FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W223123480> ?p ?o ?g. }

• W223123480 endingPage "423" @default.
• W223123480 startingPage "421" @default.
• W223123480 abstract "Angela Carter's Hairy Tales. Directed by Matthew Woods. Performed by Imaginary Beasts. Boston Center for the Arts, Boston, Massachusetts, October 4-26, 2013. Performance.The Imaginary Beasts production of Angela Carter's Hairy Tales, which ran this past fall in Boston, Massachusetts, made a sincere and refreshing effort to remind its audience that fairy tales are not the colorful, sanitized, robustly happy Disney interpretations that have dominated our culture for the past half-century. Neither are they the blockbuster, action-packed melodramas that are becoming vogue in today's cinemas, in which Snow White deftly wields an axe and falls in love with a dreamy and oh-so-irresistibly troubled huntsman. Instead, in the intimate theater of the Boston Center for the Arts, we are brought back to the birthplace of fairy tales-the fireside-and the simple expression of complex thought.The craft and care taken to transform Carter's radio plays for the stage, giving them wholeheartedly over to the body, is evident throughout the two acts. set design of Act 1, The Company of Wolves, is especially minimalist, playfully using the ensemble to represent swaying trees and a ticking clock; the only notable prop is the infamous red cloak. Act 2, Vampirella, or, Lady of the House of Love, though it effectively uses a floor-to-ceiling canvas as a veil between the experiences of the living and the reminiscences of the undead, also primarily depends on the actors to set the scene; the most memorable improvisations are the hero humorously mimicking an exhausting bicycle ride and members of the ensemble filling in for the dour vampire portraits on the castle walls. In this way, through the aesthetics of each design, through the similar tension that permeates each act's love (or lust) story, and through his tongue-in-cheek approach to the necessary absurdities and suspensions of disbelief that fantasy stories require, director Matthew Woods is able to connect Carter's distinct fairy tales, each finding its necessary counterpart in a neo-Gothic diptych of sensuality, violence, and postmodern eclecticism.Act 1, The Company of Wolves, shows a deep commitment to the storytelling tradition, with the tale of this not-so-little Red Riding Hood (Erin Butcher) embedded, Russian doll-like, within other stories relating to a girl, a wolf, and an encounter in the woods. rumors of men who strip down to reveal their werewolf underbellies and the young women bewitched by these cleverly disguised beasts are told both to us and to Little Red in anxious tones by Granny (Loma Nogueira), with admonishments never to stray from the path. tension created by interweaving these reports of previous victims with Little Red's present-day decision to enter the woods and trust the huntsman/werewolf (Michael Underhill) is palpable, even if the ticking grandfather clock (played by the ensemble cast) that counts down the minutes to Little Red's impending rendezvous verges slightly on the histrionic. ensemble cast of werewolves, however, breathe (and howl) life into the chilling cautionary tales that support the central narrative, such as that of a man (William Schuller) so overcome by his wolfish, lascivious sensuality that he is unable to recover his identity as a loving bridegroom and, as a result, his longed-for homecoming becomes a bloodbath. Ultimately, however, this retelling stumbles on tone: Little Red's overly earnest liberation brings the tale to a disappointingly self-conscious and uninspiring close.Act 2, Vampirella, or Lady of the House of Love, is the perfect antidote to the rather lackluster end of Act 1. In her original retelling, Carter gives us a reinterpretation of a princess narrative. Her Sleeping Beauty is a vampire countess who laments her fate as a being who will never know love and who sees her life as an unrelenting series of repetitive actions, postponing and succumbing to her desire for human prey. …" @default.
• W223123480 created "2016-06-24" @default.
• W223123480 creator A5058342185 @default.
• W223123480 date "2014-07-01" @default.
• W223123480 modified "2023-09-28" @default.
• W223123480 title "Angela Carter's Hairy Tales Directed by Matthew Woods (review)" @default.
• W223123480 hasPublicationYear "2014" @default.
• W223123480 type Work @default.
• W223123480 sameAs 223123480 @default.
• W223123480 citedByCount "0" @default.
• W223123480 crossrefType "journal-article" @default.
• W223123480 hasAuthorship W223123480A5058342185 @default.
• W223123480 hasConcept C104317684 @default.
• W223123480 hasConcept C124952713 @default.
• W223123480 hasConcept C135068731 @default.
• W223123480 hasConcept C142362112 @default.
• W223123480 hasConcept C153349607 @default.
• W223123480 hasConcept C15744967 @default.
• W223123480 hasConcept C185592680 @default.
• W223123480 hasConcept C2778484989 @default.
• W223123480 hasConcept C2779732396 @default.
• W223123480 hasConcept C51364203 @default.
• W223123480 hasConcept C519580073 @default.
• W223123480 hasConcept C52119013 @default.
• W223123480 hasConcept C523419034 @default.
• W223123480 hasConcept C542102704 @default.
• W223123480 hasConcept C548253320 @default.
• W223123480 hasConcept C55493867 @default.
• W223123480 hasConcept C56273599 @default.
• W223123480 hasConcept C70789860 @default.
• W223123480 hasConcept C95457728 @default.
• W223123480 hasConceptScore W223123480C104317684 @default.
• W223123480 hasConceptScore W223123480C124952713 @default.
• W223123480 hasConceptScore W223123480C135068731 @default.
• W223123480 hasConceptScore W223123480C142362112 @default.
• W223123480 hasConceptScore W223123480C153349607 @default.
• W223123480 hasConceptScore W223123480C15744967 @default.
• W223123480 hasConceptScore W223123480C185592680 @default.
• W223123480 hasConceptScore W223123480C2778484989 @default.
• W223123480 hasConceptScore W223123480C2779732396 @default.
• W223123480 hasConceptScore W223123480C51364203 @default.
• W223123480 hasConceptScore W223123480C519580073 @default.
• W223123480 hasConceptScore W223123480C52119013 @default.
• W223123480 hasConceptScore W223123480C523419034 @default.
• W223123480 hasConceptScore W223123480C542102704 @default.
• W223123480 hasConceptScore W223123480C548253320 @default.
• W223123480 hasConceptScore W223123480C55493867 @default.
• W223123480 hasConceptScore W223123480C56273599 @default.
• W223123480 hasConceptScore W223123480C70789860 @default.
• W223123480 hasConceptScore W223123480C95457728 @default.
• W223123480 hasIssue "2" @default.
• W223123480 hasLocation W2231234801 @default.
• W223123480 hasOpenAccess W223123480 @default.
• W223123480 hasPrimaryLocation W2231234801 @default.
• W223123480 hasRelatedWork W104783691 @default.
• W223123480 hasRelatedWork W120819886 @default.
• W223123480 hasRelatedWork W147335073 @default.
• W223123480 hasRelatedWork W1507940262 @default.
• W223123480 hasRelatedWork W1588076100 @default.
• W223123480 hasRelatedWork W158916057 @default.
• W223123480 hasRelatedWork W1937795161 @default.
• W223123480 hasRelatedWork W195726924 @default.
• W223123480 hasRelatedWork W2015789319 @default.
• W223123480 hasRelatedWork W2149438173 @default.
• W223123480 hasRelatedWork W238181119 @default.
• W223123480 hasRelatedWork W2464063924 @default.
• W223123480 hasRelatedWork W2602567074 @default.
• W223123480 hasRelatedWork W2602739384 @default.
• W223123480 hasRelatedWork W329661131 @default.
• W223123480 hasRelatedWork W590695677 @default.
• W223123480 hasRelatedWork W649068703 @default.
• W223123480 hasRelatedWork W2597830937 @default.
• W223123480 hasRelatedWork W308322748 @default.
• W223123480 hasRelatedWork W6654975 @default.
• W223123480 hasVolume "28" @default.
• W223123480 isParatext "false" @default.
• W223123480 isRetracted "false" @default.
• W223123480 magId "223123480" @default.
• W223123480 workType "article" @default.