![]() The listening session will open with excerpts from Shakespeare, Christina Rossetti, Hans Christian Andersen and the more contemporary author Fanny Howe to recreate the atmosphere of the enchanted forest and introduce us to the wide range of magical creatures who dwell there, such as Queen Mab, goblins, pixies and elves. Other proposals, like Liga Spunde’s short The Mirror, use the familiar device of the magic mirror to reflect on the Dark Net. Trips, a short directed by Zachary Schoenhut, revives the children’s TV show “Faerie Tale Theatre”, in which male and female fairy-tale villains often resembled drag queens and kings of the queer nightlife scene. The same is true of the short film Boyland, directed by Gabe Rubin and Felix Bernstein, which tells the story of a boy haunted by evil spirits from a queer perspective.ĭuring the session, we will also read Jen Calleja and Carmen María Machado, who reflects on Disney’s tendency to represent male and female antagonists as queer villains in its adaptations of classic fairy tales. The films of Marianna Simnett, depicting rites of passage and physical transformations, use the age-old repertoire of fairy tales to shatter the binary gender system. ![]() The readings in the listening session will include excerpts from the work of Angela Carter, who used metamorphosis and other themes in her fiction to portray women who break free, refusing to be treated as mere commodities and defying traditional gender roles. The featured proposals use the folklore, mythology and utopian fantasies typical of fairy tales to decode and replace some of the values and assumptions they have traditionally conveyed. ![]() Designed for an adult audience, the activities scheduled for Wednesday, 4 March, will include an audiovisual programme and a listening session, where texts will be read aloud while the music of Andrea Zarza plays in the background. And that is precisely what this series aims to explore: the mutational capacity of fairy tales. Without going into too much detail, the mundane is transformed to reveal its unexpected possibilities.ĭespite the fact that, as Marina Warner accurately noted, fairy tales, more than any other genre, are rooted in exacerbated nationalism and reflect a heteropatriarchal, racist society, they also travel and are transformed and rewritten. Though fairies do not appear in every fairy tale, they are all steeped in magic and enchantment. The oral tradition of telling stories or fairy tales dates back millennia, although the fairytale as a literary genre was established through the efforts of Charles Perrault and Madame d’Aulnoy in France and the Brothers Grimm in Germany, who compiled these old legends and inspired a wave of similar initiatives across Europe, reviving people’s interest in a supernatural past. Enchanted forests, magical creatures, mirrors, poisoned apples and rites of passage converge in an audiovisual programme, a listening session and a workshop where standard fairy-tale elements are rewritten and interwoven with contemporary references, interests and aesthetics.
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