Wednesday, September 21, 2016

Moana: Don't Call her "Princess"!

       
WELL, HERE SHE IS!
While Disney's new strong heroine Moana isn't based on a fairy tale, there are a multitude of folklore connections and tie-ins, and, despite the "don't call her Princess" promotional catch phrases being quoted around the web, you shouldn't be too surprised if this story is added to Disney's "fairy tale realm", albeit an island version, in the months following the film's release.

Moana, the title character of the upcoming animated adventure, definitely sounds like a classic Disney princess. She’s an adventurous, compassionate, and beautiful young woman who sings, talks to animals, and even has a royal pedigree as the daughter of a Polynesian chief.        
But you won’t hear the creative minds behind Moana give their lead character that distinction. “We don’t describe her as a princess,” producer Osnat Shurer told Yahoo Movies at an early press day at the studio’s Burbank offices in August. “We don’t think of her as a princess. We just think of her as one of our strongest lead characters.”
If you haven't seen much in the way of trailers, take a look at this compilation one that was released just last week.

Although it's a little long, the bonus here is the included Japanese trailer which teases an entire scene of Moana as a baby, playing with (yes, "with", not "in") the Ocean:
Although Moana is clearly - at her debut - supposed to be set apart from fairy tale princesses and have strong ties to folklore and myth (as opposed to that time and space of Once Upon A Time), the unfortunate reality is that there is no "folklore/myth" niche in Disney marketing, so she - and all he surrounding magic and lore - will likely end up in the Disney fairy tale mix. (To be clear, we are not advocating this, just looking at patterns and projecting what will happen down the marketing road...) We're not the only people watching and waiting to see how this folklorific film (think terrific and folklore mashed together) pans out in terms of marketing and the eventual "image" Moana settles into either.

From Yahoo:
Foreign title & poster - so beautiful!
...Given what a lucrative business the stable of Disney princesses has been for the company — just ask any parent who has ever waited in line to take photos with Cinderella, Aurora, or Belle — it’s somewhat surprising to hear Moana‘s filmmakers distance themselves from the tradition. 
But we’re also clearly in the middle of a cultural shift on gender depictions in film. In recent years we’ve seen Snow White reimagined as a live-action warrior (Snow White and the Huntsman), Jane Austen’s Bennett sisters battle the undead (Pride and Prejudice and Zombies), and the Ghostbusters get a gender flip. And soon, we’ll finally have female-led comic-book movies with Wonder Woman (2017) and Captain Marvel (2019). 
... Perhaps most telling is a scene filmmakers mentioned in Moana that confronts the notion of her identity head-on. Musker and Clements described a moment in which Maui, a physically imposing but playful mentor to Moana, is teasing her. “He says, ‘Hey, princess,’ derogatorily,” Musker said. “And there’s a line where she says, ‘I am not a princess!’”
Back to legend and folklore.

The demi-god Maui is the most obvious connection to Polynesian myth and legend but the question is which one? Here's a summary:
The teaser trailer introduces us to the demi-god Maui and his impressive achievements. If you're Hawaiian and confused because you can't recognize them all, it's because he was actually created using multiple versions of the myth known in the Pacific: Maui can be found in the mythology of several islands such as Hawaii, Tonga, Samoa, Tahiti, French Polynesia and New Zealand. And if there's one attribute that he keeps in all these different cultures, it's that he's pretty much iconic.
What we're most interested in, however, is the Ocean, which has it's own personality and connection with Moana, and how that is treated with regard to folklore, superstition and the many legends of the Pacific. There hasn't been much speculation about the Ocean as yet, though its scene with baby Moana is an instant hit with audiences everywhere, but this is the role usually reserved for sidekick animals, benevolent fairies (especially those akin to the Blue Fairy in Pinocchio) or enchanted objects. Having such a huge part of nature, that is, the ocean, have a very intimate connection to the main character provides a different story telling platform and we're curious to see how it's handled.

We're also curious bout the "Lava Witch" (seen looking very impressive in the first artwork promos last year, though not present - we think - in the current trailer, unless she has transformed to something very skinny and less crone-like). Unlike Mother Nature stories or vengeful gods tales, this "character" of the Ocean appears to be something else, something more like a character you would very much meet in a fairy tale (especially if written by Hans Christian Andersen), while the Lava Witch seems like a cross between Pacific Island deities and Norwegian folklore. We know there will be more folkloric and mythic references in the film, so despite this not being "fairy tale" it's still a great opportunity to talk classic tales and how they overlap with our beloved realm of "fairy".


Fairy Tale Bonus of the Day:
Curious about Moana's origins and geographical roots? There's an interesting article that came out at the end of last year, when Moana was still being introduced to the public as Disney's next strong female heroine. It's gets a little technical in the geography versus the language and doesn't cite myth, legend or folklore much so we're not excerpting any here, but it's a fascinating read nonetheless. Go dig into Moana's history HERE at The True Origins of Disney's Moana.

Fairy Tale Bonus 2 of the Day:

A Little Bit About Moana’s Mini Maui
Maui’s body is covered in tattoos and, being a powerful demigod, they’re a bit more animated than your traditional body art. There’s even a tattoo of Maui himself who becomes an actual character in and of himself.

“Most of these tattoos represent his past accomplishments,” says Mack Kablan, Animator Supervisor on Maui. “His deeds of derring-do. And within these visualizations there’s a small figure representing Maui himself, and over the course of creating the story we started to refer to him as ‘Mini Maui’ because he became a character in his own right. He actually has a personality and a relationship with big Maui. He is, first of all, Maui’s biggest cheerleader and supporter. He is Maui’s alter ego, he can be swaggy and confident too, but more than anything else, he’s his conscience.”
The best part about Mini Maui? He’s being animated in traditional, HAND-DRAWN style by the wonderfully silly Eric Goldberg – animator of Aladdin’s Genie! (source)

Tuesday, September 20, 2016

Forest Rogers' "The Tinderbox"

The Tinderbox (tinted, finished) by Forest Rogers
Another lesser known fairy tale we adore, thanks to the amazing and awe-inspiring magical dogs with eyes of gigantic sizes, The Tinderbox (Hans Christian Andersen), has gotten some special treatment, care of one of our favorite sculptors, Forest Rogers.

She's been sharing her work-in-progress via her Facebook page, as well as her blog but just this month, finished it with a lovely tint method that complements it beautifully.

We admit some envy, along with congratulations of course, for the new owners. This might be our favorite piece of hers yet!


Forest Rogers at work
We're going to include an excerpt from Wikipedia here, on the sources and influences on Andersen when he wrote this literary fairy tale, because they're fascinating and we rarely hear about these other things. Not only that - it's interesting to see just how many fairy tale associations the story of Aladdin had, especially as the tale comes back into pop culture circles again, via the new season of Once Upon A Time.

Although we wish we had time to research these more for you and provide a fleshed out article, time is against us in the ticking past of so many fairy tale news stories. We hope this excerpt will inspire you to delve a little deeper yourself.

Enjoy:
"In-progress" although it looks stunning this way too.

Andersen based “The Tinderbox" on the Scandinavian folk tale "The Spirit in the Candle". In the folk tale, a soldier acquires a magic candle which has the power to summon an iron man to do his bidding. The soldier uses the candle to visit a princess, and summons the iron man to save his life when he is sent to the stake for doing so. In the preface to the second volume ofFairy Tales and Stories (1863), Andersen indicates he heard the tale as a child "in the spinning room, and during the harvesting of the hops."
Andersen knew The Arabian Nights, and "The Tinderbox” bears some similarities with "Aladdin and his Wonderful Lamp". Both tales feature a supernatural being inveigling a mortal to enter an enchanted area on promise of rich reward; both tales feature three chambers filled with riches; both tales have heroes refusing to part with a magic luminant and then winning a princess through its use.
The story of Aladdin had a special emotional significance for Andersen. As a poor grammar school student in Copenhagen, he was invited to stay with a prominent Copenhagen family in the Amalienborg Palace. There, he was given a Danish translation of Shakespeare, and wrote in his diary on 12 December 1825:
"It's going for me as it did for Aladdin, who says at the close of the work as he stands at a window of the palace:Down there I walked when just a ladEach Sunday, if I was but allowedAnd gazed with wonder at the Sultan's palace.
Andersen was familiar with and widely read in folk and fairy lore. The princess locked in a tower in "The Tinderbox" has its counterpart in "Rapunzel"; the trail of flour mirrors the trail of grain in "Hansel and Gretel"; and the doors marked with chalk recall those from "Ali Baba and the Forty Thieves" – another tale from The Arabian Nights.

ABCs "Once Upon A Time" Returns September 25th (Cue Flying Carpets & Lots of Evil Queen)

With yet another version of a "re-set" in which Regina splits herself into her good and bad halves, ABCs Once Upon A Time is set to begin season 6 with the Evil Queen in full force and on the loose, with a mish-mash of "various story worlds" making appearances and a side trip or three into Arabian Nights territory with Aladdin, Jasmine, Jafar, Sinbad and Scheherazade.
While we would love to see some real story spinning, Scheherazade style, we have decided we will settle for her at least being a strong and smart character, who uses her words wisely and well.
Here's a long trailer, shown at Comic Con in July, showcasing the Evil Queen arc (shown for the first few minutes) and a preview of the introduction to Aladdin.


We're very curious to see if this season is as popular with fairy tale fans and to see if it will continue on to season 7.

Monday, September 19, 2016

Barking Gecko Theatre Company's Hansel & Gretel "In A Dark Dark Wood" (Perth, Australia)

West Australian Children's Theatre Company, Barking Gecko, continues its mission of bringing quality theatre to the children of Perth and surrounding areas, with their new fairy tale show In A Dark Dark Wood. The show, a retelling of Hansel and Gretel, uses a modern take, combining live action, shadow puppets and object theater to tell the spooky-yet-magical story.

Hansel and Gretel is one of those tales that makes a huge impression on children and one of the fairy tales children generally remember almost the entire plot of (though often excluding the duck which helps the kids escape, which most modern tellers seem to omit, of not be aware of).

It's pretty neat that the playwright who worked with the creator had traveled the famous Fairy Tale Road in Germany, already aware and immersing himself in the environment out of which grew many of the Grimm's collected tales.
Barking Gecko artistic director Matt Edgerton, who is directing the production, collaborated with award-winning Australian playwright Caleb Lewis on this modern take on the Brothers Grimm fairy taleHansel and Gretel. 
“I was really excited about sort of attacking a Grimms’ fairy tale,” Edgerton said. 
“They’re wonderful stories that have lasted for hundreds of years because they have deep things to say about who we are as humans, but I wanted to do it in a contemporary way. 
“I thought Caleb would be a perfect partner with that because he’s a wonderful lyrical writer, but really playful, and is obsessed with Grimms’ fairy tales; he’s walked the Grimms’ fairy tale route in Germany, reading nothing but their fairy tales as he went.” 

Edgerton said he was drawn to Hansel and Gretel because of its universal themes. 
“There’s something about the central idea around the fear of abandonment which every child knows,” he said. 
“And most adults have repressed it in some way, but it’s still in us. 
“It’s a beautiful story because it explores that in a really full way and finishes with the message that all of us have the power to find our way home. 
“There’s hopefulness at the end and the idea that theatre is a safe place to explore dangerous ideas is true for something like Hansel and Gretel.” 
Barking Gecko admits to having a lot of fun with their version, aimed at children aged 6 and up. There's "fun, magic and an excess of junk food" - what wouldn't a kid love about that?
Here's their description:
In a Dark Dark Wood is a magical fantasy that brings Hansel and Gretel to a new generation in a strikingly original retelling of the Grimms’ classic fairy tale. 
Pippa and her little brother Mo live in a caravan at the edge of the woods. Since Dad hurt his back cutting wood, the family has struggled to make ends meet. Even though they may be poor, the children are gifted with a rich imagination.After Pippa gets the worst birthday present ever and overhears her worried parents talking, she decides the way to help, is to leave. Pippa packs her belongings and takes off into the woods, with little brother Mo hot on her heels.Hopelessly lost in the dark, dark woods, the pair stumble onto a lonely beach and discover a world with no rules and endless ice cream! But all is not what it seems. Pippa and Mo will have to call on all of their imaginative powers to escape! 
With spooky puppets, magical animals and fast paced storytelling, this theatre production will take audiences aged 6 and over through the dark, dark woods and safely home again. 
Recommended for ages 6 and up – Contains spooky bits that may make your knees wobble! 
Running time approximately 60 minutes


Where and when: 

  • UWA’s Dolphin Theatre (September 23-24)
  • Prendiville Performing Arts Centre, Ocean Reef (September 27),
  • Kalamunda Performing Arts Centre (September 29)
  • Don Russell Performing Arts Centre, Thornlie (October 4)
  • Mandurah Performing Arts Centre (October 6-8)

Sunday, September 18, 2016

Art: Claire Degans "Snow White"


Claire Degans is a French illustrator who's style pays lovely and gentle tribute to the Rococo art movement. It's not a surprise to discover, that along with her degree in visual arts and a keen interest in printmaking, that she majored in art history.

While it's difficult to find complete collections of her fairy tale work (she's illustrated a number of books), re recently discovered, what appears to be, the entire set of paintings created for Snow White.

We thought it was about time we had a lovely art post for the weekend, so please enjoy.

















Saturday, September 17, 2016

Article: Seanan McGuire on Fairy Tales and Poetry: Pamela Dean's Tam Lin

On tor.com this week, writer of fairy tales and and folklore based novels (among other fun books), got wonderfully nostalgic about Pamela Dean's treatment of another favorite fairy tale of ours, Tam Lin. There's quite a group of people who were greatly impacted by this book, both for the fairy tale themes and the style of writing, not to mention the poetry.

Here's an excerpt:
I liked fairy tales. I liked folk music. When I found a book in a line of books about fairy tales, with a title taken from a ballad, I figured it would be good for a few hours. 
I didn’t expect it to change my life. 
Tam Lin, by Pamela Dean, is one of those books that defies description in the best way, because it both is and is not a fantasy. For most of the book, it’s the story of a girl named Janet starting her college life, with all the changes and chaos that entails. She sees weird things on campus. Okay. Everyone sees weird things on campus. I was already taking classes at the community college across the street from my high school, and I’d seen a man with six squirrels on a leash, a woman attending all her classes in a ball gown, and a person we all called “Troll” whose wardrobe consisted mostly of chain mail and rabbit skins. College campuses are alive with weird things. 
Only her weird things are very real, and eventually they make it clear that the book is a fantasy, and more, that Janet is in some pretty deep sh*t. 
...Tam Lin is a book about choices and consequences, friendships and relationships, and the way our adult selves are built on the bones of the children we once were. It’s also about poetry. If Pamela Dean had never written another word, she would still deserve to be remembered as one of the greats, for this book alone. 
Read it.
You can read the whole article HERE.

Theater: "The Handless Maiden" by Art House Productions


"Follow me down to the old stone mill, where the river has forgotten how to run..."

'THE HANDLESS MAIDEN'
A dark, immersive fairy tale


Looks like immersive theater is the new trend!

This new theatrical version of Grimm's The Handless Maiden takes the audience throughout a theater which is, we assume, filled with the sets you can see in this post. The stage is set in Jersey City, NJ and it is recommended that this production is not for children under 13. The environment may be too creepy for sensitive or young children, violence is implied (per the title and tale source) and there is one non-graphic sexual situation.

Here's the press release:
The spooky stage is set for Art House Productions' immersive, Brothers Grimm-inspired play.  
"The Handless Maiden" is the non-profit's main stage production. The 50 minute play takes a feminist twist on the the German fairy tale. In the original production, a young maiden flees into the woods after an evil force descends on her village.  
Playgoers will follow the seven-person cast throughout the theater while the production is underway. 
Art House posted a mini-interview about the show's inspiration and experience on their Facebook page, which I have re-posted below:
Art House had a conversation with one of our show's creators, Shayfer James, to talk about the upcoming production of THE HANDLESS MAIDEN: 
- What is the inspiration behind this play?
Director Mason Beggs and I have wanted to create something together from the ground up since meeting last year. We are both fascinated with Grimm's fairy tales and Mason suggested we start there. Our desire was to retell an old story in our shared creative language through original music and movement without using any dialogue. One of the most exciting things for me is that the piece was literally created from root to leaf in only two months. I'm a big advocate for capturing art spontaneously and from the gut. With a creative team like the one involved in this, that process has been fun, seamless, and incredibly rewarding. I must mention also that the lighting design by Lance Michel and set design by Andrea McKenna are absolutely stunning.
 
- Why "The Handless Maiden"?
The fairy tale on which the piece is based, "The Maiden Without Hands" is rather obscure, which offered us a lot of freedom to re-imagine the story. It is important to us that the main female character has a strong arc that isn't dependent on "damsel in distress" nonsense. This story in particular gave us the opportunity to make that happen. Not to get too serious here, but for me "happily ever after" is a phrase that has done more damage than good through the ages, especially in regard to gender roles. It's also one of the darker tales. It really digs into horror a bit, which I love.
 
- What can one expect from this "immersive" experience? What does that mean?
You can expect to be absorbed into a beautifully twisted world and become part of the story as it unfolds. It's a world of magic and horror, and beauty.

Shows are scheduled for Thursdays, Fridays, and Saturdays, today (September 15th) through Sept. 24, at 8 p.m. An afternoon showing will be on Sunday, Sept. 18 at 4 p.m.
Tickets can be purchased in advance for $18 on Art House's website or at the door for $20.