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Studies in Musical Theatre最新文献

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Kirle from quarantine: An introduction to the Bruce Kirle Memorial Debut Panel, 2020 来自隔离的基尔:介绍布鲁斯·基尔纪念首次亮相小组，2020年
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Studies in Musical Theatre Pub Date : 2020-12-01 DOI: 10.1386/smt_00043_1
Kelly Kessler
{"title":"Kirle from quarantine: An introduction to the Bruce Kirle Memorial Debut Panel, 2020","authors":"Kelly Kessler","doi":"10.1386/smt_00043_1","DOIUrl":"https://doi.org/10.1386/smt_00043_1","url":null,"abstract":"Because of the global COVID-19 pandemic, the fate of the annual Association for Theatre in Higher Education conference and the twelfth annual Bruce Kirle Memorial Debut Panel hung in the balance. By sheer will and determination, those at the helm of the ATHE machine managed to pull off a virtual conference, bringing scholars from across the world together from the comfort and safety of their own digital devices. This introduction explores the context of the conference, theatre’s unique COVID-era connection to Kirle’s notion of ‘unfinished busi-ness’ and the work of the 2020 Kirle scholars Lindsey Barr, Samantha Lampe and Trystan Loustau. © 2020 Intellect Ltd Article. English language.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":"14 1","pages":"307-311"},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42638808","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
Pal Joey: The History of a Heel, Julianne Lindberg (2020) 好友乔伊：高跟鞋的历史，朱莉安娜·林德伯格（2020）
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Studies in Musical Theatre Pub Date : 2020-12-01 DOI: 10.1386/SMT_00050_5
Katy Jayasuriya
{"title":"Pal Joey: The History of a Heel, Julianne Lindberg (2020)","authors":"Katy Jayasuriya","doi":"10.1386/SMT_00050_5","DOIUrl":"https://doi.org/10.1386/SMT_00050_5","url":null,"abstract":"Review of: Pal Joey: The History of a Heel, Julianne Lindberg (2020)New York: Oxford University Press, 288pp.,ISBN 978-0-19-005120-4, h/bk, £25.99","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":"14 1","pages":"368-369"},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43657848","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 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
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Studies in Musical Theatre Pub Date : 2020-12-01 DOI: 10.1386/SMT_00039_1
Allan Kilner-Johnson
{"title":"The multiple mobilities of civil rights in Jeanine Tesori’s Violet and Caroline, or Change","authors":"Allan Kilner-Johnson","doi":"10.1386/SMT_00039_1","DOIUrl":"https://doi.org/10.1386/SMT_00039_1","url":null,"abstract":"This article centres on Jeanine Tesori’s Violet (book and lyrics by Brian Crawley) and Caroline, or Change (book and lyrics by Tony Kushner), both of which are set in the American south during a crucial period in American history running between the assassination\u0000 of John F. Kennedy on 22 November 1963 and the passing of the Civil Rights Act of 1964. Both works musically capture the imaginative traditions of the American south through gospel, country, Motown, and blues in order to detail the complex negotiations of the titular female protagonists through\u0000 challenges of isolation, entrapment and liberation in the months following Kennedy's assassination. This article argues that the promise and affordance of mobility within these musicals are rooted in an uncanny spiritual fervour expressed by Violet and Caroline, both of whom have defined a\u0000 distinctive, and, as will be recognized by each musical’s conclusion, mistaken theology of personal devotion and faith that runs precisely counter to the liberating potentials in the world around them.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":"14 1","pages":"243-253"},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44213256","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
Momma Rose: An Aristotelian heroine in the mother of all musicals 玫瑰妈妈：音乐剧之母中的亚里士多德女英雄
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Studies in Musical Theatre Pub Date : 2020-12-01 DOI: 10.1386/SMT_00042_1
Denise A. Walen
{"title":"Momma Rose: An Aristotelian heroine in the mother of all musicals","authors":"Denise A. Walen","doi":"10.1386/SMT_00042_1","DOIUrl":"https://doi.org/10.1386/SMT_00042_1","url":null,"abstract":"The character of Rose from Gypsy has been compared to tragic characters such as Medea, King Lear and Willy Loman. She has been credited as one of the most psychologically complex characters in musical theatre history and is a role coveted by performers. Equally appalling and\u0000 compelling, Rose, like characters in ancient Greek tragedies, is an imperfect human struggling to do her best in difficult situations but is ultimately misguided and suffers a tragic reversal of fortune. This article applies dramatic theory from Aristotle’s Poetics and Arthur\u0000 Miller’s article ‘Tragedy and the common man’ to discover the dramaturgical practices the authors of Gypsy used to structure Rose, a figure from musical comedy, within the theoretical constructs of a tragic heroine.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":"14 1","pages":"293-306"},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44108004","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
‘Back to child, back to husband’: Containing transgressive mothers in Into the Woods “回到孩子身边，回到丈夫身边”:《走进森林》中包含了越轨的母亲
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Studies in Musical Theatre Pub Date : 2020-12-01 DOI: 10.1386/SMT_00046_1
Trystan Loustau
{"title":"‘Back to child, back to husband’: Containing transgressive mothers in Into the Woods","authors":"Trystan Loustau","doi":"10.1386/SMT_00046_1","DOIUrl":"https://doi.org/10.1386/SMT_00046_1","url":null,"abstract":"Traditional American musicals have often portrayed women in conventional, domestic roles like wives and mothers. Sondheim and Lapine’s Into the Woods (1987) abounds with maternal figures who, at first, appear musically and lyrically complex. The musical’s mothers\u0000 transgress the confines of housekeeping and childrearing to pursue sexual fantasies, provide for and protect their children and explore their personal and emotional bonds. However, the actions of such transgressive mothers, including the Baker’s Wife, Jack’s Mother and the Witch,\u0000 are narratively renounced, their agency contained and their stories cut short with fatal punishments. In contrast, Cinderella, the epitome of the pure good woman, prevails as the solitary mother figure of the show’s concluding family. This article argues that despite its overtures towards\u0000 something more complex, Into the Woods’ depiction of motherhood merely reinforces reductive, patriarchal genre standards.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":"14 1","pages":"331-341"},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45100799","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
Arlen & Harburg’s ‘Over the Rainbow’ (Oxford Keynotes), Walter Frisch (2017) Arlen & Harburg的《Over the Rainbow》(牛津主题演讲)，Walter Frisch (2017)
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Studies in Musical Theatre Pub Date : 2020-07-01 DOI: 10.1386/smt_00034_5
A. Buchman
{"title":"Arlen & Harburg’s ‘Over the Rainbow’ (Oxford Keynotes), Walter Frisch (2017)","authors":"A. Buchman","doi":"10.1386/smt_00034_5","DOIUrl":"https://doi.org/10.1386/smt_00034_5","url":null,"abstract":"Review of: Arlen & Harburg’s ‘Over the Rainbow’ (Oxford Keynotes), Walter Frisch (2017)\u0000New York: Oxford University Press, 146 pp.,\u0000ISBN: 978-0-19046-734-0, p/bk, $15.95 (h/bk, $78)","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":"14 1","pages":"221-223"},"PeriodicalIF":0.1,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42685963","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
Expresso Bongo and Make Me an Offer: The ‘Angry Young Musical’ in the 1950s Expresso Bongo和Make Me an Offer：20世纪50年代的“愤怒的年轻音乐剧”
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Studies in Musical Theatre Pub Date : 2020-07-01 DOI: 10.1386/smt_00030_1
E. Wells
{"title":"Expresso Bongo and Make Me an Offer: The ‘Angry Young Musical’ in the 1950s","authors":"E. Wells","doi":"10.1386/smt_00030_1","DOIUrl":"https://doi.org/10.1386/smt_00030_1","url":null,"abstract":"Following on from John Osborne’s infamous play Look Back in Anger of 1956, London’s stage saw the emergence of the ‘Angry Young Man’, realistic portrayals of working-class men in a difficult age. Expresso Bongo and Lily White Boys, works of the mid-to-late 1950s, demonstrate that the angry young man was also present in London’s musicals, previously an upper- and middle-class genre. Featuring the Soho district, gangsters, prostitutes and rock music, this unique era of musical theatre changed expectations of what musical theatre could and would offer to a jaded urban audience. These astonishing musical theatre works offer potent commentary on British society, British identity and particularly disenfranchised young British men, and offer insights into American and British relations, gender roles and expectations, and the complicated role of working-class men in the new Elizabethan era.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":"14 1","pages":"163-173"},"PeriodicalIF":0.1,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47926897","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
Imitation Artist: Gertrude Hoffmann’s Life in Vaudeville and Dance, Sunny Stalter-Pace (2020) 模仿艺术家:格特鲁德·霍夫曼在歌舞杂耍和舞蹈中的生活，Sunny starter - pace (2020)
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Studies in Musical Theatre Pub Date : 2020-07-01 DOI: 10.1386/smt_00036_5
S. Courtis
{"title":"Imitation Artist: Gertrude Hoffmann’s Life in Vaudeville and Dance, Sunny Stalter-Pace (2020)","authors":"S. Courtis","doi":"10.1386/smt_00036_5","DOIUrl":"https://doi.org/10.1386/smt_00036_5","url":null,"abstract":"Review of: Imitation Artist: Gertrude Hoffmann’s Life in Vaudeville and Dance, Sunny Stalter-Pace (2020)\u0000Evanston, IL: Northwestern University Press, 280 pp.,\u0000ISBN 978-0-8101-4191-9, p/bk, $34.95","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":"14 1","pages":"227-229"},"PeriodicalIF":0.1,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48885309","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
‘Salute to Radio’: The self-reflexive artistry of Betty Comden and Adolph Green in Fun with the Revuers “向广播致敬”:贝蒂·科登和阿道夫·格林在《与狂欢者同乐》中的自我反思艺术
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Studies in Musical Theatre Pub Date : 2020-07-01 DOI: 10.1386/smt_00029_1
Sahoko Tsuji
{"title":"‘Salute to Radio’: The self-reflexive artistry of Betty Comden and Adolph Green in Fun with the Revuers","authors":"Sahoko Tsuji","doi":"10.1386/smt_00029_1","DOIUrl":"https://doi.org/10.1386/smt_00029_1","url":null,"abstract":"Betty Comden and Adolph Green are well-known librettists and lyricists of stage musicals and musical films; their artistic style and verbal expression are considered to bear urban witness to a period understanding of the 1940s and 1950s. Nonetheless, previous studies have scarcely investigated the aesthetic features of their dramaturgy, especially with regard to linguistic expression. This article focuses on the radio comedy Fun with the Revuers, for which they wrote scripts and lyrics. Through a close look at the scripts and sound recordings, it analyses the ‘interruptive sound and voice’ functions that construct the show, and examines how these satirize the conventions of the format, as well as the essential features of the medium. This article will offer a new perspective on the generational dynamics of Comden and Green’s artistry.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":"14 1","pages":"149-161"},"PeriodicalIF":0.1,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42228974","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 dithyrambic dramatist: A Nietzschean musical-performative conception 双重悲剧剧作家：尼采的音乐表演观
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Studies in Musical Theatre Pub Date : 2020-07-01 DOI: 10.1386/smt_00032_1
Mario Frendo
{"title":"The dithyrambic dramatist: A Nietzschean musical-performative conception","authors":"Mario Frendo","doi":"10.1386/smt_00032_1","DOIUrl":"https://doi.org/10.1386/smt_00032_1","url":null,"abstract":"The concept of the dithyrambic dramatist – introduced by German philosopher Friedrich Nietzsche in the fourth essay of his Untimely Meditations of 1873–76 – is one of the most performance-oriented concepts to emerge out of the nineteenth century in which theatre was often associated with dramatic literature. This article investigates the nature of the dithyrambic dramatist by tracing, in the first instance, the underlying musical perspectives – already evident in The Birth of Tragedy of 1872 – which led Nietzsche to develop the concept. In the second instance, the author articulates what may be considered as its key conditions, namely the visible–audible and individual–collective relationalities. In view of the arguments brought forward, the concept of the dithyrambic dramatist is located as an interdisciplinary element that emerged out of an art form – music – to which Nietzsche was intimately associated in his youth as a composer. The author further proposes that, rather than a metaphor to philological tropes, the dithyrambic dramatist is a concrete manifestation of interdisciplinary and performative foundations that inform Nietzsche’s analytic perspectives.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":"14 1","pages":"193-206"},"PeriodicalIF":0.1,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42344333","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
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