ジャスミン 王女有名人の最新ニュースを読者にお届けします。それが新しいカップルのアラートであろうと、ジューシーなゴシップであろうと、私たちはあなたの信頼できる情報源です.私たちは、読者がセレブのニュースをどれだけ愛しているかを知っており、それを広めるのが大好きです!エンターテイメント ニュースを毎日お届けします。
私たちは、何年もの間、日本のエンターテインメント ニュースを生き、呼吸してきた情熱的なエンターテインメント ニュース ジャンキーの小さなチームです。
ジャスミン 王女, /%e3%82%b8%e3%83%a3%e3%82%b9%e3%83%9f%e3%83%b3-%e7%8e%8b%e5%a5%b3, ,
彼女のモデルは『千夜一夜物語』の第998夜 – 第1001夜に描かれるアーモンド姫とジャスミン王子である。
Conception and writing
Jasmine is based on the princess who appears in the Middle Eastern folk tale collection One Thousand and One Nights, specifically the story “Aladdin and the Magical Lamp.” Lyricist Howard Ashman and composer Alan Menken had first begun to develop Aladdin while they were still writing songs for The Little Mermaid (1989), but further development was abandoned in favor of working on Beauty and the Beast (1991) instead. However, Aladdin was finally resurrected as Beauty and the Beast neared completion. While the princess in the original tale is named Badroulbadour, the studio decided to rename the character the more familiar “Jasmine” after actress Jasmine Guy. Additionally, the name was also among the decade’s most popular at the time. In Ashman’s original treatment of the film, Aladdin had two potential love interests: both Jasmine and a “Judy Garland-y tomboy,” whose romantic feelings for Aladdin were not reciprocated by the hero. Screenwriter Linda Woolverton eventually drafted a screenplay based on the film The Thief of Baghdad (1940), a revision that included a handmaiden for Jasmine (an idea resurfaced in the 2019 live-action film), who was ultimately replaced by a pet tiger.
Actress Audrey Hepburn‘s role as Princess Ann, a bored princess, in the film Roman Holiday (1953) provided inspiration for Jasmine’s story line.
Directors and writers Ron Clements and John Musker eventually disregarded Woolverton’s script in favor of developing something more similar to Ashman’s version, albeit making several changes to his treatment, among them approaching the character of Jasmine “a little differently,” while maintaining Woolverton’s vision of “a princess that Aladdin could woo.” Following the elimination of Aladdin’s mother from the script, Jasmine and Aladdin’s relationship was expanded upon to the point of which it became a focal point of the film, ultimately allowing more screen time for the princess. Thus, Jasmine was developed into a more prominent character. Unlike Disney’s previous adaptations of fairy tales, the princess is not the film’s main character, and therefore the story does not revolve around her. Despite the presence of a prominent princess character, the directors decided to treat Aladdin more-so like “an Arabian adventure” as opposed to a traditional Disney fairy tale or princess film in the vein of Snow White and the Seven Dwarfs (1937) or Beauty and the Beast. The decision to make Aladdin a high comedy ultimately eliminated the need to explore some of Jasmine’s deeper storylines.
Although several details of the original folk tale were altered for the film adaptation, Jasmine’s main storyline – being pressured into marriage – remained mostly untouched. However, while Badroulbadour initially resents Aladdin, Jasmine on the other hand is almost immediately charmed by him. Screenwriters Ted Elliott and Terry Rossio rewrote Jasmine into a “stronger” character who actively longs for freedom from her “regal confinement.” According to Dave Smith of the Disney Archives, the “liberated” Jasmine primarily “seeks to escape her present lifestyle.” The idea of a disguised Jasmine stowing away from her palace in the middle of the night was inspired by the romantic comedy film Roman Holiday (1953), in which Princess Ann, portrayed by actress Audrey Hepburn, similarly escapes the royal embassy in disguise in order to spend one day exploring Rome on her own.
The casting of American actor and comedian Robin Williams as the Genie inspired the studio to recruit similarly talented voice actors capable of matching his pace. The filmmakers had originally envisioned Jasmine’s voice as similar to that of actress Lauren Bacall. Jasmine’s speaking voice is provided by American actress Linda Larkin. The role was only one of several auditions Larkin had scheduled during the same week in which she auditioned for Aladdin, and she originally underestimated the scope of the project, joking, “I thought it was going to be something like DuckTales (sic).” Initially presented with only a few pages of the screenplay, Larkin found that she was particularly drawn to Jasmine’s “spirit of activism,” in addition to the ways in which character was both similar to and different from previous Disney heroines. Princesses Snow White, Cinderella, and Aurora had been childhood favorites of the actress. Larkin’s first audition was held in a Burbank, California recording studio, in which she performed solely for the film’s casting director. The side used for Larkin’s first audition was the scene in which Jasmine meets Aladdin in the marketplace – their first encounter. Jasmine’s line ‘It’s all so magical’ helped convince Larkin that she was “meant” to voice the character. Although Larkin’s voice was significantly different from what the filmmakers had originally envisioned for the character, her interpretation gradually changed their minds.
Actress Linda Larkin provides Jasmine’s speaking voice; six months after being cast, Disney executive Jeffrey Katzenberg insisted that she was required to re-audition for the role.
In the form of an extensive series of callbacks, Larkin returned to the studio on several different occasions over the next few months. While the audience of studio executives and filmmakers continued to increase, the amount of actresses competing for the role gradually decreased accordingly as the audition process neared completion. Larkin’s final audition lasted a total of four hours, during which she read through the entire script for the first time. The animators were also provided with an opportunity to animate to Larkin’s voice for the first time. The actress was finally cast several months later, by which time she had nearly forgotten she had ever auditioned. Six months into recording, however, Larkin was forced to re-audition for the role by Disney executive Jeffrey Katzenberg, who felt that the actress’ voice lacked the authority required to voice a princess. However, Clements and Musker disagreed with him, and managed to trick Katzenberg into not firing Larkin by staging a fake recording session during which they had the actress speak lower and slower in Katzenberg’s presence, only to have her return to her natural voice thereafter. Larkin recorded only one scene alongside her co-stars Williams and Scott Weinger, the voice of Aladdin. Apart from some rough, unfinished storyboards and drawings, Larkin did not see much of her character until the film was finally screened at the Museum of Modern Art.
Before discovering Larkin, Disney had been insisting on auditioning exclusively performers who were capable of singing as well as they could act. However, after Williams’ recruitment, the studio relented in favor of casting “strong actors” instead. When Larkin first auditioned for the role, “A Whole New World,” Jasmine’s only surviving song, had not yet been written; she admitted, “there’s no way I would have even auditioned … if there had been a song from the beginning.” After writing Jasmine’s first song, the filmmakers asked Larkin if she would be interested in recording it and providing the character’s singing voice. Larkin immediately declined, joking, “I do [sing] … but not like a princess!” Thus, Disney decided to recruit a singer who could mimic Larkin’s speaking voice instead, despite the actress’ fear that the studio would completely replace her with a professional singer altogether.
Jasmine’s singing voice is provided by Filipina singer and actress Lea Salonga. Salonga’s Tony Award-winning performance in the musical Miss Saigon helped her garner the interest of casting director Albert Tavares, who proceeded to leave a note for the singer on the stage door before leaving a show he had attended. Salonga’s agent then scheduled her audition, at which she performed “Part of Your World” from The Little Mermaid. Salonga finally began recording a demo of “A Whole New World” a few days later. With the casting of Salonga, Larkin became one of Disney’s first voice actors to not provide the singing voice of the character she voices, and thus Jasmine marked the first time Disney decided to separate a Princess’s speaking and singing voices. Describing Salonga as “an incredible singer,” Larkin herself was pleasantly surprised by how much Salonga’s voice resembled her own when she first heard “A Whole New World,” joking, “the filmmakers almost had me convinced that I sang it.”
Personality and design
The character’s blurb on the official Disney website reads, “Jasmine is an independent, fiery beauty capable of taking care of herself” who “longs to experience life outside the palace.” The writers had originally conceived Jasmine as a spoiled and materialistic princess whose interests were limited to clothing and jewelry, but eventually developed her into a stronger, more mature character. Larkin described Jasmine as “a very strong, well defined character from the very beginning.” Mark Henn served as Jasmine’s supervising animator. Having originally been hired to animate Aladdin’s mother, the removal of the character from the film ultimately provided Henn with the opportunity to animate Jasmine instead. Throughout Disney’s previous animated film Beauty and the Beast, the design of the heroine Belle – whom Henn had also helped animate – suffered from various inconsistencies due to the character having been animated at two completely separate studio locations. To avoid experiencing a similar dilemma with Jasmine, the filmmakers ultimately decided to have the princess animated entirely at one studio. Because Jasmine is the film’s love interest as opposed to its main character, the princess was animated at the company’s secondary studio in Florida, while Aladdin was animated in California. However, the more intimate love scenes between the two leads forced Henn to frequently communicate with Aladdin’s lead animator Glen Keane through phone and fax, and the animators also sent designs and discs to each other. Out of his desire to introduce Indian architecture into the film, art director Bill Perkins based Jasmine’s design on the famous mausoleum, the Taj Mahal, which itself incorporates and expands on Indian design, particularly the curves demonstrated in the character’s hair, clothes and jewelry.
Having just recently animated two previous Disney heroines – Ariel from The Little Mermaid and Belle from Beauty and the Beast, respectively – Henn initially suffered from a severe case of “artist’s block” while attempting to design his third heroine, Jasmine. While working on the character at Disney-MGM Studios in Florida, Henn noticed a young female amusement park guest with long black hair, and ultimately decided to use her as his initial inspiration for Jasmine; the guest’s identity remains anonymous to date. Earliest sketches of Jasmine were based on various exotic-looking supermodels in addition to her namesake Jasmine Guy, but the actress’ facial features were ultimately considered to be too “severe” for an animated character. In search of “something fresh to help with the physical look of her,” Henn was eventually inspired by a high school graduation photograph of his younger sister Beth Allen, who wore her hair in a style similar to what would ultimately become Jasmine’s. Henn credits his sister with helping him overcome his artist’s block, and the directors ultimately approved of Henn’s concept design. The character’s facial features were further inspired by actress Jennifer Connelly, specifically her eyebrows. Additionally, some of Larkin’s own mannerisms and physical traits were incorporated into the character. Henn credits one particular dinner conversation he had shared with Larkin with proving very inspirational in terms of helping him discover Jasmine’s emotional side. Model Robina Ritchie served as an on-location reference for the animation, pantomiming actions to the recording of Larkin’s voiceovers so, in Henn’s words, “the animator gets the feeling of what the real human movement would be.”
The final appearance of Jasmine consequently inspired the studio to redesign Aladdin; accordingly, Katzenberg felt that the main character, who was originally depicted as a younger, “scrawny” underdog, did not resemble a suitable leading man for Jasmine, which they feared would result in unconvincing chemistry between the couple. Thus, they ultimately decided to base Aladdin on actor Tom Cruise instead. Henn’s favorite sequence to animate was the scene in which Jasmine discovers Aladdin’s true identity and gives him “a look.” The filmmakers decided to dress Jasmine in blue to symbolically represent water, which is “the most precious substance one can find in a desert.” The animators sat the character next to a fountain when she is first introduced in the film to further emphasize this motif and comparison. With her appearance finalized, Jasmine became Disney’s first non-white princess as opposed to being of European heritage.