Studies in Musical Theatre最新文献_第3页

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

IF 0.1

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":" ","pages":""},"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}

引用次数: 0

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

IF 0.1

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":" ","pages":""},"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}

引用次数: 0

‘When you change the view from where you stood, the things you view will change for good’: An introduction to the mobilities paradigm in musical theatre “当你改变你的观点时，你所看到的东西就会永远改变”：音乐剧中流动性范式的介绍

IF 0.1

Studies in Musical Theatre Pub Date : 2022-12-01 DOI: 10.1386/smt_00101_1

N. Grosch

{"title":"‘When you change the view from where you stood, the things you view will change for good’: An introduction to the mobilities paradigm in musical theatre","authors":"N. Grosch","doi":"10.1386/smt_00101_1","DOIUrl":"https://doi.org/10.1386/smt_00101_1","url":null,"abstract":"Musical theatre is frequently framed as connected to place and space, as terms like ‘the Broadway musical’ or ‘the Viennese operetta’ imply. National categorization, used prominently in titles of key monographs and handbooks, has turned out to be a moulding structure for the genre’s historiography. The term ‘American popular song form’ insinuates that musical form and style may reasonably be categorized by national adjectives. This is also true for the national attribution of earlier genres, such as the supposedly British ballad opera, French opéra comique and German singspiel. Signature pieces of the genre, e.g., the musicals of Rodgers and Hammerstein, have been read as documents of national re-affirmation. Nevertheless, a major portion of the repertoire can just as well be reinterpreted as a statement for mobility, thus bringing into question the tropes of regional rootedness and national at-homeness. Starting with methodological assumptions given in Stephen Greenblatt’s cultural mobility manifesto (), this article will examine the unquestioned frames of fixity in musical theatre scholarship and sound out alternatives that allow readings of the genre as mobile.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45177051","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

‘Meine Heimat ist der Wagen’: Negotiation of mobility and settledness in two German post-war musicals 《我的祖国》:两部德国战后音乐剧中关于流动性和安定性的谈判

IF 0.1

Studies in Musical Theatre Pub Date : 2022-12-01 DOI: 10.1386/smt_00106_1

Carolin Stahrenberg

引用次数: 0

Footnotes: The Black Artists Who Rewrote the Rules of the Great White Way, Caseen Gaines (2021) 脚注:《改写白人伟大道路规则的黑人艺术家》，卡森·盖恩斯(2021)

IF 0.1

Studies in Musical Theatre Pub Date : 2022-12-01 DOI: 10.1386/smt_00109_5

Cody M. Jones

引用次数: 0

Exploring musical theatre performance synergy: Accessing seven performative processes 探索音乐剧表演的协同效应：访问七个表演过程

IF 0.1

Studies in Musical Theatre Pub Date : 2022-07-01 DOI: 10.1386/smt_00094_1

Jacqui Cuny

{"title":"Exploring musical theatre performance synergy: Accessing seven performative processes","authors":"Jacqui Cuny","doi":"10.1386/smt_00094_1","DOIUrl":"https://doi.org/10.1386/smt_00094_1","url":null,"abstract":"To meet the demands of the ever-evolving musical theatre industry, performers are expected to craft inspiring performances across eight shows a week, seamlessly integrating their triple-threat expertise. Most actors undertake intensive training to achieve the complex skillset required\u0000 to execute this art form, yet professional success can be elusive. It appears that a key element to building and maintaining a musical theatre career is performance synergy. This phenomenon is described colloquially as stage presence or X-factor. Whilst the literature regarding\u0000 the field of musical theatre training is wide-ranging, little formal research has been undertaken on the ephemeral subject of performance synergy as it pertains to the work of the musical theatre actor. To address this lacuna in the literature ‐ and to determine whether performance\u0000 synergy can be described, comprehended, taught or learned ‐ semi-structured interviews were conducted with 42 Australian actors and creative directors active in the musical theatre industry. Collected data captured expert opinions on the elements, constructs and praxis of musical theatre\u0000 performance synergy. Following a thematic analysis of the data, a framework of seven performative processes was constructed towards a clearer understanding of the practical aspects of this multifaceted phenomenon.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43300344","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: 1

‘Why We Build the Wall’: Hegemony, memory and current events in Hadestown “我们为什么要建墙”:哈德斯敦的霸权、记忆和时事

IF 0.1

Studies in Musical Theatre Pub Date : 2022-07-01 DOI: 10.1386/smt_00093_1

Valerie Lynn Schrader

{"title":"‘Why We Build the Wall’: Hegemony, memory and current events in Hadestown","authors":"Valerie Lynn Schrader","doi":"10.1386/smt_00093_1","DOIUrl":"https://doi.org/10.1386/smt_00093_1","url":null,"abstract":"Through its unique jazz-inspired score, creative sets and costume design, the 2019 Tony award-winning musical Hadestown tells the classic Greek mythology story of Orpheus and Eurydice, in which Orpheus ventures to the underworld to save his love from an eternity of suffering.\u0000 In this rhetorical analysis of the musical’s script, cast recording, sheet music and Broadway production, I explore how Hadestown makes statements about hegemony and memory that connect with current events. Hadestown presents the underworld as an industrial wasteland that\u0000 contrasts with Persephone’s green earth, placing industry and the environment at odds with one another and bringing the audience’s attention to issues including climate change, refugeeism, homelessness and poverty. Hades is presented as an industrial tycoon and a hegemon who exploits\u0000 his workers, and the song ‘Why We Build the Wall’ serves to highlight the many hegemonic tactics used to maintain control over a populace. I also explore how the references to Hades’ wall provide audiences experiencing the musical after 2016 with a biting critique of Donald\u0000 Trump’s 2016 campaign promise to build a wall to curb immigration at the United States’ southern border, and I suggest that the penultimate song provides audiences with a message that aligns with Hannah Arendt’s view of the purpose of memory: that we must remember the past\u0000 or, in the words of Hadestown, ‘tell the sad tale’, because we hope that it might turn out differently this time. The messages in Hadestown encourage theatregoers to remember the lessons of history, including difficult memories related to hegemony, because only through\u0000 remembering can we learn from the past and take the actions necessary to face our current challenges.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46680058","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

Cinderella, Kay Cannon (dir.) (2021), USA: Sony Pictures 《灰姑娘》，凯·坎农(导演)(2021)，美国:索尼影业

IF 0.1

Studies in Musical Theatre Pub Date : 2022-07-01 DOI: 10.1386/smt_00097_5

M. Anjirbag

引用次数: 0

A hairy affair: Applying translation studies concepts and methods to the musical theatre 一件麻烦事:翻译研究的概念和方法在音乐剧中的应用

IF 0.1

Studies in Musical Theatre Pub Date : 2022-07-01 DOI: 10.1386/smt_00092_1

Stefanie Barschdorf, C. Peligra

引用次数: 0

Making Broadway Dance, Liza Gennaro (2022) 制作百老汇舞蹈，丽莎·根纳罗（2022）