Metamorphosis is the transformative quality that allows development, change, and growth, for both characters and stories. The final section brings together the textual and contextual analyses, showing that the uses of metamorphosis in the two films are acts of self-reference, calling attention to, and self-consciously addressing, some of the specificities of animation as a medium. The wider theoretical concerns about animation are then examined, investigating metamorphosis and identity as key elements of the medium, and exploring the theoretical approaches of Serge Eisenstein and Miriam Hansen. The first section is a critical investigation into the uses of metamorphosis in each film, and shows that the processes of change are central to the characters’ ability to build, deconstruct, and reform their identities. This essay compares and contrasts the ways in which Aladdin (Clements and Musker 1992) and Summer Wars (Hosoda 2009) reflexively examine animation as a medium. In the ancient bazaar of an Arabian city, and an alternate reality in which lives are lived online, the inherently powerful process of metamorphosis enables love to flourish, slaves to be emancipated, and the world to be saved. In this way power is invested in the metamorphic qualities of the storytelling form itself: its ability to change, and be changed by the storyteller. The metamorphosis continued when, as Wingfield and Karaman (1995) have reported, a 10-year-old school girl was able to convince her music teacher to change the lines of one of the Disney Aladdin songs for a school production, as she found it to be offensive to Arabs. An unnamed Middle Eastern country would have been much easier to sell to investors, especially at a time when Disney was expanding its media conglomerate and parks. However the political incentive for Disney to do this in 1993 is clear: Sino-American relations had been significantly disrupted by the PRC’s attack on demonstrators at Tian’anmen Square in 1989. The original version is set in Chinese Islam, though various adaptations, including the Disney film, have relocated the action to a non-specific Arabia Deserta, superficially aligning the story more closely with the Arabian Nights mythology. By subtly changing the emphasis of the story, producers of the pantomime were empowered to choose between instilling a political message, or focusing on the dramatic elements. The theme of imprisoned genies is a metaphor for slavery, and the first stage production took place in London in 1788, when anti-slavery sentiments were widespread. This is largely due to its annual reinterpretation in pantomime, and the Disney adaptation. One of the Galland stories was Aladdin, and it has since become arguably the most popular tale in the Arabian Nights collection, at least in Western Europe and the United States. Antoine Galland, the French translator of One Thousand and One Nights began “spiritedly making up his own fictions” (Warner 2002, p.144) and inserting them into his book of 1702, Les Mille et Une Nuits. ![]() 19.Stories themselves, in their telling and retelling, undergo a reflexive metamorphosis. Role assignments will be sent home on Friday, Nov. Regardless of the assigned role, all students are expected to be present at all shows. Students assigned to a main role will be playing in half the shows while students with supporting roles will perform in all shows. To be fair and consistent to all students, we ask for all family and friends to remain outside of the gym during the auditions. It is the student’s responsibility to remember his / her audition time. Sign-up sheets will be posted outside the music room. To audition, participating students must sign-up for an audition time. Here is a YouTube playlist to practice the ALADDIN songs: Here is a link to a sample practice script: ![]() Scroll down and open the AUDITION CENTRAL section. Important audition info (role descriptions, required acting and singing excerpt) will be found at ![]() Here are 3 videos from our choreographer so you can prepare for the movement part of the audition: 6.Įach audition includes SINGING, ACTING & DANCING. We will have our production team in attendance to observe all auditions on Nov. 6 is the only day we’ll be holding auditions. Sign up sheets will soon be posted outside of the music room. SATURDAY, NOVEMBER 6th in the Kincaid Gym.
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