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-beard and all black for Rumpelstiltskin(Monica.)
-Old brown cloth, scarf and hat for the Miller(Samue.l)
-Crown and moustache for the king( Amel.)
-Silver cloth with silver diamonds for miller Queen /all black for millers daughter(Mizara.)

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- Crown to represent the king.
- Table, tin bucket to put the straw in.
- Bin lid used for the wheel to create the golden straw
- Silver bin for when the king enters to show status.
-Wooden chair.

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this link will tell you what makes them different

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Disney's versions of classic fairy tales have a character trait that definitely stands out in each of the lead female characters.Each female character is mainly introduced as a "heroine", or at least a very independent woman.Then, somehow every time throughout the story they become in need of rescue from some burly man.Almost always in the end the characters get married.

Take Belle from Beauty and the Beast.When we meet Belle, she is introduced to us as a very intelligent young woman who loves to read.She is even disgusted at the idea of Gaston (one of the leading male characters) wanting to marry her.She acts like she doesn't want to be married and wants to explore the world.But what kind of books does she read?Trashy romance novels!Then she is captured and locked up by the Beast.Although she struggles and stands ground when it comes to being a strong woman at first, she eventually gives in and feels sorry for the Beast because of his past.His past, might I remind you, was that he was placed under a curse for being full of himself and turning a poor beggar woman away.Really?That's what we should teach our children?Even if someone is abusive towards you, as long as you work really hard to make them sophisticated, and not a jerk in general, then it's okay to stay with them after all that they did.In the end, Belle and the Beast live happily ever after (after he's turned into a handsome prince).I thought Belle wanted to see the world.

The one thing that really bugs me about Disney is how they teach little girls to be.They mention being an independent woman in the beginning of each story, and time after time the characters get married in the end and live happily ever after because of that.It really turns me off to the idea of letting my little sisters watch Disney movies.

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Disney's versions of classic fairy tales have a character trait that definitely stands out in each of the lead female characters.Each female character is mainly introduced as a "heroine", or at least a very independent woman.Then, somehow every time throughout the story they become in need of rescue from some burly man.Almost always in the end the characters get married.

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Make sure you finish your research and then write a review (on Padlet) of your research that answers these questions:

Is your research reliable? Why/how?

Yes the reason why I believe my research is reliable because it has helped me to understand more of the historical information about the Grimm tale. Also I don't believe I have used Wikipedia for my research so I know people haven't edited any of the information I have discovered.

Is your research relevant and useful? Why/how?

Yes it is relevant,  It also gave me the opportunity to create more ideas for my performance as well as by doing my research I have realised that Grimm tales are meant to be more creepy but funny at the same time.

Is the research source/information biased? How?

I'm not sure but I don't believe so  because  even we are only getting the information from the person who wrote the information I have done  more thank one research from different writers which says similar things to the source I have got on my pad let.

Can you still use this information?

I believe you can because It is quite accurate because the information I got was similar the our teachers information and all the other research I have discovered.

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Sinaed's feedback 26/5/17Group 2 Amale don't let your vocal volume trail off Good stage whisper Sam Put the bin lids down gently so they don't distract Are you looking at the scene if you are playing scenery or not Are you going to use the seats even if there aren't as many set up? Stay focused Mizara Good reactions to the bin lids Be more shocked when Monica arrives Monica think more about your physicality how can you portray your character more physically. Lie down to sleep Mizara Take more time to think about giving your child away. Place props so they are easier to get to Is the child scene a freeze frame When you are not in the scene how will you be standing Every time you say no make it different Hold your end posterior even if it is not the end 

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Sinaed's feedback 26/5/17Group 2 Amale don't let your vocal volume trail off Good stage whisper Sam Put the bin lids down gently so they don't distract Are you looking at the scene if you are playing scenery or not Are you going to use the seats even if there aren't as many set up? Stay focused Mizara Good reactions to the bin lids Be more shocked when Monica arrives Monica think more about your physicality how can you portray your character more physically. Lie down to sleep Mizara Take more time to think about giving your child away. Place props so they are easier to get to Is the child scene a freeze frame When you are not in the scene how will you be standing Every time you say no make it different Hold your end posterior even if it is not the end 

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https://literature.britishcouncil.org/writer/carol-ann-duffy

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Images of Past productions on rimm tales

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Images of Past productions on rimm tales

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fairy tales and where they came from

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Imagine the history of fairy tales as a map: unfurl this imaginary terrain in your mind's eye, and you will first see two prominent landmarks, Charles Perrault's Tales of Olden Times (1697) and a little nearer in the foreground, the Grimm Brothers' Children's and Household Tales (1812-57). These collections dominate their surroundings so imposingly that they make it hard to pick out other features near or far.

Gradually, however, as your eyes adjust to the dazzle, several more features of the scene begin to grow in definition and give you better bearings: along a whole web of routes from points further east, The Tales of the Thousand and One Nights form deep aquifers of story running through the entire expanse, and emerging here and there in waterfalls and powerful rivers spreading through wide floodplains.

Harbours and market-places and pilgrimage sites - Venice, Naples, Genoa, Sicily, in Italy alone - begin to emerge as significant centres of talkative storytelling populations. To the north, Hans Christian Andersen's glowing Danish homeland is emitting powerful signals from regions stretching to the Arctic Circle. And when your eyes track his large force field, you begin to discover beacons blazing in the darkness, lit by the work of Walter Scott in Scotland, Alexander Afanasyev in Russia, and other omnivores of their countries' stories. The circumpolar regions, as well as the steppes and forests of Russia and Central Asia, are also rich in fairy tale ore.

This map of fairy tales still contains many unexplored corners and much terra incognita, and eagerness to discover new parts of it is growing among different audiences. Considered children's literature for a dominant period of their history, fairy tales have now grown out of that Victorian and Edwardian prescription and have gained a new stature over the last 20 years, both as inspiration for literature, and for mass, lucrative entertainment. Thematic and structural similarities continue to attach contemporary fictions to popular and ancient legends and myths. Fairy tales are one of their dominant expressions, connective tissue between a mythological past and the present realities.
Queer as Volk
What are the defining characteristics of a fairy tale? First, it is a short narrative, sometimes less than a single page, sometimes running to many more, but the term no longer applies, as it once did, to a novel-length work. Secondly, fairy tales are familiar stories, either verifiably old because they have been passed on down the generations or because the listener or reader is struck by their family resemblance to another story; they can appear pieced and patched, like an identikit photo fit. The genre belongs in the general realm of folklore, and many fairy tales are called 'folk tales', and are attributed to oral tradition, and considered anonymous and popular in the sense of originating not among an elite, but among the unlettered, the Volk (the people in German, as in 'Volkswagen', the 'People's Car').

The accumulated wisdom of the past has been deposited in them-at least, that is the feeling a fairy tale radiates and the claim the form has made since the first collections. Scholars of fairy tales distinguish between genuine folk tales and literary fairy tales; the first are customarily anonymous and undatable, the latter signed and dated, but the history of the stories' transmission shows inextricable and fruitful entanglement.

Even when every effort was made to keep the two branches apart, fairy tales would insist on becoming literature. On the stage, a similar, traditional sense of an ancient, oral voice sounds in the libretto or plot: Tchaikovsky's Swan Lake, Bartók and Balász's Bluebeard's Castle, Dvořák's mermaid opera Rusalka, or a Ballets Russes production such as The Firebird, proclaim their roots in unauthored folklore, although they are in themselves unique and original works.

Cinema likewise announces its proximity to tradition while often claiming implicitly to be filling out the original in the most effective and satisfactory possible way, cinema being the Gesamtkunstwerk (the total work of art) with the largest audience. One television series of fairy tales was simply called The Storyteller (1988). Written and directed by Anthony Minghella with the puppeteer Jim Henson, each episode opened with a fireside scene in which a storyteller, played by John Hurt, dramatized the fairy tale we were about to watch, presenting it as part of a living tradition come down through the centuries.

A third defining characteristic of fairy tales follows organically from the implied oral and popular tradition: the combination and recombination of familiar plots and characters, devices and images. They might be attached to a particular well-known fairy tale - such as Puss-in-Boots or Cinderella - but fairy tales are generically recognisable even when the exact identity of the particular story is not clear. Elements in many of the great Victorian and Edwardian children's stories have a fairytale character. The authors of newly invented stories, such as Charles Dickens and Charles Kingsley, George Eliot, E Nesbit, and JRR Tolkien, do not write fairy tales as such, but they adopt and transform recognisable elements - flying carpets, magic rings, animals that talk - from fairytale conventions, adding to readers' enjoyment by the direct appeal to shared knowledge of the fantasy code.

Fourthly, the scope of fairy tale is made by language: it consists above all of acts of imagination, conveyed in a symbolic Esperanto. Its building blocks include certain kinds of characters (stepmothers and princesses, elves and giants) and certain recurrent motifs (keys, apples, mirrors, rings, and toads). The symbolism comes alive and communicates meaning through an imagery of strong contrasts and sensations, evoking simple, sensuous phenomena that glint and sparkle, pierce and flow. By these means they strike recognition in the reader or listener's body at a visceral depth (glass and forests, gold and silver, diamonds and rubies, thorns and knives, wells and tunnels).
Small wonders
Another alternative term for 'fairy tale' is 'wonder tale', from the German Wundermärchen, and it catches a quality of the genre more eloquently than 'fairy tale' or 'folk tale'. Although it does not enjoy the currency of 'fairy tale', 'wonder tale' recognises the ubiquitousness of magic in the stories.

The suspension of natural physical laws produces a magical state of reality throughout this form of narrative, which leads to wonder, astonishment. Supernatural agency and the pleasure of wonder are interwoven in the character of fairy tales - this interrelationship presents a fifth defining characteristic.

Wonders shape plots that promise all kinds of riches; fairy tales typically offer hope of release from poverty, maltreatment, and subjection. A happy ending is one of their generic markers. Fairy tales report from imaginary territory - a magical elsewhere of possibility; a hero or a heroine or sometimes both together are faced with ordeals, terrors, and disaster in a world that, while it bears some resemblance to the ordinary conditions of human existence, mostly diverges from it in the way it works, taking the protagonists - and us, the story's readers or listeners - to another place where wonders are commonplace and desires are fulfilled.

A sixth defining characteristic of the genre can therefore be placed under the heading of 'the happy ending': fairy tales express hopes. The agents who bring about miracles of hope in the stories vary from place to place, as they rise from local belief systems which belong to tradition. The tradition may contain imaginary elements but also traces of history: fairies and goblins on the one hand, cunning beldames and stepmothers on the other. The history is itself often an imagined history: King Arthur inspired romances that in turn carry into fairytale motifs and plot devices - enchanted objects (swords, mirrors, cups), tests and riddles, dangers from monsters and forests, dream journeys, and a sense of the other world near to hand. Fairy tales evoke every kind of violence, injustice, and mischance, but in order to declare it need not continue.

The promise of the happy ending carries the tales of terrible dark deeds to their unlikely conclusion. There is the occasional well-known fairy tale that ends badly, like Red Riding Hood according to Charles Perrault. But it is an aberration, as shown by myriad popular variations in which the young girl tricks the wolf out of his prize or even kills him herself. The most often told version introduces a hero: the Grimms brought her father into the plot.

You have a sketch map and a rough guide; the lights are lit in the windows of that house in the deep dark forest ahead of us. We can begin to move in, listening out, eyes open, trying to find our bearings.
© Oxford University Press. Adapted from Once Upon A Time: A Short History of Fairy Tale by Marina Warner to be published by Oxford University Press on 23 October 2013. If you would like to comment on this story or anything else you have seen on BBC Culture, head over to our Facebook page or message us on Twitter.

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Imagine the history of fairy tales as a map: unfurl this imaginary terrain in your mind's eye, and you will first see two prominent landmarks, Charles Perrault's Tales of Olden Times (1697) and a little nearer in the foreground, the Grimm Brothers' Children's and Household Tales (1812-57).

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As a group overall I believe we did very well, we all managed to get our blocking correct and we stayed in character. However I believe I could of been more dramatic and showed more emotions.
I believe the setting went looked good, the reason why I say this is because it was clear where we was in each scene.  I really liked the part when Samuel( the miller) walks in to tell me that I have the see the king, and Amel and Monica is used as doors.

I liked that we used a freeze frame from  we used it in the scene when he Millers daughter get moved to the second biggest room, due to the fact that it saves us from moving around in circles to show we have reached into another room,  the freeze frame was clear and snappy that we have changed the setting into a different room, what also made effective Is as soon as I came out the freeze frame I acted confused as if I didn't know where I was.

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Is based in a small village there where the miller and his daughter lived. Due to the fact that hey lived in poverty, the miller went to see the king to and told him that his daughter was able to turn straw in gold.  The king found it very funny however he commanded the miller to send his daughter to him.  When she arrived  she was sent to him he lead her to a room full of straw and told her to turn the straw in to gold or she will be put to death. Suddenly out of nowhere appears a little man (rumplestilskin).  He asked why she was crying as she knew that she was unable to turn straw into gold,  so rumplestilskin offered to her help but with a price. She gave him her necklace so over night he turned the straw into gold Day 2 the king was amazed by the gold and his greed became stronger, he takes her to another bigger room and is told to do the same thing.
the little man returns to turn the straw into gold once again in return she give him her ring, over night the room was field with straw.
Next  day king became more greedy and took her to even bigger room and once she turns all the straw to gold she will become his wife. The little man returns unfortunately the miller daughter had nothing left to give so she promised him her first son.

The king saw the gold and straight away he married her.
One year later she gives birth to her son and forgot about the little man.
Out of nowhere the little man returns the queen offers him all the treasures in the land but he didn't want that so the queen begged, the little man felt bad so he gave her three days to find out his name.
The queen sent out her servants to find his name, every time the little man came he said "that is not my name"  so the servants continued to search and on the last day she was told that rumplestilskin was dancing around the fire mentioning his name. the queen was amazed The little man returns and the queen mentioned 3 name and on the fourth name she says "RUMPLSTILSKIN!"  and so the little man disappeared

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26/5/17 - In lesson today my group and I thought about how we can make the play as interesting as possible so we used our aim was the make the staging as clear as possible and transitions, so we thought of different ways we could go whist performing so w don't look like we are just going in circles.

We also started talking about the props that may be needed, so far we have a wooden box which could be used for several thing  a gown for when the queen gets married and metal bin tins for when we introduce the king as well as we though we could use it as a door handle.
Feedback
What went well:
our transitions  was good, and when Samuel and I walked through the audience they found it very effective and engaging, they also mentioned the staging and settings were  very clear

Even better if:
Our body language could be bigger and when I see Rumpelstiltskin creating the gold I should be more shocked but my character should find it interesting and be more curious.
Our volume was also mentioned which is very important and we need to  build up more pace energy and tension.
Every character need to how a lot more emotions as well.
My own feedback
When I perform in the future don't allow the audience to distract me and start laughing, always stay in character.

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Research review- see sinaeds padlet for details.

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Sufficient research and investigation of relevant sources, information used to inform ideas. Your research is well presented but you could have gone further and investigated more sources.

Sufficient evaluation in your rehearsal log  with evidence of ongoing assessment of ideas used to inform progress and development. You could have gone into more detail with the feedback and provided more rehearsal videos and pictures.

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23/5/17 -  In Neil's lesson  we had to go through our play and made some adjustments to improve out play.

In lesson Neil asked us to create 5 freeze frame the we believe it is most important/ effective in the  play, we had 4 counts to transform ourselves into the next freeze frame so the whole class would be moving at the same time.  Neil's aim was to improve the very begging of the play after the freeze frames was done the class was told to go the back of the class room and face our back to the  audience and one at a time we would slowly turn round to face the front like it was dominos, once we all faced the front we took 3 steps forward starting from our left leg. when we finished this we would slowly go to our first positons. This takes place before the 5 freeze frames I have mentioned from the about.
Neil's aim was to keep the audience interest and make them feel uncomfortable and the make the play look as creepy as possible at the beginning.

next lesson I will be focusing on my articulation and gesture so the audience can hear me clearly and understand how my character is feeling but watching my physicality.

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The Feedback we was given today as a class

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19/5/17 - Today's lesson sinaed set us a task to go through our scenes but mime it, unfortunately half of out group did arrive to lesson today so I continued to play my character whilst Amel played as the king and Rumplestillskin, we used technique like facial expressions, we ran through Scenes that needed improvement. As a class we started the begging of the play also sinaed told us how to carry the chair as her aim was for everyone to look the same and move at the same Time.

Next lesson  hopefully my group will be in so there will be a lot of improvements.

techniques We used freeze frame and mime techniques

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17/5/17-
1- How effectively did you use the techniques and skills explored?
Today my group and I went through the script and put down who say what,  our aim we set was take it step by step and put detail in each paragraph instead of rushing through the play we managed to include freeze frames for example at the beginning we start as a freeze frame and the Amel and Monica introduces the miller and then he comes to live then they mention the millers daughter so I take a spin forward and hold his hand to show that the father and daughter has a good relationship.

2- How did I utilise the techniques and skills into my performance preparation?
we used freeze frame so the audience could get a clear picture of what is going on.

3- What feedback did you get and how did you use it to develop your work?
We was told to make the freeze frame more interesting and work on our blockings so what we did was use more height levels and showed more facial expressions next lesson my group and I will focus on our characterization and our movement. We also made sure that our blocking were clear and went through the play  again so we could see where needed fixing
4- How have you used your research to inform your character, piece and production role?
I did research on the play and characters so it gave me and understanding on how my character is and how she would portray herself.

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16/5/17-  Unfortunately I wasn't not in last week due to work experience. However I have been moved to another group, the play we are doing is Rumpelstiltskin. I am working with Amel (king), Monica (Rumpelstiltskin) and Sam who is the narrator and Miller And I am the Daughter of Miller/Queen.  in lesson we done a bit of improvisation to gain a few Ideas  and after we thought about transactions and how to make our play more interesting and to grab the audience attention by involving them.

Our target for next lesson is to focus on our blocking, narration and movement. we can do this by picking moments of the  text to give elements f the scene.

Our aim is to bring the story to life

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Did you know freak show became popular around the 16th century.

The website bellow will give you so much more information about the history of freak shows.

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The history of the Freak Show and the legendary freaks who promoted the popular attractions

// December 22nd, 2014 // Sideshow Anomalies

Freak shows were popular attractions during the mid 19th to mid 20th centuries until changes in societal attitudes towards handicapped persons and tightening of local laws prohibiting "exhibition of deformed human beings" led to the decline of the freak show as a form of entertainment. Featuring attractions such as deformed humans and animals, unusual physical performers, "pickled punks" (abnormal fetuses preserved in glass jars), and occasional hoaxes (e.g. "bouncers" - fake pickled punks made from rubber), the freak show has captivated audiences since as early as the 16th century.

By 1600, severe physical human deformities and animal abnormalities were no longer deemed bad omens or manifestations of evil spirits residing within the person's body and the public display of deformed persons began to see increased popularity. During the 1600's through 1700's, conjoined twins Lazarus Colleredo and John Baptista (whose upper body dangled from the front of Lazarus) toured England along with a "female about four feet high in every part like a woman excepting her head which nearly resembles the ape" made rounds in Europe. By 1810, Sarah Baartman (aka Hottentot Venus), a southwestern African woman was exhibited throughout London and France until her death in 1815 (at which time her body was dissected and her brain, skeleton and genitalia put on display for more than a century).

During the mid-1800's, the display of sideshow freaks became big business, particularly in England and the United States. Small shows began to pop up in America in 1829, around the time of the arrival of Chang and Eng, the original Siamese twins. In 1844, American circus pioneer P.T. Barnum travelled to England with his distant cousin, Charles Stratton (aka Tom Thumb). At just over two feet tall, the diminutive Stratton was instructed to lie about his age, claiming he was 11 years old instead of his actual age of five and billed as General Tom Thumb. P.T. Barnum had already experimented with faux-creations such as the Fiji Mermaid which he exhibited with great success in 1842.

By 1884, during the heyday of the Victorian-era freak shows, Joseph Merrick (the Elephant Man) was displayed in London's East End and billed as "half-a-man and half-elephant". Merrick was exhibited in the back of an empty shop on Whitechapel Road (directly across the street from the London Hospital and near the location of the Jack the Ripper murders) by a man named Tom Norman, who collected and travelled the countryside with freaks such as Eliza Jenkins, Mary Anne Bevan, the Human Skeleton, and the Balloon-headed baby. Merrick had an iron bed with a curtain drawn around to afford him some privacy. Norman gathered an audience by standing outside the shop and drawing a crowd through his showman patter.

"Ladies and gentlemen ... I would like to introduce Mr. Joseph Merrick, the Elephant Man. Before doing so I ask you please to prepare yourselves-Brace yourselves up to witness one who is probably the most remarkable human being ever to draw the breath of life."

It was at this time that tastes changed and shows like Norman's began to cause public concern, both because of the rowdy crowds they attracted and on the grounds of human decency. London police and magistrates became increasingly vigilant in closing freak shows down.

By 1932, Tod Browing's Freaks movie, which featured many real-life freaks such as limbless Prince Randian, the legless Johnny Eck and conjoined twins Violet and Daisy Hilton, prompted public outcry and was relegated to obscurity until it was re-released in 1962. By the 1950's, the freak show had almost disappeared entirely. Today, Coney Island in New York City remains one of the few providers of sideshow entertainment left in the world.

Below are photos of some of the legendary freak show performers of past.

Conjoined twins Lazarus and John Baptista Colloredo

Lazarus and Joannes were Italian conjoined twins who toured Europe during the 17th century. The upper body of Joannes Baptista and his left leg stuck out of his brother. He did not speak and kept his eyes closed and mouth open all the time. When not performing, Lazarus covered his brother with a cloak.

Krao - the Missing Link

Krao on display in London in 1882. By 1885 she was moved to the Dime Oddities Museum in Philadelphia and toured with P.T. Barnum for some years. She ended her career as a performer at Coney Island in New York City.

Madam Gustika of the Duckbill tribe

Seen below smoking a pipe with an extended mouthpiece for her large lips during a show in a circus in New York on April 12, 1930.

The Salon Sisters - Ella and Elvira (1880)

The Salon Sisters as pictured on a vintage postcard. Billed as the Two-Headed Woman. The caption at the bottom reads "One girl, two heads, Two girls, one body - Alive!"

Raja with a second face

Victorian-era postcard featuring "The Rajah with a second face"

The Jaramillo Sisters (1802)

Natalie and Aurora Jaramillo from Albuquerque, New Mexico.

Miss Rosina (Rose Foster - aka Mermaidia, Miss Tiny)

Miss Rosina toured throughout Europe and despite having no arms, could crochet using her feet. She concluded her shows with the following: "In conclusion, ladies and gentlemen, I may say that as this is my means of getting a living, you will kindly recommend your friends to see my show."

."

Lionel the Lion Faced Boy (Stephan Bibrowski)

Lionel the Lion Faced Boy moved to the United States from Poland in 1901 and began travelling with the Barnum and Bailey Circus. By 1920 he had moved to New York City and became a popular sideshow performer at Coney Island. He was known to be kind, gentle, and extremely intelligent (he spoke five languages).

Josephine Myrtle Corbin (1818)

Josephine had two separate pelvises growing side by side, each featuring one normal-sized leg and one smaller leg. She married Dr. Clinton Bicknell and had five children - reportedly three from her left uterus and two from the right uterus.

General Tom Thumb (Charles Sherwood Stratton)

Tom Thumb gained fame as a midget performer under circus pioneer P.T. Barnum.

Ethel Granger

Oddly enough, Granger's 13 inch waist (1959) was due to her husband, William Granger, who was obsessed with the idea of a wasp-waisted woman.

Ella Harper - Camel Girl (1870)

Ella was born with a rare orthopedic condition that caused her knees to bend backwards. Her preference to walk on all fours resulted in her nickname "Camel Girl". The back of her pitch card read:

"I am called the camel girl because my knees turn backward. I can walk best on my hands and feet as you see me in the picture. I have traveled considerably in the show business for the past four years and now, this is 1886 and I intend to quit the show business and go to school and fit myself for another occupation.'

True to her pitch card, after 1886 there are no historical references to Ella Harper.

Alice Elizabeth Doherty (1887-1933)

Alice Doherty was billed as the bearded lady after her father recognized the potential to make money from her and began to display her at two years old.

Mirin Dajo, - the Invulnerable Man

Dajo could insert swords through his body without suffering any injuries. Several doctors examined Dajo, even performing X-rays on him with a sword still sticking through his body. In 1948, he claimed that voices compelled him to swallow a steel needle. He did and after complications from the surgery, Dajo died a few days later from an aortic rupture.

Laurello - The Human Owl

Yes, the photo is real. Laurello, "the only man with a revolving head" appeared in Sam Wagner's freak show on Coney Island in 1938.

Isaac Sprague - the Skeleton man

Sprague began losing weight at the age of 12 after feeling ill after swimming. The weight loss continued throughout his life. Doctors described his condition as "extreme progressive muscular atrophy". He often carried a flask of milk around his neck that he would sip from time to time to keep himself conscious. Two years before his death, Isaac stood 5'6″ and weighed a mere 45 lbs.

Laloo and his parasitic twin

A rare image of young Laloo with parasitic twin (1874 - 1905). Laloo traveled with Barnum & Bailey and Norris & Rowe circuses.

Bill Durks - The Man with Three Eyes

Bill Durks (April 17, 1913 - May 7, 1975), AKA "The Man with Three Eyes" or "The Man with Two Faces," appeared as though he had two faces on one head. He was born from normal parents. He joined the freak show when he was about forty years old. Durks and his wife, Mildrid Durks, AKA "The Alligator-skinned Woman," were voted the world's weirdest couple. Bill's "third eye" was painted on for his sideshow acts.

Grace McDaniels, the Mule face lady

Grace, pictured below with her son Elmer, was billed as the "Mule-Faced Woman" due to a facial deformity known as Sturge-Weber syndrome.

Fannie Milles - the Ohio Big Foot Girl

Known as "The Ohio Big Foot Girl," Milles suffered from a disease called Milroy Disease which caused for legs and feet to become gigantic. She was born in Sussex, England and had two sisters. Both other sisters were born normally. She was married to William Brown in 1886. William was born in 1834 and died in 1904. Fannie was only 39 when she died. She had a baby in August of 1887, but it died. Fannie's feet got to be 17 inches long, until she died in 1899.

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December 22nd, 2014 // Sideshow Anomalies Freak shows were popular attractions during the mid 19th to mid 20th centuries until changes in societal attitudes towards handicapped persons and tightening of local laws prohibiting "exhibition of deformed human beings" led to the decline of the freak show as a form of entertainment.

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this is the story my group and I will be working on. Stephen(farther), Christopho(Hansel), Salome(Gretel),  Triskel(witch) and I will be the mother.

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Evaluation questions to answer at the end of every rehearsal.

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Evaluation questions to answer at the end of every rehearsal.

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1- How effectively did you use the techniques and skills explored?

2- How did I utilise the techniques and skills into my performance preparation?

3- What feedback did you get and how did you use it to develop your work?

4- How have you used your research to inform your character, piece and production role?

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I like the way you included a video on giving information on the Grimm Brothers

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information grimm tales stories disney - Bing video

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Here are imformation about the brothers

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If you're gazing into a crystal ball to find out the opening day of Into the Woods (spoiler alert: It's December 25) planning a road trip to Storybrooke, Maine, setting of TV's Once Upon a Time, or waiting to get your next fix of detective work from NBC's Grimm, you'll know one thing for sure: fairy tales are hot. Is it because we're all yearning for a little fantasy escapism these days? Or is it the wonderful eye-candy made possible by modern special effects? Maybe it's finally seeing strong female characters after sitting through so many estrogen-deficient superhero movies. Whatever the reason, it's as clear as Cinderella's glass slipper that our entertainment owes a lot to the Brothers Grimm. Although the duo is famous for sharing the classic tales bearing their name, here are five facts that you might not have known about them:

The Brothers Grimm didn't write the fairy tales.

Despite the fact that Jacob and Wilhelm Grimm are often associated with Snow White and Rapunzel, the brothers didn't actually write any of those stories. In fact, the stories existed long before the two men were born in Germany in the mid 1780s. The fairy tales, in fact, were part of a rich oral tradition − passed down from generation to generation, often by women seeking to pass the time during household chores. But as industrialization took root, local traditions changed and scholars, like Jacob and Wilhelm, began a quest to save the stories from extinction. They interviewed relatives and friends, collecting whatever tales they could, sometimes embellishing them (although they insisted they did not). In 1812, Jacob and Wilhelm published the stories as part of a collection titled Nursery and Household Tales, or what is now referred to as Grimm's Fairy Tales.

The stories were not intended for kids.

Originally, Grimm's Fairy Tales were not meant for children. The stories routinely included sex, violence, incest, and copious footnotes. Worse yet, they didn't even have illustrations. Initially aimed at adults, the early editions of Nursery and Household Tales contained remarkably dark elements. In its original version, for example, Rapunzel gets pregnant by the prince after a casual fling. In Cinderella, the stepsisters cut off their toes and heels to try to fit into the slipper. These sort of scenes (and many others) were eventually revised once the stories became popular among children.

Jacob and Wilhelm faced deportation and bankruptcy.

In 1830, King Ernest Augustus demanded oaths of allegiance from all professors in Gottingen, a university city where Jacob and Wilhelm taught Germanic studies. The brothers refused to pledge to the king and, along with five other professors, the "Gottingen Seven" were made to leave the city. Jobless and branded as political dissidents, the brothers were forced to borrow money from friends as they worked on their story collection.

"Grimm's Fairy Tales" was a publishing blockbuster.

The Grimm's collection of fairy tales was in its 7th edition when Wilhelm Grimm died in 1859. By that point, the collection had grown to 211 stories and included intricate illustrations. Jacob − who had lived with Wilhelm and his wife − died in 1863. According to biographers, Jacob was deeply distraught after the death of his brother, with whom he had held a close bond throughout his life. Some claim their collection has only been outsold by Shakespeare and the Bible.

The Grimms worked on more than fairy tales.

University-trained philologists (the study of language in historical texts) and librarians, Jacob and Wilhelm Grimm published more than fairy tales. They wrote books about mythology, and published scholarly works on linguistics and medieval studies. They also worked on compiling an ambitious German dictionary, although both brothers died before they were able to finish the entry for the letter F.

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With the new movie version of "Into the Woods" and TV shows like "Once Upon a Time" and "Grimm," it's as clear as Cinderella's glass slipper that fairy tales are hot thanks, in part, to the German brothers who made them so popular.

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The Little Mermaid

In the original version, the Little Mermaid feels an indescribable amount of pain every time she takes a step - due to a curse the witch put on her.

The Little Mermaid has a mother in the original - her mother is dead in the Disney version.

The Captain that the mermaid falls in love with marries another woman (whom he had been in love with in the first place) - in the Disney version the Little Mermaid gets the prince!

The Little Mermaid's sisters offer her a knife to kill the prince so she can return to the see in the original.

The Little Mermaid dies at the end (turns into sea foam) - she kinds of commits suicide - because she cannot bare to see the prince with someone else.

Snow White

In the original - the Queen requests the lungs and liver (as well as the heart)  of Snow White to eat for dinner that night.

In the original - Snow White is not awakened by a kiss from the prince (like the Disney version) - she is awakened when she is jostled by the horse on which her coffin is being carried by the prince.

Cinderella

In the original - the step-sisters of Cinderella try to cut off different parts of their feet to make them fit into the glass slippers.

The Prince is alerted of the step-sisters by two carrier pigeons who then peck out the step-sisters eyes.  The step-sisters live as blind beggars for the rest of their lives.

Sleeping Beauty

Woman is put to sleep because of a prophecy (not a curse) in the original.

In the real original (not Brothers Grimm version) - Sleeping Beauty is raped by the King (her father) and is awakened when her child sucks the piece of flax that was keeping her asleep out of her finger.

http://disneyvsgrimms.blogspot.co.uk/