Review of: Doing the Time Warp: Strange Temporalities and Musical Theatre, Sarah Taylor Ellis (2022) London: Methuen Drama, 288 pp., ISBN 978-1-35015-172-7, h/bk, $115.00
{"title":"Doing the Time Warp: Strange Temporalities and Musical Theatre, Sarah Taylor Ellis (2022)","authors":"Samuel Yates","doi":"10.1386/smt_00117_5","DOIUrl":"https://doi.org/10.1386/smt_00117_5","url":null,"abstract":"Review of: Doing the Time Warp: Strange Temporalities and Musical Theatre, Sarah Taylor Ellis (2022)\u0000 London: Methuen Drama, 288 pp.,\u0000 ISBN 978-1-35015-172-7, h/bk, $115.00","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48806424","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}
Jeanine Tesori, in conversation with Raymond Knapp and Holley Replogle-Wong of the UCLA Center for Musical Humanities, discusses her journey, creative process and commitment to telling the stories of people underrepresented on the musical stage. The Q&A that followed, with members of a recent student production of Fun Home, engaged her in further discussions about contemporary musical theatre and the specific challenges of bringing Fun Home to life onstage.
{"title":"A conversation with Jeanine Tesori","authors":"Raymond Knapp, Holley Replogle-Wong","doi":"10.1386/smt_00114_7","DOIUrl":"https://doi.org/10.1386/smt_00114_7","url":null,"abstract":"Jeanine Tesori, in conversation with Raymond Knapp and Holley Replogle-Wong of the UCLA Center for Musical Humanities, discusses her journey, creative process and commitment to telling the stories of people underrepresented on the musical stage. The Q&A that followed, with members of a recent student production of Fun Home, engaged her in further discussions about contemporary musical theatre and the specific challenges of bringing Fun Home to life onstage.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44211404","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}
Review of: Mormons, Musical Theater, and Belonging in America, Jake Johnson (2019) Urbana, Chicago and Springfield, IL: University of Illinois Press, 199 pp., ISBN 978-0-25208-433-1, p/bk, $25.00 Lying in the Middle: Musical Theater and Belief at the Heart of America, Jake Johnson (2021) Urbana, Chicago and Springfield, IL: University of Illinois Press, 159 pp., ISBN 978-0-25208-599-4, p/bk, $24.95
评论：《摩门教徒、音乐剧和在美国的归属》，杰克·约翰逊（2019）伊利诺伊州芝加哥和斯普林菲尔德，Urbana，Chicago and Springfield：伊利诺伊大学出版社，199页，ISBN 978-0-25208-433-1，p/bk，25.00美元《躺在中间：美国心脏的音乐剧与信仰》，杰克·Johnson（2021）伊利诺伊州，芝加哥和斯普林field，24.95美元
{"title":"Mormons, Musical Theater, and Belonging in America, Jake Johnson (2019)\u0000Lying in the Middle: Musical Theater and Belief at the Heart of America, Jake Johnson (2021)","authors":"Jim Lovensheimer","doi":"10.1386/smt_00110_5","DOIUrl":"https://doi.org/10.1386/smt_00110_5","url":null,"abstract":"Review of: Mormons, Musical Theater, and Belonging in America, Jake Johnson (2019)\u0000 Urbana, Chicago and Springfield, IL: University of Illinois Press, 199 pp.,\u0000 ISBN 978-0-25208-433-1, p/bk, $25.00\u0000 \u0000 \u0000 Lying in the Middle: Musical Theater and Belief at the Heart of America, Jake Johnson (2021)\u0000 Urbana, Chicago and Springfield, IL: University of Illinois Press, 159 pp.,\u0000 ISBN 978-0-25208-599-4, p/bk, $24.95","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45741483","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}
The editorial recounts the genesis of this collection of essays, which originated at the conference Song, Stage, and Screen XVI; the conference was held in 2021 in video format rather than in Salzburg and Linz due to the COVID-19 pandemic. We explain a few keywords related to mobility studies and the mobility paradigm.
{"title":"Editorial","authors":"Carolin Stahrenberg, N. Grosch","doi":"10.1386/smt_00100_2","DOIUrl":"https://doi.org/10.1386/smt_00100_2","url":null,"abstract":"The editorial recounts the genesis of this collection of essays, which originated at the conference Song, Stage, and Screen XVI; the conference was held in 2021 in video format rather than in Salzburg and Linz due to the COVID-19 pandemic. We explain a few keywords related to mobility studies and the mobility paradigm.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48763783","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}
Beginning with its title, Tony Kushner and Jeanine Tesori’s 2004 musical Caroline, or Change encloses a dichotomy between movement and stillness. The word ‘change’ is associated with Caroline, the eponymous protagonist, a Black maid who defiantly resists and refuses even the smallest manifestations of turmoil that arise in Lake Charles, Louisiana. A static play, Caroline, or Change contradicts usual expectations of musical theatre’s capacity to generate the hopeful and soaring movements generally associated with utopia. This article argues, however, that far from fixating the musical within monolithic representations of history and Black women, Caroline, or Change’s stillness seems to offer a redefinition of utopia. Caroline explores moments of stasis as tipping points, in between mobility and immobility, that particularly highlight female performances’ capacity to transform the very genre of the musical.
{"title":"Paradoxes of stillness in Caroline, or Change","authors":"A. Bottero","doi":"10.1386/smt_00102_1","DOIUrl":"https://doi.org/10.1386/smt_00102_1","url":null,"abstract":"Beginning with its title, Tony Kushner and Jeanine Tesori’s 2004 musical Caroline, or Change encloses a dichotomy between movement and stillness. The word ‘change’ is associated with Caroline, the eponymous protagonist, a Black maid who defiantly resists and refuses even the smallest manifestations of turmoil that arise in Lake Charles, Louisiana. A static play, Caroline, or Change contradicts usual expectations of musical theatre’s capacity to generate the hopeful and soaring movements generally associated with utopia. This article argues, however, that far from fixating the musical within monolithic representations of history and Black women, Caroline, or Change’s stillness seems to offer a redefinition of utopia. Caroline explores moments of stasis as tipping points, in between mobility and immobility, that particularly highlight female performances’ capacity to transform the very genre of the musical.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49531366","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}
Maurice Chevalier, Juliette Gréco, Yves Montand, Édith Piaf, Charles Trenet – all these names refer to the close connection between French chanson and French cinema of the first half of the twentieth century. This article examines two dimensions of cultural mobility that align through a differentiated understanding of the artistic liaison between the popular music genre of French chanson and French musical films during the first decades of cinematic sound. First, the significant role and excessive use of the chanson will be examined along the parameters of cultural integration, distribution and transfer, all of which are inseparably linked to questions of cultural and social identity in the French musical of the 1930s and 1940s. Second, the formation, establishment and impact of the singer–actor as a professional field within the cinematic sphere will be discussed from the perspectives of mobility and migration. The methodologically areal term ‘space’ will be enhanced by notions of social and cultural mobility recently brought forth by the cultural disciplines. This article helps to decipher aspects of cultural mobility in French musical films and sheds light on the potential for the cinema in increasing music’s mobility.
{"title":"Le seul, le vrai, le paradis: Cultural mobility and French musical films (1930–50)","authors":"Franziska Kollinger","doi":"10.1386/smt_00105_1","DOIUrl":"https://doi.org/10.1386/smt_00105_1","url":null,"abstract":"Maurice Chevalier, Juliette Gréco, Yves Montand, Édith Piaf, Charles Trenet – all these names refer to the close connection between French chanson and French cinema of the first half of the twentieth century. This article examines two dimensions of cultural mobility that align through a differentiated understanding of the artistic liaison between the popular music genre of French chanson and French musical films during the first decades of cinematic sound. First, the significant role and excessive use of the chanson will be examined along the parameters of cultural integration, distribution and transfer, all of which are inseparably linked to questions of cultural and social identity in the French musical of the 1930s and 1940s. Second, the formation, establishment and impact of the singer–actor as a professional field within the cinematic sphere will be discussed from the perspectives of mobility and migration. The methodologically areal term ‘space’ will be enhanced by notions of social and cultural mobility recently brought forth by the cultural disciplines. This article helps to decipher aspects of cultural mobility in French musical films and sheds light on the potential for the cinema in increasing music’s mobility.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46797334","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}
After the 1968 Soviet invasion, the people of Czechoslovakia could not avoid the presence of Soviet culture, which was a symbolic manifestation of subordination to the Soviet hegemony. When researching the theatre culture of this era, one comes across a very specific tension between the state’s cultural politics, the principles of theatres’ repertoire-making and audience perceptions. As new Soviet musicals began to appear on Czechoslovak stages in the early 1970s, serving as obligatory Soviet titles, audiences were not very approving, even as the official discourse created a completely different image. The case study of the 1971 Prague production of the Soviet musical Nobody Is Happier Than Me by Andrei Eshpai shows the impact of cultural politics on the theatre industry, how the discourse balanced the unpopularity of the show and its political importance and how the production was perceived by various agents involved in it. Research on this previously untouched area can shed light on the cultural mechanisms of late communism in Czechoslovakia, the nature of popular culture in communist states and the relationship between the Soviet Union and its satellites.
{"title":"‘There was no one in the audience’: The first Soviet musical on a Czechoslovak stage","authors":"Vojtěch Frank","doi":"10.1386/smt_00104_1","DOIUrl":"https://doi.org/10.1386/smt_00104_1","url":null,"abstract":"After the 1968 Soviet invasion, the people of Czechoslovakia could not avoid the presence of Soviet culture, which was a symbolic manifestation of subordination to the Soviet hegemony. When researching the theatre culture of this era, one comes across a very specific tension between the state’s cultural politics, the principles of theatres’ repertoire-making and audience perceptions. As new Soviet musicals began to appear on Czechoslovak stages in the early 1970s, serving as obligatory Soviet titles, audiences were not very approving, even as the official discourse created a completely different image. The case study of the 1971 Prague production of the Soviet musical Nobody Is Happier Than Me by Andrei Eshpai shows the impact of cultural politics on the theatre industry, how the discourse balanced the unpopularity of the show and its political importance and how the production was perceived by various agents involved in it. Research on this previously untouched area can shed light on the cultural mechanisms of late communism in Czechoslovakia, the nature of popular culture in communist states and the relationship between the Soviet Union and its satellites.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43330756","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}
{"title":"Music Theatre Now Conference, MTNOW Network, Chaired by Guy Coolen, O. Festival for Opera, Music, Theatre (2022)","authors":"Caroline Wilkins","doi":"10.1386/smt_00108_5","DOIUrl":"https://doi.org/10.1386/smt_00108_5","url":null,"abstract":"","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41428029","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}
Billy Elliot: The Musical addresses the issue of class that, while seldom analysed as a theme in Broadway musicals, has been a key trope of the majority of British musicals since the première of The Shop Girl in 1894. The article examines how the dialectic of dance as an emblem of individual freedom opposed to the rigidity of the British class system is expressed through movement within the mining community of Easington. By utilizing various aspects of Rudolf Laban’s effort theory, including the kinetic personality patterns of his associate, Warren Lamb, the article examines the cultural gendering of movement via the strict regimes of boxing (for boys) and ballet (for girls). With brief references to Bourdieu’s notion of habitus and Brecht’s praxis of Gestus, the article illustrates how Billy’s ability to embrace a supposedly ‘feminine’ kinetic vocabulary constitutes the flexibility to free himself from the rigid and inherently homophobic definition of conventional masculinity. In promoting movement beyond the confines of an outmoded tradition of working-class behaviour, Billy embraces a classless notion of postmodern masculinity represented in the bohemian milieu of the metropolitan artist. By ‘dancing’ his freedom for the Royal Ballet’s audition panel in ‘Electricity’, Billy embodies his own liberation from the repetitive pattern of movement that inevitably sends the miners to early graves while he flies upwards to defy the typical destiny of a miner. The article explicates key moments of movement and dance in order to exemplify the embodiment of the musical’s central tropes in kinetic terms.
Billy Elliot：《音乐剧》解决了阶级问题，尽管在百老汇音乐剧中很少将其作为主题进行分析，但自1894年《女店员》首映以来，这一直是大多数英国音乐剧的一个关键比喻。这篇文章探讨了舞蹈作为个人自由的象征，与英国阶级制度的僵化相对立的辩证法是如何通过伊辛顿矿业社区内的运动来表达的。通过运用鲁道夫·拉班努力理论的各个方面，包括他的伙伴沃伦·兰姆的动态人格模式，本文通过严格的拳击（男孩）和芭蕾舞（女孩）制度来考察运动的文化性别化。文章简要引用了布迪厄的习惯概念和布莱希特的《手势》实践，说明了比利接受所谓“女性”动态词汇的能力如何构成了将自己从传统男性刻板且固有的恐同定义中解放出来的灵活性。在推动运动超越过时的工人阶级行为传统的过程中，比利接受了一种无阶级的后现代男子气概的概念，这种概念体现在这位大都市艺术家的波西米亚环境中。在《电》中，比利为皇家芭蕾舞团的试镜小组“舞动”了自己的自由，体现了他自己从重复的运动模式中解放出来，这种运动模式不可避免地会让矿工们早逝，而他则向上飞行，挑战矿工的典型命运。文章阐述了动作和舞蹈的关键时刻，以举例说明音乐剧的中心比喻在动力学方面的体现。
{"title":"Dance, mobility and social change in Billy Elliot: The Musical","authors":"Robert Gordon","doi":"10.1386/smt_00107_1","DOIUrl":"https://doi.org/10.1386/smt_00107_1","url":null,"abstract":"\u0000 Billy Elliot: The Musical addresses the issue of class that, while seldom analysed as a theme in Broadway musicals, has been a key trope of the majority of British musicals since the première of The Shop Girl in 1894. The article examines how the dialectic of dance as an emblem of individual freedom opposed to the rigidity of the British class system is expressed through movement within the mining community of Easington. By utilizing various aspects of Rudolf Laban’s effort theory, including the kinetic personality patterns of his associate, Warren Lamb, the article examines the cultural gendering of movement via the strict regimes of boxing (for boys) and ballet (for girls). With brief references to Bourdieu’s notion of habitus and Brecht’s praxis of Gestus, the article illustrates how Billy’s ability to embrace a supposedly ‘feminine’ kinetic vocabulary constitutes the flexibility to free himself from the rigid and inherently homophobic definition of conventional masculinity. In promoting movement beyond the confines of an outmoded tradition of working-class behaviour, Billy embraces a classless notion of postmodern masculinity represented in the bohemian milieu of the metropolitan artist. By ‘dancing’ his freedom for the Royal Ballet’s audition panel in ‘Electricity’, Billy embodies his own liberation from the repetitive pattern of movement that inevitably sends the miners to early graves while he flies upwards to defy the typical destiny of a miner. The article explicates key moments of movement and dance in order to exemplify the embodiment of the musical’s central tropes in kinetic terms.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43269231","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}
This article interrogates representations of ethnicity in the long-lived musical play Rose-Marie from 1924, with music by Rudolf Friml and Herbert Stothart, book by Otto Harbach, and lyrics by Harbach and Oscar Hammerstein II, and its subsequent MGM film adaptations in 1936 and 1954. The story is set in Canada, and images of Indigenous people include white-created tropes of children of nature, vicious savages and drunkards. These views are manifested aurally through Indianist musical tropes of the time, and are especially evident in ‘Indian Love Call’ and ‘Totem-Tom-Tom’. Whiteness is performed opposite portrayals of Indigenous people that range from the ‘noble savage’ of the famous ‘Indian Love Call’ to Wanda, a First Nations woman characterized as violent and over-sexualized in the 1924 and 1954 versions. Friml’s multifarious score includes recognizable Indianist tropes of the time as well as quintessential operetta and musical comedy fare, thus musicalizing cultural differences through established Eurocentric means. In Rose-Marie, the title character’s mobile ethnicity shifts from being presumably French-born French Canadian in the original to English Canadian in the 1936 film (starring Jeanette MacDonald) and French Canadian in the 1954 version (starring Ann Blyth). Although Rose-Marie and Wanda behave in similar ways, Rose-Marie’s singing whiteness allows her to become a romantic lead, whereas Wanda, whose dance-dominated performance mode emphasizes a sensual physicality, is vilified because of her ethnic heritage.
{"title":"Ethnic mobilities and representations in Rose-Marie on stage and screen","authors":"W. Everett","doi":"10.1386/smt_00103_1","DOIUrl":"https://doi.org/10.1386/smt_00103_1","url":null,"abstract":"This article interrogates representations of ethnicity in the long-lived musical play Rose-Marie from 1924, with music by Rudolf Friml and Herbert Stothart, book by Otto Harbach, and lyrics by Harbach and Oscar Hammerstein II, and its subsequent MGM film adaptations in 1936 and 1954. The story is set in Canada, and images of Indigenous people include white-created tropes of children of nature, vicious savages and drunkards. These views are manifested aurally through Indianist musical tropes of the time, and are especially evident in ‘Indian Love Call’ and ‘Totem-Tom-Tom’. Whiteness is performed opposite portrayals of Indigenous people that range from the ‘noble savage’ of the famous ‘Indian Love Call’ to Wanda, a First Nations woman characterized as violent and over-sexualized in the 1924 and 1954 versions. Friml’s multifarious score includes recognizable Indianist tropes of the time as well as quintessential operetta and musical comedy fare, thus musicalizing cultural differences through established Eurocentric means. In Rose-Marie, the title character’s mobile ethnicity shifts from being presumably French-born French Canadian in the original to English Canadian in the 1936 film (starring Jeanette MacDonald) and French Canadian in the 1954 version (starring Ann Blyth). Although Rose-Marie and Wanda behave in similar ways, Rose-Marie’s singing whiteness allows her to become a romantic lead, whereas Wanda, whose dance-dominated performance mode emphasizes a sensual physicality, is vilified because of her ethnic heritage.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48585033","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}
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