{"title":"从舞台到银幕","authors":"T. Carter","doi":"10.12987/yale/9780300106190.003.0006","DOIUrl":null,"url":null,"abstract":"\n Oklahoma! was a surprising success on Broadway, and although the Theatre Guild considered other possible creative teams for new musicals, the now-sealed Rodgers and Hammerstein partnership proved hard to resist. A touring company was in place by late summer 1943, and Oklahoma! traveled internationally after the end of World War II (not least, to London’s West End in 1947); meanwhile, the Guild needed to replace cast members leaving one or other productions of the show. In 1953, Rodgers and Hammerstein bought the Guild’s rights to all three of the shows they had done under its auspices (including Carousel and Allegro). In part, this was to maximize their profits from intended film versions. The 1955 film of Oklahoma! took advantage of the new Todd-AO wide-screen process and location shooting to produce a vivid rendition of the show that, however, also needed to be followed, or resisted, in subsequent stage versions.","PeriodicalId":82221,"journal":{"name":"Oklahoma law review","volume":"56 1","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2007-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"14","resultStr":"{\"title\":\"From Stage to Screen\",\"authors\":\"T. Carter\",\"doi\":\"10.12987/yale/9780300106190.003.0006\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\n Oklahoma! was a surprising success on Broadway, and although the Theatre Guild considered other possible creative teams for new musicals, the now-sealed Rodgers and Hammerstein partnership proved hard to resist. A touring company was in place by late summer 1943, and Oklahoma! traveled internationally after the end of World War II (not least, to London’s West End in 1947); meanwhile, the Guild needed to replace cast members leaving one or other productions of the show. In 1953, Rodgers and Hammerstein bought the Guild’s rights to all three of the shows they had done under its auspices (including Carousel and Allegro). In part, this was to maximize their profits from intended film versions. The 1955 film of Oklahoma! took advantage of the new Todd-AO wide-screen process and location shooting to produce a vivid rendition of the show that, however, also needed to be followed, or resisted, in subsequent stage versions.\",\"PeriodicalId\":82221,\"journal\":{\"name\":\"Oklahoma law review\",\"volume\":\"56 1\",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2007-04-28\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"14\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Oklahoma law review\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.12987/yale/9780300106190.003.0006\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Oklahoma law review","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.12987/yale/9780300106190.003.0006","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Oklahoma! was a surprising success on Broadway, and although the Theatre Guild considered other possible creative teams for new musicals, the now-sealed Rodgers and Hammerstein partnership proved hard to resist. A touring company was in place by late summer 1943, and Oklahoma! traveled internationally after the end of World War II (not least, to London’s West End in 1947); meanwhile, the Guild needed to replace cast members leaving one or other productions of the show. In 1953, Rodgers and Hammerstein bought the Guild’s rights to all three of the shows they had done under its auspices (including Carousel and Allegro). In part, this was to maximize their profits from intended film versions. The 1955 film of Oklahoma! took advantage of the new Todd-AO wide-screen process and location shooting to produce a vivid rendition of the show that, however, also needed to be followed, or resisted, in subsequent stage versions.