Sunday, October 30, 2011

The Baba Yaga: CalArts Story Assigment I

The Baba Yaga
Treatment Rough Draft


Vasilisa the heroine


Concept

BABA YAGA is an adaptation of the Grimm fairy tale Hansel and Gretel and the traditional
Russian folklore of the ‘Baba Yaga’, the wise woman and cannibal witch. It is a fantasy action and horror-drama in the style of Pan’s LabyrinthIn the 1905 Siberian famine a Russian family struggle for survival in the bitter winter. The peasant family is torn apart by desperation and the horrors of starvation and destitution. The children and father are eventually reunited by salvation, self-sacrificial love and prosperity borne through hardship.

BABA YAGA is about portraying the darker elements of human experience that give rise to folk tales such as Hansel and Gretel—the desperation of poverty, the insanity of suffering, and the power of trauma in storytelling as a rite of passage and growth. Reality and fantasy are deliberately confused.

Characters


Vasilisa is the teenage daughter of the family. As the elder of the two children she is clever, responsible, caring, motherly, and beautiful. Her name, derived from a third-century Christian child-martyr, alludes to early Russian princesses. She is based on both the characters of ‘Gretel’ and ‘Vasilisa the Beautiful (and Wise)’ who, according to Russian legend, outsmarted the witch Baba Yaga and brought justice and peace to her family. Vasilisa emerges from the story having traveled a rite of passage into adulthood.

Baba Yaga is the Russian witch who eats lost children. Her name means ‘old woman, grandmother’ in many Slavic languages and ‘old hag with broken teeth’ in Romanian. She is hideous to behold—her nose is hooked with flared nostrils, her figure like twisted iron, her fingers are needles and her eyes are two small red dots burning within black cavernous sockets. She flies in a cauldron, beating the wind and covering her tracks with a branch of silver birch tree. She lives deep in the woods in an enchanted hut that moves on chicken legs. She was a wise woman once but famine has transformed her into a demon.

The Grandmother is the allusion to Baba Yaga in the real world. Her face is hardened by crevasses of age that betray a life of little joy, like a mask of sorrow behind which two glinting black eyes glare conspiratorially. Her daughter, the children’s mother, died in childbirth with Taras, and the grandmother has since become a selfish, weak, conniving, and bitter woman whom starvation has driven into madness. The relationship between the Grandmother and Baba Yaga, and whether they are one in the same, is deliberately ambiguous. 

The Father (‘Batko’)2 of the family is a kind, simple, loving and selfless man. He works hard for the good of the family, particularly for his two children, Vasilisa and Taras. He is suspicious of the Grandmother, whom he knows thinks only of self-gain.

Taras is Vasilisa’s child brother. He is vulnerable, naïve, and very trusting—he has not lived long enough to understand the savagery of human nature nor the injustice of suffering. He looks to Vasilisa as a child would his mother.



The Enchanted Hut is an ancient, enchanted log cabin perched on chicken legs. Its design is described in folklore and believed to have derived from the storehouses and pagan funerary monuments of the hunter-nomadic indigenous peoples of Siberia. These huts were built on stilts fashioned from tree stumps in order to protect from damp and wild animals. The Enchanted Hut is loyal only to the most wise.

Wednesday, October 5, 2011

Forget Me Not: The Story

FORGET ME NOT
 Original screenplay by Emily Dean
All Rights Reserved 2011

NARRATOR
A long time ago there was a girl with a flower in her hair. She lived with her mother in a house on a hill.

They did everything together and the days were filled with sunshine and laughter.

But one day the flowers did not grow.

“Mother, why do the flowers not grow?” asked the girl.

“Because they have forgotten,” her mother replied, “but I love you.”

“Why do they forget?”

“All things have their own Time and Story,” her mother said.

Soon the trees lost their leaves.

“Mother, why do the trees lose their leaves?” asked the girl.

“Because they have forgotten,” her mother replied, “but I love you.”

“I don’t want them to forget because they leave me.”

“You cannot keep their Time or write their Story, only your own,” said her mother.

Soon the birds left their nests and flew away.

“Mother, why do the birds leave their nests and fly away?” asked the girl.

“Because they have forgotten,” her mother replied, “but I love you.”

“When is my Time and what is my Story?”

“When your Time comes you will know your Story,” said her mother.

As time passed, the warm Sun began to fade and the days grew shorter.

“Mother, the Sun forgotten us.”

Her Mother did not reply but only sat and stared out the window. Time passed and still she did not speak.

Finally, the girl cried out, “Mother, have you forgotten me also?” And then she wept. She wept for her Mother, she wept for the Sun, she wept for the birds, she wept for the leaves, and she wept for the flowers.

And from those tears she wept grew a little fragile Forget Me Not.  And her Mother, seeing the flower, plucked it from the earth and gently placed it in the girl’s hair.

Drying her eyes, the girl said, “I understand Mother. I know you love me and I love you. Though I cannot keep your Time, I am grateful my Time was a part of yours. Though I cannot write your Story, I am grateful to know it in my own. For our Time and our Story are shared.”

And with those words she held her mother’s hand and stayed with her for what was left of their Time together. And the birds returned to the nests they’d left for the winter, the trees and seedlings grew their leaves, and flowers budded on old branches long thought to be dead.



In loving memory of Brian and Suzanne Ridley