英语童话剧剧本
英语短剧:三只小猪领衔主演:M:猪妈妈 P1:猪哥哥 P2:小猪 P3:猪弟弟 W:老狼 主要演员:T:树1 T2: 树2 B1:小鸟1 B2: 小鸟2 故事内容: 旁白:Long long ago , there were three little pigs lived with their mother . They were very happy and they were very kind to their friends . Look ! They are coming ! (情景一:猪妈妈和三只小猪以及朋友们在森林里快乐的玩耍)(加快乐的音乐 ) (小鸟飞的音乐) B1: Hello! Nice to meet you ! B2: nice to meet you , too. B1:it is a beautiful morning ! B2 : yes ! look at the trees ! They are very happy! T1: hi! T2: hello! (猪妈妈和孩子出现) M; Come on ,baby ! Pp: Here we come ! M : let’s do the exercises. (歌曲move body move ) Lift your arms. Bend your knees . touch your toes . P1 :mom , look ! we’re so strong ! (伸出胳膊，亮出肌肉)三个小猪比健美 P2 :yes ,I am strong ! P3:no , I am strong ! M:yes ! my baby ! you should have your own house ! Pp: ok! I ’d love to . M : you can do it ! Pp :yes ! we can! Yeah! (做成功的动作) 旁白:The three little pigs make three houses . they all think their own house is best! But the wolf is coming ! he is very hungry! (音乐) W:Gu,gu,gugugu. I’m very hungry . oh, I sniff the pig’s smell . aha! I have a good idea ! (来到第一只小猪的门前敲们) little pig, little pig , let me come in ! P1: No ! you are bad wolf ! W :then I ’ll huff and I ’ll huff ,and I ’ll blow your house in . (吹一下，房子倒了，小猪突然发现，吓了一下，逃跑) P1:Oh !help !help! my brother ! please help me ! (迅速进入第二只小猪家，然后马上关门) P1: open the door ! (堵着门) P2: Don’t be afraid ! W: little pig ,little pig , let me come in ! P1: no ! no ! W: then I ’ll puff , blow your house! (狼鼓足气吹一下，房子有点摇晃，又吹三下，两只小猪堵着门，挣扎之后，房子倒了) (挣扎快跑) p1p2:oh , my god !let’s run away ,run away ! (跑到第三个小猪家的床底下哆嗦) P1:the wolf is very strong ! P2: he wants to eat us ! P3:my god , help me ! ( 三只小猪都在床底下) W: little pig ,little pig , let me come in ! P1P2P3:no ! W : open the door! I can get the house down ! (吹三下，没动，鼓足又吹三下，迟疑了一下) why ? (最后吹三下，开始喘气了，然后倒地) p1p3p2 : yeah ! we are safe ! (歌曲幸福歌) 旁白:the wolf is very angry ! he has a good idea ! he climbs the chimney ! the bird tells the three little pigs ! B1B2 :my friends !look at the chimney ! (狼爬上了烟囱) P1: how to do ? (开始转着跑) P2 :MOM !where are you ? (哭着说) P3:don’t worry ! let’s put the wood into the fire ! P1p2p3: ok , ,123… W : (掉进火里挣扎) help ! no ! P1p2p3: the wolf is dying ! we are succeed !yeah ! 结尾曲 (完)
英语童话剧剧本
魔豆Act 1 Scene 1(Jack’s mother was gambling.)Mom: Oh, no, not again. (Roaring) Jack, Jack, where are you?Jack: Here I am, mom. What’s up?Mom: Send that old cow to the market to exchange some money back.Jack: But mom, if I sold Rose, we would have no milk anymore.Mom: Shut up. Do as I said.Jack: (sign) All right, all right.Act 1 Scene 2(In the market.)Mr. Bean: I have soybeans, mung beans, green beans, broad beans, green soybeans, peas, and above all, the most amazing beans in the world --- magic beans.Jack: Wow, sounds wonderful. Beans is my favorite food, I can’t wait to have a bowl of bean soup. I want to buy all the beans with this cow.Mr. Bean: This cow? What do I need this old skinny cow for? Go away, don’t bother me, kid.Jack: Sir, please. My mom always told me “Helping someone in need is a honorable deed.”Mr. Bean: All right, all right. (Sign) Today isn’t my day.
求英语童话故事剧本
这是我们以前用过的剧本不过是5人的 那时我们也人手不够 所以是一人分饰两角演得 然后在袖子上贴着人物名字 上场之前换 你也可以只演其中一幕或几幕也行 英语童话剧本-----小红帽Little Red Riding Hood第一场：Little Red Riding Hood家Mum： (妈妈拿着一个篮子，把桌子上的水果放在篮子里）Little Red Riding Hood:(唱着歌，欢快地跑进来）Hi,mummy, what are you doing?Mum： （一边把水果放在篮子里，心事重重地说）Grandma is ill. Here are some apples and bananas for Grandma. Take them to Grandma.Little Red Riding Hood：（边提起篮子，边点头说）Ok!Mum： （亲切地看着Little Red Riding Hood说） Be good. Be careful.Little Red Riding Hood： Yes ,mummy．Goodbye, mummy.Mum： Bye-bye. Darling.第二场：在路上（一阵轻快的音乐由远而近，Little Red Riding Hood挎着篮子蹦跳跳地跳到花草旁)Little Red Riding Hood： Wow
Flowers, how beautiful! （放下篮子采花）One flower ,two flowers, three flowers.Wolf：（随着一阵低沉的音乐，Wolf大步地走上台）I am wolf. I am hungry. (做找东西状,东张西望) Here is a little red riding hood. Hi! Little Red Riding Hood. Where are you going? (做狡猾的样子和Little Red Riding Hood打招呼)Little Red Riding Hood：(手摸辫子，天真地回答)To Grandma’s．Grandma is ill.Wolf：（自言自语）I'' ll eat Grandma. But……（对Little Red Riding Hood说）Hey, look! 6 little baby ducks.Little Red Riding Hood：(和6只鸭子随着音乐翩翩起舞)Wolf：（悄悄地藏到大树后）Little Red Riding Hood：（停止跳舞）Hello! Baby ducks，how are you?Six Ducks：We’ re fine．Thank you． Where are you going?Little Red Riding Hood：To Grandma’s．Oh, I must go, bye.Six Ducks：Goodbye．第三场：Grandma家 Grandma： （喘着气出场，颤颤悠悠地走到床前，吃力地坐到床边，喘了几口，打几个哈欠，慢吞吞地躺倒在床上。
）Wolf：（从树后出来，边走边说）I am very hungry now. (做找寻的样子)Where is Grandma’ s house? (高兴地对观众说)Aha , it’s here.(敲门)Bang, Bang, Bang．Grandma： Who is it
Wolf：（装出Little Red Riding Hood的声音，一边得意地摇动尾巴，一边说）It’s me. Little Red Riding Hood.Grandma： (边说边起床) Come in, come in.Wolf：(得意洋洋地走到床边) Grandma , I’ll eat you.Grandma： （惊慌失措地抓紧衣服，瞪着眼睛，边叫迫从床上滚到地上）灰狼把外婆吞到了肚子里。
Wolf：（得意地拍拍肚子，翘起大拇指）Yummy
I’ll sleep.Little Red Riding Hood：(高兴地敲门)Grandma．Grandma．Wolf：(装扮成Grandma的声音) Who is it
Little Red Riding Hood：It’s me。
Little Red Riding Hood. What a strange noise! Wolf：Come in， Come in.Little Red Riding Hood：(蹦跳着进来，把篮子放在桌子上，走到床前一看，跳回几步)Oh! What are big ears! Wolf：I can listen to your sweet voice. Little Red Riding Hood：Wow! What a big eyes!Wolf：I can see you pretty face.Little Red Riding Hood：Oh! What a big hand.Wolf：I can hug you.Little Red Riding Hood：（跪在床前，拉起Wolf的手，边摸边说）Look! What a big hands?Wolf：(从床上跳起来说)I can eat you!Little Red Riding Hood：(拼命地跑)Oh
No! No!Wolf：（追到Little Red Riding Hood，做吃状，拍拍肚子说）It’s delicious. I still sleep. I like sleeping.Hunter： (一边拿着枪，一边做寻找状出场)Where’s the wolf? Look! A door．(推门)The wolf is sleeping.Wolf：(发出呼呼的响声)Hunter： (端起枪想打，又放下)What a big stomach! (摸摸Wolf的肚子)Grandma and Little Red Riding Hood are inside .I must be hurry．(从桌子上拿起剪刀，举起) Look! Scissors. (做剪Wolf的肚子)Cut, cut, cut.Little Red Riding Hood\\\/Grandma：Thank you．Hunter： Grandma ,give me some needles and thread． Little Riding Hood ,Give me some stones．Grandma： (从桌子上拿来针线)Little Red Riding Hood：(搬来几个石头)One, two, three.Hunter： (把小石头装进Wolf的衣服里)Grandma： I''ll thread it.Hunter： (拿起枪)Woke up!Wolf：(起床，两手托着大肚子)My stomach is so heavy.Hunter： You big bad wolf, raise your arms!Wolf：(边跑边说) Help! Don’t shot me!Hunter： （开枪）Bang, bang!Wolf： (应声倒下)Hunter： The bad wolf is dead．Little Red Riding Hood和Grandma：Yeah! Thank you．Little Red Riding Hood、Grandma、Hunter（一起鞠躬）: Thank you
适合幼儿园大班的10人左右的英语剧剧本
Themes Themes are the fundamental and often universal ideas explored in a literary work. The Failure of Charity Much of the first part of Oliver Twist challenges the organizations of charity run by the church and the government in Dickens’s time. The system Dickens describes was put into place by the Poor Law of 1834, which stipulated that the poor could only receive government assistance if they moved into government workhouses. Residents of those workhouses were essentially inmates whose rights were severely curtailed by a host of onerous regulations. Labor was required, families were almost always separated, and rations of food and clothing were meager. The workhouses operated on the principle that poverty was the consequence of laziness and that the dreadful conditions in the workhouse would inspire the poor to better their own circumstances. Yet the economic dislocation of the Industrial Revolution made it impossible for many to do so, and the workhouses did not provide any means for social or economic betterment. Furthermore, as Dickens points out, the officials who ran the workhouses blatantly violated the values they preached to the poor. Dickens describes with great sarcasm the greed, laziness, and arrogance of charitable workers like Mr. Bumble and Mrs. Mann. In general, charitable institutions only reproduced the awful conditions in which the poor would live anyway. As Dickens puts it, the poor choose between “being starved by a gradual process in the house, or by a quick one out of it.” The Folly of Individualism With the rise of capitalism during the Industrial Revolution, individualism was very much in vogue as a philosophy. Victorian capitalists believed that society would run most smoothly if individuals looked out for their own interests. Ironically, the clearest pronunciation of this philosophy comes not from a legitimate businessman but from Fagin, who operates in the illicit businesses of theft and prostitution. He tells Noah Claypole that “a regard for number one holds us all together, and must do so, unless we would all go to pieces in company.” In other words, the group’s interests are best maintained if every individual looks out for “number one,” or himself. The folly of this philosophy is demonstrated at the end of the novel, when Nancy turns against Monks, Charley Bates turns against Sikes, and Monks turns against Mrs. Corney. Fagin’s unstable family, held together only by the self-interest of its members, is juxtaposed to the little society formed by Oliver, Brownlow, Rose Maylie, and their many friends. This second group is bound together not by concerns of self-interest but by “strong affection and humanity of heart,” the selfless devotion to each other that Dickens sees as the prerequisite for “perfect happiness.” Purity in a Corrupt City Throughout the novel, Dickens confronts the question of whether the terrible environments he depicts have the power to “blacken [the soul] and change its hue for ever.” By examining the fates of most of the characters, we can assume that his answer is that they do not. Certainly, characters like Sikes and Fagin seem to have sustained permanent damage to their moral sensibilities. Yet even Sikes has a conscience, which manifests itself in the apparition of Nancy’s eyes that haunts him after he murders her. Charley Bates maintains enough of a sense of decency to try to capture Sikes. Of course, Oliver is above any corruption, though the novel removes him from unhealthy environments relatively early in his life. Most telling of all is Nancy, who, though she considers herself “lost almost beyond redemption,” ends up making the ultimate sacrifice for a child she hardly knows. In contrast, Monks, perhaps the novel’s most inhuman villain, was brought up amid wealth and comfort. The Countryside Idealized All the injustices and privations suffered by the poor in Oliver Twist occur in cities—either the great city of London or the provincial city where Oliver is born. When the Maylies take Oliver to the countryside, he discovers a “new existence.” Dickens asserts that even people who have spent their entire lives in “close and noisy places” are likely, in the last moments of their lives, to find comfort in half--imagined memories “of sky, and hill and plain.” Moreover, country scenes have the potential to “purify our thoughts” and erase some of the vices that develop in the city. Hence, in the country, “the poor people [are] so neat and clean,” living a life that is free of the squalor that torments their urban counterparts. Oliver and his new family settle in a small village at the novel’s end, as if a happy ending would not be possible in the city. Dickens’s portrait of rural life in Oliver Twist is more approving yet far less realistic than his portrait of urban life. This fact does not contradict, but rather supports, the general estimation of Dickens as a great urban writer. It is precisely Dickens’s distance from the countryside that allows him to idealize it. Motifs Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text’s major themes. Disguised or Mistaken Identities The plot of Oliver Twist revolves around the various false identities that other characters impose upon Oliver, often for the sake of advancing their own interests. Mr. Bumble and the other workhouse officials insist on portraying Oliver as something he is not—an ungrateful, immoral pauper. Monks does his best to conceal Oliver’s real identity so that Monks himself can claim Oliver’s rightful inheritance. Characters also disguise their own identities when it serves them well to do so. Nancy pretends to be Oliver’s middle-class sister in order to get him back to Fagin, while Monks changes his name and poses as a common criminal rather than the heir he really is. Scenes depicting the manipulation of clothing indicate how it plays an important part in the construction of various characters’ identities. Nancy dons new clothing to pass as a middle-class girl, and Fagin strips Oliver of all his upper-class credibility when he takes from him the suit of clothes purchased by Brownlow. The novel’s resolution revolves around the revelation of the real identities of Oliver, Rose, and Monks. Only when every character’s identity is known with certainty does the story achieve real closure. Hidden Family Relationships The revelation of Oliver’s familial ties is among the novel’s most unlikely plot turns: Oliver is related to Brownlow, who was married to his father’s sister; to Rose, who is his aunt; and to Monks, who is his half-brother. The coincidences involved in these facts are quite unbelievable and represent the novel’s rejection of realism in favor of fantasy. Oliver is at first believed to be an orphan without parents or relatives, a position that would, in that time and place, almost certainly seal his doom. Yet, by the end of the novel, it is revealed that he has more relatives than just about anyone else in the novel. This reversal of his fortunes strongly resembles the fulfillment of a naïve child’s wish. It also suggests the mystical binding power of family relationships. Brownlow and Rose take to Oliver immediately, even though he is implicated in an attempted robbery of Rose’s house, while Monks recognizes Oliver the instant he sees him on the street. The influence of blood ties, it seems, can be felt even before anyone knows those ties exist. Surrogate Families Before Oliver finds his real family, a number of individuals serve him as substitue parents, mostly with very limited success. Mrs. Mann and Mr. Bumble are surrogate parents, albeit horribly negligent ones, for the vast numbers of orphans under their care. Mr. Sowerberry and his wife, while far from ideal, are much more serviceable parent figures to Oliver, and one can even imagine that Oliver might have grown up to be a productive citizen under their care. Interestingly, it is the mention of his real mother that leads to Oliver’s voluntary abandonment of the Sowerberrys. The most provocative of the novel’s mock family structures is the unit formed by Fagin and his young charges. Fagin provides for and trains his wards nearly as well as a father might, and he inspires enough loyalty in them that they stick around even after they are grown. But these quasi-familial relationships are built primarily around exploitation and not out of true concern or selfless interest. Oddly enough, the only satisfactory surrogate parents Oliver finds are Brownlow and Rose, both of whom turn out to be actual relatives. Oliver’s Face Oliver’s face is singled out for special attention at multiple points in the novel. Mr. Sowerberry, Charley Bates, and Toby Crackit all comment on its particular appeal, and its resemblance to the portrait of Agnes Fleming provides the first clue to Oliver’s identity. The power of Oliver’s physiognomy, combined with the facts that Fagin is hideous and Rose is beautiful, suggests that in the world of the novel, external appearance usually gives a fair impression of a person’s inner character. Symbols Symbols are objects, characters, figures, or colors used to represent abstract ideas or concepts. Characters’ Names The names of characters represent personal qualities. Oliver Twist himself is the most obvious example. The name “Twist,” though given by accident, alludes to the outrageous reversals of fortune that he will experience. Rose Maylie’s name echoes her association with flowers and springtime, youth and beauty. Toby Crackit’s name is a lighthearted reference to his chosen profession of breaking into houses. Mr. Bumble’s name connotes his bumbling arrogance; Mrs. Mann’s, her lack of maternal instinct; and Mr. Grimwig’s, his superficial grimness that can be removed as easily as a wig. Bull’s-eye Bill Sikes’s dog, Bull’s-eye, has “faults of temper in common with his owner” and is a symbolic emblem of his owner’s character. The dog’s viciousness reflects and represents Sikes’s own animal-like brutality. After Sikes murders Nancy, Bull’s-eye comes to represent Sikes’s guilt. The dog leaves bloody footprints on the floor of the room where the murder is committed. Not long after, Sikes becomes desperate to get rid of the dog, convinced that the dog’s presence will give him away. Yet, just as Sikes cannot shake off his guilt, he cannot shake off Bull’s-eye, who arrives at the house of Sikes’s demise before Sikes himself does. Bull’s-eye’s name also conjures up the image of Nancy’s eyes, which haunts Sikes until the bitter end and eventually causes him to hang himself accidentally. London Bridge Nancy’s decision to meet Brownlow and Rose on London Bridge reveals the symbolic aspect of this bridge in Oliver Twist. Bridges exist to link two places that would otherwise be separated by an uncrossable chasm. The meeting on London Bridge represents the collision of two worlds unlikely ever to come into contact—the idyllic world of Brownlow and Rose, and the atmosphere of degradation in which Nancy lives. On the bridge, Nancy is given the chance to cross over to the better way of life that the others represent, but she rejects that opportunity, and by the time the three have all left the bridge, that possibility has vanished forever
