Studies in Musical Theatre最新文献_第2页

Doing the Time Warp: Strange Temporalities and Musical Theatre, Sarah Taylor Ellis (2022) 莎拉·泰勒·埃利斯（Sarah Taylor Ellis）（2022）

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Studies in Musical Theatre Pub Date : 2023-04-03 DOI: 10.1386/smt_00117_5

Samuel Yates

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A conversation with Jeanine Tesori 与Jeanine Tesori的对话

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Studies in Musical Theatre Pub Date : 2023-04-03 DOI: 10.1386/smt_00114_7

Raymond Knapp, Holley Replogle-Wong

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Mormons, Musical Theater, and Belonging in America, Jake Johnson (2019)Lying in the Middle: Musical Theater and Belief at the Heart of America, Jake Johnson (2021) 《摩门教徒、音乐剧和在美国的归属》，杰克·约翰逊（2019）《躺在中间：美国心脏的音乐剧和信仰》，杰克·约翰逊（2021）

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Studies in Musical Theatre Pub Date : 2022-12-01 DOI: 10.1386/smt_00110_5

Jim Lovensheimer

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Editorial 编辑

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Studies in Musical Theatre Pub Date : 2022-12-01 DOI: 10.1386/smt_00100_2

Carolin Stahrenberg, N. Grosch

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Paradoxes of stillness in Caroline, or Change 《卡罗琳或改变》中的静止悖论

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Studies in Musical Theatre Pub Date : 2022-12-01 DOI: 10.1386/smt_00102_1

A. Bottero

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Le seul, le vrai, le paradis: Cultural mobility and French musical films (1930–50) 唯一的，真实的，天堂:文化流动和法国音乐电影(1930 - 50)

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Studies in Musical Theatre Pub Date : 2022-12-01 DOI: 10.1386/smt_00105_1

Franziska Kollinger

{"title":"Le seul, le vrai, le paradis: Cultural mobility and French musical films (1930–50)","authors":"Franziska Kollinger","doi":"10.1386/smt_00105_1","DOIUrl":"https://doi.org/10.1386/smt_00105_1","url":null,"abstract":"Maurice Chevalier, Juliette Gréco, Yves Montand, Édith Piaf, Charles Trenet – all these names refer to the close connection between French chanson and French cinema of the first half of the twentieth century. This article examines two dimensions of cultural mobility that align through a differentiated understanding of the artistic liaison between the popular music genre of French chanson and French musical films during the first decades of cinematic sound. First, the significant role and excessive use of the chanson will be examined along the parameters of cultural integration, distribution and transfer, all of which are inseparably linked to questions of cultural and social identity in the French musical of the 1930s and 1940s. Second, the formation, establishment and impact of the singer–actor as a professional field within the cinematic sphere will be discussed from the perspectives of mobility and migration. The methodologically areal term ‘space’ will be enhanced by notions of social and cultural mobility recently brought forth by the cultural disciplines. This article helps to decipher aspects of cultural mobility in French musical films and sheds light on the potential for the cinema in increasing music’s mobility.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46797334","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}

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‘There was no one in the audience’: The first Soviet musical on a Czechoslovak stage “观众中没有人”：捷克斯洛伐克舞台上的第一部苏联音乐剧

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Studies in Musical Theatre Pub Date : 2022-12-01 DOI: 10.1386/smt_00104_1

Vojtěch Frank

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Music Theatre Now Conference, MTNOW Network, Chaired by Guy Coolen, O. Festival for Opera, Music, Theatre (2022) 音乐戏剧现在会议，MTNOW网络，由盖伊·库伦主持，O.歌剧、音乐、戏剧节(2022)

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Studies in Musical Theatre Pub Date : 2022-12-01 DOI: 10.1386/smt_00108_5

Caroline Wilkins

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Dance, mobility and social change in Billy Elliot: The Musical 《比利·艾略特:音乐剧》中的舞蹈、流动性和社会变革

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Studies in Musical Theatre Pub Date : 2022-12-01 DOI: 10.1386/smt_00107_1

Robert Gordon

{"title":"Dance, mobility and social change in Billy Elliot: The Musical","authors":"Robert Gordon","doi":"10.1386/smt_00107_1","DOIUrl":"https://doi.org/10.1386/smt_00107_1","url":null,"abstract":"\u0000 Billy Elliot: The Musical addresses the issue of class that, while seldom analysed as a theme in Broadway musicals, has been a key trope of the majority of British musicals since the première of The Shop Girl in 1894. The article examines how the dialectic of dance as an emblem of individual freedom opposed to the rigidity of the British class system is expressed through movement within the mining community of Easington. By utilizing various aspects of Rudolf Laban’s effort theory, including the kinetic personality patterns of his associate, Warren Lamb, the article examines the cultural gendering of movement via the strict regimes of boxing (for boys) and ballet (for girls). With brief references to Bourdieu’s notion of habitus and Brecht’s praxis of Gestus, the article illustrates how Billy’s ability to embrace a supposedly ‘feminine’ kinetic vocabulary constitutes the flexibility to free himself from the rigid and inherently homophobic definition of conventional masculinity. In promoting movement beyond the confines of an outmoded tradition of working-class behaviour, Billy embraces a classless notion of postmodern masculinity represented in the bohemian milieu of the metropolitan artist. By ‘dancing’ his freedom for the Royal Ballet’s audition panel in ‘Electricity’, Billy embodies his own liberation from the repetitive pattern of movement that inevitably sends the miners to early graves while he flies upwards to defy the typical destiny of a miner. The article explicates key moments of movement and dance in order to exemplify the embodiment of the musical’s central tropes in kinetic terms.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43269231","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}

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Ethnic mobilities and representations in Rose-Marie on stage and screen 《玫瑰玛丽》在舞台和银幕上的种族流动和表现

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Studies in Musical Theatre Pub Date : 2022-12-01 DOI: 10.1386/smt_00103_1

W. Everett

{"title":"Ethnic mobilities and representations in Rose-Marie on stage and screen","authors":"W. Everett","doi":"10.1386/smt_00103_1","DOIUrl":"https://doi.org/10.1386/smt_00103_1","url":null,"abstract":"This article interrogates representations of ethnicity in the long-lived musical play Rose-Marie from 1924, with music by Rudolf Friml and Herbert Stothart, book by Otto Harbach, and lyrics by Harbach and Oscar Hammerstein II, and its subsequent MGM film adaptations in 1936 and 1954. The story is set in Canada, and images of Indigenous people include white-created tropes of children of nature, vicious savages and drunkards. These views are manifested aurally through Indianist musical tropes of the time, and are especially evident in ‘Indian Love Call’ and ‘Totem-Tom-Tom’. Whiteness is performed opposite portrayals of Indigenous people that range from the ‘noble savage’ of the famous ‘Indian Love Call’ to Wanda, a First Nations woman characterized as violent and over-sexualized in the 1924 and 1954 versions. Friml’s multifarious score includes recognizable Indianist tropes of the time as well as quintessential operetta and musical comedy fare, thus musicalizing cultural differences through established Eurocentric means. In Rose-Marie, the title character’s mobile ethnicity shifts from being presumably French-born French Canadian in the original to English Canadian in the 1936 film (starring Jeanette MacDonald) and French Canadian in the 1954 version (starring Ann Blyth). Although Rose-Marie and Wanda behave in similar ways, Rose-Marie’s singing whiteness allows her to become a romantic lead, whereas Wanda, whose dance-dominated performance mode emphasizes a sensual physicality, is vilified because of her ethnic heritage.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48585033","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}

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