Studies in Musical Theatre最新文献_第8页

‘Perhaps we may frighten away the ghost of so many years ago’: Gaston Leroux’s haunting of Andrew Lloyd Webber’s The Phantom of the Opera “也许我们可以把这么多年前的鬼魂吓跑”:加斯顿·勒鲁对安德鲁·劳埃德·韦伯的《歌剧魅影》的困扰

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Studies in Musical Theatre Pub Date : 2020-12-01 DOI: 10.1386/SMT_00040_1

R. Shah

{"title":"‘Perhaps we may frighten away the ghost of so many years ago’: Gaston Leroux’s haunting of Andrew Lloyd Webber’s The Phantom of the Opera","authors":"R. Shah","doi":"10.1386/SMT_00040_1","DOIUrl":"https://doi.org/10.1386/SMT_00040_1","url":null,"abstract":"This article investigates the ambivalent relationship between Andrew Lloyd Webber’s 1986 megamusical The Phantom of the Opera and its 1910 source novel, Gaston Leroux’s Le Fantôme de l’Opéra. Lloyd Webber and his collaborators initially differentiated\u0000 the megamusical from previous adaptations by heralding a return to the spirit of Leroux’s narrative. In doing so, however, Lloyd Webber lay down the limitations of his own creative authority over the material by establishing a ‘knowing audience’ primed to experience both\u0000 the ‘hypotext’ of the novel and the ‘hypertext’ of the musical through the prism of the other. This article demonstrates how Leroux’s novel was subsequently marginalized via a strategic project of displacement in the megamusical’s ‘paratexts’,\u0000 such as programme notes and media interviews. Examining these paratexts and Lloyd Webber’s later reworkings of the material (as seen in its 2004 film adaptation and its 2010 sequel), this article argues that the composer-producer’s attempts to appropriate the ‘phantom’\u0000 legend have been repeatedly disrupted by the novel’s spectral resurgences in the public imagination.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42062248","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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The Works of Arthur Laurents: Politics, Love, and Betrayal, John M. Clum (2014) 《亚瑟·劳伦兹的作品:政治、爱情与背叛》，约翰·m·克拉姆(John M. Clum) 2014年出版

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Studies in Musical Theatre Pub Date : 2020-12-01 DOI: 10.1386/SMT_00049_5

G. Gowland

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‘Look at Me’, I’m femininity: The female persona in 1970s musical theatre 《看着我》，我是女人味：20世纪70年代音乐剧中的女性形象

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Studies in Musical Theatre Pub Date : 2020-12-01 DOI: 10.1386/SMT_00045_1

Samantha Lampe

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The Routledge Companion to the Contemporary Musical, Jessica Sternfeld and Elizabeth L. Wollman (eds) (2020) 《劳特利奇当代音乐剧伴侣》，杰西卡·斯特恩菲尔德和伊丽莎白·l·沃尔曼(编)(2020)

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Studies in Musical Theatre Pub Date : 2020-12-01 DOI: 10.1386/SMT_00048_5

R. Mann

引用次数: 0

Examining the ‘histo-remix’: Public memory, Burkean identification and feminism in the musical Six 审视“历史混音”：音乐剧《六人行》中的公众记忆、伯克人身份认同和女权主义

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Studies in Musical Theatre Pub Date : 2020-12-01 DOI: 10.1386/SMT_00041_1

Valerie Lynn Schrader

{"title":"Examining the ‘histo-remix’: Public memory, Burkean identification and feminism in the musical Six","authors":"Valerie Lynn Schrader","doi":"10.1386/SMT_00041_1","DOIUrl":"https://doi.org/10.1386/SMT_00041_1","url":null,"abstract":"The musical Six has taken the United Kingdom by storm, earning five Olivier nominations in 2019 and crossing the pond, previewing on Broadway in the spring of 2020. Six tells the story of Henry VIII’s six wives in what the musical portrays as their own words, with\u0000 a twist ‐ the six wives form a girl group performing a concert for their audience. Through a rhetorical analysis of the musical’s script, cast recording, piano/vocal score, and field notes from two performances, I argue that Six creates public memory of Catherine of Aragon,\u0000 Anne Boleyn, Jane Seymour, Anna of Cleves, Katherine Howard and Catherine Parr, focusing on their individual personalities and accomplishments, rather than simply on their relationship to Henry VIII, as documented history describes them. I suggest that by doing so, Six minimizes the\u0000 role of place and time in the creation of public memory. Furthermore, I argue that this creation of public memory is intertwined with Burkean identification, as theatregoers find themselves connecting with one or more of the queens as they are portrayed in Six. By combining twenty-first-century\u0000 language with the stories of sixteenth-century women, Six builds consubstantiality between its characters and its audiences. This article also explores how the final number, Six, reinvents the women’s stories as they might have been if they had lived in the twenty-first\u0000 century and the impact that this has on public memory. Finally, I suggest that Six is a feminist text, advocating for solidarity and the individually defined empowerment of all women.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46112017","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

The Black Broadway voice: calls and responses 黑人百老汇之声：呼唤与回应

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Studies in Musical Theatre Pub Date : 2020-12-01 DOI: 10.1386/SMT_00047_7

Masi Asare

{"title":"The Black Broadway voice: calls and responses","authors":"Masi Asare","doi":"10.1386/SMT_00047_7","DOIUrl":"https://doi.org/10.1386/SMT_00047_7","url":null,"abstract":"Black musical theatre artists in New York City share and theorize their experiences with industry expectations around racialized vocal performance. Musical director John Bronson, actor/singer Jamal James, composer/music director Dionne McClain-Freeney, composer/writer Khiyon Hursey,\u0000 actor/singer Rheaume Crenshaw, actor/singer/voice teacher Elijah Caldwell, and actor/singer Zonya Love Johnson comprise the group. The artists grapple with the conundrum of sounding ‘Black enough’, how the demand for uniform Black vocalization confounds historical accuracy in period\u0000 shows, and the fantasy of the generic, idealized ‘Black Broadway voice’. The group details unspoken, misguided industry assumptions that Black singers do not produce multiple kinds of belt sounds, do not use the vocal mix sound, and sing only in a heavy (power) sound virtuosically\u0000 ornamented with riffs that evokes for (white) listeners a misleadingly monolithic idea of ‘the Black church’. As these artists point out, ‘We do not all go to the same church’; in fact, the ability to fluidly move between more classical (legit) and gospel vocal sounds\u0000 may actually arise from a singer’s training in the church choir. Collectively these artists have worked on multiple Broadway and off-Broadway shows from The Color Purple to Hamilton and A Strange Loop, major tours and regional productions of shows such as\u0000 Hair, Ain’t Misbehavin’, and Waitress, and hold songwriting credits from the prestigious BMI musical theatre writing workshop to Netflix. This conversation took place in October 2019.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46706186","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: 2

‘Waving through a window’: Nostalgia and prosthetic memory in Dear Evan Hansen “透过窗户挥手”：《亲爱的埃文·汉森》中的怀旧和假肢记忆

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Studies in Musical Theatre Pub Date : 2020-12-01 DOI: 10.1386/SMT_00044_1

L. Barr

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Editorial 社论

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Studies in Musical Theatre Pub Date : 2020-12-01 DOI: 10.1386/smt_00038_2

Dominic Symonds, G. Burrows

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The multiple mobilities of civil rights in Jeanine Tesori’s Violet and Caroline, or Change 珍妮·特索里《紫罗兰与卡罗琳》中民权的多重流动