Ed Trafton, Artistic Direction/Co-Music Direction/Musical Staging Ms. Gina Williams, Guest Acting Coach Bradley Winkleman ‘14, Production Stage Manager Jesuit Drama Student Centered… Process Oriented… In the Ignatian Tradition… 1200 Jacob Lane Carmichael, CA 95608 (916) 480-2179 jesuithighschool.org/drama [email protected] About the Show Beauty & The Beast (((1(111994994994)) In 1991, the animated feature Beauty and the Beast became the first "cartoon" to be nominated for the Academy Award for Best Picture.
  • Disney Songs Musical Elements

    Disney Songs Musical Elements

    1 Classroom Online Resource Document (CORD) Follow the Conductor: An Introduction to Musical Elements Gelareh Naseri [email protected] Gluck Fellows Program of the ARTS University of California, Riverside 2 Follow the Conductor: An Introduction to Musical Elements By learning about five main musical elements in this one-hour workshop, students learn to listen to music in a different way: more actively and more consciously. Also, identifying these elements in different pieces of music can lead them to appreciate and enjoy music more than before. Through related activities, students learn about these five musical elements: Beat, Meter, Tempo, Dynamics, and Pitch. The main activity in this workshop is finding these musical elements in Disney cartoon songs (while they are being played on a screen) and moving arms or clapping or singing following the conductor (the instructor). A list of all YouTube active listening examples (A to I) is given on page 4. Here are five musical elements that students learn about: 1. Beat (The pulse in music): Students move their body according to the beat of the music that they are listening to. Active video listening example: A 2. Meter (Duple and Triple): Students learn to move their arms and conduct a duple (or triple) meter and count up to two (or three). Then, they listen to two Disney songs, and find out if it is better to count up to two (for a duple meter song), or up to three (for a triple meter song) for each song. Active video listening examples: B and C (duple meter); D and E (triple meter) 3 3.
  • Gender, Class and Ethnicity in the Disney Princesses Series – Kirsten Malfroid 1

    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 .........................................................................................................