CONVERSATIONAL IMPLICATURE IN A DRAMA ENTITLED SNOW WHITE AND THE SEVEN DWARFS AND ITS APPLICATION IN LANGUAGE TEACHING
A THESIS Submitted in Partial Fulfillment of Requirements to Aqcuire Sarjana Pendidikan Degree in English Education Program of Teacher and Education FacultyMuhammadiyah University of Purworejo
NURNGAINI SOLIHATI 102120130
ENGLISH EDUCATION PROGRAM TEACHER TRAINING AND EDUCATION FACULTY MUHAMMADIYAH UNIVERSITY OF PURWOREJO 2014
MOTTOS
And you might be hate something but it is good for you, and you might be like
something but it it bad for you, and God knows and you doesn’t know. (QS.
Al-Baqarah: 216).
O you who have believed, seek help through patience and prayer. Indeed,
Allah is with the patient. (Surah Al-Baqarah, 153)
Remember Allah’s blessings, so hopefully you will be successful. (Surah Al-
Araf, 67)
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DEDICATION
With gratitude and love, this thesis is dedicated to:
1. My beloved parents, Masdin and Suparti who always give me endless love,
support, prayer and cares.
2. My beloved sister (Agustina Fajarwati, Dewi Anggraeni) and my brother
(Faisal Salafudin). Thanks for all the things for me in any situation and
condition and thanks for your support and prayer. I love you all.
3. My beloved nephews (Senja Azizah Aabidah and Mentari Manika Salsabila).
Your laugh always gives me power to finish this thesis.
4. My husband in the future, Apri Adi Warisman, thanks for your prayer and
patient.
5. My best friends, Awalia, Hesti, Hani, Nyunyun, Manyun, Dian, Tyas, Mbak
ruroh,Si om(Erik) thanks for all motivation, incredible and unforgettable
moments and thanks for quality time which always we spent together.
6. My advisor, Mrs. Zulia Chasanah, S.S, M. Pd., thanks a lot for your guidance,
patient, and supports.
7. My classmates D’animals class, thanks for everything that you given to me, I
will miss you guys. I will miss everything we’ve done together. I love you.
8. All my friends in English Department of UMP, thanks for lesson in my life.
9. All people who help me finishing my thesis.
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TABLE OF CONTENT S
TITLE ……… ...... i APPROVAL SHEET ...... ii RATIFICATION SHEET ...... iii STATEMENTS ...... iv MOTTOS ...... v DEDICATION ...... vi ACKNOWLEDGEMENTS ...... vii TABLE OF CONTENTS ...... ix LIST OF TABLES ...... xi LIST OF APPENDICES ...... xii ABSTRACT ...... xii
CHAPTER I: INTRODUCTION A. Background of the Study ...... 1 B. Identification of the Problem ...... 3 C. Limitation of the Problem ...... 4 D. Statements of the Problem ...... 4 E. Objectives of the Study...... 4 F. Significance of the Study ...... 5
CHAPTER II: REVIEW OF RELATED LITERATURE A. Previous Study ...... 6 B. Pragmatics ...... 7 C. Conversational Implicature ...... 15 D. Drama ...... 25
CHAPTER III: RESEARCH METHOD A. Research Method ...... 26 B. Research Object ...... 27
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C. Sample and Sampling ...... 27 D. Instrument of the Study ...... 28 E. Technique of Coding Data ...... 28 F. Technique of Analyzing Data ...... 30 G. Research Procedure ...... 31
CHAPTER IV: RESEARCH FINDING AND DISCUSSION A. Research Findngs ...... 33 B. Conversational Implicature Used in a Drama Entitled Snow White and the Seven Dwarfs ...... 37 C. The Application Conversational Implicature Used in a Drama Entitled Snow White and the Seven Dwarfs in Language Teaching 37
CHAPTER V: CONCLUSION AND SUGGESTION A. Conclusion ...... 57 B. Suggestion ...... 58
BIBIBLIOGRAPHY ...... 60 APPENDICES ...... 61
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LIST OF TABLES
Table 1 Number and percentage of figures of speech ...... 34
Table 2 Number and percentage of conversational implicatures ...... 35
Table 3 Conversational Implicature made by figurative language ...... 36 ..... Pre-Test and Post-Test Score of Control Group
xi
LIST OF APPENDICES
Appendix 1 Thesis Consultation Log
Appendix 2 Decree Letter
Appendix 3 Lesson Plan
Appendix 4 Script of Drama
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ABSTRACT
Solihati Nurngaini. 2014. Conversational Implicature in a Drama Entitled Snow White and the Seven Dwarfs and Its Application in Language Teaching. A Thesis. English Education Program, Teacher Training and Education Faculty, Muhammadiyah University of Purworejo. Consultant: Zulia Chasanah,S.S., M.Pd.
Key word: Conversational Implicature, Drama, Snow White and the Seven Dwarfs, Application, Language Teaching
The objectives of this study are: 1)To describe the conversational implicature occur in a drama entitled Snow White and the Seven Dwarfs and its application in language teaching,2)To describe the application of the conversational implicature in a drama entitled Snow White and the Seven Dwarfs. This research is conducted in descriptive qualitative method. The source of data is dialogues containing conversational implicatures spoken by the characters in drama, which are especially perceived as figure of speech. The sampling technique used is purposive for the sample is chosen based on certain purpose in order to reach the objective of this research. The analysis of data was done in three steps. First, the researcher starts reducing some utterances that use figure of speech, second, each datum was analyzed based on Grice’s maxims of co-operative principle which include: (1) maxim of quality, (2) maxim of quantity, (3) maxim of relation, and (4) maxim of manner. After that, the real data are displayed using table and particular. Here, the researcher analyzed several applications of conversational implicature in drama. In analyzing the data the researcher finds the idea from the drama that can be used for improving speaking the students in English language teaching. Based on the analysis, the outcome of this study indicated that all Grice’s proposed conversational implicatures were applicable to the drama entitled Snow White and the Seven Dwarfs. There are 368 utterances consisting of 16 implicature between the four maxims, quantity, quality, relation, and manner. It is 25% of the implicatures was the maxim of quantity, 31, 25% for the maxim of quality and the maxim of manner, and 12, 5% for maxim of relation. The researcher hopes that this thesis will enrich the knowledge of conversational implicature for the teachers and students who should be able to improving speaking skill in teaching-learning activity.
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CHAPTER I INTRODUCTION
In this chapter the researcher wants to present the background of the study, identification of problem, limitation of the study, statements of the problem, objectives of the study, and significance of study.
A. Background of the Study
Many phenomena happen in daily life. One of them is communication.
People spend much more time communicating than they realize. However, they
sometimes do not aware that when they communicate they reveal something
deeper through their utterances. These utterances might be in the form of long
sentences or short sentences. The meaning of each utterance depends on
listener’s interpretation. One speaker may utter something, but the two listeners
may have different interpretations related to such utterance.
Understanding how the process of communication works is equally
important with having good communication skill. It often happens that what is
meant contains something deeper than what is said. Therefore, although someone
says something in a short utterance, the meaning can go beyond that. The
utterance which a speaker chooses can also depend on a particular context and
the listener should interpret that utterance. There is an expectation that both
1 2
participants of communication have the same thought about what actually they talk about. Cooperation is needed in this case.
A speaker can actually say A but he or she prefers to choose B although these two utterances has the same meaning. The implied meaning in what the speaker says is important to get the same end between the speaker and the listener.
In this case the researcher focusing on the conversational one. The researcher chooses conversational implicature for her study because conversational implicature is an interesting thing where it is not a matter of a sentence but instead of an utterance’s meaning. Conversational implicature is one of the most important ideas in pragmatics. The importance of conversational implicature as a means of expressing a message indirectly is well established.
Participants in a conversation expected each other to make their contributions to that conversation truthful, relevant, clear, and sufficiently informative. It is important to know that it is speakers who communicate meanings via implicature and it is listeners who recognize those communicated meanings via inference.
In this study the researcher uses the drama as his source of data. Drama is good object for linguistic research since drama provides the language phenomena within its dialogue such like implicature. Drama is an art of dialogues and acting.
Drama dialogues have great value in linguistic study. They are not only an imitation of daily conversations but also an intelligent creation art. 3
In this study, as the researcher is going to do a research on conversational
implicature where main data is taken from utterances, drama can certainly be her
good source of data.
Considering the amount of conversational implicature in the Snow White
and the Seven Dwarfs drama the researcher interested in making deeper analysis
on the conversational implicature. For such kind of reasons, the researcher
chooses “Conversational Implicature in A Drama Entitled Snow White and the
Seven Dwarf and Its Application in Language Teaching” as the title of the thesis.
B. Identifications of the Problem
The researcher chooses this interesting topic because of some factors.
Those factors are as follows:
1. The implied meaning in what the speaker says is important to get the same
end between the speaker and the listener.
2. Conversational implicature is an interesting thing where it is not a matter of a
sentence but instead of an utterance’s meaning.
3. Drama dialogues have great value in linguistic study. They are not only an
imitation of daily conversations but also an intelligent creation art.
4
C. Limitation of the Problem
In this research, the researcher only explores the dialogues containing
conversational implicatures which are employed by the characters of Snow White
and the Seven Dwarfs. The analysis is only focused on the implicatures which are
perceived as figures of speech.
D. Statements of the Problem
Based on the problem limitation above, the problems that will be analyzed
by the researcher is:
1. What are the conversational implicature occur in a drama entitled Snow White
and the Seven Dwarfs and its application in language teaching?
2. How is the application of the conversational implicature in a drama entitled
Snow White and the Seven Dwarfs?
E. Objectives of the Study
The objectives of the study are:
1. To describe the conversational implicature occur in a drama entitled Snow
White and the Seven Dwarfs and its application in language teaching.
2. To describe the application of the conversational implicature in a drama
entitled Snow White and the Seven Dwarfs.
5
F. Significances of the Study
There are some advantages that are the researcher can take. By conducting
this research, the researcher expects it has some benefits for the reader. The
significance of the research includes the following:
1. For teacher
- Teacher will get more information about conversational implicature.
- Through this study, the teacher can realize his role or what he is going to
do by using conversational implicature.
2. For other researchers
- To the researcher, many new valuable experiences especially in language
education are useful for researcher’s preparation to be an English teacher
in the future.
- This result of the study also contributes to other researcher to give
references to the next researcher to conduct further research.
3. For the readers
The researcher hopes that this research can give the contribution in
developing of knowledge, especially about conversational implicature. CHAPTER II REVIEW OF RELATED LITERATURE
This chapter discusses the theories underlying the study applied in this research. It deals with the description of previous study, pragmatic, conversational implicature, drama, Snow White and the Seven Dwarfs, and the application of conversational implicature in a drama entitled Snow White and the Seven Dwarfs.
A. Previous Study
The researcher uses one research paper which correlated with the
conversational implicature to develop her thesis. Sheila Nanda (2012) conducted
“Conversational Implicature of the Presenter Take Me Out Indonesia”. This
research is conducted in descriptive qualitative method. This research is a
pragmatics study that aims at investigating conversational implicature that the
presenters of Take Me Out Indonesia operate within their utterances along with
the possible implications that lie behind the implicature. She found that the
generalized conversational implicature I the participants” expressions occur more
often than particularized conversational implicature. The comparison of the
occurrence is 59,8% generalized implicature and 40,2% particularized
implicature.
In this research the researcher conducts one theory that is being applied by
on this previous study above. That is Grice‟s theory of conversational
6 7
implicature. The differences between this research and previous study is located
in the object that is being object observed, Sheila uses presenter‟s utterances in
TV shows as her object of research. In this research the researcher uses drama as
object of research. The researcher uses dialogue in drama. The researcher gives
the explanation how to calculate the implicature. This research is made to enrich
the other students about the term of implicature and show the application of
conversational implicature in language teaching.
B. Pragmatics
There are many definitions about the notion of pragmatics defined by
linguists. George Yule (1988: 9) defined pragmatics as the study of contextual
meaning. Pragmatics is concerned with the study of meaning as communicated
by a speaker (or a writer) and interpreted by a listener (or a reader) so that it
involves the interpretation what people mean in a particular context and how the
context influences what is said. Meanwhile, Levinson (2008: 24) defined
pragmatics as the study of the ability of language users to pair sentences with the
contexts in which they would be appropriate. According to Levinson, pragmatics
is defined as the study of those relations between language and context that are
grammaticalized, or encoded in the structure of a language (2008: 9). In other
word, pragmatics is the study of those aspects of the relationship between
language and context that are relevant to the writing of grammars. From the
definitions above, pragmatics always includes the aspects of participants and 8
context in which the conversation takes place. It is assumed that speaker and hearer involved in conversation are generally cooperating with each other.
Context becomes an important aspect in pragmatics because the same utterances may have more than one pragmatic meaning when it is uttered in different context.
Relating to meaning, as Widdowson (1996: 61) says, pragmatics is concerned with what people mean by the language they use, how they actualize its meaning potential as a communicative resource. This does not happen in semantics, which concerns on meaning in language. Yule (1996: 4) differentiates the two subjects by stating that pragmatics concerns with the relationship between linguistic forms and the users. While semantics concerns with the relationship between linguistic forms and entities in the world, that is, how words literally connect to things. By studying pragmatics, it makes possible for us to know what might be meant by an expression in an actual utterance, or when we hear or read it in a specific context. The intended meaning of an utterance is grasped, as Widdowson (1996: 62-66) said, by considering some aspects of pragmatics. There are reference-the pointing or indexical function, proposition- the symbolic conventions of the code to key us into a context of shared knowledge. Widdowson added that there is an occasion when speaker is also doing something while he is saying an utterance. The speaker performs some kind of illocution or communicative force. When we talk about propositional reference and illocutionary force, it is dealing with the pragmatic meaning which 9
people achieve in speech acts. Interpretation commonly involves the parties concerned in the negotiation of meaning, whereby an agreed frame of reference or set illocutionary condition is established. That is why, a major concern of pragmatics is how discourse is managed, what the ground rules for negotiation are, and how (how far) the different parties cooperate in joint enterprise. Clearly, when people seek to communicate, they enter into a kind of contract which is subscribed into a cooperative principle. Cooperation does not preclude conflict.
Indeed, it is only by subscribing to the cooperative principle that people can express disagreement or create conflictual situations.
The aspects of pragmatics mentioned above, once again, cannot be separated from the context. Without appreciating context, the messages of speech cannot be interpreted accurately.
Levinson says that pragmatics is the study of deixis, implicature, presupposition, speech acts, and aspects of discourse structure (2008: 27). The brief explanation of those topics will be discussed below. a. Deixis
Deixis is a technical term (from Greek) for one of the most basic
things we do with utterances. Deixis means „pointing‟ via language (Yule,
1996: 9). It is a term functioning as reference to refer to words, phrases,
clauses, or sentences mentioned before. In deixis, the expressions have their
most basic uses in face-to face spoken interaction where utterances are easily
understood by the people present, but may need a translation for someone 10
who is not right there. Deixis is clearly a form of referring that is tied to the
speaker‟s context, with the most basic distinction between deictic expressions
being „near speaker‟ versus „away from speaker.‟ (Yule, 1996: .9)
For example, “Listen, I‟m not disagreeing with you but with you, and not
about this but about this” (Levinson, 2008: 55). We do not know how the
participants are, where it occurs, and when it is said. Therefore, the deixis of
the utterances is meaningful if the context of the utterance is accurately
known. b. Implicature
Grice firstly proposed the term of „implicature‟ in William James
lectures at Harvard University in 1967. He (in Brown and Yule, 1988: 3)
states that implicature is „what a speaker can imply, suggest, or mean as
distinct from what the speaker literally says.‟ The word „implicature‟ is
derived from the verb „to imply‟ which means „to fold something into
something else‟. Implicature is meaning that is not explicitly conveyed in
what is said, but that can nonetheless be inferred. For example, if Carol points
out that Alice is not present, and Bill replies that Alice has a cold, then there is
an implicature that the cold is the reason, or at least a possible reason for
Alice‟s absence; this is because Bill‟s comment is not cooperative-does not
contribute to the conversation-unless his point is that Alice‟s cold is or might
be the reason for her absence. 11
Grice in Lavinson (2008: 126-129) classifies implicatures into two kinds, namely: conventional and conversational implicatures. Conventional implicatures deal with the conventional features of the words employed in the utterance. Conventional implicatures are non-truth-conditional inferences that are not derived from super ordinate pragmatic principles like the maxims, but are simply attached by convention to particular lexical items or expression
(Levinson, 2008: 127). According to George Yule, these kinds of implicatures do not have to occur in conversation, and they don‟t depend on special context for their interpretation (1996: 45). He also states that conventional implicatures are associated with specific words and result in additional conveyed meanings when those words are used. „But‟, „even‟, „yet‟ are the words recognized having this kind of implicatures. Grice (in Levinson, 2008:
127) states that the word „but‟ has the same truth-conditional (or truth- functional) content as the word „and‟ with an additional conventional implicature to the effect that there is some contrast between the conjuncts.
When „even‟ is included in any sentence describing an event, there is an implicature of „contrary to expectation‟. While the conventional implicature of „yet‟ is that the present situation is expected to be different, or perhaps the opposite, of a later time. Meanwhile, conversational implicature is implicature which is derived from a general principle of conversation plus a number of maxims which speaker will normally obey (Brown and Yule, 1996:31).
Unlike conventional implicature, conversational implicature depend on 12
context for their interpretation. The theory about conversational implicatures
itself will be discussed further in the next subchapter. c. Presupposition
According to George Yule (1996: 25), presupposition is „something
the speaker assumes to be the case prior to making an utterance‟. Speakers
and not the sentences have presupposition. Presupposition of a statement will
remain constant even when that statement is negated. For example, two
statements „John‟s car is not red‟ and „John has a car‟ have the similar
assumption that John has a car and the color is not red. d. Speech Act
According Schmidt and Richards (1995: 101) speech act is all we
perform through speaking, all things we do when we speak. When conversing,
people deliver their ideas, intentions, feelings or emotions directly. The
descriptive terms for different kinds of speech acts apply to the speakers‟
communicative intention in producing an utterance. The speaker normally
expects that his/ her intention will be recognized by the hearer carries some
actions in an utterance.
Austin (in Levinson 2008: 236) states that there are three basic acts in
saying utterances, namely: 1) locutionary act, it is the basic act of utterance
because it produces a meaningful linguistic expression, 2) illocutionary act, it
is performed via the communicative force of an utterance in order to make a
statement, an offer, an explanation or other communicative purposes, and 3) 13
perlocutionary act, it is done to have an effect from the utterance. For
example, “I already closed the door but not the windows.” When the context
of the utterance is between mother and her son and the setting is in their house
at night, the locutionary act refers to the windows that are still opened, the
illocutionary force is requesting the son to close the windows; and the
elocutionary effect is persuading, that is making her son to close the windows.
Yule (1996: 53) states that one general classification system lists five
types of general functions performed by speech acts:
a. Representatives
A kind of speech acts that state what the speaker believes to be the
case or not. Statements of fact, assertions, conclusions, and descriptions are
examples of the speaker representing the world as he or she believes it is.
b. Directives
A kind of speech acts that speakers use to get someone else to do
something. They express what the speaker wants. They are commands,
orders, requests, and suggestions.
c. Co missives
A kind of speech acts that speakers use to commit themselves to some
future action. They express what the speaker intends. They are promises,
threats, refusal, and pledges. d. Expressive 14
A kind of speech acts that state what the speaker feels. They espress
psychological states and can be statements of pleasure, pain, likes, dislikes,
joy, or sorrow. e. Declarations
A kind of speech acts that change the world via their utterance. Searle
(in Levinson, 2008: 240) said that in order to perform a declaration
appropriately, the speaker has to have special institutional role in specific
context that provides rules for their use. Thus, the speaker changes the world
through words. It includes declarations, christens, etc.
A different approach to distinguishing types of speech acts can be
made on the basis of structure. Whenever there is a direct relationship
between a structure and a function, we have a direct speech act. Whenever
there is an indirect relationship between a structure and a function, we have
an indirect speech act. Thus, for example, a declarative used to make a
statement is a direct speech act, but a declarative used to make a request is
an indirect speech act. For example:
“It‟s hot.”
a. I hereby tell you about the weather.
b. I hereby request of you that you turn on the fan.
From the example above, we know that in order to get the intended
meaning or pragmatic meaning of the utterance, we have to consider the 15
context of situation, in this case, particularly where and when the dialogue is
taken place.
e. Discourse Structure
Discourse structure relates to the organization of conversation. Every
conversation can be analyzed through conversation analysis because it has
structure. For example, turn taking is done when someone respects other
people in taking their turns in speaking. There is also adjacency pairs, a
fundamental unit of conversational organization, that manage the kind of
paired utterances of which question should be replied by answer, greeting by
greeting, or offer by acceptance.
C. Conversational Implicature
Grice‟s theory of implicature has started the concept of maxims. The
maxims are the explicitness of a principle known as the cooperative principle
– a principle that is required to account for pragmatic interpretations, saying:
“Make your contribution such as it is required, at the stage at which it occurs,
by the accepted purpose or direction of the talk exchange in which you are
engaged.” Grice divides Cooperative principle into four basic conversational
maxims
. 16
1. The maxim of Quantity
Maxim of quantity as one of the cooperative principle is primarily
concerned with giving information as it is required and that not giving the
contribution more informative than it required. For example:
A: Where is the hospital?
B: In the next of that store.
It can be seen that B information is informative and give enough
contribution toward A‟s question about the exact location of hospital.
2. The maxim of Quality
The Maxim of Quality proposes that the speaker should tell the
truth in a conversation in order to communicate cooperatively. For
example:
A: Where is Eiffel tower located?
B: In Paris
Here, B gives the correct answer which shows about the true fact.
3. The maxim of Relation
Maxims of relation means that the utterance must be relevant which
the topic being discuss. For example:
A: How about your score Jane?
B: Not too bad
Here, Jane‟s utterance fulfilled the maxim of relevance, because her
answer is relevant with the question 17
4. The maxim of Manner
Maxim of manner obligates speaker‟s utterance to be perspicuous
which is not to be ambiguous, obscure, or disorderly and unnecessary
prolixity. For example:
A: What did you think of that drama?
B: I really like of the action of each player. They can play their role as
good as possible.
The answer of B is categorized as maxim of manner; he can answer
the question from his partner about the drama clearly. From the
explanation mentioned above, we can conclude that although it is very
difficult to obey and use all of the cooperative principles and its maxims
in uttering or writing the sentences, but it is essential to follow the
cooperative principle in order communication run more effectively.
The explanation is relevant to Cook‟s assumption saying when
people following the cooperative principle, this does not mean that they
can consciously and explicitly formulate it to themselves. It means rather
that people act as though they know the principle just as they act as
though they know the rules of grammar – though very few people can
even begin to formulate them, and nobody can formulate them
completely.
The existence of the maxims then makes conversational
implicatures possible. Conversational implicatures allow a speaker to 18
convey meaning beyond what is literally expressed. Those maxims can in turn be manipulated to create irony, sarcasm, metaphor, and a wide range of inferential meanings.
Grice‟s example which involves the flouting of „Be brief‟, the sub maxim of manner is shown by comparing between two remarks below:
(a) Miss X sang „Home sweet home‟.
(b) Miss X produced a series of sounds that corresponded closely with the
score of „Home sweet home‟.
Fasold (1996: 131), explains that a speaker who said (b) is obviously not trying to claim that there is a clash with the quality sub maxim about providing sufficient information, since it is clearly possible to convey something like (a). The implicature generated is that for some reason the word „sang‟ has to be avoided, and the reader of (b), would draw the conclusion that Miss X‟s performance was too poor to be called
„singing‟.
The other example which involves the flouting to maxim of quantity is shown below:
A: How did you find Jones‟ thesis?
B: It was well typed.
Richards and Schmidt (1995: 122), explains that by choosing not to be as informative as required, B is suggesting that the other qualities of the thesis were not worth commenting on. B has thus communicated 19
through rules of conversational implicature that it was a bad thesis. In the expression saying: My car breaks down every five minutes. We will perceive such remarks as figures of speech, hyperbole, a way of making a point more forcefully, rather than as lies.
Based on the examples above, Gricean conversational implicature generally depends on a three-step process. First, a speaker says something that seems to involve a maxim violation, or at least it requires a little effort to understand how what was said conforms to the cooperative principle. Second, the speaker expects, nevertheless, to be interpreted as being cooperative and the addressee actually does assume he or she is being cooperative. Third, the speaker thinks, and expects the addressee to think the speaker thinks, that the addressee can work out what additional suppositions are necessary in order for the speaker‟s contribution to actually be cooperative (Richards and Schmidt, 1995: 131).
The breaking of maxims reflects that context plays a very important role in a conversation. Without appreciating the particular context, the conversational goal cannot be understand. It means that in analyzing a conversation or an utterance, one must be careful to find out some assumptions of context that is relevantly taking role in the conversation to support sufficient message.
20
Context
According to Leech (1983: 13) context deals with relevant aspects of the physical or social settings of an utterance. He also consider context to be any background knowledge assumed to be shared by the speaker and the hearer which contributes to hearer‟s interpretation of what the speaker means by a given utterance.
Nunan (1993: 8) says that there are two different types of context, linguistic context and experimental context. Linguistic context is the language that surrounds or accompanies the discourse under analysis. It can be in the form of words or phrases preceding or following the discourse. Yule (1996a: 21) calls this co-text, which is the linguistic material that accompanies a referring expression. While, experimental context is the context within which the utterances take place. This kind of context includes the type of communicative event; the topic; the purpose of the event; the setting including the location, time of day, season of the year and physical aspect of situation; the participants and the relationship between them; and the background knowledge and the assumptions underlying the communicative event.
Figures of Speech
Language may be used for communication on literal or on figurative level. Literal language uses words only for their actual, basic meaning. It may be taken as face value; it means just what it says on the 21
surface. Thus, in literal use, fire means a flame-producing oxidation of combustible material; naked means unclothed or without artificial covering; a cloud is a visible mass of vapor suspended in the atmosphere; gold is a metal of high value, to throw means to cause an object to fly through the air; cars are anatomical organs for registering sound. The sentences below are the examples of the use of figurative language.
- She is a snake in my ordered house
- The meal cost the earth
- Mr. David was made of iron
- The cloud that shadows her eyes rains down gentle sorrow.
Wren and Martin in Siswantoro defines figure of speech as a departure from the ordinary form of expression or the ordinary course of ideas in order to produce a greater effect (2002: 24).
From the definitions above it can be concluded that figurative language is the use of the words non-literally, in order to produce a greater effect and to achieve a new way in describing or expressing something. Figurative language can be classified as follows:
1. Those based on resemblance, cover simile, metaphor, personification,
and apostrophe.
2. Those based on the contrast, cover antithesis and epigram.
3. Those based on association, cover metonymy and synecdoche.
4. Those depending on construction, cover climax and anticlimax. 22
Every expert has different classification. So, it is impossible for the researcher to analyze all the types of figurative language. She will just discuss following types: simile, metaphor, personification, irony, sarcasm, symbol, hyperbole, paradox, oxymoron, metonymy, tautology, prosthesis, and synecdoche.
1. Simile: An explicit comparison between two essentially unlike things,
usually using like, as or than, as in Burns' poem, O, my luve's like A
Red, Red Rose or Shelley's, As still as a brooding dove.
2. Metaphor: An implied comparison between two unlike things that
actually have something important in common, as in the expressions:
He is a lion, or Mr. Smith was made of iron.
3. Personification: A type of metaphor in which distinctive human
characteristics, e.g., honesty, emotion, volition, etc., are attributed to
an animal, object or idea, for example:
a. The haughty lion surveyed his realm
b. My car was happy to be washed
c. The sky is deaf
4. Irony: The use of words to convey the opposite of their literal
meaning. A statement or situation where the meaning is contradicted
by the appearance or presentation of the idea, for example:
a. This meal is delicious (said by a guest who finds the food is
disgusting) 23
5. Sarcasm: The rhetorical device of using a characterization of
something or someone in order to express contempt. It is closely
connected with irony, in that the two are often combined in the same
statement, as in Sophocles‟ play, Oh tell it! Tell everyone! Think how
they will hate when it all comes out …
6. Symbol: An image transferred by something that stands for or
represents something else. Symbols can transfer the ideas embodied in
the image without stating them, like flag for country, or autumn for
maturity, night for death or depression, etc.
7. Hyperbole: An extravagant statement; the use of exaggerated terms
for the purpose of emphasis or heightened effect, as in the
expressions:
a. I‟d give my right arm for a piece of paper
b. My car breaks down every five minutes
8. Paradox: A seemingly self contradictory statement, which yet is
shown to be true, for examples:
a. He is hunger in his abundant wealth
b. Her life was full of loneliness though there are a lot of friends
around her.
9. Oxymoron: A figure of speech in which incongruous or contradictory
terms appear side by side or a condensed paradox at the level of a
phrase, such as: a joyful trouble, a joyless laughter. 24
10. Metonymy: A figure of speech in which one word or phrase is
substituted for another with which it is closely associated; also, the
rhetorical strategy of describing something indirectly by referring to
things around it, for example:
a. May I borrow your Shakespeare?
b. My Chevrolet has to be repaired next week.
11. Tautology: Such a repetition without any further explanation. The
example is shown in a situation as follows:
At a lunch time, a woman asked her friend how she likes the
hamburger they are eating. She gets the answer something like: A
hamburger is a hamburger. The implied meaning is that the speaker
has no opinion whether it is delicious or not. The other meaning that
may be derived is that there is nothing special with the hamburger; it
has the same taste as the other.
12. Erothesis: A figure of speech by which a strong affirmation of the
contrary is implied under the form of an earnest interrogation, as in
the following examples:
a. Must I give way and room to your rash choler?
b. Shall I be frightened when a madman stares?
13. Synecdoche: A figure of speech in which a part is used to represent
the whole, the whole for a part, the specific for the general, the 25
general for the specific, or the material for the thing made from it. For
examples:
a. He has many mouths to feed.
b. Indonesia defeated Malaysia in prestigious badminton
competition last year.
D. Drama
The word drama comes from the Greek verb “dran”, means “to perform”.
In simple senses drama means a story in dialogue performed by actors on a stage
before an audience (Pickering, 1997: 1113).
At the beginning, drama was practiced as a religious and cultural event of
the ancient Greek community. It was held annually in the spring festival to honor
Dionysus, a Greek nature god associated with spring, fertility, and wine at an
open air amphitheater built on hillside. Some of the ancient Greek theaters were
enormous and held about fifteen thousand people.
Drama as one of the genres in literature besides prose and poetry has its
own uniqueness. It is written not primarily to be read but to be represented on
stage by actors to entertain audience. In achieving those goal, drama involve
some supporting elements, such as audience, myth, action, stage, division, and
dialogue.
26
E. Snow White and the Seven Dwarfs
Snow White and the Seven Dwarfs is a 1937 American animated
film produced by Walt Disney Productions and released by RKO Radio Pictures.
Based on the German fairy tale by the Brothers Grimm, it is the first full-
length cel animated feature film and the earliest in the Walt Disney Animated
Classics series. The story was adapted by storyboard artists Dorothy Ann Blank,
Richard Creedon, Merrill De Maris, Otto Englander, Earl Hurd, Dick
Rickard, Ted Sears and Webb Smith. David Hand was the supervising director,
while William Cottrell, Wilfred Jackson, Larry Morey, Perce Pearce, and Ben
Sharpsteen directed the film's individual sequences.
Snow White premiered at the Carthay Circle Theatre on December 21,
1937, followed by a nationwide release on February 4, 1938, and with
international earnings of $8 million during its initial release briefly assumed the
record of highest grossing sound film at the time. The popularity of the film has
led to it being re-released theatrically many times, until its home video release in
the 1990s. Adjusted for inflation, it is one of the top ten performers at the North
American box office.
At the 11th Academy Awards, Walt Disney was awarded an honorary
Oscar, and the film was nominated for Best Musical Score. It was added to the
United States National Film Registry in 1989 and is ranked in the American Film
Institute's list of the 100 greatest American films, who also named the film as the
greatest American animated film of all time in 2008. Disney's take on the 27
fairytale has had a huge cultural impact, resulting in a popular theme park attraction, a video game, and a Broadway musical. In this research, the researcher use Stephen Duckham‟s script.
By Stephen Duckham this film is modify to the drama. And the researcher uses that drama for her object of the study.
Snow White is a princess living with her stepmother, a vain and wicked Queen who is assumed to have taken over the kingdom after the death of
Snow White's mother and father. Fearing Snow White's beauty surpassing her own, the Queen forced her to work as a scullery maid and asked her Magic
Mirror daily "who is the fairest one of all". For several years the mirror always answered that the Queen was, pleasing her.
The Magic Mirror informs the Queen that Snow White is now the fairest in the land. The jealous Queen orders a reluctant huntsman to take Snow White into the forest and kill her. She further demands that the huntsman return with Snow
White's heart in a silver box as proof of the deed. The huntsman encounters
Snow White but decides not to harm her. He tearfully begs for her forgiveness, revealing the Queen wants her dead, and urges her to flee into the woods and never come back, bringing back a pig's heart instead.
28
F. The Application Conversational Implicature in Language Teaching
1. The Definition of Speaking
To most people, mastering the art of speaking is the single most
important aspect of learning a second or foreign language, and success is
measured in terms of the ability to carry out a conversation in the language.
Widdowson (1996: 59) defines speaking into two definitions. The first is that
speaking is simply the physical embodiment of abstract system in the usage
sense involve the manifestation of the phonological system or of the
grammatical system of language or both. And the second id that speaking is
active or productive and makes use of aural medium. Furthermore, Lewis
and Hill (1993: 54) say that speaking is a process that covers many things in
addition to the pronunciation of individual sounds. It also covers
pronunciation stress and intonation. From the definition above, it can be
concluded that speaking is a process in which the speakers expresses their
idea to the listeners. When the speakers speak, they produce utterances with
specific pronunciation of individual sounds.
2. The Importance of Speaking
Ranson (2000) argues for „pedagogy of voice‟ which enables children
and young people to explore self and identity, develop self-understanding
and self-respect and improve agency, capability and potential. Studies
suggest that when young people are listened to, involved in meaningful
decision-making processes and supported in expressing their views, they are 29
more likely to feel confident in speaking up when issues of bullying and harassment occur. They are also more likely to have developed a range of skills, strategies and behaviours that assist them in managing difficult or challenging situations. Language is a tool for communication. We communicate with others, to express our ideas, and to know others‟ ideas as well. Communication takes place, where there is speech. Without speech we cannot communicate with one another. The importance of speaking skill hence is enormous for the learners of any language. Without speech, a language is reduced to a mere script. The use of language is an activity which takes place within the confines of our community. We use language in a variety of situations. People at their work places, i.e. researchers working either in a medical laboratory or in a language laboratory, are supposed to speak correctly and effectively in-order to communicate well with one another. Any gap in commutation results in misunderstandings and problems. For a smooth running of any system, the speakers of a language need to be especially and purposefully trained in the skill of speaking. In- order to become a well rounded communicator one needs to be proficient in each of the four language skills viz., listening , speaking, reading and writing, but the ability to speak skillfully, provides the speaker with several distinct advantages. The capacity to express one‟s thoughts, opinions and feelings, in the form of words put together in a meaningful way, provides the speaker with these advantages. The joy of sharing one‟s ideas with others is 30
immense. When we speak to others we come to have a better understanding of our own selves, as Robert Frost once said: „„I am a writer of books in retrospect, I talk in order to understand, I teach in order to learn.‟‟
Undoubtedly, the clarity in speech reflects clear thinking. An effective speaker can gain the attention of the audience and hold it till the completion of his message. Speaking skills are important for career success, but certainly not limited to one‟s professional aspirations. Speaking skills can also enhance one‟s personal life.
CHAPTER III RESEARCH METHODS
This chapter discusses the methodology of the study. Some materials are included as the methodology of the study. Those discussed materials are stated as the following there are research method, research object, data sources, data collection, and technique of data analysis.
A. Research Method
In conducting this research, the researcher uses descriptive qualitative
method. This research is qualitative because the data are in the form of words and
are analyzed based on the natural setting or context. Qualitative research is a kind
of research in which the data are studied naturally without treatments or the
researcher’s intervention.
About descriptive research, Allison et al (1996: 14) state, “Descriptive
research sets out to seek accurate and adequate descriptions of activities, objects,
processes, and persons”. The descriptive method applied here deals with verbal
description not numerical description. It is suitable with the objective of this
research, that is, to describe pragmatic phenomena particularly implicature in
conversation of the drama entitled Snow White and the Seven Dwarfs and its
Application in Language Teaching.
31 32
Considering that this research is descriptive-qualitative, so it doesn’t use
hypothesis of the problem statements as usually applied in quantitative method.
The underlying theories discussed in previous chapter have the function as the
basis and sufficient information used by the researcher to analyze the utterances
containing conversational implicature.
B. Research Object
In this study, the researcher takes literature as the subject of her research.
Relating to this subject, M. Atar Semi (1993: 18) points out that literary research
is “usaha pencarian pengetahuan dan pemberi maknaan dengan hati-hati dan
kritis secara terus-menerus terhadap masalah sastra”. Here, literary research can
be viewed as an effort to seek knowledge and to interpret critically and
continuously toward literature phenomena. Since literary work itself is too broad
and has some genres, the researcher focuses the subject of this study mainly on
play. The researcher is going to analyze a drama entitled Snow White and the
Seven Dwarfs. The drama is going to be analyzed by using pragmatic approach in
order to understand about the phenomena in conversation.
C. Sample and Sampling
Sample is the object of the study. It can also be so-called as the source of
the data. The samples in qualitative research are taken by considering the specific
characteristics based on the field of the study. Here, the researcher employs 33
purposive sampling technique. By so doing, the samples are chosen based on
certain purposes in order to reach the objectives of this research. Thus, the
sample of this study is utterances containing conversational implicatures.
D. Instrument of the Study
The instrument of the study is the researcher herself. She will get the data,
which are the dialogues containing conversational implicatures after the process
of reading the play intensively. The underlying theory about conversational
implicatures itself is used as the source of information in getting the relevant
data. Besides that the instrument is observation. Seliger and Shohamy (in
Haryanti, 2001: 73) say that observation is one of a family of procedures used to
collect data in qualitative research. Observations have always been considered a
major data collecting tool in qualitative research. The observation is focused on
the reading activity and making a note of the data together with its context
situation.
E. Technique of Coding Data
In order to make easier the classification and the analysis of the data, each
datum will be marked by a code. The coding of the data in this research is as
follows:
1. The number of the datum. 34
2. The character who utters speech containing implicature. Snow White is
abbreviated into SNO, Queen Malevolent is abbreviated into QUE, Lord
Chamberlain is abbreviated into CHA, and Handy Andy is abbreviated into
AND, Dame Doitall is abbreviated into DAM, Prince Rupert is abbreviated
into RUP, man is abbreviated into MAN, woman is abbreviated WOM, man 3
is abbreviated into MAN3
3. The type of figure of speech. The abbreviation of each type is as follows:
a. Irony is abbreviated into IR
b. Metaphor is abbreviated into ME
c. Oxymoron is abbreviated into OX
d. Hyperbole is abbreviated into HY
e. Sarcasm is abbreviated into SA
f. Erothesis is abbreviated into ER
g. Tautology is abbreviated into TA
h. Personification is abbreviated into PE
i. Simile is abbreviated into SI
j. Symbol is abbreviated into SY
k. Paradox is abbreviated into PA
l. Metonymy is abbreviated into MY
m. Synecdoche is abbreviated into SN
4. The page in which the dialogue can be found in the drama text.
To make clearer of the coding, an example will be presented: 35
01/ QUE/ PE/ 6
It means the datum is number 1 uttered by Queen Malevolent by using
personification expression and it is taken from the drama text of Snow
White and the Seven Dwarfs on page 6.
F. Technique of Analyzing Data
This section deals with the technique of analysis which is very important in
this study. Here, the researcher uses “interactive model” as proposed by Miles
and Huberman, which includes 4 activities: data collection, data reduction, data
display and data conclusion or verification. The activities mentioned above are
presented in a circle’s process in which its components are interacting each other.
Since the step of data collecting has been discussed on the previous
discussion, the researcher will discuss the rest of analysis components.
1. Data Reduction
Data reduction can be defined as process of selecting, focusing,
simplifying, abstracting, and rough data transforming on the collected data.
It is a continuous process which takes place after field research until the
report is completed. Data reduction is a sort of analysis used to sharpen, to
classify, to direct, to get rid off, and to organize data up to the final
conclusion can be achieved and be verified. In this activity, the writer selects
the suitable data from the first activity.
2. Data Display 36
Data display is a well organized group of information or data created
from the previous activity, data reduction, which gives possibility to drawn
conclusion. Based on the displayed data, the writer will be able to
understand of what is going on and what should be done. Data is presented
in the form of written-up text or figure including matrix, chart, and check
list. Here, the writer uses written-up text as data display.
3. Data Conclusion or Verification
After the data displayed completely, the writer can take a conclusion.
At the first step of making the conclusion, it is still vague and half-formed.
Final conclusion may not appear until data collecting is over. Those three
points; data reduction, data display, and data conclusion; are interconnected
activities, before, during, and after the data collecting in order to construct
analysis. They are an interactive process for those the writer has to move
back and forth among them.
G. Research Procedure
In order to know the steps of the process how the research will be
conducted, the researcher will show the research procedures by dividing it into
two steps, namely the preparatory study and field study. They are arranged as
follows:
a. Preparatory Study 37
1. Choosing the approach of the study. Here, the researcher takes a
pragmatic approach in order to understand the pragmatic phenomena,
particularly conversational implicature.
2. Selecting the subject of the study. The researcher chooses literary work,
especially drama or play in which the dialogue is as real and natural as
found in daily conversation. The play considered to be analyzed is Snow
White and the Seven Dwarfs. Reading the play intensively for identifying
conversational implicatures found in the dialogue.
3. Making the title of the research.
4. Making a proposal. b. Field Study
1. Preparing some equipments:
1.1. Copying the text Snow White and the Seven Dwarfs.
1.2. Preparing a number of data collecting sheets.
2. Collecting the needed data and give it a code.
3. Analyzing the data.
4. Drawing conclusion. c. Report Writing
CHAPTER IV RESEARCH FINDINGS AND DISCUSSION
In this chapter the researcher tries to analyze the conversational implicature of the drama, based on Grice theory. Concerning with his Cooperative Principle,
Grice divides Cooperative principle into four basic conversational maxims namely maxim of quantity, maxim of quality, maxim of relation, maxim of manner. To analyze the conversational implicature of the drama, the researcher will apply those maxims one by one. Furthermore, the researcher presents of the application of conversational implicature in drama to the students in learning speaking English.
Besides, she considers the context of situation which has a significant role in interpreting the utterances. The data are classified into 8 (eight) categories of figure of speech, namely: personification, tautology, sarcasm, hyperbole, simile, erothesis, symbol, and metonymy. Before the data is going to be analyzed further, it will be described first. The description presents the participants and the particular event surround the utterances. The research of data then can be presented as follows
A. Research Findings
The researcher summarizes the result of the data analysis in this subchapter
before analyzing the data in details. The researcher conducts this study by using
drama that becomes the primary data in collecting data, namely Snow White and
the Seven Dwarfs.
33 34
Besides the researcher download its script of drama from internet
(www.noda.org.uk/SNOWWHITEDuckhamStephen)
There are three stages of finding the result used in this study. First, the researcher starts reducing some utterances that use figure of speech. Second, each datum was analyzed based on Grice‟s maxims of co-operative principle which include: Maxim of quality, maxim of quantity, maxim of relevant, and maxim of manner. After that, the real data are displayed using table and particular. The whole data are finally analyzed based on the conversational implicature and application in language teaching in the dialogue in Snow White and the Seven
Dwarfs drama. The percentage of figure of speech displayed in the following table:
Table1. Number and percentage of figures of speech No. Figure of Speech Number Percentage (%) 1. Personification 2 12,50% 2. Tautology 2 12,50% 3. Sarcasm 5 31,25% 4. Hyperbole 1 6,25% 5. Simile 2 12,50% 6. Erothesis 2 12,50% 7. Symbol 1 6,25% 8. Metonymy 1 6,25% Total 16 100%
From the data collected, the researcher has found the total of 8 figures of speech, personification, tautology, sarcasm, hyperbole, simile, erothesis, symbol, and metonymy, sarcasm take a bigger percentage. It means 2 out of the 16 35
figures of speech are personification, tautology, simile, and erothesis, 5 out of 16 figures of speech are sarcasm, and 1 out of 16 figures of speech are hyperbole, symbol, and metonymy. The fact is that 12,5% of the figure of speech was personification, tautology, simile, and erothesis, 31,25% for sarcasm, 6,25% for hyperbole, symbol, and metonymy.
According figures of speech data, we can classify into 16 flouted maxims.
The percentage of flouted maxim displayed in the following table:
Table2. Number and percentage of conversational implicatures No Flouted Maxim Number Percentage (%) 1. The maxim of quality 5 31,25% 2. The maxim of quantity 4 25% 3. The maxim of relation 2 12,5% 4. The maxim of manner 5 31,25% Total 16 100%
From the data collected, the researcher has found the total of 16 flouted maxim. Between the four maxims, quantity, quality, relation, and manner, the maxim of quality and the maxim manner take a bigger percentage. It means 4 out of the 16 implicatures are the maxim of quantity, 5 out of 16 implicatures are the maxim of quality and the maxim of manner, and 2 out of 16 imlpicatures are the maxim of relation. The fact is that 25% of the implicatures was the maxim of quantity, 31, 25% for the maxim of quality and the maxim of manner, and 12, 5% for maxim of relation. 36
The researcher found 16 flouted maxims in Snow White and the Seven
Dwarfs drama. We can found that flouted maxim in all of the figures of speech.
These data are displayed in the following table:
Table3. Conversational Implicature Made by Figurative Language Figurative Flouted Maxim Data Language Qualitative Quantitative Relation Manner V 1 Personification V V 2 Tautology V V 3 V V Sarcasm V
V
4 Hyperbole V V 5 Simile V V 6 Erothesis V 7 Symbol V 6 Metonymy V
The manipulating toward maxim of quality creates some figures of speech, namely: personification, sarcasm, and hyperbole. The flouting to maxim of quantity also occurred in tautology, sarcasm, and simile. The flouting toward maxim of relation creates a figure of speech that is erothesis. The flouting is expressed by choosing not to give yes/ no answer, but they imply the answer in indirect way. The flouting toward maxim of manner is occurred for the speakers create obscurity in meaning, as those are shown in the sarcasm, simile, erothesis. 37
B. Conversational Implicature Used in a Drama Entitled Snow White and the
Seven Dwarfs
1. Personification
1/QUE/PE/6
For I have a mirror that tells me everything.
a. Context of Situation
The datum is utterance found in scene one. It is monolog by Queen
Malevolent. The monologue takes place in Queen Malevolent
Laboratory.
When Queen Malevolent was in her laboratory and she told about
magic potion had been given for many centuries and developed by all
devil power. Its potion brought eternal youth and beauty for whoever
drank it. To know her beauty, Queen Malevolent asked to a mirror.
Queen Malevolent could ask anything to the mirror.
b. Data Interpretation
The mirror utterance tells everything cannot be meant as it was
literally said. A mirror is inanimate so that it will be improbable to say
that it is deaf. In literal sense, the utterance is blatantly false, so it does
not seem conform to the maxim of quality.
For maintaining the cooperative principle, the addressee perceives
such remark as rhetoric utterance used to achieve a deeper sense to the 38
meaning. In this context, the speaker intended to say something like that
magic mirror could say anything I asked to it.
2/QUE/PE/6
Thank you my precious mirror that never lies.
a. Context of Situation
The datum is utterance found in scene one. It is spoken by Queen
Malevolent and is intended to a mirror. The dialogue takes place in the
Queen Malevolent Laboratory.
After drinking the magic potion, Queen Malevolent asked to mirror
who the most justify in the land. Then, the mirror answered, “You are
the fairest in the land.”
b. Data Interpretation
Mirror usually could not say anything because it was a thing. In this
context, the mirror here is a magic mirror. Based on the story, a magic
mirror always says the way it is and honestly, a magic mirror never lies.
In this context, doesn‟t seem conform to the maxim of quality.
2. Tautology
3/CHA/TA/7
Oh it’s too much – I say it’s too much!
39
a. Context of Situation
The datum is utterance found in scene two. It is spoken by Lord
Chamberlain and is intended to the man. The dialogue takes place in the
throne room in the castle.
Lord Chamberlain entered and obliviously, asked to the people in
the throne room being silent when they were dancing and singing to
celebrate the Snow White‟s 18th birthday. One of the people didn‟t like to
Lord‟s command, it was the cause the people called Lord Cahmberlain,
“Wet Blanket”. So, the data was response of Lord Chamberlain to the
man speech saying don’t be such a Wet Blanket! b. Data Interpretation
The speech above could be expressed in another way something
like “Don‟t call me as like as you want, my name is Lord Chamberlain. I
only want it is not too excessive like it. Instead of saying in more
informative way as it was expressed above, Lord Chamberlain spoke it
tautologically – such communicating way by using repetition without any
further explanation. Since the expression, taken literally, was intrinsically
uninformative, the addressee assumed that the speaker intended to give
more information then it was actually said.
The meaningless utterance which is uttered in tautological way
above cause it always to flout the maxim of quantity. This lack of
information, then, induced the participant to look for another meaning 40
that could be implied in the utterance. The use of tautology in the context
above is perhaps intended to create terseness in statement.
4/HAN/TA/8
Out of the way, out of the way.
a. Context of Situation
The datum is utterance found in scene two. It is spoken by Handy
Andy to the people in the throne room. There is a lot of noise offstage,
but suddenly all people were silent and Handy Andy entered.
b. Data Description
The speech above could be expressed in another way something
like excuse me, give me a way. I bring a special packet. This utterance
actually uses maxim of quantity, so the information could be accepted
clearly.
3. Sarcasm
5/SA/MAN/7
Oh come on Lord Chamberlain. Don’t be such a wet blanket!
a. Context of Situation
The datum is utterance found in scene two. It is spoken by the man
and is intended to Lord Chamberlain. The dialogue takes place in the
throne room. 41
There was a conflict between the man and Lord Chamberlain. The
man felt uncomfortable with the Lord Chamberlain‟s command to stop
dancing and singing. Then, the man called Lord Chamberlain with the
bad called. b. Data Interpretation
In the utterance above, the man didn‟t call Lord Chamberlain with
his name. Since, they didn‟t like with the Lord Chamberlain‟s command
to stop dancing and singing. Considering these contradictory statements,
it was known that the utterance was used to mean sarcasm – a way of
communicating intended to suggest a bitter critique in order to hurt
other‟s feeling. Here, the man used with the bad called to Lord
Chamberlain. As it was expressed above, the man didn‟t like with the
Lord Chamberlain‟s command.
Referring to the maxim of Grice, the utterance didn‟t conform to the
maxim of manner saying “not to be ambiguous, obscure, or disorderly
and unnecessary prolixity.” The man conveyed his called to Lord
Chamberlain but it was not matched with the topic they talked and meant
from his ambiguity name. It so that he was able to conclude that the
utterance was uttered for some reason. And the most obvious reason for
expressing the utterance is to hurt his feeling.
42
6/WOM/SA/7
Don’t be such a spoilsport, you old fuddy duddy! a. Context of Situation
The datum is utterance found in scene two. It is spoken by the
women and is intended to Lord Chamberlain. The dialogue takes place in
the throne room in the castle.
Lord Chamberlain didn‟t accept with the name given, “Wet
Blanket”. He clarified that his name was Lord Chamberlain and he was
angry to the people who called his name as like as they wanted, “Wet
Blanket”. His angriness caused a woman also got angry to him. b. Data Interpretation
In this context, Lord Chamberlain didn‟t accept on his calling. Of
course, his angriness caused he was got angry back to the woman. She
said the utterance with a belief that her angriness could stop his twaddle,
Lord Chamberlain saying. So, she and the other could dance and sing
again in of Snow White‟s 18th birthday celebration. The utterance can
draw that the woman was angry to stop the Lord Chamberlain who was
angry continuously - the expression then intended to make such sarcasm.
Referring to Gricean maxim, the woman had broken the maxim of
quality, saying “the speaker should tell the truth in a conversation in order
to communicate cooperatively” for some purposes. The flouting of the
maxim of quality above was contextually intended to create sarcasm. That 43
was how the woman got angry to Lord Chamberlain, because he always
was angry to people were dancing and singing.
7/MAN3/SA/7
… and then he had to go and marry that dreadful Queen Malevolent. a. Context of Situation
The datum is utterance found in scene two. It is spoken by 3rd man
and is intended to Lord Chamberlain. The dialogue takes place in the
throne room in the castle.
Lord Chamberlain didn‟t believe that it was the Snow White‟s 18th
birthday celebration, he thought like only yesterday when the King used
to dangle her on his knee. It was happy time. b. Data Interpretation
The response of the 3rd man denied about this situation. In the past,
Snow White and his father lived happy, until the King married with a
prince named Queen Malevolent. After the King death, she took over
ruling the whole kingdom and things have gone from bad to worse.
The reply of the man, taken literally, doesn‟t seem to be relevant.
By choosing not to give „yes‟ or its equivalent to the composite
proposition, he intended to make an intended message. Referring to the
maxim of Grice, the speaker has flouted the maxim of relevant. Assuming 44
that the speaker is, nevertheless being cooperative, the addressee then
looks for the possible another meaning that also implied by the utterance.
8/CHA/SA/9
Oh, you are the closest thing to a nincompoop! a. Context of Situation
The datum is utterance found in scene two. It is spoken by Lord
Chamberlain and is intended to the people. The dialogue takes place in
the throne room in the castle.
Handy Andy said that he hold a very important position in the
castle. In fact he is Snow White‟s friend. The data was the response of
Handy Andy to Lord Chamberlain‟s speech saying “The Queen told me
when she gave me the job that I would be a general factotum!” b. Data Interpretation
There is an utterances containing implicature which can be found in
this data. Lord Chamberlain does not like Andy‟s statement then he tried
to know to the people that Handy Andy is stupid man. Handy Andy
trusted on the Queen Malevolent saying that he had an important position
in the castle; it was as a general factotum. Lord Chamberlain thought it
was a foolish thing and tried to know on the people, his utterance
deliberately flouts the maxim of quantity because her information is less 45
informative than required and also does not contribute enough to the
hearer. He gives the information which is not informative to the people.
9/QUE/SA/12
A party to celebrate the birthday of scullery maid! a. Context of Situation
The datum is utterance found in scene two. It is spoken by Queen
Malevolent and is intended to Handy Andy. The dialogue takes place in
the throne room in the castle.
In this context Dame Doitall, Andy, and the chorus sing a song
together. Suddenly, Queen Malevolent got in the throne room and asked
what the meaning of all that noise. Snow White‟s nurse explained that
noise because of the Snow White‟s 18th birthday celebration. b. Data Interpretation
Queen Malevolent remark flouts the maxim of quality. He gives
information which is not true about something. The term used to call they
were the lowest-ranked and often the youngest of the female servants and
acted as assistant to a kitchen maid. In fact Snow White was a beautiful
princess. The researcher assumes the reason Queen Malevolent says that
because, at the beginning Queen Malevolent didn‟t like Snow White, he
couldn‟t accept fact if there were another more beautiful than she was.
Snow White had many things that another had no it; she was most 46
beautiful woman in the land. Queen Malevolent wanted to be most
beautiful woman in the land, she could be very angry to another said there
was woman who more beautiful than she was, Queen Malevolent.
10/HAN/HY/8
I hold very important position in this castle. a. Context of Situation
The datum is utterance found in scene two. It is spoken by Handy
Andy and is intended to Lord Chamberlain. The dialogue takes place in
the throne room in the castle.
Handy Andy continuously against on what said or commanded by
Lord Chamberlain. He was angry, and then he advances on Handy Andy
and starts to poke him in the chest. Handy Andy leans back and finally
falls to his knees looking up at Chamberlain. Lord Chamberlain asked to
Handy Andy proud to him. b. Data Interpretation
The utterance above was the way Andy to make him not abused by
Lord Chamberlain. It was described as if he had a very important position
in the castle. The description was used to know to Lord Chamberlain,
how saluting he did because of his important position in the castle.
Finally, Handy Andy said that he was a factotum. 47
Referring to Grice‟s maxims, the utterance flouting the maxim of
quality for the literal sense was contextually relevant or improbable.
Rather than assumed it as a lie, the addressee would receive it as a
hyperbolic expression – a way of making a point more forcefully. Using
this assumption, the addressee, then, tried to figure out the intended
message that may be implied by the utterance.
4. Simile
11/CHA/SI/9
...that sounds like a recipe for disaster!
a. Context of Situation
The datum is utterance found in scene two. It is spoken response the
1st woman saying “Yes, they re down at (Local Supermarket) now getting
everything we need”. At beginning, Lord Chamberlain didn‟t agree with
the Snow White‟s 18th birthday celebration, He knew how angry Queen
Malevolent knew her castle hold Snow White‟s 18th birthday celebration.
b. Data Interpretation
Lord Chamberlain‟s remark deliberately flouts the maxim of manner;
he gives information which is vague. Lord Chamberlain‟s utterance does
not contain any clear explanation about the term “a recipe for disaster”.
Because the “recipe” can mean for many things such as food, drink,
medicine, etc. In this context he used “recipe” to “disaster”. Lord 48
Chamberlain tries to relate the term “a recipe for disaster” with Queen
Malevolent angriness when knowing there was many people danced and
sang with many foods to celebrate the Snow White‟s 18th birthday. Queen
Malevolent was simile to disaster.
12/HAN/SI/10
…she looks like a wrinkled up old prune! a. Context of Situation
The datum is utterance found in scene two. It is spoken by Handy
Andy and is intended to Snow White. The dialogue takes place in the
throne room in the castle.
Since morning Snow White didn‟t appear, Handy Andy asked where
she was during in the morning. Queen Malevolent made her clean out her
bedroom and then Snow White has to fetch water from the well to do all
her washing. b. Data Interpretation
From the utterance above, it is known that Handy Andy conveyed his
message in simile way. The term “a wrinkled up old prune” implicitly
drawn Handy Andy‟s angriness and then, Queen Malevolent‟s face was
old prune. The speaker intended to say that Queen Malevolent‟s face had
wrinkled like prune. 49
Andy‟s remark deliberately flouts the maxim of quantity; he gives
information which is less informative. She says something about Queen
Malevolent but he does not say anything about Queen Malevolent.
5. Erothesis
13/HAN/ER/10
Will you do that?
a. Context of Situation
The datum is utterance found in scene two. It is spoken by Handy
Andy and is intended to the people. The dialogue takes place in the throne
room in the castle.
Handy Andy gave a rose to Snow White as a birthday gift. He noticed
to all people, might not take the rose and they must care for the rose. It
must call Handy Andy when there took a gift to Snow White.
b. Data Interpretation
By choosing not to give „yes‟ or „no‟ answer, the speaker intended to
give an implied message in her utterance. Through the erothesis
expression saying Will you do that? Handy Andy would imply that all
people could do what he said to keep the rose and when there was anyone
would take it, they had to call Handy Andy.
Referring to Grice‟s maxims, the expression meets the third maxim of
Grice, i.e. maxim of relation. But quantitatively, the maxim has been 50
flouted because it doesn‟t give contributive information as is required.
Explicitly the speaker would possibly mean Yes, you will help me.
Seeing the context, Handy Andy‟s reply implied that she was
consistent with her belief that people sure would help. His utterance was
also motivated by their great love to Snow White.
14/SNO/ER/18
Dame Do it all, would you help me? a. Context of Situation
The datum utterance found in scene three. It is spoken by Snow White
and is intended to Dame Do it all. The dialogue takes place in a corridor
in the castle.
Snow White wanted to prepare herself celebrating her birthday
tonight. However, Queen Malevolent has not allowed having a new
dress for such a long time, she do not think she have anything suitable. b. Data Interpretation
The erothesis utterance above was used by Snow White to ask a help
to Dame Doitall. She was Snow White‟s nurse; she had accompanied
Snow White from the day she was born. Dame Doitall would be helping
Snow White in all things. For other opinion, Snow White didn‟t need
asking that case. Because, their togetherness was Snow White born and
Dame Dotail loved, so she must do anything to Snow White during she 51
still could do. The speech uttered in erothesis is usually intended for
implying certain effect of communication. It was expressed by using
such question in which it doesn‟t need any answer for it was assumed
that the addressee would be able to figure out the implied message.
It can be concluded that there is a flouting to maxim of manner, i.e.
“Maxim of manner obligates speaker‟s utterance to be perspicuous which
is not to be ambiguous, obscure, or disorderly and unnecessary
prolixity.”
6. Symbol
15/DAM/SY/17
I always used to be the belle of the ball.
a. Context of Situation
The datum is the utterance found in the scene two. It is spoken by
Dame Doitall and is intended to Handy Andy. The dialogue takes place
in a corridor in the castle.
Handy Andy has dreams to become a partner Snow White. But Andy
cannot deliver it because he has not dared to pass. Handy Andy told me
about these feelings to Doitall Dame, which eventually he felt so sad.
Because, because snow white Prince Rupert prefer than Handy Andy.
Dame Doitall recommends Handy Andy to pick him.
52
b. Data Interpretation
Dame Doitall's remark deliberately flouts the maxim of Manner
roommates. He gives prolixity information. Dame Doitall assume that
she is the belle of the ball is up for grabs as many people. That utterance
is used to convince Handy Andy that he is no less interesting with Snow
White.
7. Metonymy
16/QUE/MY/30
I feel a tango coming on!
a. Context of Situation
The party is still in progress, Prince Rupert is standing to one side
rather Dejected. The Queen tries to get him to dance with her, which
does reluctantly. Princess Rupert did not ask permission to continue the
dance and went to take some air. Queen Malevolent one turns to the
male chorus.
b. Data Interpretation
Queen Malevolent used of metonymy utterance to mention his dance
that will be performed. As is known metonymy is a figure of speech in
which one word or phrase is substituted for another with which it is
closely intended. It can be concluded that there is a flouting the maxim
of Manner 53
As discuss above, the manipulating toward maxim creates some figures of
speech. The fact is that 12,5% of the figurative languages was personification,
tautology, simile, and erothesis, 31,25% for the sarcasm, 6,25% for hyperbole,
symbol, and metonymy. There are 368 utterances consisting of 16 implicature
between the four maxims, quantity, quality, relation, and manner. It is 25% of the
implicatures was the maxim of quantity, 31, 25% for the maxim of quality and
the maxim of manner, and 12, 5% for maxim of relation. The manipulating
toward maxim of quality creates some figures of speech, namely: personification,
sarcasm, and hyperbole. The flouting to maxim of quantity also occurred in
tautology, sarcasm, and simile. The flouting toward maxim of relation creates a
figure of speech that is erothesis. The flouting toward maxim of manner is
occurred for the speakers create obscurity in meaning, as those are shown in the
sarcasm, simile, erothesis.
C. The Application of Conversational Implicature in Drama Entitled Snow
White and the Seven Dwarfs in Language Teaching
Related to teaching English, this research would help students to know
about figures of speech – how they are expressed in certain context of situation.
Referring to the theory of implicature, the students will know that conversation is
more than series of exchange; it consists of exchanges which are interpreted
according to norms of conversational cooperation, which can be manipulated to 54
create a wide range of meaning. This knowledge, then, can be transferred to other situations where students need to make an interpretation.
As a teacher, we should make lesson plan in teaching. Lesson plan is like as a direction for the teacher in teaching the material to the student. Lesson plan also gives them much information about method, technique, sources, and media are used in teaching learning process. There are several steps in teaching speaking to the students in senior high school.
The steps are written in the procedure in the lesson plan as follows:
Before starting the lesson, the teacher asks to students for praying
together. Then the teacher greets the students first, by saying
Assalamu’alaikum wr.wb. After that, the teacher greets the students once
more by saying good morning students, how are you today? Then, the
teacher checks the students‟ presence by calling name by name.
After that, the teacher gives two questions: Have you ever have
conflict between your friends? And What kinds of things can cause between
your friends? What can bring you closer to each other? Then, the students
are asked to discuss in pairs. After that, teacher gives explanation about the
material. To help the students to understand the relation to the text they are
going to discuss next.
The teacher gives hands out copies of the text
Lord Chamberlain: Silence, silence! Stop all this at once, I say, stops this at once. What can you are thinking of? I say what can you 55
be thinking of? Singing and dancing in the royal throne room. What will the Queen say? It’s giving me quite a turn! Oh it’s too much – I say it’s too much! Man : Oh come on Lord Chamberlain. Don’t be such a wet blanket! Lord Chamberlain: Wet blanket? Wet blanket? You can’t go around calling me – the Lord Chamberlain - a “wet blanket”! Oh it’s too much - too much! Woman : Don’t be such a spoil sport, you old fuddy duddy! Lord Chamberlain: Fuddy duddy? Fuddy duddy? [By now he is in a right state. I...You...... Oh it’s too much...... ALL [With HIM.] ...... too much! 2nd. Man : But we’re celebrating. Lord Chamberlain : Celebrating? Celebrating what? 2nd. Woman : Today is the Princess Snow White’s 18th birthday. Lord Chamberlain: What? Today? But it can’t be! All : It is! Lord Chamberlain: Why, it seemed like only yesterday when the dear old king used to dangle her on his knee. Oh they were happy times – happy times.
And the teacher asks the students to read the text silently. Then in pairs, they are asked the following questions:
1. What are they talking about?
2. What is the instruction of Lord Chamberlain for everyone there?
3. Do the people accept Lord Chamberlain’s instruction?
4. How was Lord Chamberlain’s expression in that dialogue?
5. Do you find any expression showing about Lord Chamberlain’s
instruction to the people?
After finished it, the teacher discusses the answer with the students.
At the same time, she explains the plot or situation leading up the text and 56
outlines the historical background of it. In pairs, the students are asked to read the text aloud. In each pair, there is one student taking the part, there is one student taking the part of Lord Chamberlain, and another part of the people. When all pairs have finished reading out their text, the teacher demonstrates the extract in front of the class by choosing one student as her partner. Here, the teacher asks the students to pay attention about the intonation, and facial expressions while she is performing it. The teacher asks the pairs to stand up and read the text once more, but this time with more feeling and pay attention to the intonation and facial expression.
This is the last step in teaching learning. The teacher makes conclusion above the lesson of the day and gives homework for the students.
It can be taken from the student‟s book evaluation. To finishing it, teacher asks to the leader of the class to lead other students to praying together. And the last one the teacher says see you next time, have a nice day and good bye.
From the explanation above, we can conclude that conversational implicature in drama can be applied to language teaching especially in speaking skill of senior high school. The students can understand the implied meaning of drama.
CHAPTER V CONCLUSION AND SUGGESTION
In this chapter, the discussion is divided into two sections. They are conclusion and suggestion.
A. Conclusion
Based on the analysis of data in the previous chapter, this conclusion
presents two subjects according to the problems formulated in chapter I. First, it
is about analyses of conversational implicature in drama entitled Snow White and
the Seven Dwarfs. Second, it analyses about how is the application of
conversational implicature in drama entitled Snow White and the Seven Dwarfs in
English language teaching.
The researcher used four basic conversational maxims Grice in analysis the
conversational implicature in drama entitled Snow White and the Seven Dwarfs:
1. The conversational implicatures occur in a drama entitled Snow White
and the Seven Dwarfs are three figures of speech in Maxim of Quantity.
They are tautology, sarcasm, hyperbole. The other figurative languages
there are three in the Maxim of Quality. They are personification, sarcasm
hyperbole. In the Maxim of Relation there is one of figurative language
that is erothesis. The last Maxim have three figurative languages, there
are sarcasm, simile, and erothesis in the Maxim of Manner.
57 58
2. The application of the conversational implicature in a drama entitled
Snow White and the Seven Dwarfs is in speaking teaching-learning
process by the teacher to their students. Conversational implicature in
drama entitled Snow White and the Seven Dwarfs can give several
benefits to students in learning speaking by increasing their motivation,
interest, and understanding.
B. Suggestion
Based from result which is done by the researcher, the researcher thinks
that improvement speaking is necessarily important and suggests to teachers,
students, and other researchers.
1. For the teachers
To be able to use play or drama as the source of English teaching, teacher
should do the following:
a. Teachers should provide him/ herself with literary competence in that
they will have understanding of certain conventions which help them to
convert the words on the page of a play or other literary work into
literary meaning.
b. Teachers should anticipate students’ problems before deciding what kind
of activities and tasks that are going to be used. For example:
1. Is it needed to give students a summary of the plot leading up to the
text? 59
2. Are there any words/ phrases in the text which will be unfamiliar to
the students?
c. The text has to be adjusted to the students’ linguistic proficiency. One
appropriate way that teacher can do is by simplifying the text.
2. For the other researchers
The analysis of literary work so far is mostly conducted by using of
structural and psychological approach. While, the analysis of literary work
pragmatically is still limited. Here, the writer suggests the other researchers
who are also interested in literary work, especially drama, can analyze it by
using pragmatic approach. They may conduct the analysis on the deixis,
speech act or other aspect of pragmatics.
BIBLIOGRAPHY
Allison, B., T. O’Sullivan , A. Owen, J. Rice, A. Roth-Well, and C. Saunders. 1996. Research Skill for Students. London: Kogan Daje Limited.
Brown, G. and G. Yule. 1988. Discourse Analysis. Cambridge: Cambridge University Press.
Fasold, Ralph. 1996. The Sociolinguistics of Language. Cambridge: Blackwell Publishers Inc.
Grice, H. P. 2004. Logic and Conversation. London. University College London.
Leech, G., and Short, M. 1983. Style in Fiction: A Linguistic Introduction to English Fictional Prose. London: Longman.
Levinson, Stephen C. 2008. Pragmatics. Cambridge: Cambridge University Press.
Lewis, M., Hill. J. 1993. Source Book for Teaching English as the Foreign Language. Oxford: Heinemann
Nunan, David. 1993. Introducing Discourse Analysis. London: Penguin Books Limited.
Pickering, James, H and Hoeper, Jeffry. 1997. Literature. Upper Saddle River: Prentice Hall, Inc.
Richards, J. C. , & Schmidt. R. W. 1995. Language and Communication. Singapore: Longman Singapore Publishers Ptc Ltd.
Semi, M. Atar. 1993. Metode Penelitian Sastra. Bandung: Angkasa.
Siswantoro. 2002. Apresiasi Puisi-puisi Sastra Inggris. Surakarta: Muhammadiyah University Press.
Widdowson, H. G., 1996. Communication Theories in Action: An Introduction. Belmont: Wadsworth.
Yule, George. 1996a. Pragmatics. Oxford: Oxford University Press. www.noda.org.uk/SNOWWHITEDuckhamStephen accessed on February 25th 2014 07:24 am
RENCANA PELAKSANAAN PEMBELAJARAN
SATUAN PENDIDIKAN : Sekolah Menengah Atas MATA PELAJARAN : Bahasa Inggris KELAS/SEMESTER : XI / I MATERI POKOK : Teks untuk mengungkapkan pendapat ALOKASI WAKTU : 1 x 2 jam pelajaran (1x 90 menit)
A. TUJUAN PEMBELAJARAN: Sikap : Siswa dapat menunjukkan perilaku jujur, disiplin, percaya diri, dan bertanggung jawab dalam melaksanakan komunikasi transaksional dengan guru dan teman. Pengetahuan : Siswa dapat menganalisis fungsi sosial, struktur teks dan unsur kebahasaan untuk menyatakan dan menanyakan pendapat dan pikiran, sesuai dengan konteks penggunaannya. Keterampilan : Siswa dapat menemukan fungsi sosial untuk menyatakan dan menanyakan pendapat dan pikiran dengan benar dan sesuai konteks.
B. KOMPETENSI DASAR dan INDIKATOR PENCAPAIAN KOMPETENSI KOMPETENSI DASAR:
1.1 Mensyukuri kesempatan dapat mempelajari bahasa Inggris sebagai bahasa pengantar komunikasi internasional yang diwujudkan dalam semangat belajar. 2.2 Menunjukkan perilaku jujur, disiplin, percaya diri, dan bertanggung jawab dalam melaksanakan komunikasi transaksional dengan guru dan teman. 3.2 Menganalisis fungsi sosial ,struktur teks, dan unsur kebahasaan pada ungkapan harapan untuk menyatakan dan menanyakan tentang pendapat dan pikiran , sesuai dengan konteks penggunaannya Indikator: a. Menemukan fungsi sosial teks menanyakan dan menyatakan pendapat dan pikiran secara tepat b. Menemukan struktur teks menanyakan dan menyatakan pendapat dan pikiran secara tepat c. Menemukan unsur kebahasaan teks menanyakan dan menyatakan pendapat dengan tepat 4.15 Menyusun teks lisan dan tulis untuk mengucapkan dan merespon ungkapan menyatakan pendapat dan pikiran , dengan memperhatikan fungsi social , struktur teks dan unsure kebahasaan yang benar dan sesuai konteks. Indikator: a. Siswa dapat menemukan fungsi sosial untuk menyatakan dan menanyakan pendapat dan pikiran dengan benar dan sesuai konteks. b. Siswa dapat menyusun struktur teks untuk menyatakan dan menanyakan pendapat dan pikiran dengan benar dan sesuai konteks. c. Siswa dapat menghasilkan struktur teks untuk menyatakan dan menanyakan pendapat dan pikiran dengan memperhatikan fungsi sosial, struktur teks, dan unsur kebahasaan yang benar dan sesuai konteks.
C. MATERI PEMBELAJARAN Teks untuk menanyakan dan menyatakan pendapat dan pikiran sesuai dengan konteks penggunaannya. Fungsi sosial: Menanyakan dan menyatakan pendapat dan pikiran kepada guru dan teman. Struktur teks: Ungkapan menanyakan pendapat DIALOG I A : B, I’m thinking of watching Snow White and the Seven Dwarfs next week. I never watch it. What do you think? B : Snow White and the Seven Dwarfs is good drama. We can see a beautiful young lady, a handsome prince, and the evil stepmother. You must invite your friends. A : Yes B, I will see the drama with all of my classmates. B : That’s good idea. Menyatakan pendapat DIALOG II A : Do you know that watching drama entitled Snow White and the Seven Dwarfs is very interesting? B : Really? A : I think it is awesome. B : I think so, I heard that the drama has good actor and actress. A : Let’s see it, I want to know the story. B : It is good idea, but we must wait until next week. A : Ok Unsur kebahasaan:
1. Kosakata terkait dengan ungkapan pendapat dan pikiran Adjective: awesome, interesting, good, evil Verb: see, watch, hear, and wait 2. Kata kerja dalam simple present tense The drama is very interesting 3. Kata tanya What? What do you think…
D. METODE PEMBELAJARAN: 1. Menjelaskan isi cerita dalam dialog 2. Role play dialog di depan kelas berpasangan dengan teman sejawat
E. MEDIA PEMBELAJARAN: Laptop, LCD proyektor, Picture
F. SUMBER BELAJAR www.dailyenglish.com
G. LANGKAH-LANGKAH PEMBELAJARAN Pertemuan kesatu a. Kegiatan pendahuluan ( 10 menit) 1. Guru mengucapkan salam 2. Guru dan siswa berdoa bersama 3. Guru mengecek kehadiran siswa 4. Guru menjelaskan tujuan pembelajaran hari ini ( learning objectives) b. Kegiatan inti (70 menit) 1. Guru bertanya tentang isi teks dan siswa mengerjakan 2. Siswa membaca dialog kemudian maju ke depan secara berpasangan c. Kegiatan penutup (10 menit) 1. Guru merangkum aktivitas yang telah dilakukan 2. Guru memberikan pekerjaan rumah yaitu siswa diminta menulis dialog tentang menanyakan dan menyatakan pendapat dan pikiran 3. Menutup dengan salam
H. PENILAIAN HASIL PEMBELAJARAN Sikap: Observasi siswa
1. Siswa dinilai kejujurannya dalam proses belajar 2. Siswa dinilai kedisiplinannnya pada sesama dan lingkungan 3. Siswa dinilai kepercayaan dirinya 4. Siswa dinilai dalam menunjukkan sikap tanggung jawab Alat penilaian: Siswa menulis tentang penilaian dirinya sendiri (penilaian diri) Guru menggunakan jurnal tentang siswa di dalam dan luar kelas untuk menilai sikap 1. Rubrik sikap KRITERIA SCORE INDIKATOR Sangat baik (SB) 4 Selalu jujur dalam berinteraksi dengan guru dan teman
4 Selalu disiplin dalam proses pembelajaran
4 Selalu dapat percaya diri dalam kegiatan belajar
4 Selalu bersikap tanggung jawab dalam bersikap terhadap guru dan teman
Baik (B) 3 Sering jujur dalam berinteraksi dengan guru dan teman 3 Sering disiplin dalam proses pembelajaran
3 Sering dapat percaya diri dalam kegiatan belajar
3 Selalu bertanggung jawab dalam bersikap terhadap guru dan teman
Cukup (C) 2 Kadang-kadang jujur dalam berinteraksi dengan guru dan teman
2 Kadang-kadang disiplin dalam proses pembelajaran
2 Kadang-kadang dapat percaya diri dalam kegiatan belajar
2 Kadang-kadang bertanggung jawab dalam bersikap pada guru dan teman
Kurang ( K) 1 Tidak pernah jujur dalam berinteraksi dengan guru dan teman
1 Tidak pernah disiplin dalam proses pembelajaran
1 Tidak pernah percaya diri dalam kegiatan belajar
1 Tidak pernah dapat percaya diri dalam kegiatan belajar
Pedoman Penskoran Jml No Nama Skor untuk sikap Nilai Predikat skor Percaya Bertanggung Jujur Disiplin Diri Jawab 1. Adila 4 3 3 4 14 85,7 A 2...... 3......
Pengetahuan a. Teknik penilaian : tes speaking b. Instrumen penilaian Membaca teks Dialog Siswa menceritakan isi teks dan kemudian membaca teks dialog yang ada di layar secara bergantian
TASK 1 1. What is the dialogue talking about? 2. What is the relationship between the speakers? 3. Where will A go next week? 4. What does A’s father think about it? 5. What they think about the drama? Kunci jawaban 1. The dialogue talk about watching drama 2. Dialog A: father and his son, Dialog B as a friend 3. Watch the drama 4. It will very interesting, because it is a good drama 5. interesting and awesome
Pedoman penilaian Penilaian untuk 1 soal essay yang benar bernilai 5, yang akan dikalikan 2 menjadi total 100 TASK 2 DIALOG A A : Dad, I’m thinking of watching Snow White and the Seven Dwarfs next week. I never watch it. What do you think? B : Snow White and the Seven Dwarfs is good drama. We can see a beautiful young lady, a handsome prince, and the evil stepmother. You must invite your friends. A : Yes Dad, I will see the drama with all of my classmates. B : That’s good idea. DIALOG B A : Do you know that watching drama entitled Snow White and the Seven Dwarfs is very interesting? B : Really? A : I think it is awesome. B : I think so, I heard that the drama has good actor and actress. A : Let’s see it, I want to know the story. B : It is good idea, but we must wait until next week. A : Ok Penilaian dengan menggunakan rubrik:
1. Accuracy 1-25 2. Fluency 1-25 3. Vocabulary 1-25 4. Grammar 1-25 Total 100
Purworejo, Agustus 2014
Kepala Sekolah Guru Mata Pelajaran Bahasa Inggris
SNOW WHITE AND THE SEVEN DWARFS
A PANTOMIME BY
STEPHEN DUCKHAM
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Snow White and the Seven Dwarfs
CAST OF CHARACTERS
QUEEN MALEVOLENT SPIRIT OF THE MIRROR LORD CHAMBERLAIN HANDY ANDY SNOW WHITE DAME DOITALL PRINCE RUPERT HUNTSMAN SIR NICHOLAS
CHIEF SMILIE DOZY SNOOZY SNIFFLES TIMID GROWLER
CHORUS OF LADIES AND GENTLEMEN OF THE COURT ANIMALS OF THE FOREST
SYNOPSIS OF SCENES
ACT ONE
SCENE 1 THE QUEENS LABORATORY SCENE 2 THE THRONE ROOM IN THE CASTLE SCENE 3 A CORRIDOR IN THE CASTLE SCENE 4 THE BALLROOM SCENE 5 THE EDGE OF THE FOREST SCENE 6 DEEP IN THE FOREST ( Transformation to the Dwarfs Cottage) SCENE 7 THE DWARFS COTTAGE/SNOW WHITES’ DREAM
ACT TWO
SCENE 1 THE BALLROOM SCENE 2 THE DIAMOND MINE SCENE 3 THE DWARFS COTTAGE SCENE 4 THE QUEENS LABORATORY SCENE 5 THE EDGE OF THE FOREST SCENE 6 THE DWARFS COTTAGE SCENE 7 THE QUEENS LABORATORY SCENE 8 A CORRIDOR IN THE CASTLE SCENE 9 THE BALLROOM
© 2000
This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
PRODUCTION NOTES CHARACTERS
SNOW WHITE A beautiful young lady of 18. Must be able to sing well and dance.
QUEEN MALEVOLENT Beautiful but evil, the Queen is Snow White’s stepmother. Very striking in appearance she manipulates people with her deadly charm. Age 40/45.
SPIRIT OF THE MIRROR Lyrical voice as all her lines are in rhyme. Ageless!
DAME DOITALL Snow White’s nurse and friend. The panto dame!
PRINCE RUPERT Young, very handsome Prince. Must have a good singing voice and be able to move well. Age 22/25.
HANDY ANDY Comical character. Friend of Snow White’s. Must have a good rapport with the audience and a good sense of comedy. Needs a “musical comedy” singing voice and should be able to move well. Age 25/35.
LORD CHAMBERLAIN Tall, imposing looking character. Easily flustered and usually the butt of Andy’s’ jokes. Singing and dancing optional. Age could be anything between 30 & 55.
HUNTSMAN At first appearance should look rather fierce, but has a kind heart and is a friend of Snow White’s.
CHORUS Members of the court. Various ages but should be able to sing and move.
CHIEF, SMILIE, DOZY, SNOOZY, SNIFFLES, TIMID & The Seven Dwarf whose names describe their characters. GROWLER
JUNIOR DANCERS As spirits of the forest. Forest animals and servants at court.
Note: To reduce the number of people in the pantomime, the Spirit of the Mirror could be voice only and the Huntsman could double as a chorus member.
SCENERY The settings can be as elaborate or simple as your theatre dictates. Although there are a number of scene changes to move the story along, the scenery need not be complicated. This is a breakdown of how to manage on a limited stage.
The Queen’s Laboratory can be played on black tabs with a table containing all her props. If front cloths are available two can be used: one for the Corridor and one for the Edge of the Forest. Otherwise another set of tabs or swipe cloths can work just as well.
The Diamond Mine is a short scene and can also be played on black tabs with added props.
The Ballroom and the Throne Room can be the same set with just a change of furniture. If a cloth is available this could back the scene or else decorative drapes will look just as good.
It may be as well to build the Dwarf’s Cottage as a permanent piece at the back of the stage and add the furniture down stage. Only two or three beds need be visible leaving the This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
audience to assume the others continue off stage. The transformation is the most complicated scene, but this can be simplified by again using the black tabs as Deep in the Forest with possibly a door piece representing the exterior of the Dwarf’s Cottage. As Snow White goes through the door the lights fade out and the door piece is removed as the tabs open.
The placing of musical numbers and who sings them is suggested in the script, but it is up to the director to decide what to use. A word of advice: Pantomime audiences – particularly the younger members – like the story to keep moving, so don’t make the musical sequences too long, especially ballads.
I hope you enjoy doing this version of ‘Snow White and the Seven Dwarfs’ and have a great success with your production
Stephen Duckham
This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
ACT ONE SCENE 1 THE QUEENS LABORATORY
INTRODUCTION MUSIC
[The introduction music holds on a chord and a voice over is heard in the darkness.]
VOICE OVER Once long ago in a far off land ruled by a kindly King, there lived a wicked enchantress. When the old King died she became Queen, but cared little for her subjects, having only one burning ambition – to be the most beautiful woman in the land.
[There is a flash of lightning and a crash of thunder as the lights come up on the Queens Laboratory. A table full of containers with bubbling liquid, books and other mysterious objects is DS. The QUEEN stands holding a goblet.]
QUEEN Oh magic potion that has been handed down throughout the ages and developed by all the powers of evil come to my aid. This delicious elixir brings eternal youth and beauty to whoever drinks it; and only I know the formula! I must be the most beautiful woman in the kingdom. No one can possibly be more beautiful than me. And that is the way it must stay. If anyone dares to challenge my claim to being the most beautiful, I will know about it. For I have a magic mirror that tells me everything. All I have to do is ask and the spirit of the mirror truthfully answers. And now to drink the potion. [SHE drinks. Thunder cracks.] Oh that is truly wonderful. I can feel the effects already. Now to ask the Spirit of the mirror to confirm that I am indeed the most beautiful. [SHE makes a magic pass. A gilt-framed mirror appears from the wing DL .] Mirror, mirror on the wall, Who is the fairest of us all?
[Through the mirror the SPIRIT appears.]
SPIRIT All powerful Queen it is my task To answer truthfully what you ask. From all who dwell in your command, You are the fairest in the land.
QUEEN [Laughing.] The fairest - the most beautiful! Forever and ever. Thank you my precious magic mirror that never lies. [SHE makes a pass and the mirror and SPIRIT disappear.] Now I must get back to my court before I am missed. No one must know of this room, nor of the magic potions and spells I have at my disposal. For with all this I am the greatest ruler of the land - and the most beautiful! [SHE laughs as the lights fade and the scene changes to - ]
This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
SCENE 2 THE THRONEROOM IN THE CASTLE
[There is a dais UC with a throne on it. The CHORUS is on singing the opening number, which is in celebration of SNOW WHITE’S 18th birthday.]
OPENING NUMBER
[At the end of the number the LORD CHAMBERLAIN enters and calls for silence. HE has a habit of repeating himself.]
LORD CH. Silence, silence! Stop all this at once, I say, stop this at once. What can you be thinking of? I say what can you be thinking of? Singing and dancing in the royal throne room. What will the Queen say? It’s giving me quite a turn! Oh it’s too much – I say, it’s too much!
MAN Oh come on Lord Chamberlain. Don’t be such a wet blanket!
LORD CH. Wet blanket? Wet blanket?? You can’t go around calling me - the Lord Chamberlain - a “wet blanket”! Oh it’s too much - too much!
WOMAN Don’t be such a spoil sport, you old fuddy duddy!
LORD CH. Fuddy duddy? Fuddy duddy?? [By now he is in a right state.] I...You...... Oh it’s too much......
ALL [With HIM.] ...... to much!
2nd. MAN But we’re celebrating.
LORD CH. Celebrating? Celebrating what?
2nd. WOMAN Today is the Princess Snow White’s 18th. birthday.
LORD CH. What? Today? But it can’t be!
ALL It is!
LORD CH. Why, it seemed like only yesterday when the dear old king used to dangle her on his knee. Oh they were happy times – happy times.
3rd. MAN Yes - and then he had to go and marry that dreadful Queen Malevolent. Everyone knew he was doing the wrong thing, but she seemed to have such a hold over him - as though he was spellbound.
LORD CH. After he died she took over ruling the whole kingdom and things have gone from bad to worse - I say, from bad to worse.
3rd. WOMAN She despises Snow White so much and treats her no better than a scullery maid.
4th. MAN So you can see why we’re singing and dancing - to cheer ourselves up and celebrate Snow White’s coming of age. This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
4th. WOMAN Today she leaves childhood behind and enters womanhood.
LORD CH. By Jove you’re right. We have got something to celebrate. [ALL agree.] But if it is a celebration we should have a buffet and some drinks.
1st. MAN Oh that’s all taken care of. Handy Andy and Snow White’s nurse, Dame Doitall, are in charge of all the catering.
1st. WOMAN Yes, they’re down at [Local supermarket.] now getting everything we need.
LORD CH. Oh dear, that sounds like a recipe for disaster! I say, a recipe for disaster! And if things go wrong the Queen will get angry and make my life a misery. Oh it’s all too much - too much! [There is a lot of noise offstage.]
ANDY [Off.] Out of the way, out of the way. Special delivery.
[HANDY ANDY enters carrying a large box. HE is a likeable fellow and wears a work belt on his costume with various items hanging from it.] Make way there. Mind your backs. [HE runs straight into the CHAMBERLAIN who falls over. ANDY puts the box down.]
LORD CH. Look out! You blithering idiot! Oh it’s too much - too much!
ANDY Hello everyone. [To the audience.] Hello. Have you all come to Snow White’s Party? [Audience reacts.] Well I’m very pleased to meet you. My name’s Handy Andy and I’m in charge around here! [ALL laugh. CHAMBERLAIN reacts.] Hello Lord Chamberpot!!
LORD CH. Chamberlain!!
ANDY What are you doing down there?
LORD CH. Getting up!
ANDY You shouldn’t be sitting around taking it easy, there’s lots to be done.
LORD CH. [Getting up.] I’m not sitting around - you great galumphing oaf. [HE advances on ANDY and starts to poke him in the chest. ANDY leans back and finally falls to his knees looking up at the CHAMBERLAIN.] Why ever you were put in charge of the catering arrangements I’ll never know – I say I’ll never know!
ANDY Just a moment. I hold a very important position in this castle.
LORD CH. Important position?? HA!!
ANDY Yes. I’ve got a very high office. It’s in the loft!
LORD CH. And what is this "high office"?
ANDY I'm a general!
LORD CH. A general?? This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
ANDY Yes. The Queen told me when she gave me the job that I would be a general factotum!
LORD CH. Oh, you are the closest thing to a nincompoop!
[ANDY looks at him, then at the audience and then takes a large step away.]
MAN What have you got in the box, Andy?
ANDY It's Snow White's birthday cake.
WOMAN Oh do let's have a look. [ANDY opens the box and brings out the smallest cake with one candle on it.]
LORD CH. What on earth... [HE reads what is on the cake.] "Congratulations on your golden wedding anniversary"!! That’s not very appropriate.
ANDY It's all they'd got at short notice.
LORD CH. Oh really! This is all too......
ANDY Yes, we know -
ALL ...... too much! Too much! [The LORD CHAMBERLAIN exits in a huff. ANDY puts the cake back in the box and some of the CHORUS takes it offstage.]
2nd. MAN But what about everything else?
ANDY Oh don't worry, Dame Doitall is seeing to that. I've bought Snow White a present. It's a beautiful white rose - just like her name. Would you like to see it?
ALL Oh yes.
ANDY All right then. [HE brings out a tiny plant.] There!
2nd. WOMAN I don't think much of that for a present. You can hardly see it.
ANDY Well, perhaps if I plant it, it might grow into a big rose bush.
3rd. MAN Look, there's a pot over there. [HE points to a large pot DR that remains there throughout the show.]
ANDY Now isn't that handy! [HE crosses to the pot, takes a small trowel from his belt and plants the rose.] Nothing's happened!
3rd.WOMAN Maybe you should water it.
ANDY Good idea. [HE reaches offstage, gets a watering can and waters the plant. It grows rapidly into a lovely bush full of white roses.] There! Isn't that wonderful? I'm sure Snow White will love it. But no one's to touch it.
This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
4th. MAN But how are you going to stop people?
ANDY [Looking at the audience.] I know. You're all going to be here for a bit, aren't you? [Audience reacts.] Well, would you keep an eye on the rose bush for me? [Reaction.] Oh that's great. Now all you have to do if you see anyone trying to take a rose is shout out "Oh no, Handy Andy come quickly, someone’s trying to steal the lovely white roses you bought as a present for Snow White’s eighteenth birthday" [HE does this in one breath and almost runs out.] and I'll come on and stop them. Will you do that? [Reaction.] No? Why not? [Reaction.] It’s too long? Well let’s shorten it to “Handy Andy” shall we? You know what we’re going to do now, don’t you? That’s right, we’re going to have a practice. One of this lot will pretend to take a rose and you call out. [ANDY crosses DR and exits. One of the CHORUS creeps up to the rose bush and pretends to take a rose. Audience calls out. After a pause ANDY re-enters.] Have you done it yet? Well, you'll have to be much louder. I might be right on the other side of the palace. Now let's try it again. [The action is repeated.] Oh that was much better. Thank you very much. Now I know the roses will be safe for Snow White.
4th. WOMAN And look, here she comes now.
[MUSIC. SNOW WHITE enters.]
S/WHITE Hello everyone.
ALL Hello Snow White. Happy birthday.
ANDY [Standing in front of the bush.] Happy birthday Snow White. Look, I've got a present for you. [HE stands to one side. SNOW WHITE crosses to the bush.]
S/WHITE Oh Andy, it's beautiful.
ANDY Not half as beautiful as you.
S/WHITE I love it. Thank you. [SHE kisses him on the cheek. HE goes all weak and staggers about. ALL laugh.]
MAN But where have you been since this morning?
S/WHITE Queen Malevolent made me clean out her bedroom and then I had to fetch water from the well to do all her washing.
ANDY How can that woman be so wicked to you? You're a Princess. She's just jealous because you're so lovely and she looks like a wrinkled up old prune!
S/WHITE Oh that's not true, Andy. I just wish she liked me a little more. But, I'm not going to let her upset me today. It's my birthday and I can't think of a nicer way to spend it than with you - my dear friends.
SONG – SNOW WHITE, ANDY AND CHORUS
[ALL exit at the end of the song. The sound of bells, sirens and horns is heard offstage. The lights fade out and we see two headlights coming across the stage and DC. The lights come back to reveal DAME DOITALL with a large This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
shopping trolley with headlights on the front. It is stacked up with shopping.]
DAME Oh my goodness! That was a near thing. I've got an out of control trolley! I was just freewheeling down the hill from the town when I charged into the chiropodist, crashed into the chemist, copped off at the cop shop and had a nasty encounter with a cucumber in the Corner Cabin! Still, I'm here safe and sound and with all the things for Aladdins’ party! Oh no! That was last year, wasn’t it? [SHE reverses her speech and movement like rewinding a film.] I’m safe and sound and with all the things for Snow White's party. Oh, but I've not introduced myself. I'm Dame Doitall, Snow White's nurse and style consultant around the castle! [SHE shows off the outrageous costume she is wearing.] Oh I hate working for that wicked Queen Mad Elephant, but I couldn't leave my darling Snow White. I've been with her from the day she was born. And now she's a young woman and one day some big hairy brute will come and sweep her off her feet, then she won’t need me any more. [SHE starts to get tearful.] Mind you, I wouldn't blame her. I'd like some big hairy brute come and whisk me away. Not that I haven't been happily married. My husband was a man of rare gifts. They were so rare I never saw any! But he did have one great asset. [SHE looks at the audience.] Now now, behave yourselves, this is a family show! As I was saying he did have one great asset. His voice. He had a wonderful singing voice. Many a night he could be heard at the Royal Albert giving his rendition of 'roll out the barrel'! The court composer said his voice should be preserved. Maybe that's why he was always coming home pickled! When he died he left his body to medical science, but medical science contested the will!
[A young CHORUS BOY enters with the DAMES shopping bag.]
BOY Dame Doitall. You forgot your bag.
DAME Oh thank you. This is [Boys name.] everyone. He tried to pick me up at [Local night-club.] the other night. Offered to show me his Vauxhall Astra! Cheeky young thing! [BOY hangs his head.] Off you go now. [The BOY exits.] I've got a special treat just for me in here. There's one thing I can never resist - well there are quite a few things really! But one special thing when I go shopping. I have to buy myself a bag of jelly babies. [Or some other sweet.] Would you boys and girls like some? Have you been very good? Lets have the lights up and see you. [House lights come on.] Oh it's like looking out on a beautiful bed of flowers. Mind you, there's a few old weeds over there!! Well if you've been good I'll share them with you. Who would like some? [Reaction.] Oh I think I shall need some help. [SHE calls.] Boys.
[CHORUS BOYS and ANDY enter and help throw out sweets to the audience. They then go into the following number. The rest of the CHORUS enter if required.]
SONG - DAME, ANDY AND CHORUS
[At the end of the number, the QUEEN enters.]
QUEEN What is the meaning of all this noise?
DAME We're having a party to celebrate Snow White's 18th. birthday.
This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
QUEEN A party to celebrate the birthday of a scullery maid!
ANDY She's not a scullery maid; she's a Princess. And a beautiful Princess at that!
QUEEN Beautiful? That little girl?
DAME Oh she's not a little girl any more. At 18 she's a young lady. ANDY Yes and certainly the prettiest around this castle.
QUEEN Oh no she isn't.
ANDY Oh yes she is. [There now follows an 'oh no she isn't - oh yes she is' sequence involving the audience. At a suitable moment the LORD CHAMBERLAIN enters in a hurry.]
LORD CH. Your majesty, I say your majesty.
QUEEN Yes? What is it?
LORD CH. We have a visitor. I say, we have a visitor. Prince Rupert of Ruratainia.
QUEEN Prince Rupert? Why he's one of the most eligible bachelors for miles around.
DAME Yes - and drop dead gorgeous as well! Just like [SHE mentions someone famous but not known for being handsome.]
QUEEN Have him announced at once. [SHE goes to her throne and sits. The CHORUS moves to a position to welcome PRINCE RUPERT.]
LORD CH. His Royal Highness, Prince Rupert of Ruratainia.
FANFARE
[PRINCE RUPERT enters and ALL bow. HE crosses up to the throne and bows to the QUEEN.]
RUPERT Your majesty, how good of you to receive me.
QUEEN [Gushing.] Why, Prince Rupert, it is an honour to have you here at my court. But what is it that brings you here so unexpectedly?
RUPERT A wheel on my carriage disengaged itself just at the very moment we were passing your castle, so I was hoping to have it repaired and avail myself of your hospitality for the night.
QUEEN But of course my dear Prince. And to celebrate your most welcome visit we shall have a grand party. My court has been preparing for one all day and now we have a guest of honour to make the evening complete.
[EVERYONE is amazed at what SHE has said.]
RUPERT Oh, but I couldn't put you to all that trouble.
QUEEN Nonsense. My subjects will be only too pleased to entertain you, won't you This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
all?
ALL [Mumbling.] Yes your majesty.
RUPERT Well if you're quite sure.
QUEEN [With an eye on the CROWD.] I am – [The DAME steps in to object.] quite sure. [The DAME steps back keeping her mouth shut.] If you would like to freshen up I'll have my Lord Chamberlain show you to the guest’s quarters.
RUPERT Your majesty is too kind.
QUEEN Lord Chamberlain.
LORD CH. If your royal highness would care to follow me. [The LORD CHAMBERLAIN and RUPERT cross to exit. As RUPERT passes the DAME she makes a big thing of dropping her handkerchief. HE doesn't notice this and continues offstage. ANDY picks up the handkerchief and gives it back to the DAME as HE crosses to the QUEEN.]
ANDY But that's not fair. The party was for Snow White. [ALL agree.]
QUEEN Well now it is for my guest, Prince Rupert - and if anyone doesn't like it then he or she can have a party of their own - in the dungeons! Now get out of here, all of you. [ALL start to exit.]
ANDY I don't care what you say. Snow White is still the most beautiful girl in the land. [The QUEEN goes to chase him off.]
QUEEN [To herself.] The most beautiful? That slip of a girl. Impossible. I'm the most beautiful; my magic mirror tells me so. But just to reassure myself I'll ask it one more time. [SHE looks round to make sure no-one is around and makes a magic pass. The lights change and the mirror appears.]
Mirror, mirror on the wall, Who is the fairest of us all?
[The SPIRIT appears.]
SPIRIT O mighty Queen I tell you true The fairest in the land was you. But another now takes pride of place Who has beauty, charm and winsome grace.
QUEEN Another? But this cannot be, For no one is as fair as me.
SPIRIT I do not lie, for as sure as day follows night, The fairest in the land is Princess Snow White.
[The SPIRIT disappears.]
QUEEN [In a rage.] Snow White. Snow White? That little guttersnipe. How dare she claim to be more beautiful than me? I hate that girl. I hate her hair, her eyes, This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
her mouth, even her name. Snow White! [Screaming.] Snow White!! [SNOW WHITE enters.]
S/WHITE Did you call stepmother?
QUEEN You! What did I tell you to do this morning?
S/WHITE To clean your apartments and do the washing.
QUEEN Then why aren't you doing that?
S/WHITE But I've finished.
QUEEN Already? But what about in here? Look at it. It's filthy. [SHE runs her fingers along the arm of the throne.] You can write your name in the dust. Now get busy and clean here at once.
S/WHITE But......
QUEEN At once, did you hear me?
S/WHITE Yes stepmother. [SHE exits holding back the tears.]
QUEEN That snivelling little brat! I'll keep her working from dawn 'til dusk. She'll get so worn out and tired that any looks she possesses will soon fade away and then my magic mirror you will tell me once again that I am the fairest in the land. [SHE makes a pass and the mirror disappears. The QUEEN exits as SNOW WHITE re-enters with a duster and starts to clean the throne.]
S/WHITE I wish I knew why the Queen hates me so. I've never done anything to offend her. Perhaps if I work really hard and get everything done she'll be a little more kindly towards me. [SHE works away cleaning the throne as PRINCE RUPERT enters. HE stops and watches her, clearly taken by her beauty. After a moment HE clears his throat. SHE turns.] OH!
RUPERT Please forgive me, I didn't mean to startle you. I was just er...... allow me to introduce myself, I am Prince Rupert of Ruratainia. [HE bows.]
S/WHITE [Curtseying.] Prince Rupert, I'm honoured to meet you.
RUPERT [Raising her.] And whom do I have the pleasure of addressing?
S/WHITE [Realising SHE is still holding the duster.] Me? Oh I'm nobody. [SHE throws the duster away.]
RUPERT Anyone as beautiful as you cannot be a 'nobody'. What is your name?
S/WHITE I am called Snow White.
RUPERT Snow White? The Princess Snow White? [SHE nods.] But I thought you were just a young girl still at school.
S/WHITE Today is my 18th. birthday.
This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
RUPERT Then the accident to my carriage, which brought me here, was indeed a fortunate one. If only I had known this was a special day I would have come laden with gifts.
S/WHITE But sir, you have only just met me.
RUPERT I know - and yet I feel as though I've known you all my life.
DUET - RUPERT and S/WHITE
[At the end of the number they are about to kiss when the DAME is heard off stage.]
DAME [Off.] Yoo – hoo! [THEY spring apart as SHE enters followed by the CHORUS.] There you are dear; I haven't wished you a happy birthday yet.
S/WHITE Thank you so much. Prince Rupert may I present Dame Doitall who has been my nurse and dearest friend since I was a babe.
RUPERT I'm very pleased to meet you, dear lady.
DAME [Curtseying.] Oh your royal effluence, charmed I'm sure. [SHE has trouble getting up.]
RUPERT Here let me help you. [HE helps her up and SHE falls into his arms.]
DAME Oh I say what a big strapping lad you are! [SHE feels his biceps.] I bet you don't get many of those to the pound! [ALL laugh. SHE stands straight as the QUEEN enters followed by the LORD CHAMBERLAIN. S/WHITE eases upstage so as not to be seen by the QUEEN.]
QUEEN What is going on here?
RUPERT Ah, your Majesty. I was just looking for you to thank you for your hospitality and for organising tonight's party.
QUEEN Not at all my dear Rupert. Now I need something to set off the gorgeous gown I shall be wearing. [SHE sees the rose bush.] Ah, the very thing. [Audience calls out. ANDY enters.]
ANDY 'ere, 'ere. Hands off the rose. That's a present for Snow White.
QUEEN [Under her breath.] Snow White!
RUPERT What a fitting gift. A beautiful rose for a beautiful girl.
QUEEN Beautiful??
RUPERT Queen Malevolent, you have a beautiful stepdaughter and I have had the great good fortune to meet her. [HE brings SNOW WHITE forward.] The party can't possibly be in my honour tonight, it must be to celebrate Snow White's birthday - and I hope she will grant me the privilege of being her escort for the whole evening.
This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
S/WHITE With all my heart.
[Words fail the QUEEN and she exits in a rage.]
ANDY Well what are we waiting for. Let's get the party underway!
[ALL cheer.]
PRODUCTION NUMBER
[At the end of the number the lights fade and the scene changes to...... ] SCENE 3 A CORRIDOR IN THE CASTLE
[A front cloth scene. The LORD CHAMBERLAIN enters.]
LORD CH. Oh my, what a day, I say what a day. First there is a birthday party for Snow White, then Prince Rupert arrives so the party is for him; now it's back to Snow White! I don't know whether I'm coming or going. I say, I don’t know whether I’m coming or going! It's all too much! [HE sees the rose bush.] Oh what beautiful roses. I'm sure no one would mind if I took one. [Audience shouts. ANDY enters.]
ANDY Now now Lord Chambermaid......
LORD CH. Chamberlain!
ANDY ...... whatever! What are you doing with the roses?
LORD CH. Well I er...I was just er....
ANDY They're not for you, they're for Snow White - [HE takes hold of the CHAMBERLAINS hand and slaps his wrist.] - naughty, naughty keep your handy off the rosy!!
LORD CH. Stop that. You really must have more respect for my position.
ANDY But I do have respect. Ever since I came to work here I've always looked up to you.
LORD CH. Have you really?
ANDY Yes.
LORD CH. And you've seen a man of distinguished appearance, a noble brow, a figure of authority.
ANDY No. Just two big hairy nostrils!
LORD CH. Oh!! [The DAME enters.]
DAME Hello you two. How are preparations going for the party?
LORD CH. Well if certain people would get on with their work instead of creeping about the castle, we might be ready in time. This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
ANDY And if certain people would stop trying to pinch Snow White's roses.....
LORD CH. I did not try to pinch them.
ANDY Yes you did. My friends saw you - didn't you? [Audience reacts.] See!
LORD CH. Oh I've had enough of this. I'm off.
ANDY [Sniffing.] I thought something was!
[CHAMBERLAIN exits.] DAME I don't know. You two. You argue just like an old married couple!
ANDY Oh no. If I was married I wouldn't argue. Especially if I was married to someone as beautiful as Snow White.
DAME Well you can get that idea right out of your head. I think she has already fallen in love.
ANDY Yes. Ever since that Prince Rupert arrived she's had eyes for no one but him. Now I'll never get a look-in!
DAME Oh cheer up, Andy. There're plenty more fish in the sea.
ANDY Who?
DAME Well there's me for instance.
ANDY You??
DAME Why not? I've still got the complexion of a schoolgirl of seventeen!
ANDY Well give it back to her - you're wrinkling it!
DAME You know I always used to be the belle of the ball.
ANDY Pity you lost your clangour!
DAME Oh Andy, I want you to pick me up, whirl me around and drain me dry!
ANDY You don't want me, you want a spin-dryer!
DAME All my teeth are my own you know. It's just that I can't remember where I put them!
ANDY You should marry an archaeologist.
DAME Why?
ANDY They like old relics!
DAME Now you're just being unkind.
This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
ANDY Oh I'm sorry Dame Doitall, but I've always had a soft spot for Snow White and I suppose I always will.
DAME Then why haven't you told her?
ANDY I've tried but I just get tongue-tied and end up by making a fool of myself.
DAME Look, if you really feel that way about her you must summon up the courage.
ANDY I will. I'll summon up the courage.
DAME Be firm, be strong.
ANDY I'm firm, I'm strong.
DAME Be resolute.
ANDY I'm resolute.
DAME Be a man.
ANDY [Shouting.] I'm a man!
DUET - ANDY and DAME
ANDY Oh thank you Dame Doitall, I feel so much better now.
DAME Are you ready to tell her how you feel?
ANDY Yes - I'm ready. I'm really, really ready.
DAME Then tell her! [SHE turns him around to face SNOW WHITE as she enters.]
S/WHITE Hello!
ANDY [Spluttering.] I...... er...... I......
S/WHITE Oh I'm so happy. This will be the best birthday. At the party tonight Prince Rupert has asked me to dance every dance with him.
DAME Well that's nice dear.
S/WHITE He's so wonderful isn't he? And so handsome. Don't you think so Andy?
ANDY I...... er.....Goodbye! [HE runs off.]
S/WHITE Whatever's the matter with him?
DAME Oh he's just remembered he has to return a book to the library. "How to be assertive in ten easy lessons"!
S/WHITE Dame Doitall, would you help me? I've got to find something to wear to the party tonight. Queen Malevolent has not allowed me to have a new dress for such a long time - I don't think I have anything suitable. This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
DAME Don't you worry yourself. I've got dozens of gorgeous outfits just like this one that you can choose from!
S/WHITE [Taken aback at the thought of wearing one of the Dames dresses.] Oh..er..well...I..
DAME There's a lovely little off the shoulder number that would be perfect for you. I call it my bingo dress.
S/WHITE Bingo dress?
DAME Yes - eyes down for a full house!
S/WHITE That's very kind of you, but I.....
DAME [Smiling.] But you would rather have a new one. And so you shall. Come along with me and I'll make you a gown fit for the beautiful Princess that you are.
S/WHITE Oh you are wonderful. Let's go and start right away. [SNOW WHITE exits dragging the DAME with her. The QUEEN and PRINCE RUPERT enter from the other side of the stage.]
RUPERT Was that Snow White I saw going down the corridor?
QUEEN No, I don't think so. It was just a scullery maid.
RUPERT I must say your Majesty, she is a charming young lady. I cannot understand why we have not me before.
QUEEN Oh she keeps herself to herself. Quite a little wallflower really. I expect she's conscious of how plain she is.
RUPERT Plain? On the contrary. I consider her someone of rare beauty.
QUEEN [Stunned.] Beauty?
RUPERT Indeed. Just like one of those roses. I think I'll take one to remind me of her. [HE crosses to the rose bush. The audience calls out. ANDY runs on and comes face to face with RUPERT.]
ANDY [Shouting.] Hands off the roses! [HE exits as a stunned RUPERT moves away.]
QUEEN I do apologise, servants with any breeding are so hard to come by these days! Now, about Snow White. A rare beauty I think you said.
RUPERT Yes indeed.
QUEEN Don't you think anyone else in the castle has the same quality?
RUPERT Not that I have seen. Since I first set eyes on her I knew that she was the only one for me. This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
QUEEN [Seething.] Really!!
RUPERT And now, if your Majesty will excuse me, I must see how the repairs to my carriage are progressing.
QUEEN Of course. [RUPERT bows and exits. The QUEEN stomps around the stage, cursing.] That wretched girl. Am I to be hounded by her name wherever I turn? Am I to be told how beautiful she is by every Prince that comes riding by? No, by thunder. I am the most beautiful in the land and that is the way it must stay. [SHE stops and thinks.] And I know just what must be done. [SHE calls.] Lord Chamberlain. [The LORD CHAMBERLAIN enters and bows.]
LORD CH. You called, your Majesty?
QUEEN Has my chief huntsman arrived back from hunting the wild boar for tonight's feast?
LORD CH. Yes your majesty, a few minutes ago.
QUEEN Tell him I wish to see him immediately.
LORD CH. At once, your Majesty. [HE exits.]
QUEEN Prince Rupert looks to be smitten by Snow White and with that sickly smile all over her face, she must be falling in love with him. Well the time has come to put an end to all of that. The girl must be got rid of! She must be destroyed. Only when she is dead can I be sure that my face will be the fairest in the land. But it must look like an accident.
[The HUNTSMAN enters and bows.]
HUNTSMAN You wish to see me your Majesty?
QUEEN Yes my faithful huntsman. I have a special task for you.
HUNTSMAN Whatever you command, I obey, your majesty.
QUEEN Well I am very pleased to hear that. Now listen carefully to my ever word. [SHE takes a pendant from around her neck and sets it spinning in front if the HUNTSMAN. HE goes into a trance.] I want you to go out again into the forest. This time take the Princess Snow White with you. Tell her that Prince Rupert wants to see her alone and that you are to escort her in case there are any wild animals around. When you are deep in the forest I want you to take out your knife and kill her! When she is dead I want you to cut out her heart and put it in this silver box. [SHE takes a silver box from her pocket and hands it to him.] Bring it back and deliver it only to me. Then I will know she is finally dead.
HUNTSMAN I will do as you command, your Majesty.
QUEEN Then go quickly and carry out my orders. [Still in a trance the HUNTSMAN exits.] Ha ha! What a wonderful plan. When Snow White fails to turn up to tonight's festivities Rupert will think she has lost interest in him. Then maybe This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
he will notice the beauty in the mature woman! I must go to my secret laboratory and take some more of the special potion that makes me grow more beautiful by the hour! Oh this will be the crowning glory of all my sorcery. I'll get rid of Snow White and get Prince Rupert for myself! Ha ha......
[SHE exits laughing as the lights fade and the scene changes to...... ]
SCENE 4 THE BALLROOM
[This can be the same as scene 2 without the throne. The CHORUS is on doing a number during which ANDY and the DAME take part. This starts off very sedate and then ANDY goes into an up tempo song and dance. ]
DANCE and SONG - ANDY, DAME and CHORUS
[The DAME has on an over the top dress and outrageous hair style. During the dance, which should be very comic, SHE is continually standing on ANDY’S feet. After the number SERVANTS enter with trays of drinks.]
DAME Wasn't that fun? [ANDY is limping about.] What's the matter with you? Are you all right?
ANDY I will be when I get the feeling back in my feet!
DAME I've always loved dancing. I had a wonderful teacher you know.
ANDY Who was that, the elephant trainer at Chipperfields?
DAME No, it was that great Russian ballerina Eva Vestoff! She said my Nutcracker had to be seen to be believed!
ANDY I'll be she did!
DAME [Doing some ballet leaps.] You know, with my grace a poise, I should be in the corps de ballet! [SHE bumps into him.]
ANDY You should be cordoned off!
DAME What about my dress? Do you like it? I got it for a ridiculous figure! 38 - 26 and £2.75 a pound! [SHE parades about. A few whistles.] And what do you think about the hair?
ANDY Words fail me!
DAME It was done by Madam Zareena. She's my chiffonier. This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
ANDY No she's not. She's you coiffeuse.
DAME She's not. She's my chiffonier.
ANDY She's your coiffeuse. A chiffonier is a big old chest with enormous draws.
DAME Yes, that's her! [The LORD CHAMBERLAIN enters.]
LORD CH. Her Majesty, Queen Malevolent. I say, her Majesty Queen Malevolent!
FANFARE
[The QUEEN enters. ALL bow and curtsey.]
QUEEN So nice to see you all enjoying yourselves. But where is our guest of honour?
ANDY Snow White hasn't arrived yet.
QUEEN I don't mean Snow White you idiotic imbecile. I mean Prince Rupert.
DAME Well I think he may be looking for her, your Maj. He is to be her escort for the evening.
QUEEN [Aside.] That's what he thinks.
DAME Pardon?
QUEEN [Quickly.] I think I see him coming now.
LORD CH. His Royal Highness, Prince Rupert. I say – [RUPERT enters .] Oh he’s here!
FANFARE
[ALL bow and curtsey.]
QUEEN Good evening Prince Rupert. We all thought you had got lost.
RUPERT I do apologise your Majesty, but I was looking for Snow White. I was to escort her here tonight.
QUEEN [Gushing.] Oh you know what we young girls are, always forever primping and preening until the last minute. Lord Chamberlain, go to Snow White's room and see what is keeping her.
LORD CH. At once, your Majesty. [HE exits.]
QUEEN Would you care for some refreshment?
DAME I don't mind if I do! [SHE grabs a glass and downs it in one. The QUEEN glares at her then moves up stage talking to RUPERT. The DAME pulls ANDY down stage away from the others.] You know, Andy , there's something fishy going on here. When I was helping Snow White with her dress this afternoon, she was so excited about tonight she could hardly stand This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
still. It's really odd that she is late arriving.
ANDY Yes. I would have thought she'd have returned from her walk in plenty of time to get herself ready.
DAME Walk? What walk?
ANDY I heard the Huntsman telling Snow White something about the Prince and then they both went off towards the forest.
DAME But why the forest? And besides, the Prince has been supervising the repairs to his carriage all afternoon. I know 'cos I was there helping to tighten the nuts! [The LORD CHAMBERLAIN enters.]
LORD CH. Your majesty, the Princess Snow White is not in her room.
QUEEN How very odd. Anyhow, we can't wait for her any longer; supper is about to be served. Come along everyone, into the dining hall. [Some of the CHORUS starts to drift off. The DAME calls to RUPERT.]
DAME Princey dear, could I have a word?
RUPERT Of course Dame Doitall.
DAME Have you seen Snow White in the past few hours?
RUPERT No I haven't. I arrange to meet her here tonight.
QUEEN What is all this about?
ANDY [To RUPERT .] I saw Snow White going towards the forest with the Huntsman. I thought she might have been going to see you.
RUPERT No.
QUEEN The Huntsman, eh? You know I always thought she had a soft spot for him. Perhaps we may hear the sound of wedding bells before too long!
RUPERT What?
DAME Now just a minute, I am her nurse and trusted conflagrante and if anything like that was going on, she would have told me.
QUEEN My dear Dame Knowitall , we younger girls do like to keep a few secrets from the older generation!
DAME Older generation?? If you're nearer her age than mine, I'll eat hay with a horse!
QUEEN [Pointing off.] The stable is that way!
DAME [Outraged.] Oh! [Bigger.] Oh!! [To Andy. Normal.] One more?
ANDY Why not! This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
DAME [Very big.] OH!!!! [SHE exits followed by ANDY.]
QUEEN Come along now, time for chit-chat later. Supper will be getting cold. [SHE indicates they should ALL exit. The RUPERT stays behind looking dejected.] Cheer up Prince Rupert, if Snow White has a fickle heart better you should find out now before she breaks yours. Besides, the girl of your dreams may be just around the corner. I shall be waiting for you; you'll be sitting next to me at supper. [SHE exits smiling to herself.]
RUPERT I can't believe it. Snow White is the most beautiful girl I've ever met. There can be no one else for me.
SONG - RUPERT
[At the end of the song the lights fade and the scene changes to...... ]
SCENE 5 THE EDGE OF THE FOREST
[A front cloth scene. The small ANIMALS of the forest are playing and dancing around. In the distance we hear the DWARFS singing. The ANIMALS run off as the DWARFS enter singing. They are led by CHIEF followed by SMILIE, SNOOZY, SNIFFLES, TIMID and GROWLER. DOZY is missing.]
SONG ––– THE DWARFS
[THEY end the first part of their song and CHIEF turns to speak.]
CHIEF Are we all here? Where’s Dozy? [They ALL call “Dozy”. HE enters.] Where have you been?
DOZY I couldn’t remember whether I’d taken the kettle off the fire, so I ran back to check.
GROWLER Oh Dozy, you’re always leaving it on.
SMILIE One of these days it will boil dry!
DOZY Well, it’s all right, I had taken it off. But now I can’t remember whether I locked the cottage door!
SNOOZY Dozy!
DOZY I’ll just run back and check.
SNIFFLES No!
DOZY But someone might break in.
TIMID Oooh! The thought of that frightens me!
This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
CHIEF There’s no time. We must get to work or the day will be nearly over!
GROWLER I’m sure our cottage will be perfectly safe.
CHIEF Right men. Roll call!
[THEY line up. DOZY is always late and gets pushed into his position in the line.]
OTHERS Dozy! You’re in the wrong place. Don’t you know where you’re going? Get into line. Always late! Etc.
[DOZY gets to his place. Each one now steps forward and gives his name in a manner suited to his character.]
CHIEF Chief.
SMILIE Smilie.
DOZY [Who is facing the wrong way and quickly turns around.] Dozy. SNOOZY [Yawning.] Snoozy.
SNIFFLES [Sneezing.] Sniffles.
TIMID T-T-Timid.
GROWLER [Gruffly.] Growler.
CHIEF All present and correct. Now let’s get to work.
SONG (CONTINUED) – DWARFS
[THEY continue with the song as they march off. The music changes and becomes more dramatic. SNOW WHITE enters very agitated. The HUNTSMAN follows her - still in a trance.]
S/WHITE This can't be right. Where are we? Where is Prince Rupert? You said he wanted to see me, but we are going further away from the palace and there's no sign of him.
HUNTSMAN We must go further.
S/WHITE But this leads into the forest.
HUNTSMAN Yes. Deep into the forest.
S/WHITE We must go back. The party will be starting and everyone will be wondering where we are.
HUNTSMAN We have to go deep into the forest so no one will find us!
S/WHITE What is the matter with you? Why are you behaving so oddly?
HUNTSMAN I must carry out the Queen's orders. This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
S/WHITE What do you mean, "carry out the Queen's orders"?
HUNTSMAN I must obey her.
S/WHITE Please let's go back now. This place frightens me. You are frightening me.
[SHE runs to one side of the stage. The HUNTSMAN takes out his knife.]
HUNTSMAN I must kill you and take back your heart!
S/WHITE [Terrified.] What? [SHE turns and sees the knife.] What are you doing? Please no. Why do you want to hurt me?
HUNTSMAN I...... I...... [HE raises his knife. SNOW WHITE screams and runs as HE lunges forward towards her. HE trips and falls, then groans and sits up holding his head. HE is now out of his trance.] What's happening? What are we doing here?
S/WHITE Please - I beg you, don't hurt me.
HUNTSMAN Hurt you? Why should I want to hurt you Princess Snow White? We have always been good friends.
S/WHITE But the knife. You said you wanted to kill me.
HUNTSMAN [Standing, looking at the knife.] I remember now. It was the Queen. She must have bewitched me somehow. “Take Snow White into the forest and kill her", she said. "Bring back her heart in this silver box". [HE shows her the box.]
S/WHITE Does she really hate me that much?
HUNTSMAN How could I have been tricked so easily?
S/WHITE The Queen has powers very few know about.
HUNTSMAN Oh please forgive me Princess. You know I would never hurt you.
S/WHITE I know that. But what will happen when you get back to the palace and she finds the box empty?
HUNTSMAN Don't worry. I will tell her that I have carried out her orders and substitute the heart of the wild boar I caught this morning. No one will ever know the truth. But you are in great danger. You must run away from here.
S/WHITE I will - and you must return to the castle. Thank you, dear Huntsman for saving me.
HUNTSMAN [Kneeling before her.] It is I who should thank you and ask your forgiveness for the terrible deed I was about to do.
S/WHITE I give it gladly. Now quickly, back to the palace.
This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
HUNTSMAN Goodbye Princess - and may good luck be with you. [HE exits.]
S/WHITE Oh, now what am I to do? Alone in this forest with nowhere to go. If only Rupert were here. But I'll never see him again. I'll never see any of my friends again.
SONG – SNOW WHITE
[At the end of the song SHE begins to cry quietly to herself. The lights have closed in around her and the wind begins to blow. The front cloth rises and we are in......
SCENE 6 DEEP IN THE FOREST
[This scene is made up three parts. Halfway up stage is a gauze depicting trees deep in the forest. Behind that is the outside of the Dwarfs cottage and behind that is the interior.]
BALLET
[The wind is still blowing and there is thunder and lightning. SNOW WHITE runs about scared by the branches of the trees. WILD ANIMALS appear around trees watching SNOW WHITE. THEY come out and chase her, taunting her all the time. Two large trees (possibly with people inside) move menacingly towards her. The WILD ANIMALS dart about as the music, thunder and lightning grow to a climax. SHE screams and faints centre stage. The lights blackout except for a spot on SNOW WHITE and the music grows calmer. As the lights return, ANIMALS of the forest including rabbits, mice, badgers, birds and an OWL slowly enter and dance around her. The BALLET ends with them all watching over SNOW WHITE. SHE stirs and sits up with a gasp. The ANIMALS start to run away.]
S/WHITE Oh no - please - don't run away. I'm all alone in this forest. Won't you please stay and be my friends? [The ANIMALS slowly return.] I've nowhere to live and I'm feeling very tired and hungry. [The ANIMALS move to one side of the stage and go into a huddle. THEY then return to SNOW WHITE and begin to lead her around the stage.]
TRANSFORMATION MUSIC
[The lights now bleed through the gauze and we see the outside of the Dwarfs cottage.] Oh what a dear little cottage. [The gauze flies away.] I wonder who lives there. [SHE goes to the door and knocks.] Nobody seems to be at home. Do you think it would be all right to wait inside?
[The ANIMALS nod and indicate she should go in. SHE opens the door and goes inside. The scenery either splits or flies to show the interior of the cottage.]
This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
SCENE 7 INSIDE THE DWARFS COTTAGE
[To one side is a large table set for seven with seven stools around it. Up stage is the sleeping area with as many beds as possible. The place is not very tidy.]
S/WHITE Seven plates, seven cups and seven saucers. I wonder who lives here? [One of the ANIMALS indicates a saucepan of porridge.] Porridge! Left over from breakfast no doubt! Still, I am hungry. Do you think they'd mind if I had some? [The ANIMALS shake their heads. SHE eats.] That's better . [SHE moves towards the beds.] Oh look. Seven little beds. I do feel sleepy. Do you think whoever lives here would mind if I just lay down for a while? [Again the ANIMALS shake their heads and indicate she should lie down.] Well, just for a few minutes. [And yawning, SHE lies on the beds and falls asleep.]
OWL You are safe now Snow White, so sleep peacefully and while you sleep, dream of all the happy times back at the palace and of the people there who love you very much.
[The ANIMALS start to leave as the music for SNOW WHITE’S DREAM starts.]
SNOW WHITE’S DREAM
[The lights change and the CHORUS whirl across the stage in their Act 1 Scene 1 costumes. They are happily dancing and then the LORD CHAMBERLAIN enters and in mime announces PRINCE RUPERT. HE enters and the CHORUS bow. QUEEN MALEVOLENT now enters and crosses to him. THEY start to dance but HE sees someone off stage and crosses to the exit. The QUEEN follows as the CHORUS continues dancing. The DAME and ANDY enter in outrageous costumes and do a comic dance ending in chaos. The CHORUS laughs and applauds as the dream begins to fade and the lights return to the cottage. The ANIMALS enter with a coverlet of leaves and flowers. THEY carry it to SNOW WHITE and put it over her. They ALL gather round her as the music swells and the curtain falls.]
END OF ACT ONE
This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
ACT TWO SCENE 1 THE BALLROOM
OPENING NUMBER
[The party is still in progress. PRINCE RUPERT is standing to one side rather dejected. The QUEEN tries to get him to dance with her, which he does reluctantly. The DAME and ANDY are also dancing. At the end of the number, RUPERT moves away.]
QUEEN Well Prince Rupert, are you enjoying yourself?
RUPERT Your majesty has gone to a lot of trouble to make me feel welcome. I wish I felt in happier spirits, but I can’t understand why the Princess Snow White has failed to attend. She was so looking forward to tonight. I hope I have done nothing to make her stay away.
QUEEN Oh the Princess is a moody person; who knows what has upset her. But don’t let thoughts of her ruin your enjoyment of tonight. Come, let us have another dance.
RUPERT If your majesty would excuse me, I think I would like to take some air.
QUEEN Oh very well. [SHE turns to one of the MALE CHORUS.] Sir Nicholas, would you care to take a turn on the floor?
SIR I would be honoured your majesty. NICHOLAS
QUEEN I feel a tango coming on!
TANGO MUSIC
[Music starts as the QUEEN grabs SIR NICHOLAS and “tangos” him off stage. ALL dance off leaving RUPERT, ANDY and the DAME.]
ANDY Now’s our chance. Let’s have a word with the Prince.
DAME Good idea. [Calling loudly.] Yoo hoo! Princy!
ANDY Not like that! [HE crosses to RUPERT.] Your Royal Highness, may we trouble you for a moment?
DAME I’d like to trouble him for more than a moment!
ANDY [Hissing at her.] Be quiet!
RUPERT I’m afraid I wouldn’t be very good company.
DAME You’re missing Snow White, aren’t you dear?
RUPERT I can’t understand it. I was sure she wanted to be with me this evening.
DAME I know she did. It was all she talked about. She was so excited.
This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
ANDY That is what’s so odd about her going off with the Huntsman. She’s never fancied him. It’s you she fancies. I know ‘cos I hoped she’d fancy me, but she doesn’t fancy me, she fancies you. If she did fancy me then she wouldn’t fancy you, but she does, so fancy that!
RUPERT What are you saying?
ANDY I’m not quite sure!
DAME I wouldn’t be surprised if the Queen was behind all of this.
RUPERT The Queen?
DAME Yes. She hates Snow White and always has. If she thought that you two were becoming – you know – [SHE nudges him and makes kissing motion with her lips. HE looks at her questioningly.] – close friends, she’d do anything she could to put a stop to it!
RUPERT But ………
ANDY I think we should find the Huntsman and ask him a few questions.
DAME Yes, let’s go and integrate him and see if anything should be taken down!
RUPERT Come along then. There’s no time to lose.
DAME [Grabbing ANDY in a tango hold.] Walk this way!
[The music comes up as they tango off followed by RUPERT. The QUEEN and SIR NICHOLAS tango back on and finish in a flamboyant pose.]
QUEEN Thank you Sir Nicholas, you are a superb dancer.
SIR Your majesty is too kind! As a token of my esteem, may I give you one of NICHOLAS these roses? [HE goes to pick a rose. Audience shouts. ANDY enters.]
ANDY Nicky, Nicky don’t picky the rosy! [SIR NICHOLAS exits in a huff. ANDY turn to the audience.] Thank you very much. [HE exits. The QUEEN looks around to make sure SHE is alone and calls.]
QUEEN Lord Chamberlain. [LORD CHAMBERLAIN enters.]
LORD CH. Your Majesty?
QUEEN Has the Huntsman returned?
LORD CH. I believe he has just arrived at the main gate, you Majesty.
QUEEN Send him to me at once.
LORD CH. Yes, your Majesty. [HE exits. The DAME creeps on up stage and crosses to where the mirror will appear.]
This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
QUEEN He must have completed his task. My magic mirror will tell me all! [SHE makes a pass and the mirror appears. The DAME hides behind it.] Oh dear, it looks a little dusty. I’ll give it a clean so as to better observe the image. [SHE reaches off stage and gets a can of spray polish and a duster. There now follows the ‘mirror gag’ where the QUEEN cleans the mirror with the DAME copying the movement as a mirror image. Whenever the QUEEN looks away the DAME pulls faces. The last thing to happen is the DAME sneezes.] Bless you. [SHE does a double take then continues.] That’s better. Now – Mirror mirror ……… [Before she can continue the HUNTSMAN enters and bows.]
HUNTSMAN You wish to see me, your Majesty?
QUEEN [Spinning round and moving away from the mirror.] Yes indeed. Have you carried out my orders?
[The DAME pokes her head around the mirror trying to hear what they are saying.]
HUNTSMAN I took the Princess into the forest as you ordered and ………
QUEEN [Wild with excitement.] ……… and she is no more! You have the proof?
HUNTSMAN [Taking out the silver box.] I have what you want in here, your Majesty.
QUEEN [Taking the box and opening it.] Ah, splendid, splendid! There will be a handsome reward for you. Now go and partake of the food and wine in the dining hall, for you have earned it. [HE bows and exits. SHE crosses back to the mirror.] At last Snow White is dead and I am once again the fairest in the land. [SHE makes a pass and the mirror disappears revealing the DAME who strikes a statue like pose. The QUEEN crosses to the exit, then turns back to look at the DAME.] What an ugly statue. I can’t think what it is doing here. I’ll have it broken up first thing tomorrow morning! [SHE exits. The DAME makes another face at her as the HUNTSMAN enters on his way to the dining hall.]
DAME Not so fast you. There are a few questions that need answering. [SHE calls.] Andy, Princy, he’s here.
[ANDY and PRINCE RUPERT enter. The HUNTSMAN is trapped between them and the DAME.]
HUNTSMAN What do you want of me?
RUPERT My good man, you were seen earlier today heading towards the forest with the Princess Snow White. She has not been seen since, so what can you tell us about that?
HUNTSMAN I’ve no idea what you are talking about.
DAME [Backing him into ANDY and RUPERT.] Oh yes you do. I saw you just now talking to Queen Irrelevant! What have you been plotting?
HUNTSMAN Nothing. I know of no plot. This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]
RUPERT If you have done anything to harm Snow White ……
HUNTSMAN I haven’t, I swear.
RUPERT Where is she then? I warn you that if anything has happened to her you will be held solely responsible.
HUNTSMAN [Now in a panic.] It wasn’t my idea. It was the Queen.
DAME I knew it!
HUNTSMAN She tricked me and put me into some kind of a trance. She said I was to take the Princess into the forest where no one would find her and kill her! [ALL gasp.] Then I was to cut out her heart and bring it back here.
DAME Oh no! My lamb, my pet. He’s killed her! [SHE dramatically staggers around the stage and begins to take out what will be an enormous handkerchief.] Taken from us so young!
HUNTSMAN But you don’t understand. She’s not dead.
ANDY } RUPERT } WHAT?
DAME [Not hearing.] All those years of nursing her when she was poorly.
HUNTSMAN She’s not dead.
DAME Helping her with her homework ………
ANDY She’s not dead!
END OF SAMPLE SCRIPT
This script is licensed for amateur theatre by NODA Ltd to whom all enquiries should be made. www.noda.org.uk E-mail: [email protected]