Musical theatre is often perceived as either a Broadway based art form, or as having separate histories in London and New York. This textbook explores how, in reality, there have been frequent and substantial interactions between the West End and Broadway (and elsewhere) out of which musical theatre has developed, and through which it continues to transform. Written and developed for undergraduate students of musical theatre, this introductory textbook provides a newly focused and alternative way of understanding musical theatre history.
Musical theatre is often perceived as either a Broadway based art form, or as having separate histories in London and New York. This textbook explores how, in reality, there have been frequent and substantial interactions between the West End and Broadway (and elsewhere) out of which musical theatre has developed, and through which it continues to transform. Written and developed for undergraduate students of musical theatre, this introductory textbook provides a newly focused and alternative way of understanding musical theatre history.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Millie Taylor is Emeritus Professor of Musical Theatre at the University of Winchester, UK, and Endowed Professor of the Musical at the University of Amsterdam. She has published books and articles on British pantomime, musical theatre and theatre music. Adam Rush is Senior Lecturer in Musical Theatre at the University of Winchester, UK. His research has been published in Studies in Musical Theatre and in several edited collections.
Inhaltsangabe
'Why We Tell the Story': Introduction Historiography and Context(s) Deciphering Multiple Histories How to Read this Book Chapter 1 - 'Do You Hear the People Sing?': From Operetta to Poperetta European Origins Musical Comedy and Broadway Operetta (1900-1940) American Origins Into the Twentieth Century The Musical Play and Beyond (1940-1960) Fragmentation and the Concept Musical The Megamusical, or Poperetta Conclusion Chapter 2 - 'New Music': From Ragtime to Rap Ragtime and Early African American Music Early African American Musical Theatre Shuffle Along, And All That Jazz The Rise of Minstrelsy and 'Coon Songs' Dreamgirls and Motown Rap, Hip-Hop and Hamilton Conclusion Chapter 3 - 'Waving Through A Window': From Intertext to Instagram Literary Adaptations Stage and Screen Interactions The Wonderful World of Oz Singin' in the Rain and the Hollywood Film Musical Disney and the Animated Musical Cast Recordings You Already Know You're Gonna Love It. Television Musicals Social Media and the Worldwide Web (of Showtunes) Conclusion Chapter 4 - 'Easy to be Hard': From Censorship to Sex Legal Censorship in Britain, 1485-1843 A Changing Landscape, 1843-1968 Censorship in America, 1620-1967 Politics meets Finance Hair (and all that followed) Self-Censorship and Political Correctness Conclusion Chapter 5 - 'Stand Up': From Gender Duality to Diversity Late Victorian Britain Music Hall and Variety Early Twentieth Century Transatlantic Transfers The 'Golden Age' - Post-World War II Diversity and Difference - After the 1960s Into the Twenty First Century Conclusion Chapter 6 - 'Another National Anthem': From Ourselves to the Other Before the Great War World War II and Post-War Reconstruction 1990s British Resurgence (as Mythologised in American Musicals) Challenging American Mythology Hybrid Influences in Musical Theatre Conclusion Chapter 7 - 'A Whole New World': From The Mikado to the Megamusical Colonialism Culture within Colonialism The Cultural Dimension of Globalisation Global Producers and International Productions Conclusion Chapter 8 - 'Journey to the Past': From Revival to Revisal Reviving Gypsy 1970s American Revivals New Models and Styles (Concert and Small-Scale Productions, Actor-Musicianship, Opera House Productions) Revision and Reinvention Conclusion Abstracts + Keywords Bibliography
'Why We Tell the Story': Introduction Historiography and Context(s) Deciphering Multiple Histories How to Read this Book Chapter 1 - 'Do You Hear the People Sing?': From Operetta to Poperetta European Origins Musical Comedy and Broadway Operetta (1900-1940) American Origins Into the Twentieth Century The Musical Play and Beyond (1940-1960) Fragmentation and the Concept Musical The Megamusical, or Poperetta Conclusion Chapter 2 - 'New Music': From Ragtime to Rap Ragtime and Early African American Music Early African American Musical Theatre Shuffle Along, And All That Jazz The Rise of Minstrelsy and 'Coon Songs' Dreamgirls and Motown Rap, Hip-Hop and Hamilton Conclusion Chapter 3 - 'Waving Through A Window': From Intertext to Instagram Literary Adaptations Stage and Screen Interactions The Wonderful World of Oz Singin' in the Rain and the Hollywood Film Musical Disney and the Animated Musical Cast Recordings You Already Know You're Gonna Love It. Television Musicals Social Media and the Worldwide Web (of Showtunes) Conclusion Chapter 4 - 'Easy to be Hard': From Censorship to Sex Legal Censorship in Britain, 1485-1843 A Changing Landscape, 1843-1968 Censorship in America, 1620-1967 Politics meets Finance Hair (and all that followed) Self-Censorship and Political Correctness Conclusion Chapter 5 - 'Stand Up': From Gender Duality to Diversity Late Victorian Britain Music Hall and Variety Early Twentieth Century Transatlantic Transfers The 'Golden Age' - Post-World War II Diversity and Difference - After the 1960s Into the Twenty First Century Conclusion Chapter 6 - 'Another National Anthem': From Ourselves to the Other Before the Great War World War II and Post-War Reconstruction 1990s British Resurgence (as Mythologised in American Musicals) Challenging American Mythology Hybrid Influences in Musical Theatre Conclusion Chapter 7 - 'A Whole New World': From The Mikado to the Megamusical Colonialism Culture within Colonialism The Cultural Dimension of Globalisation Global Producers and International Productions Conclusion Chapter 8 - 'Journey to the Past': From Revival to Revisal Reviving Gypsy 1970s American Revivals New Models and Styles (Concert and Small-Scale Productions, Actor-Musicianship, Opera House Productions) Revision and Reinvention Conclusion Abstracts + Keywords Bibliography
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