{"title":"Cultural Identity in British Musical Theatre, 1890‐1939: Knowing One’s Place, Ben Macpherson (2018)","authors":"W. Everett","doi":"10.1386/smt_00080_5","DOIUrl":"https://doi.org/10.1386/smt_00080_5","url":null,"abstract":"Review of: Cultural Identity in British Musical Theatre, 1890‐1939: Knowing One’s Place, Ben Macpherson (2018)London: Palgrave Macmillan, 245 pp.,ISBN 978-1-14759-806-6, h/bk £89.99","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41401338","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: Rock Star/Movie Star: Power and Performance in Cinematic Rock Stardom, Landon Palmer (2020)New York: Oxford University Press, 274 pp.,IBSN 978-0-19088-841-1, p/bk £22.99
{"title":"Rock Star/Movie Star: Power and Performance in Cinematic Rock Stardom, Landon Palmer (2020)","authors":"Eleonora Sammartino","doi":"10.1386/smt_00079_5","DOIUrl":"https://doi.org/10.1386/smt_00079_5","url":null,"abstract":"Review of: Rock Star/Movie Star: Power and Performance in Cinematic Rock Stardom, Landon Palmer (2020)New York: Oxford University Press, 274 pp.,IBSN 978-0-19088-841-1, p/bk £22.99","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47040080","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}
Mainstream musicals rely on popular appeal. Even when the content is serious or tragic, the affective experience generated is generally pleasant. Almost by default, they are happy objects ‐ veritable happiness-circulating machines capable of adhering their own pleasant affects to other objects, whether physical (e.g. things, bodies) or conceptual (e.g. values, ideals, myths). In this article, I explore Come from Away as a happiness-making machine capable of adhering its own happy affects to a homegrown mythos that imagines Canada (not unproblematically) as a welcoming utopia of tolerance and togetherness.
{"title":"‘Welcome to the Rock’: Come from Away as happiness machine","authors":"Grahame Renyk","doi":"10.1386/smt_00074_1","DOIUrl":"https://doi.org/10.1386/smt_00074_1","url":null,"abstract":"Mainstream musicals rely on popular appeal. Even when the content is serious or tragic, the affective experience generated is generally pleasant. Almost by default, they are happy objects ‐ veritable happiness-circulating machines capable of adhering their own pleasant affects\u0000 to other objects, whether physical (e.g. things, bodies) or conceptual (e.g. values, ideals, myths). In this article, I explore Come from Away as a happiness-making machine capable of adhering its own happy affects to a homegrown mythos that imagines Canada (not unproblematically) as\u0000 a welcoming utopia of tolerance and togetherness.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49507102","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 explores two popular TikTok trends that use sound bites from the original cast recordings of Heathers: The Musical and Six. The ‘Martha Dumptruck in the Flesh’ challenge from Heathers: The Musical and the ‘Yeah That Didn’t Work Out’ challenge from Six were, by and large, completely detached from the musicals. TikTokers who engaged with these trends, therefore, likely did not even know that the sound bites came from musicals. These musicals became what I term ‘stealth musicals’, or undercover musicals that proliferate on TikTok in ways that are completely removed from the show’s dramaturgy. As stealth musicals, Heathers: The Musical and Six did not just go viral but stayed viral on TikTok. I argue, therefore, that these two musicals became canonical pieces of Gen Z culture. With viral canonization, Heathers: The Musical and Six demonstrate how cultural capital accrues in digital spaces and, as a result, sound bites such as ‘Martha Dumptruck in the flesh’ enter into a public life that extends beyond the musicals themselves. Indeed, as I propose, quoting ‘Martha Dumptruck in the flesh’ is as synonymous with Gen Z culture as it is with the musical Heathers.
本文探讨了两种流行的TikTok趋势，它们使用了《希瑟一家》的原始录音片段:音乐剧和《六人行》。《希瑟一家:音乐剧》中的“Martha Dumptruck in The Flesh”挑战和《Six》中的“Yeah That Didn ' t Work Out”挑战基本上完全脱离了音乐剧。因此，参与这些趋势的tiktok用户可能甚至不知道这些声音片段来自音乐剧。这些音乐剧变成了我所说的“隐形音乐剧”，或者是秘密音乐剧，它们在TikTok上以完全脱离节目戏剧的方式扩散。作为隐形音乐剧，《希瑟一家:音乐剧》和《六人行》不仅在抖音上走红，而且在抖音上一直很火。因此，我认为这两部音乐剧成为了Z世代文化的典范。随着《希瑟一家:音乐剧》和《六兄弟》的走红，《希瑟一家:音乐剧》展示了文化资本是如何在数字空间中积累起来的，因此，像“玛莎·垃圾车”这样的声音片段进入了超越音乐剧本身的公共生活。事实上，正如我所说，引用“玛莎·垃圾车真人版”和音乐剧《希瑟一家》一样，都是Z世代文化的代名词。
{"title":"From Heathers to Six: Stealth musicals and the TikTok Broadway archive","authors":"Trevor Boffone","doi":"10.1386/smt_00070_1","DOIUrl":"https://doi.org/10.1386/smt_00070_1","url":null,"abstract":"This article explores two popular TikTok trends that use sound bites from the original cast recordings of Heathers: The Musical and Six. The ‘Martha Dumptruck in the Flesh’ challenge from Heathers: The Musical and the ‘Yeah That Didn’t Work\u0000 Out’ challenge from Six were, by and large, completely detached from the musicals. TikTokers who engaged with these trends, therefore, likely did not even know that the sound bites came from musicals. These musicals became what I term ‘stealth musicals’, or undercover\u0000 musicals that proliferate on TikTok in ways that are completely removed from the show’s dramaturgy. As stealth musicals, Heathers: The Musical and Six did not just go viral but stayed viral on TikTok. I argue, therefore, that these two musicals became canonical pieces\u0000 of Gen Z culture. With viral canonization, Heathers: The Musical and Six demonstrate how cultural capital accrues in digital spaces and, as a result, sound bites such as ‘Martha Dumptruck in the flesh’ enter into a public life that extends beyond the musicals themselves.\u0000 Indeed, as I propose, quoting ‘Martha Dumptruck in the flesh’ is as synonymous with Gen Z culture as it is with the musical Heathers.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41751634","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}
Using Deleuze and Guattari’s notion of the ‘refrain’, the article investigates London Road as an example of a ‘minor’ practice in musical theatre, which engages with a tracing and play with ‘territories’ as well as several acts of deterritorialization and reterritorialization. These processes are examined both at the level of content (and the thematic considerations of ‘inclusion’ and ‘exclusion’ in the building of a community) and form. The performance introduces new relationships and functions between the components/means at the musical’s disposal and invites a different type of audience engagement (or ‘encounter’) by destabilizing fixed forms and categories like song/speech, lyric/book, diegetic/non-diegetic, audience/actors, auditorium/stage and ultimately reality/representation. This case study exemplifies how the hybrid form of the ‘verbatim musical’ has the potential to mutually deterritorialize both of the genres it brings in dialogue and allows for a new type of engagement with the politics of the musical in the twenty-first century.
{"title":"Encounters with ‘the same’ (but different): London Road and the politics of territories and repetitions in verbatim musical theatre","authors":"Demetris Zavros","doi":"10.1386/smt_00076_1","DOIUrl":"https://doi.org/10.1386/smt_00076_1","url":null,"abstract":"Using Deleuze and Guattari’s notion of the ‘refrain’, the article investigates London Road as an example of a ‘minor’ practice in musical theatre, which engages with a tracing and play with ‘territories’ as well as several acts of deterritorialization\u0000 and reterritorialization. These processes are examined both at the level of content (and the thematic considerations of ‘inclusion’ and ‘exclusion’ in the building of a community) and form. The performance introduces new relationships and functions between the components/means\u0000 at the musical’s disposal and invites a different type of audience engagement (or ‘encounter’) by destabilizing fixed forms and categories like song/speech, lyric/book, diegetic/non-diegetic, audience/actors, auditorium/stage and ultimately reality/representation. This case\u0000 study exemplifies how the hybrid form of the ‘verbatim musical’ has the potential to mutually deterritorialize both of the genres it brings in dialogue and allows for a new type of engagement with the politics of the musical in the twenty-first century.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43473523","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 details a data inscription method I have termed ethnomusical libretto. The method evolved from three years of ethnographic fieldwork examining the workplace culture and practice of the global musical theatre industry. Through the process of analysing and coding data, I began to explore the possibility of writing up my data as a libretto, as an effective way to both ‘show’ and ‘tell’ what I had seen and experienced as a participant/observer in the musical theatre industry. I also saw value for writing up ethnographic data as a libretto in order to employ it as a device for member checking. This method contributes to a thickening of data and provides not only an alternate way to conceive research findings but also an opportunity to refine and confirm research claims.
{"title":"Presenting research as a libretto","authors":"Melissa Fenton","doi":"10.1386/smt_00071_1","DOIUrl":"https://doi.org/10.1386/smt_00071_1","url":null,"abstract":"This article details a data inscription method I have termed ethnomusical libretto. The method evolved from three years of ethnographic fieldwork examining the workplace culture and practice of the global musical theatre industry. Through the process of analysing and coding data, I\u0000 began to explore the possibility of writing up my data as a libretto, as an effective way to both ‘show’ and ‘tell’ what I had seen and experienced as a participant/observer in the musical theatre industry. I also saw value for writing up ethnographic data as a libretto\u0000 in order to employ it as a device for member checking. This method contributes to a thickening of data and provides not only an alternate way to conceive research findings but also an opportunity to refine and confirm research claims.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43674754","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 serves to describe and activate conversations about racial representation in the musical theatre by expanding the musical theatre’s traditional boundaries to include Mozart, his operas and his collaborations as origins of the genre. By examining in particular the exemplary and understudied life of Angelo Soliman, the Enlightenment’s views on race come into sharp focus, raising the questions: how deep is the gap between fetishization and fascination ‐ and what can theatre practitioners learn from Mozart’s history?
{"title":"Soliman’s legacy: What Mozart has to teach us about race in musical theatre","authors":"B. LaReau","doi":"10.1386/smt_00072_1","DOIUrl":"https://doi.org/10.1386/smt_00072_1","url":null,"abstract":"This article serves to describe and activate conversations about racial representation in the musical theatre by expanding the musical theatre’s traditional boundaries to include Mozart, his operas and his collaborations as origins of the genre. By examining in particular the\u0000 exemplary and understudied life of Angelo Soliman, the Enlightenment’s views on race come into sharp focus, raising the questions: how deep is the gap between fetishization and fascination ‐ and what can theatre practitioners learn from Mozart’s history?","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45386324","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":"Editorial","authors":"J. Sternfeld, Elizabeth Wollman","doi":"10.1386/smt_00077_2","DOIUrl":"https://doi.org/10.1386/smt_00077_2","url":null,"abstract":"","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48184645","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}
Using drag performance as a tool to recuperate the meaning of queer subtext and readings, this article explores thematic intersections between staging coded queerness and the offstage queer practice of cruising in James Lapine and Stephen Sondheim’s 1987 musical Into the Woods. Though the temporal correlation of the musical’s 1987 Broadway production and the AIDS crisis raises the stakes of comparisons between cruising practices and the setting of the musical, this article does not aim to argue a subjectification of Into the Woods as AIDS parable; rather it asserts the necessity of performances that deliberately queer the canon.
{"title":"‘Moments in the Woods’: Gay cruising, Into the Woods and AIDS","authors":"Mark Montondo","doi":"10.1386/smt_00073_1","DOIUrl":"https://doi.org/10.1386/smt_00073_1","url":null,"abstract":"Using drag performance as a tool to recuperate the meaning of queer subtext and readings, this article explores thematic intersections between staging coded queerness and the offstage queer practice of cruising in James Lapine and Stephen Sondheim’s 1987 musical Into the Woods.\u0000 Though the temporal correlation of the musical’s 1987 Broadway production and the AIDS crisis raises the stakes of comparisons between cruising practices and the setting of the musical, this article does not aim to argue a subjectification of Into the Woods as AIDS parable; rather\u0000 it asserts the necessity of performances that deliberately queer the canon.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47329334","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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