First person: West side (teaching) story

2021 ◽  
Vol 103 (4) ◽  
pp. 58-59
Author(s):  
Kevin M. McIntosh

A white, midwestern teacher reflects on the lessons he learned from his Latinx students while teaching Romeo and Juliet on the Upper West Side of Manhattan in the 1990s. While Romeo and Juliet was an easier sell than he expected, the class had a different reaction to West Side Story.

2018 ◽  
Vol 20 (1) ◽  
Author(s):  
Marissa Christina Secades

My project is part of my larger, ongoing research interest on the representation of social identities in American cinema. My poster/paper will focus on the use of color theory to clearly characterize members of rival ethnic gangs in the 1961 film adaptation of West Side Story. Originally a 1957 Broadway musical loosely based on William Shakespeare’s Romeo and Juliet, West Side Story captured audiences with its groundbreaking innovation in choreography and music, while earning praise from critics for delving into contemporary issues like immigration and gang-related violence. It won an astonishing ten Academy Awards, including the Academy Awards for Best Costume Design and Best Art Direction, and still holds the record for the most Academy Awards won by a movie musical.While much of the existing research on West Side Story focuses on references of vying cultures made explicitly through song and dance, my research instead focuses on the non-verbal representations of these cultures that are expressed through color in the film. By studying the film’s iconic art direction and investigating audiences’ subsequent perceptions of characters and settings, I argue that the colors featured in the costume designs and set designs are used to denote a culturally-charged power structure within the Jets and the Sharks. Based on close examination of these various designs, the film’s overall color palette, and published scholarship, I conclude that West Side Story's non-verbal references are uniquely dangerous to its explicit references, as they subliminally promote harmful stereotypes and suggest that gang violence brings life to an otherwise drab city. Studying the connection between color theory and culture ultimately illuminates the historical roots of society's perceptions of colors and their seemingly inherent associations to certain traits. 


1981 ◽  
Vol 36 (7-8) ◽  
Author(s):  
Wolfgang Weber
Keyword(s):  

Author(s):  
Ben Winters

This chapter examines historical presentational practices of sound film and, specifically, the extra music added to roadshow versions of films between the 1930s and 1960s—including Gone with the Wind, West Side Story, It’s a Mad Mad Mad Mad World, and 2001: A Space Odyssey. It argues that such added music—which included overtures, intermission, entr’acte, and exit music—when combined with controlled theatrical lighting and use of the curtain, might have prompted a number of different cinematic listening experiences among audiences. It suggests that an understanding of these historical presentational practices might call into question comfortable assumptions about the nature of sound-film ontology and the relationship between cinema as “Text” and cinema as “Event”—issues that resonate with the discourse surrounding historically informed performance (HIP) practice in musicology.


On Sondheim ◽  
2016 ◽  
pp. 37-43
Author(s):  
Ethan Mordden
Keyword(s):  

Dearest Lenny ◽  
2019 ◽  
pp. 56-60
Author(s):  
Mari Yoshihara

With the arrival of Harry Kraut, Leonard Bernstein’s company Amberson entered a new phase of corporate enterprises that extended the maestro’s reach even further across the globe. Ironically, the enormous commercial success of West Side Story, the most American of Bernstein’s works, began to cause problems with some stakeholders, and Bernstein began to gradually pivot to the European market for publishing, recording, and films and videos. Bernstein joined the roster of the recording artists of Deutsche Grammophon upon the end of the contract with Columbia Records. The pivot exemplified the changes in the American music industry in the 1970s which made it increasingly challenging even for a musician of Bernstein’s caliber to conduct business in a way that was true to his artistic goals, economically sustainable, and culturally meaningful to a wide audience.


2019 ◽  
Vol 6 (3) ◽  
pp. 181908 ◽  
Author(s):  
Steven Brown ◽  
Peter Cockett ◽  
Ye Yuan

The current study represents a first attempt at examining the neural basis of dramatic acting. While all people play multiple roles in daily life—for example, ‘spouse' or ‘employee'—these roles are all facets of the ‘self' and thus of the first-person (1P) perspective. Compared to such everyday role playing, actors are required to portray other people and to adopt their gestures, emotions and behaviours. Consequently, actors must think and behave not as themselves but as the characters they are pretending to be. In other words, they have to assume a ‘fictional first-person' (Fic1P) perspective. In this functional MRI study, we sought to identify brain regions preferentially activated when actors adopt a Fic1P perspective during dramatic role playing. In the scanner, university-trained actors responded to a series of hypothetical questions from either their own 1P perspective or from that of Romeo (male participants) or Juliet (female participants) from Shakespeare's drama. Compared to responding as oneself, responding in character produced global reductions in brain activity and, particularly, deactivations in the cortical midline network of the frontal lobe, including the dorsomedial and ventromedial prefrontal cortices. Thus, portraying a character through acting seems to be a deactivation-driven process, perhaps representing a ‘loss of self'.


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