This dissertation aims to analyse the re-creation and transformation of animated films into
theatrical spectacles, by examining two Walt Disney animations and productions as case
studies: Beauty and the Beast (1991 & 1994) and The Lion King (1994 & 1997), designed by
Stanley Meyer (Beauty and the Beast [1994]) and Julie Taymor (The Lion King [1997]),
respectively. Through a semiotic analysis of the productions viewed in the Monte-Teatro in
Johannesburg (Beauty and the Beast [2007]) and the Lyceum in London (The Lion King
[2010]), the scenographic choices of the designers are examined to ascertain the ways in
which the re-creation and transformation from animation to theatre occurs. A study of the
different styles is conducted, as the case studies were visually different from each other, and
from their animated counterparts. Each case study contributes to an understanding of the
process whereby an animated film can be transformed and re-created for the theatre. An
investigation into The Walt Disney Company, from its inception to its present day theatrical
productions, is undertaken to illustrate how The Walt Disney Company has become an
influential force in the international performance industry. Responses by reviewers are used to
demonstrate how The Walt Disney Company was influenced to alter the conceptual approach
for its subsequent theatrical production.
To aid in the analysis of the scenographic designs, the theoretical writings of Martin Esslin
(1987) and Keir Elam (1980) are consulted to develop an understanding of how designs are
integral to the reception of any production. Developments of scenography are explored from
Aristotle who states that theatre does not need any spectacle (design) to portray the poetry of
the performance, to Sternfeld’s analysis of megamusicals which illustrates the spectacular
designs that have become integral to the development of certain productions, and genres.
Using Wickstrom’s article on The Lion King an examination of how the commodities produce
meaning from the production is undertaken.
This dissertation provides insight into the development of scenographic designs and the recreation
and transformation of specific elements from animated film to theatrical spectacle
through an appropriation of theories about transposing theatre into film (Egil Tornqvist, 2009).
This, in conjunction with Guy Debord’s theories (1995) on the society of the spectacle, aids in
the analysis of the spectacle/scenography. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2010.
| Identifer | oai:union.ndltd.org:netd.ac.za/oai:union.ndltd.org:ukzn/oai:http://researchspace.ukzn.ac.za:10413/5003 |
| Date | January 2010 |
| Creators | Tait, Kirsten Laura. |
| Contributors | McMurtry, Mervyn Eric. |
| Source Sets | South African National ETD Portal |
| Language | en_ZA |
| Detected Language | English |
| Type | Thesis |
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