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Into the woods essayu
Into the woods synopsis essay
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Based on a series of Brothers Grimm fairy tales, Stephen Sondheim’s Into the Woods (1987) focuses on fairy tale characters such as Cinderella, Jack and Little Red Riding Hood’s wish of life fulfillment. Numerous fairy tales are intertwined with one new tale in attempt to carry the childhood stories into an adult realm without ridding of their child-based sensibilities. (Knapp, 2009.) Little Red’s song, “I know things now” is performed after she escapes the wolf’s belly. It is a reflection song on what she has learnt from the experience of speaking to strangers. Sondheim cleverly integrates musical devises such as key, modulation, pitch, accompaniment, dynamics, motif and rhythm alongside language and literary devices to contribute to the development and growth of the character and story.
Three discovery songs consist within act one whereby the characters reflect upon the hurdles they have faced and what they have learnt as outcome. (Rosen, 2010). During Little Red’s song, “I Know Things Now”, she learns the difference between “good and nice”, which all children come to learn with time. Red learns that a man (or wolf as Sondheim depicts him) may act nice when they want something from you. Little Red’s melodic theme, as per Figure 1, is repetitive, catchy and similar to a schoolyard. As simple and childlike as it seems, it is a transformation of what her ‘Mother said’ motif as per Figure 2, which has now been planted as a memory far in the distant. (Rosen, 2010). She has finally absorbed what she was informed and applied it as per her own realizations and conclusions. Through the use of this varied motif, Sondheim is showing the audience that she has finally absorbed what she was informed and applied it as per her own realizati...
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...sion, the solo song I Know Things Now by leading composer Stephen Sondheim is a definitive example of integration of musical and dramatic devises to develop the character as well as plot. The integral key of C Major and common time signature portray the simplicity of the character, however then delves into the confusion and heightened stakes with a range of accidentals and modulations as she describes descending the wolf’s stomach. Adopted from Hammerstein, Sondheim uses repetitious lyrics in order to allow the audience to understand and absorb completely. He uses literary devises to give voice to what Red has learnt from her adventure and in turn uses the song as an enabling therapy to progress the plotline by giving the cape to the Baker. Thus, Sondheim integrates a range of musical and dramatic devises to develop the character and thus correspondingly the story.
In the short thirty-nine years of the life of Harry Forster Chapin (1942-1981), he managed to distinguish himself as a creative genius in multiple fields, ultimately leaving a distinct mark on this world, though he received only moderate public recognition. Professionally, he was a musical performer and songwriter, a film editor, and a political activist and lobbyist, able to reach remarkable heights in all three fields. In the field of music, Chapin rose to stardom as a rock and roll performer and songwriter during the 1970's, introducing the world to a new style of music he created and popularized, the story-song. Within this new framework, Chapin was able to use his interest and proficiency in poetry to create song lyrics which told the story of a character or group of characters. He was able to weave wonderfully powerful tales of the lives of his characters in a few short stanzas, applying many traditional story-line techniques; a rising action which lead to a climax, followed by a falling action which usually revealed an unexpected twist, offering a recognizable message in the last few lyrics of the song. The subjects of these songs were generally based on Chapin's real life experiences and moods, and in this sense, he was able to express more honestly the feeling associated with the stories. Furthermore, Chapin went a step further by adding music to his stories, accentuating the changes in tone of the stories with musical accompaniments. His musical style contained many folk, rock and roll, jazz and blues elements, revealing his diverse musical background and familiarity with a variety of styles. The result was a remarkably popular style, which granted Chapin the ability to generate a strong connection to his audience during...
There are several events in the play which at one point or the other take a tragic turn which constantly undercut back into the play by speeches. What is set out in the play is a festive mood where people were engaged in activities of ‘Maying’ where people get together to sing and dance in the woods, activities that led to the maids’ belief that the pursuit if true love can be scored only through divination dreams (Barber 18). The fairy’s existence is conceptualized from the act of fusing pageantry together with popular games in a menacing way bring out their actual image of a relaxed
In “The Company of Wolves” Carter employs conventions of gender construction and didacticism, which help establish a fairy tale space (Koske 323). Carter presents a world in which fairy tale notions of gender are upheld. In her paper, “In Olden Times, When Wishing was Having: Classic and Contemporary Fairy Tales”, Joyce Carol Oates explains that the girls and women in fairy tales “are the uncontested property of men”. Carter alludes to this male dominated reality in her tale (99). When the girl, Carter’s Red Riding Hood, insists on venturing into the woods, the narrator says that “[h]er father might forbid her, if he were home, but he is away in the forest, gathering wood, and her mother cannot deny her” (1224). There is perhaps no gendered element to a parent preventing his child from wandering into the wilderness, b...
Even though the speakers are identified as the authors, they can more accurately be described as characters based on themselves. We know that this type of lyric was most likely performed in front of an audience probably set to music. The public’s relationship to such work can be likened with dramatic performance of today such as a musical or a...
... overall themes, and the use of flashbacks. Both of the boys in these two poems reminisce on a past experience that they remember with their fathers. With both poems possessing strong sentimental tones, readers are shown how much of an impact a father can have on a child’s life. Clearly the two main characters experience very different past relationships with their fathers, but in the end they both come to realize the importance of having a father figure in their lives and how their experiences have impacted their futures.
Parents play an important role in a child’s life so it is only natural that these roles are portrayed in fairytales meant for children. This is evident in the tale Donkeyskin by Charles Perrault and Cinderella by the Grim Brothers. The differing roles of the fathers in these tales, along with the similar roles of mothers, establish two different beliefs to impart on a child. Donkeyskin reminds a child that his/her parents love is undying and wants what is best for them; while Cinderella stresses the importance of becoming independent. Both of these beliefs recognize and address a child’s simple desires and fears.
Musical theatre is a type of theatrical performance combining music, dance, acting and spoken dialogue. Written by Leonard Bernstein and Stephen Sondheim, ‘West Side Story’ is a classic American musical based on William Shakespeare’s ‘Romeo and Juliet’. The through-composed score and lyrics are used to portray different characters and their cultures, the rivalry between the Jets and Sharks, and the emotions felt as the story progresses. This essay will be exploring the music and how effective the score is in realising the world and characters of the musical. Furthermore, it will discuss how Bernstein and Sondheim relate characters’ diverse ethnicities to particular musical ideas and motifs.
When the word “fairytale” is mentioned, nearly everyone thinks of light-hearted stories with friendly characters and happy endings. However, these are not the ideas that classic fairytales originally sparked. In fact, numerous modern Disney movies were based off stories that were not so sugar coated. In the 19th century, the Brothers Grimm were responsible for multiple of these popular children’s tales. The Disney remakes of classic fairytales such as Cinderella, Tangled, and Snow White exclude the dark, twisted themes that are significant in the Brothers Grimm fairytales, because society tendencies continue to evolve toward sheltering and overprotecting young children.
As the child is, so will the man be… So it is in music that the songs which a child assimilates in his youth will determine the musical manhood…the musical influence upon his afterlife and also that the melodies which composers evolve in their maturity are but the flowers which bloom from the fields which were sown with the seed of the folk-song in their childhood. (Barham, 9).
There she received an excellent education provided by her mother. The young girl, although very imaginative and bright had an intense and inexplicable hatred for reading; however, she loved stories and so she begged her mother and father and brother and anyone who would give her the time of day, to tell her tales filled with laughter, romance, tragedy, and history. She grew up on the Grimm Fairy Tales, on the oral histories of ancient civilizations, and heart wrenching summaries of Shakespeare’s greatest writings and contributions to the English speaking
At first glance, what makes a fairy tale a fairy tale may seem obvious—some kind of magic, hidden symbols, repetition, and of course it’s evident it’s fiction—but fables are more than that. As Arthur Schelesinger puts it, it’s about “[expanding] imagination” and gaining understanding of mysterious places (618). While doing this, it also helps children to escape this world, yet teach a lesson that the reader may not be conscious of. A wonderful story that achieves all of this is Cinderella, but not the traditional tale many American’s have heard. Oochigeaskw, or The Rough-Faced Girl, and Ashputtle would be fitting for a seven-year-old because they get the gears of the mind turning, allowing for an escape on the surface, with an underlying enlightenment for children of the ways of the world.
Music is an important element of any theatrical work. It sets up the setting, mood, and emotions for the audience. Different songs can tell stories whether sad or happy. In “As You Like It” by William Shakespeare, there are many scenes where the traditional play music can be replaced with modern contemporary and still give the story the same meaning. There are songs that describe the blossoming romance and friendship of Rosalind and Orlando and the theme of reality. And there are others that set up the mood for the setting. The songs that can replace the traditional songs successfully are Taylor Swift’s “Love Story” and “You Belong With Me” and “Spring Waltz by Yiruma. Taylor Swift’s “Love Story” relates to and focuses on the scene in Act One where Rosalind and Orlando begin to fall in love for the first time. Here, we are able to utilize this song and get a different feeling for the scene with a modern perspective.
Throughout my childhood, my sister loved to write unique fairytales for me that would make my little mind soar. Although I didn’t read modern fairytales, fairytales played an important role in my childhood as they first helped me to read, gain knowledge about the world and understand myself. According to Bruno Bettelheim’s book, The Uses of Enchantment: The Meaning and Importance of Fairytales, fairy tales give children much knowledge about their identity, others emotions and their environment. Children gain knowledge by reading about life experiences similar to their own and use this knowledge they gain through out their development, just as I did. Grimm’s Fairy Tales, written by the Grimm Brothers
Neil Gaiman’s “Snow, Glass, Apples” is far from the modern day fairy tale. It is a dark and twisted version of the classic tale, Snow White. His retelling is intriguing and unexpected, coming from the point of view of the stepmother rather than Snow White. By doing this, Gaiman changes the entire meaning of the story by switching perspectives and motivations of the characters. This sinister tale has more purpose than to frighten its readers, but to convey a deeper, hidden message. His message in “Snow, Glass, Apples” is that villains may not always be villains, but rather victims.
The musical selections and songs that were sung told a story and narrated the almost the entire film, as is expected in...