Phantom Behind The Opera

In 1984 Andrew Lloyd Webber, transformed the original The Phantom of the Opera novel (written in 1911 by Gaston Leroux) into a dialogic, emotional masterpiece. The prologue starts at the end of the story, in an auction in the Paris Opera House, in 1905. Raoul, the Vicomte de Chagny is buying a papier-mâché music box,

Sound is an imperative aspect of film that allows the audience to perceive a movie with a deeper sense of reality. Sounds do more than just inform the audience of the actions occurring in the film, they evoke feelings from them. Music is especially exceptional at causing audience reactions because people connect with music and seem to understand what it is trying to convey. Bram Stoker’s Dracula uses music and sound to make the audience respond a certain way and to assist in telling the tale of a treacherous vampire who is on a quest to reclaim his true love.

What musical theatre does best is to be abstract, not literal reality. Julie Taymor director

The musical film has always held a special place for me. From my time as a drama student in high school, my eyes have been opened to the amazing world of the musical and especially the musical film. The musical film is a film genre in which the characters sing songs that are integrated into the overall story. Since musicals first began in theaters, musical films usually contain similar elements. These elements often simulate that there is a live audience watching. In a sense, the film viewers become the audience members, at a theater production, as the actor performs directly to them. Due to the popularity of musicals in the theater, the style was quickly brought over into film. In 1927, the musical film genre began

A musical film is a genre of movie where songs sung by characters are added into the storyline, occasionally complemented by choreography. The musical numbers in these films do not always develop the plot and characters, but they do give the films a more exciting quality. The primary difference between musical theatre and film musicals is the use of extravagant scenery that would be extraordinarily unreasonable for a stage performance. While making movies, the individuals involved have the luxury of being able to shoot multiple takes and have the time to move backgrounds around or change their entire location. Stage performances, on the other hand, must have scenery that can be easily and efficiently moved on and offstage when it is needed. In order to be able to thoroughly comprehend this relatively recent- in the grand scheme of things- form of entertainment, one should understand the history behind these musical films, be aware of some of the “big names” that are well-known, and recognize major titles that revolutionized musical film forever (Scaruffi, P., 2005).

One enormous similarity between the high school schooling system and jail is that school kills creativity rather than nurturing it. A well known example of this is Gillian Lynne-a multimillionaire choreographer of one of the biggest stage opera, Phantom of the Opera. When Gillian was a student at her school, every teacher thought she had a severe learning disorder keeping her from excelling in the classroom. When Gillian was brought to the doctors to find her disorder, the doctors diagnosed her with being a dancer. In less rhetorical terms, they think that because she is a dancer, she should attend dancing schools. Years later she is a multimillionaire at doing what she was born to do. “This is an example of something going right in a child's

Some people would say that it is wrong to not feel sympathy for someone. Everyone’s life is hard in different ways, but some people just don’t deserve it. In the novel, The Phantom of the Opera by Gaston Leroux, this happens to be the case. A deformed human, who lives in the Opera House, has done many bad things and doesn’t deserve to have anyone’s pity. The real definition of sympathy is: “feelings of pity and sorrow for someone else’s misfortune” (123). This does not apply to the Phantom because ultimately we should not sympathize with his character. He had a bad past and he does not care about others which leads him to kill and torture people for no apparent reason; why should we feel pity for someone who does such things?

The movie had very good special effects and scene designs. The camera angles were very good and it let me have the illusion as if i was in the movie with all of the actors. I also liked how they kept forwarding to the present day of the movie throughout the film. The cast for the movie was good as well. Emmy Rossum played the character Christine Daae very well.

Adapting a written play into a live action film necessarily requires an interpretation of the original work to determine how it should be portrayed in the new medium. While there are no “wrong” interpretations, some take greater creative license where others more closely convey the original. Numerous factors affect this authenticity, but three of the most crucial are plot, characters, and overall spectacle. Evaluating these elements in Orson Welles’ 1952 and Janet Suzman’s 1988 adaptations of William Shakespeare’s tragedy Othello provides an analysis of the extent to which these two films resemble the original.

On the 2 April, 2016, I went to see the longest-running production in Broadway history, “The Phantom of the Opera” at Majestic Theater on 247 West 44th Street Manhattan, New York. The opening night, premiere of the spectacle was on January 26, 1988. The musical is based on the novel “Le Fantom de L’Opera” by Gaston Leroux, under Harold Prince directory. The organizer of the theater production is Philip J.Smith and Robert E. Wankel is the president.

In The College Park Theater production of Les Miserables the sound, lighting, costumes, and set affected the play in both negative and positive ways.

The first thing that comes to someone’s mind when they think about a phantom or a ghost, usually does not involve a real human or the word sympathy. In the novel, The Phantom of the Opera by Gaston Leroux, this actually is the case. A deformed human, who lives deep under the opera and is stuck in a love triangle, causes problems for the people of the opera. The real definition of sympathy is: “feelings of pity and sorrow for someone else’s misfortune” (123). Which does not apply to the Phantom because ultimately he is not a sympathetic character. He had a bad past and he doesn’t care about others which leads him to kill and torture people for no apparent reason.

Adapting Romeo and Juliet from the iconic play enjoyed by millions over centuries in an attempt to modernize has obviously meant that nuances in the original stage performance have needed to be lost, in its original state the play was designed and written to be heard and experienced audibly, however that scenario would have led to a very boring dark and un-discernable movie, leaving the viewer with little to see and experience visually. Much planning was needed to bring about Mr. Lurhmann’s idealistic ideas including new settings in a modern world and utilizing the newer techniques for camera and lighting, as well as bringing the story into the newer century. Panning camera scenes with lighting designed to emphasize key elements of the scene

Proposal for a 50 minute multidisciplinary narrative live performance. Techniques of physical theatre, dance, improvisation, poetry, aerial, video projection are used, style rules negated. Live voting/audio response systems to illustrate active choices of the audience. Visualised statistics to confront the audience and evoke a critical discussion about the choices made are considered. Gradually the fourth wall should be penetrated to a point, where the performer dissolves with the spectator and invert the view on the performance body and the social relation expected.

A young Emmy Rossum played the lead female role of Christine Dae, Minnie Driver played Charlotte, the supporting female lead. A pre-horror star Patrick Wilson played the Count DeChagney, and Scottish actor Gerard Butler portrayed the Phantom of the Opera. The latter is listed last mainly because he is the subject of which this paper orbits around. The film was heavily anticipated by fans of new and old, meaning that when it tanked after release, the damage to the Phantom’s reputation was nye irreparable. Nothing could have saved the story that Schumacher had obviously not even given a single to. Any and all efforts were flung into a haphazardly shot film with poor pacing and reliance that veered too heavily upon the scenery and costume to steal hearts rather than The Phantom's dark and alluring mystery. The actors were terrible and the singing was dismal. Bad review after bad review bombarded what was once an enjoyably chilling story; not a single detail was over looked. In the mess of screaming however, one opinion stuck out above all the rest: Gerard Butler was biggest insult to Phantom of the Opera ever seen. Not only was his deformity underwhelming and stale, but his portrayal of Eric has been described as “Singing like Meat Loaf stuffed with too much garlic. He's too glaringly "overpowering" in the Broadway manner to invite us into the Phantom's exquisite torment.” (Full of Hot Aria, Gleiberman, Owen) Truly, Butler had ruined the character for