DOCSLIB.ORG

Grimms Script July 2011.Cwk

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

1 Main Cast YOUNG LAD* (high tenor: A below middle to C above middle C) WOLF (baritone: low A - E above mid C) LITTLE BLUE* formerly Little Red Riding Hood (alto - mezzo) GRANNY (alto - mezzo) GRETEL, becomes YOUNG LAD’s PRINCESS* (alto - mezzo - high F) RAPUNZEL (alto) WARTED WITCH (aka WARTY) (alto - mezzo) WHICH WITCH (aka WHICH) (alto - mezzo) SLEEPING BEAUTY’S PRINCE, becomes MEAN OLD KING* (high baritone: Bb low on F clef to F above mid C) SAUSAGE (aka FRANK) * (male or female role, baritone or mezzo: high E) BLUE BEARD, becomes MONSTER (low Bb - mid C) SNOW WHITE , becomes MONSTER’S MAMÁ * (soprano: high Ab) HUNTSMAN, becomes WATCHMEN, FERRYMAN, GOOD KING * (bass: to Eb above mid C) CINDERELLA’S STEPMOTHER , becomes MUDDER* (soprano: high G) SNOW WHITE’S STEPMOTHER, becomes QUEEN (alto or mezzo: high F) ONE DWARF, becomes ELDER BRUDDER THIEF* (alto, tenor, or bass) TWO DWARF, becomes TWO THIEF* (alto, tenor, or bass) THREE DWARF, becomes THREE THIEF* (alto, tenor, or bass) FOUR DWARF, becomes FOUR THIEF* (alto, tenor, or bass) FIVE DWARF, becomes FIVE THIEF*(alto, tenor, or bass) PUSS IN BOOTS *major singing roles Bit Parts Played by Chorus Members RUMPELSTILTSKIN, becomes MILLER SLEEPING BEAUTY, becomes MILLER’S WIFE HANSEL, becomes HUSBAND FROG PRINCE & CHORUS FROG’s PRINCESS CINDERELLA, becomes BIRTH MOTHER (alto or mezzo) CINDERELLA’S STEPSISTER, becomes SERVANT SNOW WHITE’S PRINCE PEA PRINCESS GOLDEN GOOSE (or could be mechanical) SIX DWARF SEVEN DWARF CINDERELLA’s PRINCE (appears only in final scene) 2 Prologue (In blackout we hear LITTLE BLUE’s scream and WOLF’s growl from a distance, rapidly getting louder as lights come up to reveal Grimmlanders all gathered onstage. LITTLE BLUE (still dressed as Little Red Riding Hood), chased by WOLF, runs onstage. He rears over her, about to attack.) WOLF (howls) LITTLE BLUE (screams as music breaks) WOLF All the better to eat you with, my dear! (Both “break character” and begin laughing. Underscoring begins again.) LITTLE BLUE That was fun! WOLF Oh, I always love the chase scenes. (They see the rest of the Grimmlanders waiting for the celebration to start. Small patch of blue in an otherwise green sky.) WOLF Apologies, everyone. I didn’t realize you were here already. Let us begin! SCENE 1- Centennial celebration in Grimmland. (GOLDEN GOOSE in all her glory, shimmery and regal. Grimmlanders bow to her. Under- score.) WOLF Welcome one! Welcome all! Kings and Queens, Golden Goose, all fairy tale folk both good and back! All Ye who play your parts so well in the tales of Brothers Grimm! One hundred years since last we... (WOLF’s whiskers start trembling, causing him to want to sneeze, music tacit for sneeze) Ha- ha- choo! So sorry. Something wrong with my whiskers. ...since last we met to celebrate Grimmland. The Seven Dwarves will commence with a song of exultation. (During Dwarves intro GRETEL points at YOUNG LAD, as if asking her girl friends “Who is he?” They shrug as if to say “I don’t know.) song: CELEBRATE GRIMMLAND DWARVES (hoisting shovels and axes over their shoulders) ONE HUNDRED YEARS. ONE HUNDRED YEARS. UPON THIS HALLOWéD GROUND WE STANDETH, HO, HO, HO ONE HUNDRED YEARS OF WORK AND TOIL, HO HO HO WE COME TOGETHER SOMBER AND AUSTERE. OUR BEARDS HAVE GROWN A PINCH, ALMOST ANOTHER INCH. IT HAS BEEN SO LONG SINCE SNOW WHITE HAS FOUND HER PRINCE. THAT’S HOW WE KNOW IT’S BEEN ONE HUNDRED YEARS. ONE HUNDRED YEARS. RUMPELSTILTSKIN Give it a rest, knaves, afore I rip out yer vocal cords! (Break into laughter, fake jesting with swords, jabs, etc.) 3 ALL BACK AGAIN! WE’RE BACK AGAIN TO CELEBRATE GRIMMLAND. BACK AGAIN! WE’RE BACK AGAIN TO CELEBRATE GRIMMLAND. EVERY HUNDRED YEARS WE MEET TO CELEBRATE GRIMMLAND. BACK AGAIN! WE’RE BACK AGAIN TO CELEBRATE GRIMMLAND. (As chorus is repeated there are obvious changes affecting several of the characters. LIT- TLE BLUE (formerly Little Red Riding Hood) reverses her cape from red to blue. This is seen as a conscious, deliberate act, as opposed to other characters to whom changes are “happening”: BLUEBEARD’s beard turns pink, FROG PRINCE gains frog legs for arms, etc. This progresses throughout the song.) (add more characters and harmonies.) BACK AGAIN! WE’RE BACK AGAIN TO CELEBRATE GRIMMLAND. BACK AGAIN! WE’RE BACK AGAIN TO CELEBRATE GRIMMLAND. EVERY HUNDRED YEARS WE MEET TO CELEBRATE GRIMMLAND. BACK AGAIN! WE’RE BACK AGAIN TO CELEBRATE GRIMMLAND. IN THE STORIES. THAT’S WHERE WE LIVE. BOTH FAMILIAR AND UNEXPECTED. NO PLACE I’D RATHER BE THAN GRIMMLAND. RAPUNZEL IT’S SOMETIMES SCARY. GRETEL ALWAYS BEAUTIFUL. WOLF & GRETEL IT CAN BE STRANGE ALL BUT EACH ONE HAS A PART TO PLAY SO WE PLAY EVERY DAY FOREVER AND EVER. FOREVER AND EVER. FOREVER, BUT SOMETHING EERIE IS HAPPENING. SOMETHING STRANGER THAN USUAL. I’VE FELT IT. I’VE FELT IT. WE FEEL IT. WHAT IS IT? BLUE BEARD (his beard is pink) DO I LOOK A LITTLE ODD? CINDERELLA Yes, you look a little odd. WOLF A little odd, I’d say. HANSEL Ha ha! Now we’ll call you Pink Beard. CHORUS Pink Beard! Pink Beard! BLUE BEARD Not so. Am not. I’m Blue Beard! RAPUNZEL (her hair is shorn) DO I LOOK A LITTLE WEIRD? SNOW WHITE 4 Where’s your hair, Rapunzel? (more changes continue to affect characters as next chorus is sung, singing becomes a little more sparse and hesitant) CHORUS AH, FORGET! LET’S CELEBRATE! BACK AGAIN! WE’RE BACK AGAIN TO CELEBRATE GRIMMLAND. BACK AGAIN! WE’RE BACK AGAIN TO CELEBRATE GRIMMLAND. EVERY HUNDRED YEARS WE MEET TO CELEBRATE GRIMMLAND. BACK AGAIN! WE’RE BACK AGAIN TO CELEBRATE GRIMMLAND. SNOW WHITE’S PRINCE (pulls out his sword exuberantly as if to conduct n the air) One more time! (With a disapproving look, WOLF signals SNOW WHITE’S PRINCE to sheathe his sword.) CHORUS BACK AGAIN! WE’RE BACK AGAIN TO CELEBRATE GRIMMLAND. (Chorus starts to thin more as some lose the words or can’t remember what they’re cele- brating) BACK AGAIN! WE’RE BACK AGAIN TO CELEBRATE GRIMMLAND. EVERY HUNDRED YEARS WE MEET TO CELEBRATE....(pause) SIX ...celebrate what? RUMPELSTILTSKIN Grimmland, you numbskull! SOME GRIMMLAND. BACK AGAIN! WE’RE BACK AGAIN TO CELEBRATE...... (GOLDEN GOOSE squawks and disappears - as music abruptly ends leaving behind several feathers. SNOW WHITE’S PRINCE pulls out his sword again and waves it around, trying to challenge whatever took Golden Goose away.) CHORUS (screams from crowd as music cuts.) Where did she go? What happened? Golden Goose! Come back! (music tentatively resumes) SOMETHING EERIE IS HAPPENING. SOMETHING STRANGER THAN USUAL. RAPUNZEL I MEAN IT. THIS SCARES ME. GRETEL GOLDEN GOOSE. CHORUS WHERE IS SHE? PUSS IN BOOTS Meow meow meow meow meow? 5 SLEEPING BEAUTY Puss? Why are you talking like that? (yawns) SNOW WHITE’S STEPMOTHER (looks into mirror) Snow White is definitely prettier. Oh, well! DO I ACT A LITTLE WEIRD? SNOW WHITE You must be seriously ill, Stepmother! SLEEPING BEAUTY AH, FORGET IT. LET’S... (falls asleep, snoring loudly as music ends abruptly SLEEPING BEAUTY’S PRINCE Dear? Wake up, dear. Sleeping Beauty. My Love! (She continues to sleep and snore) PEA PRINCESS You want to know about me? You know, me, from “The Princess and The Pea.”? The sensitive one? Hah! I’m as calloused as a common scullery maid! I can sleep with a pea under my mattress or on a pile of rocks. Not a bruise upon my once delicate derriere. (SEVEN disappears without anyone noticing.) GRANNY Grand daughter, you’re wearing blue! What happened to your red cape? LITTLE BLUE I grabbed a piece of that! (pointing at patch of blue, underscored with fast arpeggio) Isn’t it pretty? CINDERELLA’S STEPMOTHER Take it off! It could be dangerous! LITTLE BLUE No! I like it! PUSS IN BOOTS (Can only meow while trying to talk) Meow! Mrrr. Excuse me. Meow! Mrrrrather embarrassing. CROWD What is he saying? Puss? BLUE BEARD I can’t summon a murderous thought. I can’t even hurt a flea. (He starts sobbing) SNOW WHITE’S STEPMOTHER (comforting him) I know just how you feel. WOLF (authoritatively) Have you forgotten where you are? Grimmland. Strange things happen here all the time. They always have. They always will. And I’m sure Golden Goose will return. Seven Dwarves; how about another rousing chorus to unify and lift our spirits? (Dwarves attempt to get in line, but with Seven missing there is some confusion.) ONE Certainly! (trying to count as Dwarves line us.) I’m number One, You are Two, Next is Three... Stand still. Once more. One, Two, Three, Four. Oh, there. Five. Six. Seven. 6 FIVE You’re counting Six twice. SIX Has anyone seen Seven? ONE (To THREE) You are Seven. THREE Brother, I am Three. (As they count themselves they simultaneously realize Seven is missing. Beleaguered, they put their axes and shovels down, leaning on them.) ONE Gentlemen, we have problem. TWO Horrible! Horrendous, too! SIX Never a brother is out of sight. That is not something that we do. song: WE ARE USED TO... SIX DWARVES WE ARE USED TO THINGS WE ARE USED TO. USED TO THE ODDNESS OF THINGS THAT WE KNOW. USED TO MICE PULLING A CARRIAGE. USED TO SPINNING STRAW INTO GOLD. USED TO GENIES ESCAPING FROM BOTTLES. USED TO DONKEYS WHO PLAY UPON LUTES. USED TO SHOES THAT CANNOT STOP DANCING. USED TO PUSSYCATS WEARING FINE BOOTS. BUT WE ARE NOT USED TO MISSING A BROTHER. WHAT HAS BECOME OF THE SEVENTH DWARF? SIX It must be the witch.
Recommended publications
  • Script Preview

    Script Preview

    EXPOSED! EIGHT 10-MINUTE SCENES ABOUT WHAT REALLY HAPPENED By Sean Abley, Michael Beyer, Jenny Kirkland-Laffey, Amy Seeley Copyright © 2013 by Sean Abley, Michael Beyer, Jenny Kirkland-Laffey, Amy Seeley, All rights reserved. ISBN: 1-60003-676-7 CAUTION: Professionals and amateurs are hereby warned that this Work is subject to a royalty. This Work is fully protected under the copyright laws of the United States of America and all countries with which the United States has reciprocal copyright relations, whether through bilateral or multilateral treaties or otherwise, and including, but not limited to, all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention and the Berne Convention. RIGHTS RESERVED: All rights to this Work are strictly reserved, including professional and amateur stage performance rights. Also reserved are: motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all forms of mechanical or electronic reproduction, such as CD-ROM, CD-I, DVD, information and storage retrieval systems and photocopying, and the rights of translation into non-English languages. PERFORMANCE RIGHTS AND ROYALTY PAYMENTS: All amateur and stock performance rights to this Work are controlled exclusively by Brooklyn Publishers, LLC. No amateur or stock production groups or individuals may perform this play without securing license and royalty arrangements in advance from Brooklyn Publishers, LLC. Questions concerning other rights should be addressed to Brooklyn Publishers, LLC. Royalty fees are subject to change without notice. Professional and stock fees will be set upon application in accordance with your producing circumstances. Any licensing requests and inquiries relating to amateur and stock (professional) performance rights should be addressed to Brooklyn Publishers, LLC.
  • An Analysis of the Devil in the Original Folk and Fairy Tales

    An Analysis of the Devil in the Original Folk and Fairy Tales

    Syncretism or Superimposition: An Analysis of the Devil in The Original Folk and Fairy Tales of the Brothers Grimm Tiffany Stachnik Honors 498: Directed Study, Grimm’s Fairy Tales April 8, 2018 1 Abstract Since their first full publication in 1815, the folk and fairy tales of the Brothers Grimm have provided a means of studying the rich oral traditions of Germany. The Grimm brothers indicated time and time again in their personal notes that the oral traditions found in their folk and fairy tales included symbols, characters, and themes belonging to pre-Christian Germanic culture, as well as to the firmly Christian German states from which they collected their folk and fairy tales. The blending of pre-Christian Germanic culture with Christian, German traditions is particularly salient in the figure of the devil, despite the fact that the devil is arguably one of the most popular Christian figures to date. Through an exploration of the phylogenetic analyses of the Grimm’s tales featuring the devil, connections between the devil in the Grimm’s tales and other German or Germanic tales, and Christian and Germanic symbolism, this study demonstrates that the devil in the Grimm’s tales is an embodiment of syncretism between Christian and pre-Christian traditions. This syncretic devil is not only consistent with the history of religious transformation in Germany, which involved the slow blending of elements of Germanic paganism and Christianity, but also points to a greater theme of syncretism between the cultural traditions of Germany and other
  • Abstract Rereading Female Bodies in Little Snow-White

    Abstract Rereading Female Bodies in Little Snow-White

    ABSTRACT REREADING FEMALE BODIES IN LITTLE SNOW-WHITE: INDEPENDENCE AND AUTONOMY VERSUS SUBJUGATION AND INVISIBILITY By Dianne Graf In this thesis, the circumstances and events that motivate the Queen to murder Snow-White are reexamined. Instead of confirming the Queen as wicked, she becomes the protagonist. The Queen’s actions reveal her intent to protect her physical autonomy in a patriarchal controlled society, as well as attempting to prevent patriarchy from using Snow-White as their reproductive property. REREADING FEMALE BODIES IN LITTLE SNOW-WHITE: INDEPENDENCE AND AUTONOMY VERSUS SUBJUGATION AND INVISffiILITY by Dianne Graf A Thesis Submitted In Partial Fulfillment of the Requirements For the Degree of Master of Arts-English at The University of Wisconsin Oshkosh Oshkosh WI 54901-8621 December 2008 INTERIM PROVOST AND VICE CHANCELLOR t:::;:;:::.'-H.~"""-"k.. Ad visor t 1.. - )' - i Date Approved Date Approved CCLs~ Member FORMAT APPROVAL 1~-05~ Date Approved ~~ I • ~&1L Member Date Approved _ ......1 .1::>.2,-·_5,",--' ...L.O.LJ?~__ Date Approved To Amanda Dianne Graf, my daughter. ii ACKNOWLEDGEMENTS Thank you Dr. Loren PQ Baybrook, Dr. Karl Boehler, Dr. Christine Roth, Dr. Alan Lareau, and Amelia Winslow Crane for your interest and support in my quest to explore and challenge the fairy tale world. iii TABLE OF CONTENTS Page INTRODUCTION………………………………………………………………… 1 CHAPTER I – BRIEF OVERVIEW OF THE LITERARY FAIRY TALE AND THE TRADITIONAL ANALYSIS OF THE FEMALE CHARACTERS………………..………………………. 3 CHAPTER II – THE QUEEN STEP/MOTHER………………………………….. 19 CHAPTER III – THE OLD PEDDLER WOMAN…………..…………………… 34 CHAPTER IV – SNOW-WHITE…………………………………………….…… 41 CHAPTER V – THE QUEEN’S LAST DANCE…………………………....….... 60 CHAPTER VI – CONCLUSION……………………………………………..…… 67 WORKS CONSULTED………..…………………………….………………..…… 70 iv 1 INTRODUCTION In this thesis, the design, framing, and behaviors of female bodies in Little Snow- White, as recorded by Wilhelm and Jacob Grimm will be analyzed.
  • Adaptation from Fairy Tale to Film III

    Adaptation from Fairy Tale to Film III

    White as Snow: Adaptation from Fairy Tale to Film By Corina Brown Bachelor of Arts and Media This Thesis is presented for the Honours degree of Media in Screen Production at Murdoch University Declaration: I declare that this thesis is my own account of my research and contains, as its main content, work that has not previously been submitted for a degree at any tertiary educational institution, including Murdoch. Signed: _____________________________ Full Name: Corina Brown Student Number: 31249445 Date: 1/11/2016 II Abstract Most research into adaptation studies focuses on comparison between the source text and the filmic adaptation. Conversely, this dissertation looks at the adaptation process in practice, following the process of adapting a fairy tale to the screen from conceptualisation to the final film. To do this, this dissertation examines the generic context of the fairy tale adaptation, the screen-writing process, and the film-making process in order to understand how filmic intertextuality and extratextuality can influence the role the source text plays in a filmic adaptation. This dissertation includes an exegesis, the original fairy tale, the final White as Snow locked script, and the final film, all of which need to be read and understood for the purposes of this study. These elements examine the process of the filmic adaptation of a popular fairy tale, “Little Snow White” by the Brothers Grimm. The significance of this research lies in the practical approach, analysing the adaptation process from the perspective of the film-maker, rather than a simple comparison of the source text and the final product of the film.
  • Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales

    Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales

    University of Kentucky UKnowledge Folklore Anthropology 7-5-2002 Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales Jack Zipes Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Zipes, Jack, "Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales" (2002). Folklore. 15. https://uknowledge.uky.edu/upk_folklore/15 Breaking the Magic Spell Publication of this volume was made possible in part by a grant from the National Endowment for the Humanities. Copyright O 1979 by Jack Zipes Published 2002 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. - Editorial and Sales Ofices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Library of Congress Cataloging-in-Publication Data Zipes, Jack Breaking the magic spell. 1. Tales, European-History and criticism. 2. Literature and society. I. Title ISBN-10: 0-8131-9030-4 (paper) ISBN-13: 978-0-8131-9030-3 This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials.
  • The Tales of the Grimm Brothers in Colombia: Introduction, Dissemination, and Reception

    The Tales of the Grimm Brothers in Colombia: Introduction, Dissemination, and Reception

    Wayne State University Wayne State University Dissertations 1-1-2012 The alest of the grimm brothers in colombia: introduction, dissemination, and reception Alexandra Michaelis-Vultorius Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Part of the German Literature Commons, and the Modern Languages Commons Recommended Citation Michaelis-Vultorius, Alexandra, "The alet s of the grimm brothers in colombia: introduction, dissemination, and reception" (2012). Wayne State University Dissertations. Paper 386. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. THE TALES OF THE GRIMM BROTHERS IN COLOMBIA: INTRODUCTION, DISSEMINATION, AND RECEPTION by ALEXANDRA MICHAELIS-VULTORIUS DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2011 MAJOR: MODERN LANGUAGES (German Studies) Approved by: __________________________________ Advisor Date __________________________________ __________________________________ __________________________________ __________________________________ © COPYRIGHT BY ALEXANDRA MICHAELIS-VULTORIUS 2011 All Rights Reserved DEDICATION To my parents, Lucio and Clemencia, for your unconditional love and support, for instilling in me the joy of learning, and for believing in happy endings. ii ACKNOWLEDGEMENTS This journey with the Brothers Grimm was made possible through the valuable help, expertise, and kindness of a great number of people. First and foremost I want to thank my advisor and mentor, Professor Don Haase. You have been a wonderful teacher and a great inspiration for me over the past years. I am deeply grateful for your insight, guidance, dedication, and infinite patience throughout the writing of this dissertation.
  • Little Snow-White

    Little Snow-White

    Little Snow-White Germany, Jacob and Wilhelm Grimm Once upon a time in mid winter, when the snowflakes were falling like feathers from heaven, a beautiful queen sat sewing at her window, which had a frame of black ebony wood. As she sewed, she looked up at the snow and pricked her finger with her needle. Three drops of blood fell into the snow. The red on the white looked so beautiful, that she thought, "If only I had a child as white as snow, as red as blood, and as black as this frame." Soon afterward she had a little daughter that was as white as snow, as red as blood, and as black as ebony wood, and therefore they called her Little Snow-White. Now the queen was the most beautiful woman in all the land, and very proud of her beauty. She had a mirror, which she stood in front of every morning, and asked: Mirror, mirror, on the wall, Who in this land is fairest of all? And the mirror always said: You, my queen, are fairest of all. And then she knew for certain that no one in the world was more beautiful than she. Now Snow-White grew up, and when she was seven years old, she was so beautiful, that she surpassed even the queen herself. Now when the queen asked her mirror: Mirror, mirror, on the wall, Who in this land is fairest of all? The mirror said: You, my queen, are fair; it is true. But Little Snow-White is still A thousand times fairer than you.
  • Princess: the Hopeful

    Princess: the Hopeful

    Princess: the Hopeful Princess: the Hopeful is a collaborative effort of posters on the RPGnet forums Special Thanks To: Azunth, Cruton, EarthScorpion, Huitzil, Kearin, Luc “Nickname” French, Michael Brazier, Naomi Li, TheKingsRaven, and everyone else on RPGnet and elsewhere helped in the development of Princess: the Hopeful. Introduction My name is Shoutan Himei. I’m sixteen years old, and I’m very tired. – Sailor Nothing No matter how old we may be now, all of us were once young. The world was unexplored and exciting, full of possibility. What we lacked in experience and wisdom, we made up for in possibility and enthusiasm. We dreamed of fame, fortune, wealth, glory, respect. We wanted to be astronauts, cowboys, firemen, doctors, singers, rock stars, or all of the above at once. After all, we didn’t know what was possible – and that meant ANYTHING was possible. We looked at the world through guileless eyes, felt it as fully and intensely as anyone ever could. When we came to a new idea, we embraced it zealously and whole-heartedly, convinced we’d found the secret that would change the world. When we loved, we were convinced it was the most passionate ever felt; when we hurt, we thought it was a tragedy the likes of which had never been seen. We were convinced that we had the whole thing figured out, that we could make everything perfect if we just had a chance, if the grown-ups would just listen. After all, we could do anything if we put our mind to it.
  • Snow White and the Seven Dwarfs: New Perspectives on Production, Reception, Legacy

    Snow White and the Seven Dwarfs: New Perspectives on Production, Reception, Legacy

    Holliday, Christopher, and Chris Pallant. "Introduction: Into the burning coals." Snow White and the Seven Dwarfs: New Perspectives on Production, Reception, Legacy. Ed. Chris Pallant and Christopher Holliday. New York: Bloomsbury Academic, 2021. 1–22. Bloomsbury Collections. Web. 30 Sep. 2021. <http://dx.doi.org/10.5040/9781501351198-005>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 30 September 2021, 04:44 UTC. Copyright © Chris Pallant and Christopher Holliday 2021. You may share this work for non- commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 1 Introduction: Into the burning coals Christopher Holliday and Chris Pallant The wicked woman uttered a curse, and she became so frightened, so frightened, that she did not know what to do. At fi rst she did not want to go to the wedding, but she found no peace. She had to go and see the young queen. When she arrived she recognized Snow-White, and terrorized, she could only stand there without moving. Then they put a pair of iron shoes into burning coals. They were brought forth with tongs and placed before her. She was forced to step into the red-hot shoes and dance until she fell down dead. 1 To undertake a scholarly project on the Wonderful World of Disney, in particular one focused on the historical, cultural and artistic signifi cance of its celebrated cel-animated feature fi lm Snow White and the Seven Dwarfs (David Hand, 1937), is an endeavour that often feels like jumping headlong ‘into burning coals’.
  • Grimms Fairy Tales Free

    Grimms Fairy Tales Free

    FREE GRIMMS FAIRY TALES PDF George Cruikshank,Jacob Grimm,Grimm Brothers,Wilhelm Grimm | 400 pages | 17 Jun 2011 | Penguin Books Ltd | 9780141331201 | English | London, United Kingdom The Brothers Grimm fairy tales had unexpected origins The first edition contained 86 stories, and by the seventh edition inhad unique fairy tales. Philipp was a highly regarded district magistrate in Steinau, near Kassel. Jacob and Wilhelm were sent Grimms Fairy Tales school for a classical education Grimms Fairy Tales they were of age, while their father was working. They were very hard-working pupils throughout their education. However, intheir father died at the age of 44 from pneumonia. This was a tragic time for the Grimms because the family lost all financial support Grimms Fairy Tales relied on their aunt, Henriette Zimmer, and grandfather, Johanne Hermann Zimmer. At the age of 11, Jacob was compelled to be head of the household and provide for his family. After downsizing their home because of financial reasons, Henriette sent Jacob and Wilhelm to study at the prestigious high school, Lyzeum, in Kassel. In school, their grandfather wrote to them saying that because of their current situation, they needed to apply themselves industriously to secure Grimms Fairy Tales future welfare. Shortly after attending Lyzeum, their grandfather died and they were again left to themselves to support their family in the future. The two became intent on becoming the best students at Lyzeum, since they wanted to live up to their deceased father. They studied more than twelve hours a day and established similar work habits. They also shared the same bed and room at school.
  • The Green Fairy Book

    The Green Fairy Book

    THE GREEN FAIRY BOOK EDITED BY ANDREW LANG 1892 CONTENTS To The Friendly Reader The Blue Bird The Half-Chick The Story Of Caliph Stork The Enchanted Watch Rosanella Sylvain And Jocosa Fairy Gifts Prince Narcissus And The Princess Potentilla Prince Featherhead And The Princess Celandine The Three Little Pigs Heart Of Ice The Enchanted Ring The Snuff-Box The Golden Blackbird The Little Soldier The Magic Swan The Dirty Shepherdess The Enchanted Snake The Biter Bit King Kojata Prince Fickle And Fair Helena Puddocky The Story Of Hok Lee And The Dwarfs The Story Of The Three Bears Prince Vivien And The Princess Placida Little One-Eye, Little Two-Eyes, And Little Three-Eyes Jorinde And Joringel Allerleirauh; Or, The Many-Furred Creature The Twelve Huntsmen Spindle, Shuttle, And Needle The Crystal Coffin The Three Snake-Leaves The Riddle Jack My Hedgehog The Golden Lads The White Snake The Story Of A Clever Tailor The Golden Mermaid The War Of The Wolf And The Fox The Story Of The Fisherman And His Wife The Three Musicians The Three Dogs 1 TO THE FRIENDLY READER This is the third, and probably the last, of the Fairy Books of many colours. First there was the Blue Fairy Book; then, children, you asked for more, and we made up the Red Fairy Book; and, when you wanted more still, the Green Fairy Book was put together. The stories in all the books are borrowed from many countries; some are French, some German, some Russian, some Italian, some Scottish, some English, one Chinese.
  • Power, Totalitarianism and the Fairy Tale Ideal

    Power, Totalitarianism and the Fairy Tale Ideal

    The Horror Of "Happily Ever After": Power, Totalitarianism and the Fairy Tale Ideal Jeremy E. DeVito B.A., Mount Allison University, 1999 Thesis submitted in partial fulfillment of the requirements for the Degree of Master of Arts (English) Acadia Universiiy Fall Convocation 200 1 Q by Jeremy E. DeVito, 200 1 I, Jeremy E. DeVito, grant permission to the University Librarian at Acadia University to reproduce, loan, or distrubute copies of my thesis in microform, paper or electronic formats on a non-profit basis. I, however, retain the copyright in my thesis. Signature of Author Date Contents Abstract Key To Citations Acknowledgernents Introduction A Note on Michel Foucault and the Fairy Tale Ideal Chapter 1- Fairy Tale Crisis: Stepmothers, Spiinters and Peas (Oh My!) Flaws and imperfections (and the sleeping patterns of Princess's) Contlicting visions and fairy taie rivalry: a struggle for dominance Deviant invasion (or what happens when the wolves are not kept at bay) Food intentions and the failure to devour Chapter II - Fairy Tale Resolution: Destruction, Conformity, and Isolation "Little Red Riding Hood" and the fairy tale ideal AnnihiIating deviance: to devour and destroy Conforming deviance: the production of docile bodies Keeping deviance out: brick tvalls and locked doors .. '-Honibly Ever Afier" Chapter III - Fairy Tale Alternatives: Revisioning "Happily Ever After" (Re)visions of the tàiry tale ideal Equal time for differing points of view Anne Sexton's Transformations: an interrogation A different approach: resisting closure, finding fault with perfection The anti-fairy-tale Concl usion Works Cited Works Consulted Appendix: Famous Last Words Abstract While many various approaches have been taken to the study of fairy tales this thesis aims at introducing to the field an approach that has not been put to extensive use.