With One Look I’ll Be May

This chapter looks in greater detail at the career of Andrew Lloyd Webber, who commands many styles, freely moving from one to another within a single score. The Phantom Of the Opera (1986) dabbles in pastiche of vintage opera forms, yet its title song is disco. Evita (1978) opens with a choral requiem, which is dissonantly modern, but then Che Guevarra turns around and addresses the audience in rock. The through-sung scores set soothing melody right next to jagged recitative. Ultimately, Lloyd Webber's music is a paradox, and this is one reason why he has detractors. After Jesus Christ Superstar (1971) and Evita, Lloyd Webber’s subsequent projects attracted intense interest. Many people regarded Cats (1982) as a folly. But Cats proved irresistible then and after, in part because it turned pop opera joyful after the hieratic ceremonies of its two founding titles. Superstar is not a comedy and Evita's “comedy” is actually bitter irony; but Cats is all for fun, tempered only by the occasional solemnity.

To Love Another Person Is To See the Face Of God

This chapter discusses the emergence of the through-song British musical, also known as “pop opera.” This can be dated from the afternoon of March 1, 1968, when parents (mainly mothers) of students at Colet Court School watched an end-of-term performance of a twenty-minute version of Andrew Lloyd Webber and Tim Rice's Joseph and the Amazing Technicolor Dreamcoat. By 1991, Lloyd Webber and Rice had officially created the first performance in the history of pop opera which was Jesus Christ Superstar (1971). Lloyd Webber's ability to compose consistently in a single voice, or to eclecticize, in other words, to teach the audience to navigate the action through musical signifiers is not appreciated enough. Tim Rice's ease in “conversationalizing” the bigger-than-life figures that pop opera delights in is similarly underrated, because he makes it look easy. The biggest hit in this period of musical history is Les Misérables (1985). This show's saga started when Alain Boublil sees Superstar and decides to write something comparable. It was written with composer Claude-Michel Schönberg.

Hamilton—An American Musical

Many of the musicals Miranda and the Hamilton creative team suggest influenced the development of their musical (including Jesus Christ Superstar, Evita, and Les Misérables) stem from the United Kingdom and British (or European) creative teams. As a hybrid of European theatrical traditions that was first staged (or at least popularized) in Britain, the megamusical—along with Shakespeare’s plays—is one of Britain’s most recognizable theatrical exports. How American is Miranda’s musical, therefore, if it so frequently returns to megamusicals for structural and stylistic guidance? There is much about Hamilton that is American, yet its referencing of British musicals complicates the labeling of this show as an exclusively American musical. This chapter argues that Hamilton occupies a liminal space in that it is a hybrid of transatlantic traditions. Despite the referencing of British musicals seeming to complicate the show’s Americanness, Hamilton asserts its national identity through an amalgam of transatlantic influences and intertextual associations.

OPPOSING VIEWS IN WEBBER’S JESUS CHRIST SUPERSTAR: A DECONSTRUCTION ANALYSIS

Opposing Views in Webber's "Jesus Christ Superstar" is the focus of the analysis inthisskripsi.The approach is applied to analyze the data since the data is needed the primary source. "Jesus Christ Superstar by Andrew Webber Opposing views in the drama can be observed through all the characteristics of Judas Iscariot. In this drama, there are some things that are contrary for Christian because some scenes are not the same as the real story. As a result of Judas's view that made Jesus's role different, giving rise to contradictory things, Judas was one of the followers who disliked the personality of Jesus, so there was no existence of Jesus to heal, a sense of compassion, and other powers that looked ordinary. Writers use deconstruction analysis to find out the opposition the drama. Through this skripsi, the writers can find things that are contrary to Christian faith and can also be used as a moral message in everyday life, whether in religious life, moral messages for teachers, and what can be taught things that can be used as moral values to students in school as character education. Keywords: Opposing views, Deconstruction, Jesus Christ, and. Judas Iscariot.

ДИСКУРС МЮЗИКЛА: ОПРЕДЕЛЕНИЕ И ХАРАКТЕРНЫЕ ОСОБЕННОСТИ

Цель. Статья посвящена малоизученному вопросу определения и описания характерных особенностей дискурса мюзикла. Предметом исследования выступают известные американские мюзиклы 70-х гг. XX в. «Jesus Christ Superstar» (1970) и «Sweeney Todd: The Demon Barber of Fleet Street» (1979). Авторы ставят целью раскрыть и проиллюстрировать специфические черты дискурса мюзикла, выделить его в качестве отдельного вида музыкального и театрального дискурса.Методология проведения работы. Обозначив предпосылки появления жанра «мюзикл», авторы выделяют ключевые аспекты музыкального и театрального дискурса, предлагают определение дискурса мюзикла и описывают его основные характеристики на материале двух американских мюзиклов разных тематик и жанров.Результаты. Результаты работы заключаются в том, что авторы предлагают определение дискурса мюзикла и выделяют его характерные особенности (сочетание разных жанров театрального искусства в рамках одного мюзикла, жанровое разнообразие, специфика цели, лингвистические характеристики, роль экстралингвистических факторов, экспрессивность и образность, условность, связность и цельность, интертекстуальность и интермедиальность, незавершенность и т.п.).Область применения результатов. Результаты исследования могут быть применены в сфере дискурсных исследований, а также на практических занятиях по анализу текста и семинарах по литературоведению.

What’s the Buzz? Celebrity Worship and Fandom Experiences of Ted Neeley (Jesus Christ Superstar)

This article deals with the question in what ways the fandom surrounding Jesus Christ Superstar actor Ted Neeley can be understood as a form of religious celebrity worship. On the basis of an empirical study among Dutch fans of Neeley, we argue that celebrity worship as proposed by the most influential scholars on this subject was not present in the fandom surrounding Neeley, but that traces of it could still be identified – albeit in a scattered and altered manner. Being perceived as the representation of the religious myth of Superstar, a Jesus-like person and a religious guide, Neeley had religious significance for his fans, suggesting that the concept of celebrity worship is in some way still applicable here.