{"title":"萧伯纳戏剧《魔鬼的门徒》和《音乐的治愈》的歌剧改编","authors":"Brigitte Bogar","doi":"10.5325/shaw.43.1.0035","DOIUrl":null,"url":null,"abstract":"abstract:This article examines several operatic adaptations of Shaw's plays The Devil's Disciple and The Music Cure. The focus is on how the musicality inherent in Shaw's plays is so substantial that the plays almost come across as musical dramas or operatic scores. The article explores what inspired the composers, what has been changed to accommodate the new medium, and why these musical adaptations fail to make it into the general repertoire.","PeriodicalId":40781,"journal":{"name":"Shaw-The Journal of Bernard Shaw Studies","volume":"31 1","pages":"35 - 49"},"PeriodicalIF":0.6000,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Operatic Adaptations of Shaw's Plays The Devil's Disciple and The Music Cure\",\"authors\":\"Brigitte Bogar\",\"doi\":\"10.5325/shaw.43.1.0035\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"abstract:This article examines several operatic adaptations of Shaw's plays The Devil's Disciple and The Music Cure. The focus is on how the musicality inherent in Shaw's plays is so substantial that the plays almost come across as musical dramas or operatic scores. The article explores what inspired the composers, what has been changed to accommodate the new medium, and why these musical adaptations fail to make it into the general repertoire.\",\"PeriodicalId\":40781,\"journal\":{\"name\":\"Shaw-The Journal of Bernard Shaw Studies\",\"volume\":\"31 1\",\"pages\":\"35 - 49\"},\"PeriodicalIF\":0.6000,\"publicationDate\":\"2023-06-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Shaw-The Journal of Bernard Shaw Studies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5325/shaw.43.1.0035\",\"RegionNum\":4,\"RegionCategory\":\"文学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"LITERATURE, BRITISH ISLES\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Shaw-The Journal of Bernard Shaw Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5325/shaw.43.1.0035","RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LITERATURE, BRITISH ISLES","Score":null,"Total":0}
Operatic Adaptations of Shaw's Plays The Devil's Disciple and The Music Cure
abstract:This article examines several operatic adaptations of Shaw's plays The Devil's Disciple and The Music Cure. The focus is on how the musicality inherent in Shaw's plays is so substantial that the plays almost come across as musical dramas or operatic scores. The article explores what inspired the composers, what has been changed to accommodate the new medium, and why these musical adaptations fail to make it into the general repertoire.
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