Studies in Musical Theatre最新文献

‘Honor the source’: Race, representation and intellectual property in Jelly’s Last Jam “尊重源头”:《果冻最后的果酱》中的种族、代表性和知识产权

Studies in Musical Theatre Pub Date : 2023-08-01 DOI: 10.1386/smt_00121_1

Jeffrey Magee

{"title":"‘Honor the source’: Race, representation and intellectual property in Jelly’s Last Jam","authors":"Jeffrey Magee","doi":"10.1386/smt_00121_1","DOIUrl":"https://doi.org/10.1386/smt_00121_1","url":null,"abstract":"The story of the development of Jelly’s Last Jam (1992) stands uniquely at the intersection of racial politics, intellectual property, the power of storytelling and the authority of those who tell stories and present them on the stage. By the time the show opened on Broadway, Alan Lomax had been trying for nearly three decades to get his book Mister Jelly Roll (1950) adapted for the stage or screen. Now the story of Ferdinand ‘Jelly Roll’ Morton had become a musical, with a book by George C. Wolfe and music and lyrics by Luther Henderson and Susan Birkenhead, and Wolfe’s script ensured that Morton’s story linked up firmly with the history of jazz and race in America. But Lomax’s name and book title were nowhere to be found in the show’s credits, nor in interviews and other commentary about the show. Although musicologist Lawrence Gushee referred to Mister Jelly Roll as ‘the point of departure for all subsequent biographical writing on Morton’, George C. Wolfe stated only that ‘the stories of black people’ are ‘not stored in the history books […] they’re stored in the music’. In this study, I offer new evidence that explains the curious misdirection in Wolfe’s public utterances based on a close study of archival sources in the Library of Congress’s Alan Lomax Collection, of the complete and unedited recordings of Lomax’s interview with Morton released for the first time in 2005 and of press coverage of the producers’ efforts to bring Morton’s story to the musical stage. This article synthesizes the public and private legacy of the show’s development to provide perspectives on a larger racial reckoning that resonates offstage as well as onstage.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135056321","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Pick a Pocket or Two, Ethan Mordden (2021) 《偷一两个口袋》，伊森·莫登(2021)

Studies in Musical Theatre Pub Date : 2023-08-01 DOI: 10.1386/smt_00122_5

Faye Rigopoulou

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‘A little bit naughty’: Storytelling and the logotherapeutic process in Matilda the Musical “有点淘气”:音乐剧《玛蒂尔达》的叙事和标识治疗过程

Studies in Musical Theatre Pub Date : 2023-08-01 DOI: 10.1386/smt_00120_1

Allan Kilner-Johnson

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‘Nothing like it in any amusement hall!’: Opera, audacity and the audience in The Who’s Tommy “在任何娱乐馆里都没有这样的!”:《谁人汤米》中的歌剧、大胆和观众

Studies in Musical Theatre Pub Date : 2023-08-01 DOI: 10.1386/smt_00119_1

Stephen Cedars

{"title":"‘Nothing like it in any amusement hall!’: Opera, audacity and the audience in The Who’s Tommy","authors":"Stephen Cedars","doi":"10.1386/smt_00119_1","DOIUrl":"https://doi.org/10.1386/smt_00119_1","url":null,"abstract":"When Pete Townshend decided to call his band’s 1969 record Tommy a ‘rock opera’, he established a phrase equally easy to interrogate and to take for granted. And yet that provocation remains a remarkably fertile framing device that challenges conventional understandings of both ‘rock’ and ‘opera’. This article analyses Tommy as a conscious attempt to engage the conventions of the traditional opera medium and as a postmodern provocation that challenges the limitation for fixed media to inspire active engagement in its audience. As a work explicitly about the framing of entertainment, Tommy engages an ontological contradiction – between performed music and its conventions on the one hand, and the social signification of an ambitious story about liberation on the other – that is reflected in the work’s liminal connection to both the commercial and artistic worlds. The article considers the opera from several angles: as a libretto, meaning its structured story; as a score, meaning the recording which any subsequent performance is expected to reference if not reproduce; and as performance. I focus on Tommy ’s first stagings: The Who’s own during their album tour (which included a show at the Metropolitan Opera House), the 1971 Seattle Opera production and Ken Russell’s film. I suggest that the gambit of a ‘rock opera’ allows us to engage the essential question of whether an audience can ever be truly activated in a landscape where the slipperiness of meaning is too often codified into empty signifiers of the very activation it ostensibly wishes to produce.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135055925","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Unfinished Women Cry in No Man’s Land While a Bird Dies in a Gilded Cage, Aishah Rahman, directed by Chyna Michele 《未完成的女人在无人区哭泣，而一只鸟死在镀金的笼子里》，艾莎·拉赫曼，Chyna Michele导演

Studies in Musical Theatre Pub Date : 2023-08-01 DOI: 10.1386/smt_00123_5

Sloan Elle Garner

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Musical theatre’s omnivorous voice: Interviews with elite voice teachers in the Broadway community 音乐剧杂食的声音:对百老汇社区精英声乐教师的采访

IF 0.1

Studies in Musical Theatre Pub Date : 2023-04-03 DOI: 10.1386/smt_00112_1

Guro von Germeten

{"title":"Musical theatre’s omnivorous voice: Interviews with elite voice teachers in the Broadway community","authors":"Guro von Germeten","doi":"10.1386/smt_00112_1","DOIUrl":"https://doi.org/10.1386/smt_00112_1","url":null,"abstract":"This article explores how the pluralities of vocal behaviours and vocal aesthetics in present-day musical theatre are understood and manoeuvred in the context of teaching musical theatre voice. Transcribed interviews with six elite voice teachers in the Broadway community are analysed and placed into a conceptual framework of the ‘omnivorous voice’ (based on sociologist Richard Peterson’s writings on cultural omnivorousness and sociologist Antoine Hennion’s writings on tastes); the article also engages with Braun and Clarke’s reflexive thematic analysis. Four central themes are generated and discussed: (1) understanding omnivorous code-switching and shape-shifting as a fundamental potential of the voice, (2) manoeuvring vocal omnivorousness by carefully attending to sonic information, (3) searching for authenticity in an omnivorous vocal world and (4) expanding and diversifying vocal aesthetics beyond musical styles and genres. This article contributes to the fields of performing arts pedagogy and voice training in musical theatre, and aims to provide insights into how vocal technique and vocal aesthetics are influenced by, taught in, and created in dialogue with the communities and societies in which our voices exist. The last is especially explored in light of the COVID-19 pandemic.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45519997","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Attack of the Monster Musical: A Cultural History of Little Shop of Horrors, Adam Abraham (2022) 《怪物音乐剧的进攻：恐怖小店的文化史》，亚当·亚伯拉罕（2022）

IF 0.1

Studies in Musical Theatre Pub Date : 2023-04-03 DOI: 10.1386/smt_00116_5

Peter C. Kunze

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El tiempo entre costuras, Espacio Ibercaja Delicias, Madrid, Spain, 19 May 2022 接缝之间的时间，伊比利亚-Delicias空间，马德里，西班牙，2022年5月19日

IF 0.1

Studies in Musical Theatre Pub Date : 2023-04-03 DOI: 10.1386/smt_00115_5

Paul R. Laird

引用次数: 0

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