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From Animated Film to Theatrical Spectacle: A Semiotic Analysis of the Scenography and Re-creation of Beauty and the Beast (1994) and The Lion King (1997). By Kirsten Laura Tait Submitted in partial fulfillment of the requirements for the degree of Masters of Arts (coursework) in the Drama and Performance Studies Programme, University of KwaZulu-Natal, Durban, 2010. Supervisor: Professor Mervyn McMurtry i DECLARATION I declare that this dissertation is my own work unless specifically referenced within the text. It is being submitted for the Degree of Master of Arts (Coursework) in the Faulty of Humanities, Development and Social Sciences, University of KwaZulu-Natal, Durban. ___________________________ Kirsten Laura Tait ii ACKNOWLEDGEMENTS I would like to thank the following people for their support, guidance, advice, assistance and patience: Mervyn McMurtry (my supervisor) Stanley Meyer Walt Disney Theatrical Productions Rowin Munsamy Harriet MacDonald Jenni Tait Larry Tait Judith Tait Jonathan O’Connor iii Abstract: This dissertation aims to analyse the re-creation and transformation of animated films into theatrical spectacles, by examining two Walt Disney animations and productions as case studies: Beauty and the Beast (1991 & 1994) and The Lion King (1994 & 1997), designed by Stanley Meyer (Beauty and the Beast [1994]) and Julie Taymor (The Lion King [1997]), respectively. Through a semiotic analysis of the productions viewed in the Monte-Teatro in Johannesburg (Beauty and the Beast [2007]) and the Lyceum in London (The Lion King [2010]), the scenographic choices of the designers are examined to ascertain the ways in which the re-creation and transformation from animation to theatre occurs. A study of the different styles is conducted, as the case studies were visually different from each other, and from their animated counterparts. Each case study contributes to an understanding of the process whereby an animated film can be transformed and re-created for the theatre. An investigation into The Walt Disney Company, from its inception to its present day theatrical productions, is undertaken to illustrate how The Walt Disney Company has become an influential force in the international performance industry. Responses by reviewers are used to demonstrate how The Walt Disney Company was influenced to alter the conceptual approach for its subsequent theatrical production. To aid in the analysis of the scenographic designs, the theoretical writings of Martin Esslin (1987) and Keir Elam (1980) are consulted to develop an understanding of how designs are integral to the reception of any production. Developments of scenography are explored from Aristotle who states that theatre does not need any spectacle (design) to portray the poetry of the performance, to Sternfeld’s analysis of megamusicals which illustrates the spectacular designs that have become integral to the development of certain productions, and genres. Using Wickstrom’s article on The Lion King an examination of how the commodities produce meaning from the production is undertaken. This dissertation provides insight into the development of scenographic designs and the re- creation and transformation of specific elements from animated film to theatrical spectacle through an appropriation of theories about transposing theatre into film (Egil Tornqvist, 2009). This, in conjunction with Guy Debord’s theories (1995) on the society of the spectacle, aids in the analysis of the spectacle/scenography. iv TABLE OF CONTENTS CONTENTS PAGE Title i Declaration ii Acknowledgements iii Abstract iv Table of contents v INTRODUCTION 1 CHAPTER ONE The Development of The Walt Disney Company from Animation to Theatre 4 1.1 The Role of The Walt Disney Company in Transforming Different Entertainment Avenues 4 1.1.1A Study of the Influences of The Walt Disney Company 6 1.1.2 Disney Theatrical Productions and the Renovation of 42nd Street 8 1.2 Animated Films and Theatrical Spectacles 10 1.2.1 The Re-creation and Transformation of Animated Films into Theatrical Spectacles 13 1.3 Representations and Signs 15 1.3.1 The Use of Semiotics in Theatre 17 1.3.2 Employing Semiotics to Analyse Theatrical Designs 20 1.3.3 Design Elements that Influence the Semiotic Nature of Theatre Productions 22 1.3.4 Why Semiotics? 23 CHAPTER TWO From Spectacle to Spectacular 25 2.1 The Spectacle: Aristotle’s consideration 25 2.1.1 Spectacle and Spectacular Uses 26 2.1.2 The Influences of Media Spectacles on Theatre 28 2.1.3 Engagement with Scenographic Elements 29 2.2 Megamusical’s Use of the Spectacle 30 2.2.1 The Scenography of Megamusicals 33 v CHAPTER THREE The Iconic Nature of Beauty and the Beast (1994) 36 3.1 The Beginning of a New Venture 36 3.1.1 Short Theatre Productions Based on Walt Disney Animated Films 36 3.1.2 The Creative Team and Their Initial Ideas 37 3.2 Conceptualisation on the Road to Broadway 38 3.2.1 Critical Reviews of Beauty and the Beast on Broadway 41 3.3 The Scenographic Designs of the Production 42 3.3.1 The Village 49 3.3.2 The Castle 52 3.4 Animated Influences that were Recreated 58 3.5 Conclusion 61 CHAPTER FOUR The Walt Disney Company Creates a Spectacle with The Lion King (1997) 63 4.1 Inspired by the Challenges 63 4.1.1 Julie Taymor – A Different Background 64 4.1.2 The Conceptualisation of The Lion King (1997) 65 4.1.3 Cross-Culturalism 69 4.1.4 Critical Response 72 4.2 The Scenographic Concepts 73 4.2.1 Pride Rock 79 4.2.2 The Elephant Graveyard 82 4.2.3 The Jungle 85 4.3 Puppets and Masks 87 4.4 Animated Influences 94 4.5 Conclusion 96 CONCLUSION 98 REFERENCE LIST 103 Primary Resources 103 Secondary Resources 103 vi Internet Resources 106 Figures 108 APPENDICES 112 A: Media Viewing of the Cape Town Performance of Beauty and the Beast: January 2009 112 B: Biography of Stanley Meyer 114 C: Electronic Interview with Stanley Meyer 115 D: Programme Notes for the Production of Beauty and the Beast (2008) 117 E: Biography of Julie Taymor 119 F: Interviews with various Personnel 120 G: Programme Notes from The Lion King (2007) 126 H: Beauty and the Beast: Plot 128 I: The Lion King: Plot 130 vii Introduction When I sit alone in a theatre and gaze into the dark space of its empty stage, I‟m frequently seized by fear that this time I won‟t manage to penetrate it, and I always hope that this fear will never desert me. Without an unending search for the key to the secret of creativity, there is no creation. It‟s necessary always to begin again. And that is beautiful. - Josef Svoboda (Scenography, 2010) The creativity of theatre designers allows for the empty space of the stage to be filled with objects that draw audiences to watch the productions. The scenography consists not only of the scenic design but also includes the influences that the costume and lighting have on the scenic elements, and the image presented. The scenography connotes the image of the production and ultimately how the production will be received. The importance of scenography has altered throughout theatre history and has become increasingly important in contemporary theatre productions. The use of scenography in musical theatre is one of the aspects that influence how the production is perceived by the audience and actors alike. While not all theatre genres may translate into commercial undertakings, there are some that thrive only when audiences are awed and amazed by the theatricality of the performances, as in the megamusical (Jessica Sternfeld, 2006). In the megamusical the dark empty space of the stage space is enlightened and transformed into something or somewhere else. It can be an enchanted castle, as in Beauty and the Beast (1994)1, or the African savannah, as in The Lion King (1997)2. As Svoboda (Scenography, 2010) says, “without an unending search for the key to the secret of creativity, there is no creation”. The design for spectacles is constantly changing, developing, searching for something new and different that will appeal to audiences in a local and global context. Through the search for new ways to create productions influenced by cross-cultural developments, theatre designers are inspired to develop their ideas and designs further. For the stage productions of Beauty and the Beast (1994) and The Lion King (1997) the scenography had to be innovative to represent the images in a new medium and context, but still be able to be visually recognisable to audiences who know the images from the animated 1 Unless otherwise stated, this is the date of the original production of Beauty and the Beast and the date of the production used for the analysis. 2 Unless otherwise stated, this is the date of the original production of The Lion King and the date of the production used for the analysis. 1 films. An exploration of the nature of the designs in the transformation of mediums, and the changing of the designs in the different contexts in theatre productions is undertaken. This development, or constant searching, is made evident in this following dissertation. Initially the development is related to the improvement of spectacle within theatre; from Aristotle who states that theatre does not need any spectacle (design) to portray the poetry of the performance, to Sternfeld‟s analysis of megamusicals which illustrates the spectacular designs that have become integral to the development of certain productions, and genres. The development also encompasses the re-creation and transformation of animated films to theatre spectacles. This is explored through the interpretion of two animated films that have been transformed into theatrical productions, namely Beauty and the Beast (1991 & 1994) and The Lion King (1994 & 1997).

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