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童年論述經典研讀會

童年論述經典研讀會. 商品童年 Peter Pan and Commercialization of the Child 98 年 5 月 25 日 報告：楊麗中. 小飛俠音樂劇 -- 渣打國際商業銀行贊助.

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童年論述經典研讀會

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  1. 童年論述經典研讀會 商品童年 Peter Pan and Commercialization of the Child 98年 5月 25日 報告：楊麗中

  2. 小飛俠音樂劇--渣打國際商業銀行贊助 1. 渣打銀行信用卡卡友可享網路刷卡購票七五折優惠，此優惠不得與其他優惠同時使用2. 購買最高票價區3300元即可於演出現場兌換小飛俠紀念禮物袋及精美節目單乙份3.「新舞台之友」至新舞台端點購票可享九折優惠，此優惠不得與其他優惠同時使用4. 持玩具反斗城星卡可享網路購票九折優惠，此優惠不可與其他優惠同時使用，請輸入會員前四碼5. 團體購票20張可享九折優惠（不適用於最低票價），50張以上有特別折扣優惠），詳情請洽寬宏藝術6. 寬宏藝文卡友可享九折購票優惠（不適用於最低票價），詳情請洽寬宏藝術7.君悅飯店CLUB AT THE HYATT金卡及銀卡會員可享網路購票九折優惠，請輸入會員前二碼

  3. 本節目身高９0公分以下兒童不得入場/ 一人一券現場英文發音演出/中文字幕3/1下午場及3/2下午場已售完！

  4. Peter Pan Timeline (1) 1904 Peter Pan produced as a play; thereafter staged annually in London and then New York 1911 Released as novel: Peter & Wendy 1929 Peter Pan rights given to Great Ormond Street Hospital 1953 Disney Release Peter Pan as a feature length cartoon 2003 PJ Hogan's Peter Pan movie first to cast Peter as a boy 2004 Finding Neverland released

  5. Peter Pan Timeline (2) 2004-2005 ABA's centenary production of Peter Pan begins Asian Tour (Singapore) 2006 Major Asian tour announced 2007 Jan 12th - Feb 4th: Cultural Center of the Philippines, Manila Jun 1st - 24th: Lyric Theatre, The Academy for Performing Arts, Hong Kong Nov 9th -25th: Main Stage, Istana Budaya, Kuala Lumpur 2008 New Stage, Taipei

  6. Peter Pan and Commercialization of the Child Children are a good sell

  7. Questions • To address how British culture constitutes and reproduces its image of the child • To see the contradictions in the production, promotion, language and reception of Peter Pan (112)

  8. Peter Pan as a case in point “one of the most general of British cultural myths about childhood and the most public of childhood institutions” came face to face (112)

  9. outline • Part I Peter Pan and theater tradition (pp87-102) • Part II Peter Pan as book form and its by-products (pp102-112)

  10. Why Peter Pan? • Money and childhood: not a comfortable association (87) • Peter Pan makes a fortune, and Peter Pan breaks a myth. (87) • In the case of Peter Pan, money and innocence appear to go hand in hand, endlessly calling each other up and canceling each other out. (88)

  11. Peter Pan performed in 1982 (1) • He will always return. Peter Pan as an emblem for the durability, or survival of the trades to which it belongs. Reproduction/theatrical reproduction/birth/ revival (89) Thus (89-90) • Peter Pan has always managed to glide over its status as a commodity. (90) • Peter Pan is elusive in its own history. (91)

  12. Peter Pan performed in 1982 (2) 4. Spectacle always signifies money. (93) Peter Pan has been differentiated from the pantomime. (93-96) “Thus Peter Pan comes to be read as both innocence and not extravagant and hence as a new type of theatrical production, theater for the child.” (94)

  13. Peter Pan performed in 1982 (3) 5. In 1904 when it was first performed, it merely epitomizes a moment of theater which found one of its chief sources of pleasure and delight in watching children on stage (97). “What Peter Pan gives us better than pantomime, more than pantomime is the right to look at the child.” (98)

  14. Peter Pan performed in 1982 (4) 6. problem of child labor/ child prostitute (98-99) “Thus it becomes difficult to see Peter Pan simply as children’s play without interrogating both poles of the definition. (If it’s a play, “the child scenes” are skillfully managed. If it’s for children, only10 percent of the audience were children. (99-100)

  15. Peter Pan performed in 1982 (5) 7. Peter Pan was part of the theater characterized by an upper-middle-class content within a series of hybrid dramatic forms. (100-101) Peter Pan emerges at a vacuum point in the drama somewhere between the musical comedy and the pantomime …(101)

  16. Peter Pan performed in 1982 (6) 8. Peter Pan as type of repetition (102)

  17. Peter Pan as Book Form (1) 1. Peter Pan has been converted into every conceivable material forms (103). 2. In 1981 Peter Pan was advertised as one of the most expensive books; in 1906 Peter Pan in Kensington Gardens appeared as “Edition de luxe” (104) 3. Peter Pan was published in the time that witnessed the expansiveness in the publication of children’s books. (105)

  18. Peter Pan as Book Form (2) 4. confused association between children and fairies/ when books were part of a visual display (105-106)

  19. Peter Pan as Book Form (3) 5. The heavy commercial promotion of Peter Pan reveals 1) how marketable the child was for the book trade, 2) the gap which could hold between reality and literature for children (106)

  20. Peter Pan as Book Form (4) 6. Peter Pan for children  luxury, which signals both class and excess (a new child emerging from the compulsory elementary school) (107-109) 7. The material success of Peter Pan and the corresponding status of Peter Pan say something about the fantasies which British culture continues to perpetuate --about its worth, its future and its traditions through the child. (109-110)

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