Eden in Sin City: Adapting for the Musical Theater Body in Takarazuka Revue’s Ocean’s 11

2021 ◽  
Vol 44 (2) ◽  
pp. 151-181
Author(s):  
Elizabeth York
Keyword(s):  
Musical Theater

Hypnosis for Actors: Musical Theater

2008 ◽  
Author(s):  
James R. Council ◽  
Kimble Bromley ◽  
Pamela Chabora ◽  
Darya L. Zabelina
Keyword(s):  
Musical Theater

Korngold and His World

2019 ◽  
Keyword(s):  
Chamber Music ◽  
Musical Theater ◽  
Musical Language ◽  
American Film ◽  
Popular Song ◽  
Film Scores ◽  
Hollywood Film ◽  
English Translations ◽  
Erich Wolfgang Korngold ◽  
American Popular Song

Erich Wolfgang Korngold (1897–1957) was the last compositional prodigy to emerge from the Austro-German tradition of Mozart and Mendelssohn. He was lauded in his youth by everyone from Mahler to Puccini and his auspicious career in the early 1900s spanned chamber music, opera, and musical theater. Today, he is best known for his Hollywood film scores, composed between 1935 and 1947. From his prewar operas in Vienna to his pathbreaking contributions to American film, this book provides a substantial reassessment of Korngold's life and accomplishments. Korngold struggled to reconcile the musical language of his Viennese upbringing with American popular song and cinema, and was forced to adapt to a new life after wartime emigration to Hollywood. The book examines Korngold's operas and film scores, the critical reception of his music, and his place in the milieus of both the Old and New Worlds. It also features numerous historical documents—many previously unpublished and in first-ever English translations—including essays by the composer as well as memoirs by his wife, Luzi Korngold, and his father, the renowned music critic Julius Korngold.

Oklahoma!

2020 ◽  
Author(s):  
Tim Carter
Keyword(s):  
Musical Theater ◽  
Final Shape ◽  
Broadway Musical ◽  
History Of ◽  
Rodgers And Hammerstein ◽  
Theatre Guild

Oklahoma! premiered on Broadway on 31 March 1943 under the auspices of the Theatre Guild, and today it is performed more frequently than any other Rodgers and Hammerstein musical. When this book was first published in 2007, it offered the first fully documented history of the making of the show based on archival materials, manuscripts, journalism, and other sources. The present revised edition draws still further on newly uncovered sources to provide an even clearer account of a work that many have claimed fundamentally changed Broadway musical theater. It is filled with rich and fascinating details about the play on which Oklahoma! was based (Lynn Riggs’s Green Grow the Lilacs); on what encouraged Theresa Helburn and Lawrence Langner of the Guild to bring Rodgers and Hammerstein together for their first collaboration; on how Rouben Mamoulian and Agnes de Mille became the director and choreographer; on the drafts and revisions that led the show toward its final shape; and on the rehearsals and tryouts that brought it to fruition. It also examines the lofty aspirations and the mythmaking that surrounded Oklahoma! from its very inception, and demonstrates just what made it part of its times.

Sweet Mystery

2020 ◽  
Author(s):  
Ellen M. Peck
Keyword(s):  
Twentieth Century ◽  
Musical Theater ◽  
Full Length ◽  
Working Relationships ◽  
Early Twentieth Century ◽  
Professional Theater ◽  
Standard Practices

Rida Johnson Young (ca. 1869–1926) was one of the most prolific female playwrights of her time, as well as a lyricist and librettist in the musical theater. She wrote more than thirty full-length plays, operettas, and musical comedies, five hundred songs, and four novels. Despite her extensive output, no significant study of her work has been produced. This book examines her musical theater works with in-depth analyses of her librettos and lyrics, as well as her working relationships with other writers, performers, and producers, particularly Lee and J. J. Shubert. Using archival materials such as original typescripts, correspondence, and reviews, the book contextualizes Young’s work within the milieu of the early-twentieth-century professional theater and provides a window into the standard practices of writing and production of the era. The works examined are Naughty Marietta, Lady Luxury, The Red Petticoat, When Love Is Young, His Little Widows, Her Soldier Boy, Maytime, Sometime, Little Simplicity, and The Dream Girl.

The Oxford Handbook of the Operatic Canon

2020 ◽  
Keyword(s):  
Musical Theater ◽  
Geographical Location ◽  
The United States ◽  
Late Nineteenth Century ◽  
Limited Sample ◽  
The United Kingdom ◽  
Production And Consumption ◽  
Formation History ◽  
Artistic Directors ◽  
Selection Of

This collection examines the phenomenon of the operatic canon: its formation, history, current ontology and practical influence, and future. It does so by taking an international and interdisciplinary view: the workshops from which it was derived included the participation of critics, producers, artistic directors, stage directors, opera company CEOs, and even economists, from the United Kingdom, the United States, France, Italy, Ireland, Germany, the Netherlands, Denmark, and Canada. The volume is structured as a series of dialogues: each subtopic is addressed by two essays, introduced jointly by the authors, and followed by a jointly compiled list of further reading. These paired essays complement each other in different ways, for example by treating the same geographical location in different periods, by providing different national or regional perspectives on the same period, or by thinking through similar conceptual issues in contrasting milieus. Part I consists of a selection of surveys of operatic production and consumption contexts in France, Italy, Germany, England, Russia, and the Americas, arranged in rough order from the late seventeenth century to the late nineteenth century. Part II is a (necessarily) limited sample of subjects that illuminate the operatic canon from different—sometimes intentionally oblique—angles, ranging from the influence of singers to the contiguous genres of operetta and musical theater, and the effects of recording and broadcast over almost 150 years. The volume concludes with two essays written by prominent figures from the opera industry who give their sense of the operatic canon’s evolution and prospects.

Keeping Company with Sondheim’s Women

2014 ◽  
Author(s):  
Stacy Wolf
Keyword(s):  
Musical Theater ◽  
Married Couples ◽  
Feminist Perspective ◽  
The Self ◽  
The Other ◽  
Female Characters ◽  
Other Hand ◽  
The One

This chapter examines the eight female characters inCompany, what they do in the musical, and how they function in the show’s dramaturgy, and argues that they elicit the quintessential challenge of analyzing musical theater from a feminist perspective. On the one hand, the women tend to be stereotypically, even msogynistically portrayed. On the other hand, each character offers the actor a tremendous performance opportunity in portraying a complicated psychology, primarily communicated through richly expressive music and sophisticated lyrics. In this groundbreaking 1970 ensemble musical about a bachelor’s encounters with five married couples and three girlfriends, Sondheim’s female characters occupy a striking range of types within one show. From the bitter, acerbic, thrice-married Joanne to the reluctant bride-to-be Amy, and from the self-described “dumb” “stewardess” April to the free-spirited Marta,Company’s eight women are distillations of femininity, precisely sketched in the short, singular scenes in which they appear.

Beware, Madness!

2021 ◽  
pp. 172-178
Author(s):  
 Дмитрий Вадимович Любимов
Keyword(s):  
Musical Theater ◽  
Clinical Case ◽  
Interdisciplinary Approach ◽  
Years Of Experience ◽  
Creative Activity ◽  
Medical Terms ◽  
Medical Reports

Рецензируемая книга Александра  Михайловича  Терехина «Сумасшествия в  музыкальном театре: опера, балет», изданная в  2020 году, уникальна во  многих отношениях. Во-первых, интерес вызывает личность самого автора. Профессиональная и  творческая деятельность Терехина связана с  медициной и  музыкой. Врач-психиатр с  сорокалетним стажем, Терехин более четверти века работал в Мариинском театре в качестве артиста миманса. Во-вторых, тема сумасшествия (безумия) еще не  становилась самостоятельным предметом изучения в российских музыковедческих исследованиях. В-третьих, оригинальность книги составляют медицинские заключения. В центре внимания врача — тексты оперных и балетных либретто, на основе которых автор раскрывает причины помешательства и  ставит различные диагнозы персонажам музыкального театра. Рассматривая конкретные клинические случаи, Терехин прибегает к профессиональным медицинским терминам. Среди диагнозов отметим такие, как реактивный параноид у Лючии («Лючия ди Ламмермур» Г. Доницетти), шизофрения у Мельника («Русалка» А. С. Даргомыжского, интоксикационный (гашишный) психоз у Солора («Баядерка» Л. Минкуса). Книга А. М. Терехина, не претендуя на всеохватность освещения темы сумасшествия (безумия), открывает музыковедам новые грани междисциплинарного подхода в изучении оперного и балетного репертуара. Alexander Mikhailovich Terekhin’s peer-reviewed book Madness in Musical Theater: Opera, Ballet, published in 2020, is unique in many ways. Firstly, the author’s personality is of interest. Terekhin’s professional and creative activity is connected with medicine and music. A psychiatrist with forty years of experience, Terekhin worked for more than a quarter of a century at the Mariinsky Theater as a mimance artist. Secondly, the theme of madness (insanity) has not yet become an independent subject of study in Russian musicological studies. Thirdly, the originality of the book is based on medical reports. The doctor focuses on the texts of opera and ballet librettos, on the basis of which the author reveals the causes of insanity and makes various diagnoses to the characters of the musical theater. Considering a specific clinical case, Terekhin resorts to professional medical terms. Among some diagnoses we can mention: reactive paranoid in Lucia (Lucia di Lammermoor by Donizetti), schizophrenia in Melnik (Rusalka by Dargomyzhsky, intoxicational (hashish) psychosis in Solor (La Bayadere by Minkus). Without claiming to cover the topic of insanity (insanity) comprehensively the book by Terekhin, opens up new facets of the interdisciplinary approach in studying opera and ballet repertoire to musicologists.

AT THE ORIGINS OF THE UZBEK MUSIC THEATER (STUDIOS, TEACHERS, FIRST EXPERIMENTS: 1920-1930S)

2021 ◽  
pp. 32-45
Author(s):  
MARFUA KHAMIDOVA
Keyword(s):  
Twentieth Century ◽  
Musical Theater ◽  
The State ◽  
Music Theater ◽  
Music Scene ◽  
National Opera ◽  
National Music

This article is about the origins of the national opera that was born in Uzbekistan in the first half of the twentieth century. It also tells about the studio training of production and performing personnel for the national music scene within the framework of the Moscow, Baku studios, the Uzbek Opera Studio at the Moscow State Conservatory; about the first experiments of staging musical plays in the Uyghur Drama Troupe, the Concert and Ethnographic Troupe of M. Kari-Yakubov and further in the State Uzbek Musical Theater.

ON THE CONDUCTOR TRAINING SYSTEM IN CHINA (methodological observations)

2021 ◽  
Vol 1 (1) ◽  
pp. 24-29
Author(s):  
Chen Xize ◽  
Keyword(s):  
Educational Program ◽  
Musical Theater ◽  
Training Programs ◽  
Mutual Influence ◽  
Training System ◽  
Orchestral Music ◽  
Symphony Orchestras ◽  
Saint Petersburg ◽  
Conductor Training ◽  
Intensive Development

The article, which has a historical and methodological orientation, focuses on issues that are indicative both for the development of orchestral music in China and for the training of students in conducting. This work reveals the typology of expressive possibilities of mono-timbre and poly-timbre folk orchestras, as well as certain provisions concerning the mutual influence of folk instrument orchestras and symphony ensembles. The conductor's curriculum adopted at The Central Conservatory of China is presented and its specific features are reviewed. It is noted that due to the intensive development of symphony orchestras and symphonic genres, as well as compositions for musical theater, the process of training conductors and composers in conservatories and music faculties of universities in China is being improved. The cumulative world pedagogical experience was selected to develop the conductor training programs in Chinese conservatories, taking into account the positions most important for national pedagogical adaptation. The educational program for conducting was created in China considering the practice of the Saint Petersburg and Moscow conservatories.

Musical Theater(s)

2014 ◽  
Author(s):  
Derek B. Scott
Keyword(s):  
Musical Theater
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