The Phantom of the Opera the Phantom of the Opera the Phantom of Th by Gaston Leroux (1868-1927)

Total Page：16

File Type：pdf, Size：1020Kb

The Phantom of the Opera the Phantom of the Opera the Phantom of Th by Gaston Leroux (1868-1927)

The Phantom of the Opera Opera the of Phantom The The Phantom of the Opera th of Phantom The by Gaston Leroux (1868-1927) Over the years, strange things have been happening at the Paris Opéra. The new owners don't know what to do about the mysterious "Opera Ghost" demanding money, nor the tragic death of the chief scene-shifter. Now the young soprano, Christine Daae, has been kidnapped and her lover, the Vicomte de Chagny, is going mad. Could this all be the work of the mysterious Phantom of the Opera? Cast Narrator/Jammes: Libby Gohn Christine Daae: Charlotte Duckett General D--: Jason Mills A workman: Ernst Pattynama Opera e Sorelli: Grace M. Debienne: Elizabeth Klett Meg Giry: Eden Rea-Hedrick M. Poligny/Servant: Ric F A little ballerina: Lyn Silva M. Richard: Oxenhandler M. Moncharmin: Chris Marcellus M. Mifroid: Chuck Williamson Philippe, the Comte de Chagny: Lani Small Mme. Giry: Amanda Friday Mercier: John Trevithick Fonta: Alan Mapstone Raoul, the Vicomte de Chagny: mb Carlotta: CaprishaPage Landlady: April Gonzales Stage Manager: David Lawrence oMme. Valerius: Arielle Lipshaw The Persian: Algy Pug Gaston Leroux Gaston Erik, the Phantom of the Opera/Joseph Buquet/Gabriel: ToddHW Leroux Gaston Mrs. Jammes/Mme. Maniera/Young Christine/A friend of Carlotta's: Scheherazade The doctor/Daddy Daae/The valet/Remy/Darius: Wupperhippo M. Maniera/Doorkeeper/Young Raoul/Lachenel: Nathanial W.C. Higgins Audio edited by Charlotte Duckett Total running time: 8:44:38 Cover design: Kathryn Delaney Cover art: Performance of “Giselle” at the Paris Opera, 1867 .

Copy Link

Recommended publications

The Paris Opera House the SCENE of GASTON LEROUX's NOVEL, "THE PHANTOM of the OPERA" That Mr. Leroux Has Used, for Th
! Text appended to the 1910 volume publication of the novel, ! !The Phantom of the Opera, by Gaston Leroux! !The Paris Opera House THE SCENE OF GASTON LEROUX'S NOVEL, !"THE PHANTOM OF THE OPERA" That Mr. Leroux has used, for the scene of his story, the Paris Opera House as it really is and has not created a building out of his imagination, is shown by this interesting description of it taken from an article which appeared in Scribner's Magazine in 1879, !a short time after the building was completed: The new Opera House, commenced under the Empire and finished under the Republic, is the most complete building of the kind in the world and in many respects the most beautiful. No European capital possesses an opera house so comprehensive in plan and execution, !and none can boast an edifice equally vast and splendid. The site of the Opera House was chosen in 1861. It was determined to lay the foundation exceptionally deep and strong. It was well known that water would be met with, but it was impossible to foresee at what depth or in what quantity it would be found. Exceptional depth also was necessary, as the stage arrangements were to be such as to admit a scene fifty feet high to be lowered on its frame. It was therefore necessary to lay a foundation in a soil soaked with water which should be sufficiently solid to sustain a weight of 22,000,000 pounds, and at the same time to be perfectly dry, as the cellars were intended for the storage of scenery and properties.
[Show full text]
The Phantom of the Opera: a Case Study of Severe Major Depressive
essio epr n D an f d Tobia et al., J Depress Anxiety 2017, 6:4 o A l a n n x r DOI: 10.4172/2167-1044.1000282 i e u t y o J Journal of Depression and Anxiety ISSN: 2167-1044 Research Article Article Open Access The Phantom of the Opera: A Case Study of Severe Major Depressive Disorder with Psychotic Features Anthony Tobia*, Roseanne Dobkin, Shawen Ilaria, Rehan Aziz, Viwek Bisen and Adam Trenton Department of Psychiatry, Rutgers Robert Wood Johnson Medical School, USA Abstract Objective: Portrayals of psychiatry in the arts have been enjoyed by audiences for almost a century. Courses designed to teach psychopathology have used examples from the arts to emphasize major teaching points. This paper frames Elisabeth Kübler-Ross’s stage theory of grief within selected scenes of Andrew Lloyd Webber’s musical, The Phantom of the Opera, to achieve course objectives such as the etiology, course, and levels of severity of Major Depressive Disorder. Methods: Course content from our Psychopathology course was transformed into a dialogue between an examining psychiatrist and a Broadway performer who was in character. The performance was part of a special Grand Rounds reviewing the Mood Disorders. Results: Goals and objectives were readily achieved with over 450 faculties in attendance. Conclusions: Organizing a curriculum with performing arts is an innovative teaching method that allows for review of mental disorders such as those demonstrated in The Phantom of the Opera. Keywords: Media; Teaching methods; Depression; Psychopathology in character, responded in song. This paper reviews the major points from our event formulating the dialogue as a case of Major Depressive Introduction Disorder (MDD).
[Show full text]
Master Reference
Master Phantoms of the Source Text : Retranslation and the English Translations of Gaston Leroux's Le Fantôme de l'Opéra HEWITT, Rachel Abstract The retranslation hypothesis as it is understood today states that later translations of a given text tend to be closer to the source text both in terms of language and cultural impact than earlier translations. This hypothesis stems from an essay written by Antoine Berman in 1990. However, it has since been challenged by a number of theorists. This paper discusses the retranslation hypothesis and the criticism it has received. Through a critical analysis of Gaston Leroux's novel, Le Fantôme de l'Opéra, and its six English translations that span more than a century, this paper challenges the theories put forward by Berman in his essay and analyses various textual elements of Leroux's work and the choices made my those who translated it. Reference HEWITT, Rachel. Phantoms of the Source Text : Retranslation and the English Translations of Gaston Leroux's Le Fantôme de l'Opéra. Master : Univ. Genève, 2016 Available at: http://archive-ouverte.unige.ch/unige:92538 Disclaimer: layout of this document may differ from the published version. 1 / 1 Rachel Hewitt Phantoms of the Source Text: Retranslation and the English Translations of Gaston Leroux’s Le Fantôme de l’Opéra Directrice : Ashley Riggs Juré : James Tarpley Mémoire présenté à la Faculté de traduction et d’interprétation pour l’obtention de la Maîtrise universitaire en traduction, mention traduction spécialisée Université de Genève 2016 Hewitt !2 Déclaration attestant le caractère original du travail effectué J’affirme avoir pris connaissance des documents d’information et de prévention du plagiat émis par l’Université de Genève et la Faculté de traduction et d’interprétation (notamment la Directive en matière de plagiat des étudiant-e-s, le Règlement d’études de la Faculté de traduction et d’interprétation ainsi que l’Aide-mémoire à l’intention des étudiants préparant un mémoire de Ma en traduction).
[Show full text]
Gaston Leroux Ou Les Doubles Jeux De L'écriture
Gaston Leroux ou les doubles jeux de l’écriture Une certaine idée du bon goût pourrait nous éloigner de ces livres à couvertures colorées, Gaston Leroux à sa table de travail, Cliché Studio A. Well, aux titres évocateurs, dont les personnages étranges et fantasques ne semblent être là que Nice pour nous faire rire ou frissonner. Non, il n’est pas de bon ton de lire Gaston Leroux, de dévorer Vers 1919 Don des héritiers de Gaston un Rouletabille ou les aventures de Chéri-Bibi, les farces passionnées et noires du Fantôme Leroux, 2004 de l’Opéra ou les mystères de Bénédict Masson. Les fins esprits affirment avec aisance BNF, Manuscrits, fonds Leroux, NAF 28093 que ces romans populaires n’ont rien à voir avec Stendhal, Victor Hugo ou Balzac. Certes ! Pourtant, si d’aventure, au cours d’une nuit particulièrement noire, la figure de Gaston Leroux venait vous visiter dans un rêve, ou si son œil malicieux photographié sur une affiche vous interpellait à l’improviste, ne vous demandez pas pourquoi ! Il est des lectures qui appellent, qui se rappellent avec ravissement afin d’accélérer votre pouls et de transformer votre espace de lecture en un monde où rien n’est impossible, où l’extravagance est reine, où l’écriture vous saute à la gorge comme un léopard sauvage, où la raison se débat pour ordonner le fantastique, où l’Histoire se perd dans les labyrinthes des innombrables chapitres, où l’humour est sans cesse présent, où les portraits d’hommes et de femmes vous éblouissent par leur acide clarté, où les références secrètes ou déclarées aux grands auteurs fourmillent.
[Show full text]
Allusions and Historical Models in Gaston Leroux's the Phantom of the Opera
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2004 Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera Joy A. Mills Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the French and Francophone Literature Commons, Other Theatre and Performance Studies Commons, and the Translation Studies Commons Recommended Citation Mills, Joy A., "Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera" (2004). Honors Theses. 83. https://scholarlycommons.obu.edu/honors_theses/83 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Gaston Leroux's 1911 novel, The Phantom of the Opera, has a considerable number of allusions, some of which are accessible to modern American audiences, like references to Romeo and Juilet. Many of the references, however, are very specific to the operatic world or to other somewhat obscure fields. Knowledge of these allusions would greatly enhance the experience of readers of the novel, and would also contribute to their ability to interpret it. Thus my thesis aims to be helpful to those who read The Phantom of the Opera by providing a set of notes, as it were, to explain the allusions, with an emphasis on the extended allusion of the Palais Garnier and the historical models for the heroine, Christine Daae. Notes on Translations At the time of this writing, three English translations are commercially available of The Phantom of the Opera.
[Show full text]
Lublin Studies in Modern Languages and Literature
Lublin Studies in Modern Languages and Literature VOL. 43 No 2 (2019) ii e-ISSN: 2450-4580 Publisher: Maria Curie-Skłodowska University Lublin, Poland Maria Curie-Skłodowska University Press MCSU Library building, 3rd floor ul. Idziego Radziszewskiego 11, 20-031 Lublin, Poland phone: (081) 537 53 04 e-mail: [email protected] www.wydawnictwo.umcs.lublin.pl Editorial Board Editor-in-Chief Jolanta Knieja, Maria Curie-Skłodowska University, Lublin, Poland Deputy Editors-in-Chief Jarosław Krajka, Maria Curie-Skłodowska University, Lublin, Poland Anna Maziarczyk, Maria Curie-Skłodowska University, Lublin, Poland Statistical Editor Tomasz Krajka, Lublin University of Technology, Poland International Advisory Board Anikó Ádám, Pázmány Péter Catholic University, Hungary Monika Adamczyk-Garbowska, Maria Curie-Sklodowska University, Poland Ruba Fahmi Bataineh, Yarmouk University, Jordan Alejandro Curado, University of Extramadura, Spain Saadiyah Darus, National University of Malaysia, Malaysia Janusz Golec, Maria Curie-Sklodowska University, Poland Margot Heinemann, Leipzig University, Germany Christophe Ippolito, Georgia Institute of Technology, United States of America Vita Kalnberzina, University of Riga, Latvia Henryk Kardela, Maria Curie-Sklodowska University, Poland Ferit Kilickaya, Mehmet Akif Ersoy University, Turkey Laure Lévêque, University of Toulon, France Heinz-Helmut Lüger, University of Koblenz-Landau, Germany Peter Schnyder, University of Upper Alsace, France Alain Vuillemin, Artois University, France v Indexing Peer Review Process 1. Each article is reviewed by two independent reviewers not affiliated to the place of work of the author of the article or the publisher. 2. For publications in foreign languages, at least one reviewer’s affiliation should be in a different country than the country of the author of the article.
[Show full text]
The Characterization of Phantom in Gaston Leroux's the Phantom of the Opera by Shu-Ling Cheng (鄭淑玲) Adviser: Professor L
The Characterization of Phantom in Gaston Leroux’s The Phantom of the Opera BY Shu-Ling Cheng (鄭淑玲) Adviser: Professor Li-Li Lin (林莉莉) Department of Applied English Yuanpei University of Technology January 2010 Hsinchu, Taiwan, R.O.C. The article written by Shu-Ling Cheng has been accepted in its present form by Department of Applied English of Yuanpei University of Technology as satisfying the project requirement for the degree of Bachelor of Arts. Advisor ___________________________ Chairman of the Department ___________________________ January 2010 Acknowledgements I wish to thank my advisor, Professor Li-Li Lin, for her guidance and her being extraordinarily generous in helping me finish this paper. To my former partner, Naima, I wish to thank her for helping me find reference last semester and giving me some ideas. ii Abstract Based on the dark side of his personality, most critics assume that Phantom is a frenzied and violent person (JOYCE Y CHIOU, 2006; Pei Zhong Yang, 2006). This study aims at exploring the reason why he gives the reader such an impression and why we find that he is not so inhuman. We will put our emphasis on the weak side of his personality, on which he is full of sense of inferiority and hatred. Our conclusion is that Phantom is characterized as a human instead of a demon. iii TABLE OF CONTENTS Acknowledgements….………………………….…...................ii Abstract…………………………………….……………….....iii Introduction……………………………….…………………….1 Summary………………………………….…………………….1 Review of Literature……………………………………...…….1 Conclusion…………………………….…..……………………5 Work Cited…………………………………………………..….5 i Introduction The Phantom of the Opera is a French novel written by Gaston Leroux (1910). The novel was sold very poorly.
[Show full text]
The Phantom of the Opera
The Phantom of the Opera by Gaston Leroux Author of "The Mystery of the Yellow Room" and "The Perfume of the Lady in Black" eBook: https://www.gutenberg.org/ebooks/175 Audio book: https://librivox.org/the-phantom-of-the-opera-by-gaston-leroux/ Contents Prologue ..................................................................................................................................... 4 Chapter I Is it the Ghost? ......................................................................................................... 7 Chapter II The New Margarita .............................................................................................. 15 Chapter III The Mysterious Reason ...................................................................................... 22 Chapter IV Box Five ............................................................................................................... 27 Chapter V The Enchanted Violin .......................................................................................... 37 Chapter VI A Visit to Box Five .............................................................................................. 49 Chapter VII Faust and What Followed ................................................................................. 51 Chapter VIII The Mysterious Brougham ............................................................................. 63 Chapter IX At the Masked Ball ............................................................................................. 70 Chapter X Forget the
[Show full text]
The Phantom of the Opera
The Phantom of the Opera by GASTON LEROUX ABOUT THE BOOK CHAPTERS About the Opera House It is 1880, in the Opera House in 1. The Dancers Paris. Everybody is talking about the Phantom of the Opera, the 2. The directors of the Opera House ghost that lives somewhere under 3. Christine Daaé the Opera House. The Phantom 4. The Phantom is angry is a man in black clothes, a body without a head and a head 5. A letter for Raoul without a body. He has a yellow 6. La Carlotta sings Margarita face, no nose, and black holes for 7. My angel of music eyes. Everybody is afraid of the phantom – the singers, the 8. Where is Christine Daaé? dancers, the directors, the stage 9. The house on the lake workers... But who has actually 10. Madame Giry visits the Persian seen him? The Phantom of the Opera About the Opera House The Opera House in Paris is a very famous and beautiful building. It is the biggest Opera House in the world. Work on the building began in 1861, finished in 1875, and cost forty-seven million francs. lt has seventeen floors, ten above the ground, and seven under the ground. Behind and under the stage, there are stairs and passages and many, many rooms - dressing-rooms for the singers and the dancers, rooms for the stage workers, the opera dresses and shoes. There are more than 2,500 doors in the building. You can walk for hours and never see daylight, under the Paris Opera House.
[Show full text]
CAMERON MACKINTOSH and the REALLY USEFUL THEATRE COMPANY, INC
........................................................................................................................................................................................................................................... CAMERON MACKINTOSH and THE REALLY USEFUL THEATRE COMPANY, INC. present THE STUDY GUIDE FOR ™ Music by ANDREW LLOYD WEBBER Lyrics by CHARLES HART Additional Lyrics by RICHARD STILGOE Book by RICHARD STILGOE and ANDREW LLOYD WEBBER Based on the novel ‘Le Fantôme de L’Opéra’ by Gaston Leroux Production Design by MARIA BJÖRNSON Lighting by ANDREW BRIDGE Sound by MARTIN LEVAN Musical Staging and Choreography by GILLIAN LYNNE Directed by HAROLD PRINCE ........................................................................................................................................................................................................................................... Study Guide by Peter Royston THE PHANTOM OF THE OPERA LYRICS, MASK LOGO & TITLE TREATMENT © 1986 RUG PLC About the PHANTOM of the Opera ............................................................................................................................... ........................................................................ elcome to a strange new world! Andrew Lloyd Webber’s darkly W romantic musical about a mysterious “Opera Ghost” who inspires a young singer has become a legend, drawing standing-room audiences throughout the world. The Phantom of the Opera is a perfect way to introduce young people to the pleasures and
[Show full text]
Phantom of the Opera
A school production by arrangement with the really useful group Ltd. Solihull School Presents 19th - 23rd March 2013 Bushell hall Music by Andrew LLoyd webber Lyrics by ChArLes hArt Additional lyrics by riChArd stiLgoe book by riChArd stiLgoe & Andrew LLoyd webber based on the novel “Le Fantome de ‘l’opéra” by gAston Leroux originally directed by harold Prince orchestrations by david Cullen & Andrew Lloyd webber original production by Cameron Mackintosh and the really useful group Ltd. prologue it is 1911 and the contents of the Paris opera house are being auctioned off. Present are the auctioneer, porters and bidders. raoul, now seventy years old and in a wheelchair, buys a poster and a music box. As the auctioneer displays the opera house chandelier, he explains that it is connected with the legend of the Phantom of the opera. with a flash of light, the audience is flung back in time, when the Paris opera was at its height. act one we arrive in the middle of a rehearsal for the opera hannibal. Monsieur Lefèvre, the retiring manager of the opera, is showing the new managers, Monsieurs Firmin and André, the great stage. As the prima donna, Carlotta, is singing, a backdrop falls to the floor, nearly killing her. the cry is raised, “it’s the Phantom of the opera!” upset, Carlotta refuses to sing. Meg giry, daughter of the ballet mistress, Madame giry, suggests that her friend, Christine daaé, take Carlotta’s place. Christine has been taking lessons from a mysterious new teacher. witnessing her triumph in the opera is raoul, a nobleman and patron of the opera.
[Show full text]
Mckenna Dans Period 5 the Phantom of the Opera Gaston Leroux's
McKenna Dans Period 5 The Phantom of the Opera Gaston Leroux’s richly detailed novel and later adapted into a wildly popular stage show The Phantom of the Opera has dazzled audiences through the ages. The tone, mood, and theme of the play demonstrate the twisted mind of the Opera Ghost and his ever lasting love for the darling soprano Christine Daae. The play begins with an auction for recently discovered items at the now defunct Paris Opera House which closed under mysterious and deadly corollaries. The novel then follows the auction scene with the telling of events that ultimately led to the destruction of the opera house. Christine Daae, in opinion of the hostile Opera Ghost, holds a far superior voice to the presently occupied soprano Carlotta. The hideously distorted Opera Ghost’s hostility rises when a charming childhood friend of Christine, Raoul enraptures Christine’s heart. The Opera Ghost retaliates against the owners of the opera house by murdering Joseph Buquet, a stage hand, and collapsing a magnificent chandelier upon a full house. The Opera Ghost’s defense for slaying the theater and Buquet attributes to the all consuming love he retains for the unreciprocated Christine. The mood and tone for The Phantom of the Opera denotes a harried and worrisome atmosphere due to the volatile Opera Ghost. The theme of the play stresses the mania that surrounds a person who is so disfigured that he must be shied away from public sight. Though the Opera Ghost never truly gets what he wants, the passion between him and Christine has enchanted audiences throughout the decades.
[Show full text]