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2 the Emperor's New Clothes 3 Setting the Scene • Who's Who? 4 What's the Story?
2014–15 Season Presented by Book by Kim Esop Wylie Music by Joe Dreyer, Lyrics by Sheila Schultz Directed by Kat Singleton contents 2 The Emperor's New Clothes 3 Setting the Scene • Who’s Who? 4 What’s the Story? 5 Words to the Wise 6 Information and Activities theatre company theatre company theatre company theatre company by Kim Esop Wylie Music by Joe Dreyer, Lyrics by Sheila Schultz Directed by Kat Singleton Musical Director Larry Pry Scenic Designer Scott Loebl Costume Designer Dorothy Marshall Englis Stage Manager Mike Dowdy* Director of Education Marsha Coplon Associate Director of Education Sarah Brandt Education Programs Manager April Strelinger Study Guide Writer Laura Schlereth The Company Jason Contini* EMPEROR Alan Knoll* MINISTER OF FINANCE, PRIME MINISTER, BOY Financial assistance for this theatre has been provided by the Laurie McConnell* URLEEN, NARCISSUS National Endowment for the Arts, a federal agency; the Missouri Arts Council, a state agency; the Arts and Education Council of Greater Kristen McGuire* PACHYSANDRA St. Louis; and the St. Louis Regional Arts Commission. *Member of Actors' Equity Association, the union of professional actors and stage managers in the United States. 2 Setting the Scene Welcome to the Emperor’s palace! You’re not catching him on one of his good days–though, to be honest, he hasn’t had many of those lately anyway. Today’s specific distress is mostly about how his precious pooch, Narcissus, can’t be found. It turns out she was actually just outside enjoying nature and the outdoors, a concept totally foreign to the Emperor who is mostly concerned with decorum, etiquette, reserved manners, and most importantly, style. -
True Blue and Trusted
TRUE BLUE AND TRUSTED By R. A. Anderson and R. L. Sweeney Performance Rights It is an infringement of the federal copyright law to copy this script in any way or to perform this play without royalty payment. All rights are controlled by Eldridge Publishing Co., Inc. Contact the publisher for further scripts and licensing information. The author’s name must appear on all programs and advertising with the notice: “Produced by special arrangement with Eldridge Publishing Company.” PUBLISHED BY ELDRIDGE PUBLISHING COMPANY www.histage.com © By Eldridge Publishing Company Download your complete script from Eldridge Publishing http://www.histage.com/playdetails.asp?PID=349 True Blue and Trusted -2- STORY OF THE PLAY It’s fun, it’s laughs, it’s “let-down-your-hair.” Here’s an old- time melodrama in which everyone has a good time. J. Tamarack Gargle, who is the villain and landlord of the heroine’s home, threatens to evict the entire family unless Lily Lackamoney, the heroine, promises to marry him. Perplexed as what to do, Lily decides to go to the big city to find the hero, Balderdash Trustworthy, who is in the city trying to find a rich friend that will help in the plight of the Lackamoneys. The first person that Lily meets is Maxine Mascarra, the villainess. Gargle employs Maxine to help him get rid of Trustworthy. They unknowingly attempt to “polish off” a wrong victim. Eventually they manage to dump Trustworthy into the river. When Maxine asks Gargle to pay her off for her help, he casts her aside. -
True Blue and Trusted
TRUE BLUE AND TRUSTED By R. A. Anderson and R. L. Sweeney Performance Rights It is an infringement of the federal copyright law to copy this script in any way or to perform this play without royalty payment. All rights are controlled by Eldridge Publishing Co., Inc. Contact the publisher for further scripts and licensing information. The author’s name must appear on all programs and advertising with the notice: “Produced by special arrangement with Eldridge Publishing Company.” PUBLISHED BY ELDRIDGE PUBLISHING COMPANY www.histage.com © By Eldridge Publishing Company Download your complete script from Eldridge Publishing https://histage.com/true-blue-and-trusted True Blue and Trusted -2- STORY OF THE PLAY It’s fun, it’s laughs, it’s “let-down-your-hair.” Here’s an old- time melodrama in which everyone has a good time. J. Tamarack Gargle, who is the villain and landlord of the heroine’s home, threatens to evict the entire family unless Lily Lackamoney, the heroine, promises to marry him. Perplexed as what to do, Lily decides to go to the big city to find the hero, Balderdash Trustworthy, who is in the city trying to find a rich friend that will help in the plight of the Lackamoneys. The first person that Lily meets is Maxine Mascarra, the villainess. Gargle employs Maxine to help him get rid of Trustworthy. They unknowingly attempt to “polish off” a wrong victim. Eventually they manage to dump Trustworthy into the river. When Maxine asks Gargle to pay her off for her help, he casts her aside. -
Andersen's Fairy Tales
HTTPS://THEVIRTUALLIBRARY.ORG ANDERSEN’S FAIRY TALES H. C. Andersen Table of Contents 1. The Emperor’s New Clothes 2. The Swineherd 3. The Real Princess 4. The Shoes of Fortune 1. I. A Beginning 2. II. What Happened to the Councillor 3. III. The Watchman’s Adventure 4. IV. A Moment of Head Importance—an Evening’s “Dramatic Readings”—a Most Strange Journey 5. V. Metamorphosis of the Copying-clerk 6. VI. The Best That the Galoshes Gave 5. The Fir Tree 6. The Snow Queen 7. Second Story. a Little Boy and a Little Girl 8. Third Story. of the Flower-garden at the Old Woman’s Who Understood Witchcraft 9. Fourth Story. the Prince and Princess 10. Fifth Story. the Little Robber Maiden 11. Sixth Story. the Lapland Woman and the Finland Woman 12. Seventh Story. What Took Place in the Palace of the Snow Queen, and What Happened Afterward. 13. The Leap-frog 14. The Elderbush 15. The Bell 16. The Old House 17. The Happy Family 18. The Story of a Mother 19. The False Collar 20. The Shadow 21. The Little Match Girl 22. The Dream of Little Tuk 23. The Naughty Boy 24. The Red Shoes THE EMPEROR’S NEW CLOTHES Many years ago, there was an Emperor, who was so excessively fond of new clothes, that he spent all his money in dress. He did not trouble himself in the least about his soldiers; nor did he care to go either to the theatre or the chase, except for the opportunities then afforded him for displaying his new clothes. -
The Lily Pool, the Mirrors, and the Outsiders: Envisioning Home and England in Virginia Woolf's Between the Acts
Concentric: Literary and Cultural Studies 38.1 March 2012: 249-275 The Lily Pool, the Mirrors, and the Outsiders: Envisioning Home and England in Virginia Woolf’s Between the Acts Ching-fang Tseng Department of English National Taiwan Normal University, Taiwan Abstract Written against the historical context of the threats of fascism and World War II, Between the Acts’s portrayal of rural England that highlights its traditional way of life, the everlasting rural landscape, and the pageant then in vogue seemingly echoes the prevailing national imagination during the war-crisis years. Rather than replicating the nostalgic ruralist vision of England on the verge of war, the novel not only furthers Woolf’s critique of the dictators in England in Three Guineas, but also enacts the essay’s visionary idea of the “Outsiders’ Society” in the setting of the English country. A prominent figure in Between the Acts is the cultivated observer in rural England, who is there to apprehend landscape as well as the universal evolutionary order. Encapsulating the ocularized social power of the ruling landowning class, he embodies Englishness and “civilization” as the apex of the developmental progress of humankind. Woolf responds to such Englishness by positing episodes in the novel involving La Trobe’s village pageant. The pageant invokes an “Outsiders’ Society” composed of heterogeneous, anonymous private spectators in resistance to the hegemonic perception of the gentry-audience, thus making the latter think home landscape, “Ourselves,” and civilization in a different light. At the same time, the “Outsiders’ Society” is also enacted through Between the Acts’s multi-layered, open-ended, and self-reflexive form, which disallows closure and totality of meaning and predominance of the authorial vision. -
“The Oera Linda Book” and “The Snow Queen”: Two Destinies of One Myth
Journal of Siberian Federal University. Humanities & Social Sciences 1 (2015 8) 149-174 ~ ~ ~ УДК 304.444 “The Oera Linda Book” and “The Snow Queen”: Two Destinies of One Myth Ksenia V. Reznikova* Siberian Federal University 79 Svobodny, Krasnoyarsk, 660041, Russia Received 12.08.2014, received in revised form 04.11.2014, accepted 11.12.2014 This article features globalization in its two forms: natural globalization and artificial globalization. The need of natural globalization becomes more obvious taking into account the growth of challenge to the humankind. Artificial globalization nowadays is provided by westernization. Influence of globalization is more obvious at the mental than at the physical level, construction of the historical past and its mythologization played major roles in the course of globalization. Different relations between ideology and myth can be traced on the example of the destinies of two works, in which almost the same idea of the world order is represented. These are “The Oera Linda Book” and “The Snow Queen”. As a part of the study, seven invariants of the fairy tale by H.C. Andersen were analyzed. The carried-out analysis is based on a hypothesis that artificial globalization influences mythology of certain cultures, distorting it for own needs, resorting to different methods for different forms of the myth representation. So, myths in their pure form, demanded by the adult representatives of culture, are subjected to criticism, they are charged of falsification. The ultimate goal of such an influence is to bury the myth in oblivion as false. The myth that is represented in the reduced art form for children’s audience has the changed plot basis and in this new form it is subjected to maximum replication to substitute the original version in a period of time. -
World Premiere of Christopher Hampson's the Snow Queen
PRESS RELEASE FOR IMMEDIATE RELEASE scottishballet.co.uk World premiere of Christopher Hampson’s The Snow Queen brings Scottish Ballet’s 50th anniversary year to a spectacular close this winter In a year of celebrations for Scotland’s national dance company, Scottish Ballet’s 50th anniversary comes to a spectacular close with the world premiere of CEO / Artistic Director Christopher Hampson’s The Snow Queen. Inspired by Hans Christian Andersen’s much-loved tale, which was also the basis for Disney’s hit film Frozen, this glittering new production opens at Edinburgh’s Festival Theatre on Saturday 7 December, before touring to Glasgow, Aberdeen, Inverness and Newcastle. Scottish Ballet’s The Snow Queen is a story of love and friendship that will delight audiences of all ages. The action is driven by three central female characters: the brave young Gerda on a quest to rescue her true love, the enigmatic pickpocket Lexi at her side, and the powerful Snow Queen at the centre of it all. Created in collaboration with multi-award-winning designer Lez Brotherston, The Snow Queen will take audiences from a bustling winter’s market, through a fairytale forest, and into the icy realms of the Snow Queen’s palace. The production will include a colourful cast of characters dressed in a total of 111 custom- made costumes, from a circus ringmaster and his troupe to dancing snowflakes and, of course, the dazzling Snow Queen herself. Set to the music of Russian composer Nicolai Rimsky-Korsakov, the specially adapted score by Richard Honner will be performed live by the full Scottish Ballet Orchestra. -
The Snow Queen Teacher Resource Guide
URBAN STAGES 259 West 30th Street Between 9 & 10th Avenues THE SNOW QUEEN TEACHER RESOURCE GUIDE Table of Contents Introduction 2 *The Life of Hans Christian Andersen 3 Class Exercise: “Getting to know Hans” 4 *The Modern Fairy Tale 5 Fairy Tale Activity/ Exercises 7 *Adaptation: Making an Old Story New 8 *Map to Color and Label 9 *Exercises in Adaptation 10 *The Mystery of Puppets 12 Q & A & Theater Etiquette 14 More to Do After you see the Play 15 *Glossary of Theater Terms 16 Post Performance Teacher Questionnaire 17 *Reproducible (Hand Outs) 1 INTRODUCTION Dear Educator, Thank you for joining us to see Urban Stage’s The Snow Queen, an adaptation of Hans Christian Anderson’s classic fairy tale The Snow Queen. This resource guide will pro- vide you with some pre and post performance classroom work that can help enrich the play going experience for your students. Along with background information on the play there are also suggested exercises and reproducible activity pages included in the Teacher Resource Guide. Please do not feel that you need to do everything in this guide. The guide provides drama and theater based teaching techniques that you can use as they are presented to you or you can adapt them to your own teaching style. Established in May 1983, Urban Stages’ mission is to discover and develop new plays by authors of diverse cultural backgrounds. Urban Stages is theater for the increasingly di- verse population of this country concerning issues relevant to their lives. It is our belief that theater has the power to dramatically change lives, offer new alternatives for the fu- ture, and be used as a teaching tool. -
First Place Flash Fiction, Grades 7-8 Lily Wissler the Ten O'clock News
First Place Flash Fiction, Grades 7-8 Lily Wissler The Ten O’clock News Jane Matthers felt her traitorous lips lift into a smile, though she did not let it drop right away. Swishing around the remainder of the drink in front of her, Jane was leaning on her elbows, balancing on the edge of her bar stool. She was antsy for something, though she would never admit to what it was. That was a secret she’d take with her to the grave. If the undisclosed were an object, she would carry it between her painstakingly sanitized hands and clutch it in front of her carefully chosen cardigan. Jane had been a cautious child. Picking and pulling apart her every movement. Her words had always been so premeditated that she often found herself saying things that belonged to future conversations. The quality showed now as she shushed her hiccupy-giggles with an ease that had been practiced for years. Jane recounted the evening’s events. The screams played over in her head like her own personal soundtrack. She had felt comfort in the stabbing and slashing. There was neatness to it like a freshly printed dictionary. Jane wasn’t as careful to withhold her giggles this time. She felt wise. She had taken care of everything, tied every loose end. What she hadn’t accounted for was the mess. Jane had to burn the cashmere sweater, but it was worth it. After the first spike of adrenaline, she knew it was worth it. With restless limbs, and soaring spirits, Jane watched the TVs before her. -
How Authored Children's Classics Retain Cultural
A PICTURE VS. A THOUSAND WORDS: HOW AUTHORED CHILDREN’S CLASSICS RETAIN CULTURAL RELEVANCY THROUGH BRITISH TELEVISION ADAPTATIONS by Sarah K. Crotzer A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in English Thesis Committee: Dr. Jennifer Marchant, Chair Dr. Martha Hixon Dr. Tom Strawman ACKNOWLEDGMENTS I would not have completed this thesis without the support and assistance of a great many people. Drs. Jennifer Marchant and Martha Hixon were the best mentors I could have asked for: enthusiastic when I needed a push, patient when I asked a thousand questions at once, and willing to tell me when it was time to let it go. I had a whole team of “you will crush this” ninjas, led first and foremost by David LeDoux – his time is worth a thousand pounds a minute! I was also buoyed up and occasionally calmed down by Gary Gravely, Aaron Shapiro, Agapi Theodorou-Shapiro, and my minion, Tom Cruz. Finally, I owe a huge debt of gratitude to my parents, Barbara and Harry Crotzer, for listening to many, many speeches by Toad over the years. Perhaps now it’s time to take up motoring, instead. ii ABSTRACT Certain classic children’s stories have transcended the generations to become cultural icons over a century after their publication. The endless adaptation and reinvention that creates iconography can be both assistance and obstruction to the preservation of authored stories which, unlike classic oral folk tales, were originally composed to a specific and unchanging design. This thesis examines how certain classic stories – Hans Christian Andersen’s “The Snow Queen,” Kenneth Grahame’s The Wind in the Willows, and Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking Glass – have been transmuted from set, authored texts to collections of representative elements with wide cultural applications. -
Hans Christian Andersen and the Danish Golden Age Fall 2017, European Humanities 3 Credit Course Major Discipline: Literature Monday & Thursday 13.15‐14.35, F24 203
Final Syllabus Hans Christian Andersen and the Danish Golden Age Fall 2017, European Humanities 3 credit course Major Discipline: Literature Monday & Thursday 13.15‐14.35, F24 203 Instructor: Morten Egholm Ph. D., Film Studies, University of Copenhagen, 2009. Cand. mag., Scandinavian Studies, Film and Media Theory, University of Copenhagen, 1997. Associate professor, Danish Language, Literature and Culture, University of Groningen, The Netherlands, 2002‐2006. Has written several articles in Danish, English and Dutch on Danish literature, Danish mentality, TV series and film history. Since January 2012 full time faculty at DIS. Tel. 60 81 40 71 [email protected] Office hours: Thursday, 1.15‐3.00 pm in Room 10 B‐15 DIS contacts: Sanne Rasmussen, Program Coordinator, European Humanities Department, [email protected] Hans Christian Andersen and the Danish Golden Age | DIS – Study Abroad in Scandinavia | Major Disciplines: Literature Final Syllabus Course Content: Hans Christian Andersen (1805‐1875) is internationally known as the writer of fairy tales. Children all over the world know The Ugly Duckling, The Emperor’s New Clothes, The Little Mermaid, The Princess and the Pea and other tales. But Andersen also wrote very important works in many other literary genres. As we will discover, Andersen’s writings are not just for children. Further, Andersen very often in his works gives insightful commentary that reflects social, philosophical and technological changes throughout the 19th Century. This course will be a study of 30 fairy tales by Hans Christian Andersen as well as extracts from his novels, travelogues, poems, diaries and of his autobiography, The Fairy Tale of My Life. -
WALL STREET in the AMERICAN NOVEL Wayne W. Westbrook A
WALL STREET IN THE AMERICAN NOVEL Wayne W. Westbrook A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 1972 p © 1972 WAYNE WILLIAM WESTBROOK ALL RIGHTS RESERVED IH ABSTRACT Wall Street is construed to represent the American financial center, La Salle Street in Chicago, State StreetiinbBoston and Third Street in Philadelphia as well as New York's lower Manhattan district. The novels and stories considered are those in which the financial center serves a primary function, either in influencing plot, character or in providing the background and atmosphere for the main action, Both archetypal and textual analysis are applied in seeing the recurrent motifs in the novel of high finance, patterns and themes which are fully articulated and developed in the late nineteenth-century version, yet which are not found to bear an influence on later financial fiction. The reason for this is that the American literary artist has had a prejudicial view of high finance and speculation which is rooted in his cultural heritage of the Puritan opposition to playing or gaming as a way to wealth and success. The writer's attitude, therefore, is largely con demnatory, regarding an individual's involvement with the financial marketplace as a form of personal corruption, profligacy and degen eracy. Further, the idea of the sin and evil of Wall Street has as its probable historical source the volatile course that American finance has traced since the post-Civil War industrial age, in the highly cyclical and repetitive pattern of boom and bust periods.