Beyond the Logos: West End Musical Drama

2008 ◽  
pp. 59-71
Author(s):  
Miranda Lundskaer-Nielsen
Keyword(s):  
Musical Drama

scholarly journals Analysis of the Opera Kerem by Akhmet Adnan Saygun

2021 ◽  
Vol 4 (1) ◽  
pp. 11-20
Author(s):  
Aysel Asadova
Keyword(s):  
Folk Music ◽  
Structure Characteristic ◽  
Theoretical Problem ◽  
Musical Language ◽  
Musical Drama ◽  
Musical Culture ◽  
National Values ◽  
Characteristic Features ◽  
First Time ◽  
The Way

The article analyzes the musical language of the opera Kerem by A. Adnan Saygun. Ahmet Adnan Saygun was born during the Ottoman period and lived in the newly created Republic of Turkey. Saygun is one of the founders of the Turkish School of Composing, as well as one of the founders of the Turkish Five. The composer paid great attention to folk art and national values. You can always see folk music and folklore in his works. The purpose of the research is to analyze Sufi motives in the scenes of the opera. Mainly, the attention is paid to musical drama and harmonic aspects of the opera, which directly reflect Turkish folklore and musical culture in general. The research methodology lies in solving a scientific and theoretical problem. A number of theoretical and analytical methods have been applied, highlighting the principle of using a literary text in musical scenes that contain phrases that reflect “reunification with the Creator” in Sufism. The use of characteristic rhythmic patterns in mystical scenes, when searching for information, the methods of the axiological concept of culture were used, which made it possible to highlight the characteristic features of Turkish music. The scientific novelty of the research lies in the fact that for the first time the reflection of religious characteristics based on folk music, in particular, based on modal structures and maqams, analysis of the mystical motives of the opera, in combination with modern musical techniques is considered. Conclusions. Saigun’s opera Kerem is one of the rare works based on Sufi philosophy. A clear reflection of the main thought of Sufi philosophy was noted in Kerem, according to which the suffering of the seeker of truth is marked by a return to it. The way of light is the way of Allah. The composer, to show the unique colour and character of Anatolia, the life and customs of people, used the fret and rhythmic structure characteristic of Turkish music. As a result of the study, we see how in Kerem the author enthusiastically and passionately works on national values in all aspects of the opera.

Gwen Ffrangcon-Davies: ‘Ethereal from the Waist Up and All Welsh Pony Down Below’

2011 ◽  
Vol 27 (3) ◽  
pp. 203-214 ◽  
Author(s):  
Helen Grime
Keyword(s):  
Twentieth Century ◽  
Social Attitudes ◽  
Musical Drama ◽  
Self Presentation ◽  
Lesbian Identity ◽  
Political Position ◽  
Public Scrutiny ◽  
The University ◽  
Fragmented Identity

In this article Helen Grime examines the enduring epithet of ethereality and its persistent connection to the career of the actress Gwen Ffrangcon-Davies (1891–1992). Most closely associated with her portrayal of Etain in the much revived musical drama The Immortal Hour, ethereality is understood as a signifier of 1920s femininity. The offstage presentation of a domesticated femininity further evidences the apparent conventionality of this actress's self-presentation at a time of particular anxiety about the socio-political position of women. These notions of femininity hint at the prevailing social attitudes that confronted an actress whose on- and offstage appearances were subject to public scrutiny while her private lesbian identity remained obscured. It is suggested, however, that Gwen Ffrangcon-Davies's playful negotiation of her demonstrably fragmented identity evidences an agency and self-possession belied by her public conformity. Helen Grime completed her thesis, A Strange Omission: Gwen Ffrangcon-Davies, Twentieth-Century Shakespearean Actress, in 2008 and is currently a Lecturer in Drama at the University of Winchester.

CULTURAL CONTACTS BETWEEN RUSSIA AND CHINA IN THE FIELD OF MUSIC AND DRAMA THEATER (50s of the XXth century)

2021 ◽  
Vol 1 (2) ◽  
pp. 99-106
Author(s):  
Wang Kaidi ◽  
Keyword(s):  
Soviet Union ◽  
Musical Theater ◽  
Cultural Relations ◽  
Musical Drama ◽  
Republic Of China ◽  
Chinese Theatre ◽  
The Soviet Union ◽  
Starting Point ◽  
Queen Of Spades ◽  
Eugene Onegin

The article is devoted to the cultural cooperation between the USSR and the People's Republic of China in the field of musical theater. The Treaty of Friendship, Alliance and Mutual Assistance between these two countries, signed in Moscow on February 14, 1950, became a starting point in the development of cultural contacts. The most productive period was from 1949 to early 1960s. An important marker of the development of Soviet-Chinese cultural relations was the tour of theater troupes from both countries to the Soviet Union and the Celestial Empire. The Stanislavsky and Nemirovich-Danchenko Moscow Musical Theater team visited China in 1954, and later the artists of the Shaoxing Opera and the Shanghai Theater of Beijing Musical Drama demonstrated their art in Russian cities. The two countries' directors showed mutual interest in the classical opera art of their counterparts: in Beijing and Tianjin P. I. Tchaikovsky's "Eugene Onegin" and "The Queen of Spades" were performed by Chinese singers, while in Russian cities the traditional Chinese theatre plays "The Spilled Cup" and "The Grey-Haired Girl" were staged by Russian artists.

scholarly journals IL SIGNIFICATO DEL BICENTENARIO. COME UNA CONCLUSIONE

2013 ◽  
pp. 175-178
Author(s):  
Giorgio Pestelli
Keyword(s):  
Nineteenth Century ◽  
Social Contexts ◽  
Late Nineteenth Century ◽  
Musical Drama ◽  
Contemporary Theatre ◽  
The Public ◽  
Bourgeois Society ◽  
Previous Generation ◽  
Art And Culture ◽  
Late Nineteenth

The meaning of the bicentenary that solemnizes Verdi and Wagner two hundred years after their birth essentially derives from the emotion of facing two personalities extraordinary for their creative energy and inventive continuity. In all fields of art and culture, the late Nineteenth century image is conditioned by their presence. Born the very same year, they both looked for and created by themselves the accomplishments that musicians of the previous generation already possessed when they were barely twenty years old. They reached almost at the same time both the revelation of their personality (Der fliegende Holländer 1841, Nabucco 1842), and the fullness of their artistic means (Rigoletto 1851, Der Rheingold 1853), before attaining the acme of their trajectory with the astonishing operosity of their final years.While the analogy of this parallel course is impressive, the individuality of their creative patrimony is no less strong. This dissimilarity – more than on aesthetic or dramaturgic reasons, such as the distinction between naif and sentimental, or between “melodrama” and “musical drama” – rests on the different environments where it took root, each of them with its own alternative ideas of bourgeois society, of relationship with the public, the contemporary theatre and literature: that’s why it is important today to engage to enlighten the cultural and social contexts in which the genius of the two masters developed.

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