WEFOUNDPinocchio (Disney Classic Anime (10)) (1997) ISBN: 4062669609 Japanese Import


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How ironic that “ Pinocchio ” should be a bit lifeless. With Disney handing over the keys to a cherished classic for the first time, “Harry Potter and the Cursed Child” director John Tiffany has served up an eye-popping production that is as stiff as a board. For all its staggering stagecraft, this “ Pinocchio ” is, for the moment, missing real soul. With a little whittle, however, it could still come good.

This isn’t your average Disney tuner. Tiffany and his team — particularly designer Bob Crowley, puppet director Toby Olié and orchestrator Martin Lowe — have re-envisioned Walt Disney’s second feature film into something far less cutesy and far more classical. And yet it’s still, somehow, unmistakably Disney.

It’s a story that asks what it is to be a real person, and Tiffany’s conceit is to turn the tale inside out. He has puppets play people, and people, puppets. Joe Idris-Roberts’ Pinocchio — a bare-chested scruff with a blank expression — is constantly dwarfed by heaving 15-foot tall carnival-float figures: huge hand-carved heads above towering torsos voiced by actors in identical clothes. As he stands on a vast workshop table, staring up into the giant wooden eyes of his creator Gepetto (Mark Hadfield), it’s a cracking illusion – traditionally theatrical, yet quietly enchanting.

Для использования нашего нового интерфейса поиска требуется JavaScript. Включите JavaScript в браузере и повторите попытку .

Для использования нашего нового интерфейса поиска требуется JavaScript. Включите JavaScript в браузере и повторите попытку .

How ironic that “ Pinocchio ” should be a bit lifeless. With Disney handing over the keys to a cherished classic for the first time, “Harry Potter and the Cursed Child” director John Tiffany has served up an eye-popping production that is as stiff as a board. For all its staggering stagecraft, this “ Pinocchio ” is, for the moment, missing real soul. With a little whittle, however, it could still come good.

This isn’t your average Disney tuner. Tiffany and his team — particularly designer Bob Crowley, puppet director Toby Olié and orchestrator Martin Lowe — have re-envisioned Walt Disney’s second feature film into something far less cutesy and far more classical. And yet it’s still, somehow, unmistakably Disney.

It’s a story that asks what it is to be a real person, and Tiffany’s conceit is to turn the tale inside out. He has puppets play people, and people, puppets. Joe Idris-Roberts’ Pinocchio — a bare-chested scruff with a blank expression — is constantly dwarfed by heaving 15-foot tall carnival-float figures: huge hand-carved heads above towering torsos voiced by actors in identical clothes. As he stands on a vast workshop table, staring up into the giant wooden eyes of his creator Gepetto (Mark Hadfield), it’s a cracking illusion – traditionally theatrical, yet quietly enchanting.

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When the woodworker Geppetto sees a falling star, he wishes that the puppet he just finished, Pinocchio, could become a real boy. In the night, the Blue Fairy grants Geppetto's wish and asks Jiminy Cricket to serve as the wooden boy's c onscience


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