Conclusion

2021 ◽  
pp. 270-276
Author(s):  
Naomi Graber
Keyword(s):  
Musical Theatre ◽  
The World ◽  
Rodgers And Hammerstein

Throughout his career, Weill remained optimistic that musical theatre could change the world for the better, all while reaching the broadest possible audience. He strove to write music that spoke to its time and place, but also endeavored to write music that possessed lasting impact and beauty. Although Rodgers and Hammerstein and their influence overshadowed Weill’s influence in his own lifetime and soon after, later Broadway figures like Hal Prince, John Kander, and Fred Ebb professed great admiration for Weill, and incorporated some of his innovations into their work. Weill’s legacy thus remains a part of Broadway to this day.

European Itinerant Opera and Operetta Companies Touring in the Near and Middle East

2019 ◽  
pp. 318-334
Author(s):  
Avra Xepapadako
Keyword(s):  
Near East ◽  
World History ◽  
Musical Theatre ◽  
Theatre Companies ◽  
The World ◽  
History Of ◽  
South Eastern Europe ◽  
Unexplored Area ◽  
The 19Th Century ◽  
Shed Light

Τ‎his chapter focuses on the activity of musical theatre companies touring in south-eastern Europe, the Near East, the Caucasus and Central Asia during the 19th and early 20th centuries. It investigates cultural transfer and amalgamation between the metropolitan culture of the West and the Orient in the domain of opera and operetta. Greece, in particular, functioned as a cultural crossroads between East and West. From 1840 onwards, Italian opera companies began to tour in Greece and its new theatres, and even further towards the Near East; they were followed, from 1870 onwards, by French operetta and vaudeville companies. In the last decades of the 19th century, these French artists expanded their itineraries towards the East, beyond familiar geographical boundaries, tracing their own small odysseys on the map. The chapter charts and presents these traces, attempting to shed light on an unexplored area of the world history of music and theatre.

‘Humming the Sets’

2017 ◽  
Author(s):  
Christine White
Keyword(s):  
North America ◽  
Digital Media ◽  
Musical Theatre ◽  
Stage Design ◽  
Early Twenty ◽  
The World ◽  
Late Twentieth ◽  
Visual Impact ◽  
The Uk ◽  
The Impact

This chapter discusses the impact of stage design on musical theatre, and the development of musical theatre as a product packaged for consumption across the world. Its focus is chiefly on British musicals of the late twentieth and early twenty-first centuries, during which ‘scenography’ has become recognized as the term for describing the whole theatre-designed space, encompassing, set, costume, sound, light, and more recently including film, animations, and a host of projection technologies and digital media. The chapter refers to contemporary reviews of productions, their success and failure, and the nature of the musical as a form in harmony with new scenic production aesthetics. What becomes apparent in this chapter is the interconnectedness of scenic practices and production aesthetics, which relates directly to the visual impact of musicals on the British stage and the interchange of production styles and modes of the UK and North America.

The World of Musical Theatre

2017 ◽  
pp. 5-10
Author(s):  
Kenneth Pickering ◽  
David Henson
Keyword(s):  
Musical Theatre ◽  
The World

The Second Life of Master Jan Hus and Hussitism in Music of Bohemia and Around the World – The Revolutions of 1848

Musicalia ◽  
2017 ◽  
Vol 9 (1-2) ◽  
pp. 24-52
Author(s):  
Viktor Velek
Keyword(s):  
Subject Matter ◽  
Second Life ◽  
Dominant Role ◽  
Musical Theatre ◽  
The World ◽  
New Form

As part of his research on development of the traditions of “Jan Hus” and “Hussitism” as musical subject matter, the author of the article has concentrated on 1848, the Year of Revolution. The first part of the text introduces the texts of revolutionary songs and outlines the circumstances that led to the transformation of the reception of historical traditions, and thereby led to the new form of their influence on music. The second part is based on the contents of songbooks in which songs about Jan Hus and Hussitism were given a place of prominence. The concluding third part offers a retrospective of the development of (musical) theatre. Playing a dominant role is the music to the drama Žižkova smrt (The Death of Žižka), which was composed by Frantisek Skroup and has recently seen a revival in contemporary dramaturgy.

scholarly journals Size Matters: A Consideration of the Canadian “Shoebox Musical"

2012 ◽  
Vol 12 (2) ◽  
pp. 49-61
Author(s):  
SG Lee
Keyword(s):  
Personal Experience ◽  
Poor Country ◽  
Conspicuous Consumption ◽  
Musical Theatre ◽  
Social Conditions ◽  
Critical Writing ◽  
The World ◽  
Artistic Director ◽  
Canadian Drama ◽  
Material Constraints

Is the Canadian "shoebox musical" best seen as Broadway's poor country cousin or as Canadian drama's illegitimate sibling? This paper will consider the place of the "shoebox musical" with its small cast, few musicians and modest production requirements as a Canadian sub-genre in the larger tradition of the musical theatre. Beginning with an overview of the historical economic, artistic and social conditions that have encouraged, or perhaps forced, Canadian musical theatre artists to produce musicals on a scale almost unimaginable to the Broadway sensibility, the paper goes on to examine the ways in which working within that box has shaped the plays created. From Billy Bishop Goes to War to My Mother’s Lesbian Jewish Wiccan Wedding, a great many Canadian musicals have been made with a simplicity of style and absence of conspicuous consumption that may be merely a result of the material constraints under which they were created, a diminution of the creators' grand artistic visions, or may in fact be a theatrical reflection of a Canadian ethos or perhaps an uncomfortable balance of the tension between the two forces. Drawing on personal experience as a playwright and artistic director and interviews with other playwrights and producers, along with popular and critical writing, the author makes a case for the “shoebox musical” as a distinctly Canadian contribution to the world of musical theatre as well as a legitimate contribution to Canadian drama.

scholarly journals Acting and Collecting: Imagining Asia through material culture and musical theatre

2015 ◽  
Vol 13 (3) ◽  
pp. 356-368
Author(s):  
Peter Thorley
Keyword(s):  
Material Culture ◽  
Musical Theatre ◽  
The Body ◽  
The World ◽  
The Relationship

This paper explores the link between Asian-inspired material culture and musical theatre through the collections of Anglo-Australian performer Herbert Browne (1895-1975). Brown played lead roles in 1920s Australian musical theatre productions of The Mikado and Chu Chin Chow and re-lived his connection with oriental theatre by collecting and responding to objects performatively in the Chinoiserie room of his Melbourne home. Oriental musical theatre blended exotic cultures and locales in visually spectacular productions which bore little resemblance to reality. The taste for escapist fiction in the theatre took place against a backdrop of museum collecting which aimed to reproduce authentic Asian and Other cultures. In this paper, I draw on French philosopher Merleau-Ponty’s observations on the relationship between thought and the body’s interaction with space to interpret the influence of Browne’s theatricality on collecting choices. From this perspective, objects materialize particular understandings of the world which originate in the body and the body’s performative engagement with space.

Towards a British Concept Musical

2017 ◽  
Author(s):  
David Cottis
Keyword(s):  
Musical Theatre ◽  
The Other ◽  
The World ◽  
Literary Adaptations ◽  
History Of

The three stage shows written in collaboration by Leslie Bricusse and Anthony Newley—Stop the World—I Want to Get Off (1961), The Roar of the Greasepaint, the Smell of the Crowd (1964), and The Good Old, Bad Old Days (1972)—are unlike anything that preceded them in the British musical theatre: minimalist, metatheatrical, drawing on contemporary developments in other arts, and ultimately dependent on the persona of Newley, their co-writer and star. This chapter examines the collaboration between Bricusse and Newley, its influences and legacy, as well as the work each did without the other—Newley’s history of musical autobiography and Bricusse’s many literary adaptations.

The Sound of Music at Outdoor Summer Musical Theatres

2019 ◽  
pp. 185-224
Author(s):  
Stacy Wolf
Keyword(s):  
New Jersey ◽  
Local Government ◽  
Musical Theatre ◽  
State Parks ◽  
State And Local Government ◽  
State And Local ◽  
Rodgers And Hammerstein

This chapter visits three large, unique, outdoor venues for musical theatre in the summer: the Mountain Play in Mill Valley, California, the Zilker Summer Musical in Austin, Texas, and the Open Air Theatre at Washington Crossing, New Jersey, focusing on each theatre’s production of The Sound of Music. The Mountain Play has produced of one show each spring since 1913 in a 3,750-seat amphitheatre on the top of Mt. Tamalpais. The Zilker Summer Musical, established by the local recreation department in 1959, offers an annual free musical on a hillside that attracts thousands of spectators, many of whom would not otherwise see a play. The Open Air Theatre, which opened in 1964, presents thirteen shows each summer to more than eighteen thousand spectators. Each one of these venues, all located in old and well-established state parks, also boasts a complex history in relation to state and local government. Coincidentally, these three organizations produced The Sound of Music in successive years—the perfect show for an outdoor theatre. When Maria sings, “The hills are alive with the sound of music,” it was true: The hills are alive with the sound of music, though not actually the Austrian mountains where the classic Rodgers and Hammerstein musical is set.

A pragmatist philosophy of psychological science and its implications for replication

2018 ◽  
Vol 41 ◽  
Author(s):  
Ana Gantman ◽  
Robin Gomila ◽  
Joel E. Martinez ◽  
J. Nathan Matias ◽  
Elizabeth Levy Paluck ◽  
...  
Keyword(s):  
William James ◽  
Mental Processes ◽  
Psychological Science ◽  
Behavioral Measurement ◽  
The World ◽  
Pragmatist Philosophy

AbstractA pragmatist philosophy of psychological science offers to the direct replication debate concrete recommendations and novel benefits that are not discussed in Zwaan et al. This philosophy guides our work as field experimentalists interested in behavioral measurement. Furthermore, all psychologists can relate to its ultimate aim set out by William James: to study mental processes that provide explanations for why people behave as they do in the world.

Culture and the plasticity of perception

2020 ◽  
Vol 43 ◽  
Author(s):  
Michael Lifshitz ◽  
T. M. Luhrmann
Keyword(s):  
Cultural Context ◽  
Sensory Experience ◽  
Cultural Learning ◽  
The World

Abstract Culture shapes our basic sensory experience of the world. This is particularly striking in the study of religion and psychosis, where we and others have shown that cultural context determines both the structure and content of hallucination-like events. The cultural shaping of hallucinations may provide a rich case-study for linking cultural learning with emerging prediction-based models of perception.

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