Cartoon Your Picture Biography
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A Cartoon Your Picture costumed character wears a costume that covers the performer's face. These range from theme park "walk-around" or "meetable" characters, the mascots of corporations, schools, or sports teams to novelty act performers. Some costumes cover the performer's face; others, especially those in theme parks, may leave the performer's face visible.They are intended to add to the fantasy experience by enabling visitors to encounter and interact with fictional characters, such as mascots for the company. Meetable characters that have the performer's face visible are allowed to speak (usually following a script by the people who train the performers), while characters that have their faces covered are not allowed to speak and can only communicate through pantomime.[citation needed]They are a major feature of Walt Disney Parks and Resorts, where the most ubiquitous of them is Mickey Mouse, but a wide variety of characters from different media franchises are portrayed at various parks. For example, Disney Parks feature characters from their own library of animated and live-action films as well as characters from George Lucas' Star Wars and Indiana Jones franchises; Six Flags parks feature Time-Warner's Looney Tunes cartoons and DC Comics superhero characters;[1] Cedar Point, Knott's Berry Farm, and other Cedar Fair parks feature Peanuts characters;[2][3] and until recently Kings Island, California's Great America, Kings Dominion, Carowinds and Canada's Wonderland featured Nickelodeon characters[4][5] (and before that, Hanna-Barbera characters). Some theme parks create their own meetable characters.The characters are portrayed by park employees in costume. Some of the costumes consist of clothing and makeup (e.g. Snow White, Sleeping Beauty, Batman), while those for non-human characters generally conceal the performer entirely and include a full-head mask (e.g. Donald Duck, Goofy, Bugs Bunny, Felix the Cat, Godzilla, And Woody Woodpecker). Park employee regulations are careful to prevent visitors from seeing performers out of character, and in the case of more elaborate costumes, to be seen "with their head off".Hip Hop Harry is a children's show that aired on Discovery Kids and TLC as part of the Ready Set Learn block, as well as most Retro Television Network affiliates, as an E/I-compliant program. Similar to Barney the Dinosaur and Sesame Street, Hip Hop Harry is a live action program designed for preschool children in the 3-12 year old age group. The program uses age appropriate hip hop music and dance to teach social, educational, physical and creative skills.Hip Hop Harry is an anthropomorphic yellow furry bear with a red shirt, blue hat, baggy blue pants, a gold chain with an "H" in the middle, and white shoes with an "H" on each side. The character's appearance is in the general style of hip hop fashion. Harry also has a blue and red wrist watch. His birthday is January 22, 1988 as noted in episode 5. Ali Alimi - Voice of Hip Hop Harry Ryan Andres - Tells jokes in the episode "Finding Your Talent". Kelli Berglund -Kelli helps plan a surprise party for Pinky in "Do Your Part. Kendra Bracy - Introduces her Grandmother from Trinidad in one episode.Colton Burton - Colton is one of William's best friends; Colton is only seen in episodes which also feature William Kianna Contreres - Kianna plays a key role in the episode "Get Involved," cheering her sister's Double Dutch team to victory.Jake Deanda - Jake is one of the first kids to meet Katie in "Making New Friends." Savannah Dejesus - Savannah appears in "Fancy Footwook" and "Rain makes Rainbows" with her sister Sophina.Dejesus - Sophina is an aspiring gymnast who enjoys working with her sister, Savanna Kelly Dolan - Played as Pinky Hayden Harrah - Hayden appears less frequently than other members of the cast, but was a big help during "A B See." Jay Jay Harris - Jay Jay is shown in "Pajama Party" and "Just Give it a Try" to be reluctant to try new things. He and Riddles get along very well. After an impressive bongo drum performance, Hip Hop Harry speculates that Jay Jay may one day be on a salsa record. David Joyner - David is a former long running Barney performer and was the Hip Hop Harry suit performer William May - Is one of the best dancers. He appears in many episodes. In "Hip Hop Big Top" he was concered he wouldn't be able to dance with a brace on his leg. With encouragement from Hip Hop Harry and his friends, he realized he could still be a part of the circus.Veronicaa Miller - Veronica likes to sing in "Finding Your Talent. Katie Price - Katie is the new girl in "Making New Friends. Davide Schiavone - Davide has a similar 'do to Dylan and Cole Sprouse and seems to do the same dance on every episode.Elizabeth Small - Her zipper provides the finishing touch in "A B See." Scott Thomas - Scott appears in several episodes. He was featured in "Never Give Up", when he wanted to quit basketball because of a bad day at practice. Hip Hop Harry gives him some encouragement and Scott realizes that he should never give up Megan Woo - Megan loves animals, and wishes to be a veterinarian when she grows up Tyler White - A young break-dancer with a talent for windmills, and the strongman in Hip Hop Harry's circus.The gang performed Move Those Feet at the Los Angeles Times Festival of Books April 25 and 26, 2009 on the Target children's stage, on the campus of UCLA.Characterization or characterisation is the art of creating characters for a narrative,[1] including the process of conveying information about them. It is a literary element and may be employed in dramatic works of art or everyday conversation. Characters may be presented by means of description, through their actions, speech, or thoughts.In performance an actor has less time to characterise and so can risk the character coming across as underdeveloped. The great realists of dramaturgy have relied heavily on implicit characterization which occupy the main body of their character driven plays. Examples of these playwrights are Henrik Ibsen, August Strindberg and Anton Chekhov. Such psychological epics as The Seagull indirectly characterise the protagonists so that the audience is drawn into their inner turmoils as they are slowly revealed over the three hours of time spent with the characters. The actors taking on these roles must also characterise over a long period of time, to the point that there seems to be no direct statement of who the character is at any point, this realism in acting requires the actor to characterise from their own persona as a starting point. The audience therefore does not recognise a realistic characterization immediately.However the playwright and actor also have the choice of indirect characterization in a similar vein to the writer in literature.In historical studies, prosopography is an investigation of the common characteristics of a historical group, whose individual biographies may be largely untraceable, by means of a collective study of their lives, in multiple career-line analysis.[1] Prosopographical research has the aim of learning about patterns of relationships and activities through the study of collective biography, and proceeds by collecting and analysing statistically relevant quantities of biographical data about a well-defined group of individuals. This makes it a valuable technique for studying many pre-modern societies. Prosopography is an increasingly important approach within historical research. See also prosopographical network.British historian Lawrence Stone (1919–1999) brought the term to general attention in an explanatory article in 1971.[2] The word is drawn from the figure prosopoeia in classical rhetoric, introduced by Quintilian, in which an absent or imagined person is figured forth—the "face created" as the Greek suggests—in words, as if present.Stone noted two uses of prosopography as a historians' tool: first, in uncovering deeper interests and connections beneath the superficial rhetoric of politics, in order to examine the structure of the political machine; and second, in analysing the changing roles in society of particular status groups—holders of offices, members of associations—and assessing social mobility through family origins and social connections of recruits to those offices or memberships. "Invented as a tool of political history," Stone observed, "it is now being increasingly employed by the social historians."[3]It is apparent that a certain mass of data is required for prosopography.[4] The collection of data underlies the creation of a prosopography, and in contemporary research this is usually in the form of an electronic database. However, data-assembly by itself should not be seen as the goal of prosopographical research; rather, the objective is to understand relationships by analysing the data. A uniform set of criteria needs to be applied to the group in order to achieve meaningful results. And, as with any historical study, understanding the context of the lives studied is essential.In the words of prosopographer Katharine Keats-Rohan, "prosopography is about what the analysis of the sum of data about many individuals can tell us about the different types of connection between them, and hence about how they operated within and upon the institutions—social, political, legal, economic, intellectual—of their time."[5]In this sense prosopography is clearly related to, but distinct from, both biography and genealogy. Whilst biography and prosopography overlap, and prosopography is interested in the details of individuals' lives, a prosopography is more than the plural of biography. A prosopography is not just any collection of biographies—the lives must have enough in common for relationships and connections to be uncovered. Genealogy, as practiced by family historians, has as its goal the reconstruction of familial relationships, and as such, well-conducted genealogical research may form the basis of a prosopography, but the goals of prosopographical research are generally wider.The nature of prosopographical research has developed over time. In his 1971 essay, Lawrence Stone discussed an 'older' form of prosopography which was principally concerned with well-known social elites, many of whom were already well-known historical figures. Their genealogies were well-researched, and social webs and kinship linking could be traced, allowing a prosopography of a 'power elite' to emerge. Prominent examples which Stone drew upon were the work of Charles A. Beard and Sir Lewis Namier. Charles Beard's An Economic Interpretation of the Constitution of the United States (1913) offered an explanation of the form and content of the U.S. Constitution by looking at the class background and economic interests of the Founding Fathers. Sir Lewis Namier produced an equally influential study of the 18th century British House of Commons, and inspired a circle of historians whom Stone lightly termed "Namier Inc." Stone contrasted this older prosopography with what in 1971 was the newer form of quantitative prosopography, whose concern was with much wider populations including, particularly, "ordinary people". An example of this kind of work, published slightly later, is Emmanuel Le Roy Ladurie's pioneering work of microhistory, Montaillou: The Promised Land of Error (1978), which developed a picture of patterns of kinship and heresy, daily and seasonal routine in a small Occitan village, the last pocket of Cathars, over a 30-year period from 1294 to 1324. Stone anticipated that this new form of prosopography would become dominant as part of a growing wave of Social Science History. This promise was not immediately realised, as prosopography and other associated forms of social science and quantitative history went into a period of decline during the 1980s. In the 1990s, however, perhaps because of developments in computing, and particularly in database software, prosopography experienced a revival and the 'new prosopography' is now clearly established as an important approach in historical research. The presentation of a character for a sociological discussion only has to be as real as the discussion requires. In this way a character can be used as an iconic reference by a playwright to suggest location, an epoch in history, or even draw in a political debate. The inclusion of a stock character, or in literary terms an archetypal character, by a playwright can risk drawing overly simplistic pictures of people and smack of stereotyping. However, the degree of success in direct characterization in order to swiftly get to the action varies from play to play, and often according to the use the character is put to. In explicitly characterising a certain character the actor makes a similar gamble. The choice of what aspects of a character are demonstrated by the actor to directly characterise is a political choice and makes a statement as to the ethics and agenda of the actor.
Source(Google.com.pk)
A Cartoon Your Picture costumed character wears a costume that covers the performer's face. These range from theme park "walk-around" or "meetable" characters, the mascots of corporations, schools, or sports teams to novelty act performers. Some costumes cover the performer's face; others, especially those in theme parks, may leave the performer's face visible.They are intended to add to the fantasy experience by enabling visitors to encounter and interact with fictional characters, such as mascots for the company. Meetable characters that have the performer's face visible are allowed to speak (usually following a script by the people who train the performers), while characters that have their faces covered are not allowed to speak and can only communicate through pantomime.[citation needed]They are a major feature of Walt Disney Parks and Resorts, where the most ubiquitous of them is Mickey Mouse, but a wide variety of characters from different media franchises are portrayed at various parks. For example, Disney Parks feature characters from their own library of animated and live-action films as well as characters from George Lucas' Star Wars and Indiana Jones franchises; Six Flags parks feature Time-Warner's Looney Tunes cartoons and DC Comics superhero characters;[1] Cedar Point, Knott's Berry Farm, and other Cedar Fair parks feature Peanuts characters;[2][3] and until recently Kings Island, California's Great America, Kings Dominion, Carowinds and Canada's Wonderland featured Nickelodeon characters[4][5] (and before that, Hanna-Barbera characters). Some theme parks create their own meetable characters.The characters are portrayed by park employees in costume. Some of the costumes consist of clothing and makeup (e.g. Snow White, Sleeping Beauty, Batman), while those for non-human characters generally conceal the performer entirely and include a full-head mask (e.g. Donald Duck, Goofy, Bugs Bunny, Felix the Cat, Godzilla, And Woody Woodpecker). Park employee regulations are careful to prevent visitors from seeing performers out of character, and in the case of more elaborate costumes, to be seen "with their head off".Hip Hop Harry is a children's show that aired on Discovery Kids and TLC as part of the Ready Set Learn block, as well as most Retro Television Network affiliates, as an E/I-compliant program. Similar to Barney the Dinosaur and Sesame Street, Hip Hop Harry is a live action program designed for preschool children in the 3-12 year old age group. The program uses age appropriate hip hop music and dance to teach social, educational, physical and creative skills.Hip Hop Harry is an anthropomorphic yellow furry bear with a red shirt, blue hat, baggy blue pants, a gold chain with an "H" in the middle, and white shoes with an "H" on each side. The character's appearance is in the general style of hip hop fashion. Harry also has a blue and red wrist watch. His birthday is January 22, 1988 as noted in episode 5. Ali Alimi - Voice of Hip Hop Harry Ryan Andres - Tells jokes in the episode "Finding Your Talent". Kelli Berglund -Kelli helps plan a surprise party for Pinky in "Do Your Part. Kendra Bracy - Introduces her Grandmother from Trinidad in one episode.Colton Burton - Colton is one of William's best friends; Colton is only seen in episodes which also feature William Kianna Contreres - Kianna plays a key role in the episode "Get Involved," cheering her sister's Double Dutch team to victory.Jake Deanda - Jake is one of the first kids to meet Katie in "Making New Friends." Savannah Dejesus - Savannah appears in "Fancy Footwook" and "Rain makes Rainbows" with her sister Sophina.Dejesus - Sophina is an aspiring gymnast who enjoys working with her sister, Savanna Kelly Dolan - Played as Pinky Hayden Harrah - Hayden appears less frequently than other members of the cast, but was a big help during "A B See." Jay Jay Harris - Jay Jay is shown in "Pajama Party" and "Just Give it a Try" to be reluctant to try new things. He and Riddles get along very well. After an impressive bongo drum performance, Hip Hop Harry speculates that Jay Jay may one day be on a salsa record. David Joyner - David is a former long running Barney performer and was the Hip Hop Harry suit performer William May - Is one of the best dancers. He appears in many episodes. In "Hip Hop Big Top" he was concered he wouldn't be able to dance with a brace on his leg. With encouragement from Hip Hop Harry and his friends, he realized he could still be a part of the circus.Veronicaa Miller - Veronica likes to sing in "Finding Your Talent. Katie Price - Katie is the new girl in "Making New Friends. Davide Schiavone - Davide has a similar 'do to Dylan and Cole Sprouse and seems to do the same dance on every episode.Elizabeth Small - Her zipper provides the finishing touch in "A B See." Scott Thomas - Scott appears in several episodes. He was featured in "Never Give Up", when he wanted to quit basketball because of a bad day at practice. Hip Hop Harry gives him some encouragement and Scott realizes that he should never give up Megan Woo - Megan loves animals, and wishes to be a veterinarian when she grows up Tyler White - A young break-dancer with a talent for windmills, and the strongman in Hip Hop Harry's circus.The gang performed Move Those Feet at the Los Angeles Times Festival of Books April 25 and 26, 2009 on the Target children's stage, on the campus of UCLA.Characterization or characterisation is the art of creating characters for a narrative,[1] including the process of conveying information about them. It is a literary element and may be employed in dramatic works of art or everyday conversation. Characters may be presented by means of description, through their actions, speech, or thoughts.In performance an actor has less time to characterise and so can risk the character coming across as underdeveloped. The great realists of dramaturgy have relied heavily on implicit characterization which occupy the main body of their character driven plays. Examples of these playwrights are Henrik Ibsen, August Strindberg and Anton Chekhov. Such psychological epics as The Seagull indirectly characterise the protagonists so that the audience is drawn into their inner turmoils as they are slowly revealed over the three hours of time spent with the characters. The actors taking on these roles must also characterise over a long period of time, to the point that there seems to be no direct statement of who the character is at any point, this realism in acting requires the actor to characterise from their own persona as a starting point. The audience therefore does not recognise a realistic characterization immediately.However the playwright and actor also have the choice of indirect characterization in a similar vein to the writer in literature.In historical studies, prosopography is an investigation of the common characteristics of a historical group, whose individual biographies may be largely untraceable, by means of a collective study of their lives, in multiple career-line analysis.[1] Prosopographical research has the aim of learning about patterns of relationships and activities through the study of collective biography, and proceeds by collecting and analysing statistically relevant quantities of biographical data about a well-defined group of individuals. This makes it a valuable technique for studying many pre-modern societies. Prosopography is an increasingly important approach within historical research. See also prosopographical network.British historian Lawrence Stone (1919–1999) brought the term to general attention in an explanatory article in 1971.[2] The word is drawn from the figure prosopoeia in classical rhetoric, introduced by Quintilian, in which an absent or imagined person is figured forth—the "face created" as the Greek suggests—in words, as if present.Stone noted two uses of prosopography as a historians' tool: first, in uncovering deeper interests and connections beneath the superficial rhetoric of politics, in order to examine the structure of the political machine; and second, in analysing the changing roles in society of particular status groups—holders of offices, members of associations—and assessing social mobility through family origins and social connections of recruits to those offices or memberships. "Invented as a tool of political history," Stone observed, "it is now being increasingly employed by the social historians."[3]It is apparent that a certain mass of data is required for prosopography.[4] The collection of data underlies the creation of a prosopography, and in contemporary research this is usually in the form of an electronic database. However, data-assembly by itself should not be seen as the goal of prosopographical research; rather, the objective is to understand relationships by analysing the data. A uniform set of criteria needs to be applied to the group in order to achieve meaningful results. And, as with any historical study, understanding the context of the lives studied is essential.In the words of prosopographer Katharine Keats-Rohan, "prosopography is about what the analysis of the sum of data about many individuals can tell us about the different types of connection between them, and hence about how they operated within and upon the institutions—social, political, legal, economic, intellectual—of their time."[5]In this sense prosopography is clearly related to, but distinct from, both biography and genealogy. Whilst biography and prosopography overlap, and prosopography is interested in the details of individuals' lives, a prosopography is more than the plural of biography. A prosopography is not just any collection of biographies—the lives must have enough in common for relationships and connections to be uncovered. Genealogy, as practiced by family historians, has as its goal the reconstruction of familial relationships, and as such, well-conducted genealogical research may form the basis of a prosopography, but the goals of prosopographical research are generally wider.The nature of prosopographical research has developed over time. In his 1971 essay, Lawrence Stone discussed an 'older' form of prosopography which was principally concerned with well-known social elites, many of whom were already well-known historical figures. Their genealogies were well-researched, and social webs and kinship linking could be traced, allowing a prosopography of a 'power elite' to emerge. Prominent examples which Stone drew upon were the work of Charles A. Beard and Sir Lewis Namier. Charles Beard's An Economic Interpretation of the Constitution of the United States (1913) offered an explanation of the form and content of the U.S. Constitution by looking at the class background and economic interests of the Founding Fathers. Sir Lewis Namier produced an equally influential study of the 18th century British House of Commons, and inspired a circle of historians whom Stone lightly termed "Namier Inc." Stone contrasted this older prosopography with what in 1971 was the newer form of quantitative prosopography, whose concern was with much wider populations including, particularly, "ordinary people". An example of this kind of work, published slightly later, is Emmanuel Le Roy Ladurie's pioneering work of microhistory, Montaillou: The Promised Land of Error (1978), which developed a picture of patterns of kinship and heresy, daily and seasonal routine in a small Occitan village, the last pocket of Cathars, over a 30-year period from 1294 to 1324. Stone anticipated that this new form of prosopography would become dominant as part of a growing wave of Social Science History. This promise was not immediately realised, as prosopography and other associated forms of social science and quantitative history went into a period of decline during the 1980s. In the 1990s, however, perhaps because of developments in computing, and particularly in database software, prosopography experienced a revival and the 'new prosopography' is now clearly established as an important approach in historical research. The presentation of a character for a sociological discussion only has to be as real as the discussion requires. In this way a character can be used as an iconic reference by a playwright to suggest location, an epoch in history, or even draw in a political debate. The inclusion of a stock character, or in literary terms an archetypal character, by a playwright can risk drawing overly simplistic pictures of people and smack of stereotyping. However, the degree of success in direct characterization in order to swiftly get to the action varies from play to play, and often according to the use the character is put to. In explicitly characterising a certain character the actor makes a similar gamble. The choice of what aspects of a character are demonstrated by the actor to directly characterise is a political choice and makes a statement as to the ethics and agenda of the actor.
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