Musical Theatre, Realism and EntertainmentRoutledge, 29.4.2016 - 202 sivua What is it about musical theatre that audiences find entertaining? What are the features that lead to its ability to stimulate emotional attachment, to move and to give pleasure? Beginning from the passion musical theatre performances arouse and their ubiquity in London's West End and on Broadway this book explores the ways in which musical theatre reaches out to and involves its audiences. It investigates how pleasure is stimulated by vocal, musical and spectacular performances. Early discussions centre on the construction of the composed text, but then attention is given to performance and audience response. Musical theatre contains disruptions and dissonances in its multiple texts, it allows gaps for audiences to read playfully. This combines with the voluptuous sensations of embodied emotion, contagiously and viscerally shared between audience and stage, and augmented through the presence of voice and music. A number of features are discovered in the construction of musical theatre performance texts that allow them to engage the intense emotional attachment of their audiences and so achieve enormous popularity. In doing this, the book challenges the conception of musical theatre as 'only entertainment'. Entertainment instead becomes a desirable, ephemeral and playful concept. |
Sisältö
Musical Characterisation in HMS Pinafore and The Rocky Horror Show | |
Encoding the Voice Show Boat Guys and Dolls and Musical Theatre Post1960 | |
Integration and Distance in Musical Theatre The Case of Sweeney Todd | |
Layers of Representation and the Creation of Irony Aufstieg und Fall der Stadt | |
Cabaret Kiss of the Spider Woman and Assassins | |
Illusions of Realism in West Side Story and ActorMusician Performances | |
La Cage Aux Folles | |
Boys Rock of Ages Mamma Mia and We Will Rock | |
Conclusion | |
Muita painoksia - Näytä kaikki
Yleiset termit ja lausekkeet
accompaniment activity allows American appear argued associations Attended audience awareness become begins blend body Book Brecht Cabaret Cambridge chapter character clearly combination comedy comic communication complex construction contains context continuity contribute create cultural dance describes Directed discussed disruption distance draw effect emotional empathy engagement entertainment example excess experience explore final genre Ibid idea identifies images important incorporate individual integration interaction interpretation Jenny John language live London Lyrics material meaning moments move musical theatre narrative notes offer opera particular performance play pleasure plot popular possible potential presented Press production range reading realism recorded reference reflexive relation relationship representation represented response result rock scene score sense signify similar simultaneously singing situation social song soprano sound speech stage story structure Studies style suggests term theatre performances theatrical timbre Todd understanding University vocal voice York