珍妮·特索里《紫罗兰与卡罗琳》中民权的多重流动

Pub Date : 2020-12-01 DOI:10.1386/SMT_00039_1
Allan Kilner-Johnson
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引用次数: 0

摘要

本文以珍妮·特索里(Jeanine Tesori)的《紫罗兰》(Brian Crawley著,作词)和《卡罗琳》(Caroline)或《改变》(Tony Kushner著,作诗)为中心,这两部作品都发生在美国南部,从1963年11月22日约翰·F·肯尼迪遇刺到1964年《民权法案》通过,这是美国历史上的一个关键时期。这两部作品都通过福音、乡村、摩城和蓝调在音乐上捕捉了美国南部富有想象力的传统,以详细描述在肯尼迪遇刺后的几个月里,有名无实的女主人公通过孤立、诱捕和解放的挑战进行的复杂谈判。本文认为,这些音乐剧中流动性的承诺和启示源于维奥莱特和卡罗琳所表达的一种神秘的精神热情,他们都定义了一种独特的,正如每部音乐剧的结论所承认的那样,错误的个人奉献和信仰神学,这与他们周围世界的解放潜力背道而驰。
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The multiple mobilities of civil rights in Jeanine Tesori’s Violet and Caroline, or Change
This article centres on Jeanine Tesori’s Violet (book and lyrics by Brian Crawley) and Caroline, or Change (book and lyrics by Tony Kushner), both of which are set in the American south during a crucial period in American history running between the assassination of John F. Kennedy on 22 November 1963 and the passing of the Civil Rights Act of 1964. Both works musically capture the imaginative traditions of the American south through gospel, country, Motown, and blues in order to detail the complex negotiations of the titular female protagonists through challenges of isolation, entrapment and liberation in the months following Kennedy's assassination. This article argues that the promise and affordance of mobility within these musicals are rooted in an uncanny spiritual fervour expressed by Violet and Caroline, both of whom have defined a distinctive, and, as will be recognized by each musical’s conclusion, mistaken theology of personal devotion and faith that runs precisely counter to the liberating potentials in the world around them.
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