Pub Date : 1900-01-01DOI: 10.1093/oso/9780197511022.003.0007
M. Woller
Traditional stories based on Arthurian legend continue to be told, and alongside these tales of romance and chivalry, a comedic tradition exists. This centuries-long tradition holds cultural resonance around the world, including having a strong presence in American popular culture. The musical as a genre has proven to be fertile ground for the insertion of American perspectives into the British legend. The use of song, in particular, can shape the way audiences understand familiar characters as well as the story itself. Given this context, the existence, popularity, and influence of Arthurian musicals represents an important contribution to the annals of myth.
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Pub Date : 1900-01-01DOI: 10.1093/oso/9780197511022.003.0006
M. Woller
This chapter shifts to the Broadway musical Monty Python’s Spamalot (2005). As an adaptation of Monty Python and the Holy Grail, Spamalot adds numerous songs written by Eric Idle and John du Prez. These songs not only send up Arthurian legend but common musical theater tropes, augmenting the “meta” tone of the show for fans of musical theater history as well as Monty Python. Furthermore, the musical incarnation increases many of the roles from the original film and includes new characters, extending the connections to the world of Arthurian legend. The musical’s expanded pantheon of references and musical theater send-ups highlight the interpretive layering in a meaningful way. The author’s analysis triangulates the legend with Holy Grail and Spamalot, arguing that while Monty Python may play fast and loose with ideas of fidelity, their versions of Arthurian legend remain true to the malleable spirit of the tale.
这一章转到百老汇音乐剧巨蟒剧团的《Spamalot》(2005)。作为《巨蟒》和《圣杯》的改编版，《火腿骑士》加入了Eric Idle和John du Prez创作的许多歌曲。这些歌曲不仅传达了亚瑟王的传奇，而且还传达了常见的音乐剧比喻，为音乐剧历史的粉丝和Monty Python增加了节目的“元”基调。此外，音乐剧的化身增加了原版电影中的许多角色，包括新角色，将亚瑟王传说的世界联系起来。音乐剧扩充的参考文献和音乐剧的场景以一种有意义的方式突出了解释性的层次。作者的分析将这个传说与圣杯和Spamalot进行了三角分析，认为尽管Monty Python可能在忠实的观念上玩得忽快忽慢，但他们对亚瑟王传说的版本仍然忠于故事的可塑造精神。
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Pub Date : 1900-01-01DOI: 10.1093/oso/9780197511022.003.0002
M. Woller
This chapter discusses the 1949 film A Connecticut Yankee in King Arthur’s Court, starring Bing Crosby. This later film does not adapt the Rodgers and Hart musical; instead, it acts as a star vehicle for Crosby and features new songs by Jimmy Van Heusen and Johnny Burke. Less influential and enduring than the other works featured within this book, this 1949 film nonetheless provides an interesting counterpoint to the Rodgers and Hart revival of a few years before. The film was a commercial success, and this chapter considers it in that light. Furthermore, the author examines the role of Bing Crosby and considers the purpose of this musical film as a star vehicle. With Crosby singing in four of the five surviving songs within the film, the music utilizes the crooner’s voice and star persona in order to tell the story and sell the film.
{"title":"Bing Crosby’s Stardom and the Depiction of Legend in Paramount’s A Connecticut Yankee in King Arthur’s Court","authors":"M. Woller","doi":"10.1093/oso/9780197511022.003.0002","DOIUrl":"https://doi.org/10.1093/oso/9780197511022.003.0002","url":null,"abstract":"This chapter discusses the 1949 film A Connecticut Yankee in King Arthur’s Court, starring Bing Crosby. This later film does not adapt the Rodgers and Hart musical; instead, it acts as a star vehicle for Crosby and features new songs by Jimmy Van Heusen and Johnny Burke. Less influential and enduring than the other works featured within this book, this 1949 film nonetheless provides an interesting counterpoint to the Rodgers and Hart revival of a few years before. The film was a commercial success, and this chapter considers it in that light. Furthermore, the author examines the role of Bing Crosby and considers the purpose of this musical film as a star vehicle. With Crosby singing in four of the five surviving songs within the film, the music utilizes the crooner’s voice and star persona in order to tell the story and sell the film.","PeriodicalId":130473,"journal":{"name":"From Camelot to Spamalot","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128778382","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.1093/oso/9780197511022.003.0008
M. Woller
Mark Twain’s 1889 novel A Connecticut Yankee in King Arthur’s Court offers a fascinating beginning to the study of musical adaptations of Arthurian legend. Similar and yet vastly different to the other sources considered in this book, Mark Twain harnesses the story of King Arthur and his Knights of the Round Table for a nineteenth-century American reader. Unlike ...
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