Zeitschriftenartikel: „Musicals“

1

Greenspan, Charlotte. „Death Comes to the Broadway Musical“. Daedalus 141, Nr. 1 (Januar 2012): 154–59. http://dx.doi.org/10.1162/daed_a_00137.

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The Broadway musical is an excellent prism for viewing the narrative of American life – as it is, has been, and perhaps should be. In the first part of the twentieth century, musicals viewed life through rose-colored glasses; musicals were equivalent to musical comedy. Starting in the 1940s, the mood of musicals darkened. One indication of the new, serious tone was that characters in musicals died in the course of the show. This essay examines several questions relating to death in the Broadway musical, such as who dies, when in the course of the drama the death occurs, and how the death is marked musically. It concludes with a look at musicals involving the deaths of historical characters and at AIDS-related musicals, works whose assumptions and ideals are very far from those of the musical comedies of the early twentieth century.

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Hodge, Matthew. „21st-Century Broadway Musicals and the ‘Best Musical’ Tony Award: Trends and Impact“. Arts 9, Nr. 2 (10.05.2020): 58. http://dx.doi.org/10.3390/arts9020058.

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Recent Broadway theatre seasons consistently saw record-breaking numbers of admissions and grosses, with musicals’ ticket sales making up 78–89% of annual Broadway grosses. The annual Tony Awards continue to serve as an influential theatre industry establishment that helps define a Broadway musical as exceptional and worthy of audiences, especially the awarding of the ‘Best Musical’ category (which can statistically have a profound impact on a production’s longevity). This article offers comprehensive surveying and discussions of significant components of a musical’s initial Broadway success in the 21st century. All 82 musicals that were nominated for or won the ‘Best Musical’ Tony Award between the years 2000 and 2019 are assessed for their source material and original Broadway run length. Subsequent discussions center on diversity and genres of musicals recognized by the Tony Awards, followed by conclusions and predictions of the COVID-19 pandemic’s impact on Broadway’s future and the influence of the ‘Best Musical’ Tony Award. The results of this study display observable patterns among the musicals surveyed, including screen (film/tv) being the most prominent source material and at least a 10–12 month run after the Tony Awards ceremonies for all ‘Best Musical’ winners.

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Boffone, Trevor. „From Heathers to Six: Stealth musicals and the TikTok Broadway archive“. Studies in Musical Theatre 15, Nr. 3 (01.12.2021): 175–89. http://dx.doi.org/10.1386/smt_00070_1.

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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.

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4

Mellers, Wilfrid. „Platform: Are Musicals Musical?“ Musical Times 132, Nr. 1782 (August 1991): 380. http://dx.doi.org/10.2307/965879.

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5

Zagozdzon, Agnieszka. „Backstage am Broadway: das Filmmusical 42ND STREET (USA 1933, Lloyd Bacon) zwischen musikpraktischem Realismus und choreografischen Fantasien“. Kieler Beiträge zur Filmmusikforschung 14 (03.07.2023): 72–89. http://dx.doi.org/10.59056/kbzf.2019.14.p72-89.

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The 1933 movie musical 42ND STREET is considered as a prototype of the so- called »Backstage Musicals« – a genre which puts the developmental process of a musical at the heart of the story. Due to the realistic portrayal of this process, 42ND STREET is seen as one of the most prominent and influential works in the history not only of movie musicals, but of staged musicals as well. One of the most decisive parts in this realistic portrayal is the almost entirely diegetical use of music within the movie, resulting from rehearsals or performances shown on the screen. Additionally, the songs within the fictional musical Pretty Lady strictly follow the musical and formal standards at that time. Last but not least, the orchestrations of these songs adhere to the rules of Broadway back then – as an analysis of the orchestrated partiturs with regard to its musical, theoretical, and dramaturgical structure shows. However, certain significant differences in the style of these orchestrations, which resulted from specific circumstances on a movie set, can be seen there, too. Unlike that musically realistic approach, the visually spectacular choreographies by Busby Berkeley, which contained (at that time) up-to-date technical possibilities like tracking shots and overhead shots, were only practicable by means of the cinematic genre. However, during the performance of Pretty Lady, the spectators are often pulled out of these choreographic fantasies, when cuts from close-ups all of a sudden show the entire theatre stage as well as the conductor and the orchestra, thereby transferring the audience in the reality of a staged musical performance. This essay examines the means and reasons of the musical realism of 42ND STREET, its connection to the way the songs were choreographed and how this movie has shaped movie musicals and stage musicals to this day.

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Jiang, Xiaomeng, und Yiyan Shao. „Rock Elements in The Creation of French Musicals“. International Journal of Education and Humanities 4, Nr. 2 (06.09.2022): 69–71. http://dx.doi.org/10.54097/ijeh.v4i2.1508.

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French musicals are unique models of modern musicals beyond the classic musicals of Broadway and the west end of England. The French, who are "fashionable, romantic and modern", based on the creation of British and American musicals and through the exploratory and experimental development of various musical elements, have created the "French style" musicals with a strong sense of stage. Among them, the addition of "rock elements" is a highlight that cannot be ignored in the creation of French musicals. This paper studies the origin of "rock elements" in the accompaniment music of French musicals, illustrates the application of "rock elements" in the creation of French musicals with examples, and discusses the reasons for its formation, so as to find out the original charm of French musicals.

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Duan, Shuyu, Youlin Li und Ruiyan Wang. „Analyzing the Development Prospects of Song and Dance Drama Art and Integrated Media from The Greatest Showman“. Communications in Humanities Research 14, Nr. 1 (20.11.2023): 314–21. http://dx.doi.org/10.54254/2753-7064/14/20230510.

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As a Hollywood musical film released at the end of 2017, The Greatest Showman has earned more than 400 million dollars at the box office worldwide with its outstanding original songs and dance elements. It is a Hollywood musical film with a relatively good box office performance in recent years. Global research on musical drama has increased dramatically in recent decades, gradually forming a complete research system. However, it has not yet attracted enough attention in terms of artistic creation techniques of musicals. This article intends to analyze three aspects: the overall research of global musicals, the study of The Greatest Showman drama aesthetics, and the integration of musical, film, and media. Taking The Greatest Showman as an example explores the historical development of musicals and the dramatic art in movies and provides practical, theoretical sources for the creation and development of musicals.

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8

Cherry, James M. „The Musical of Musicals (The Musical!) (review)“. Theatre Journal 56, Nr. 4 (2004): 705–6. http://dx.doi.org/10.1353/tj.2004.0156.

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9

Yang, Wenjing. „On the Translation of English Musical Songs from the Perspective of Skopos Theory“. Studies in English Language Teaching 12, Nr. 2 (02.06.2024): p190. http://dx.doi.org/10.22158/selt.v12n2p190.

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With the increased frequency intercultural communication, western musicals have been introduced into China and become a popular entertainment of the Chinese people. Some musicals will be dubbed in Chinese version for performance, so that the audience can enjoy the plots and songs more deeply. However, the different historical origins, social customs and religious cultures have formed specific cultural backgrounds, which in turn have formed different ways of thinking, values and pragmatic rules. All these factors have become obstacles in the translation of English musicals. As the main content of musicals songs, librettos have become an important medium for audience to appreciate musicals. Therefore, the translation of songs in musicals becomes the most important part in the study of musicals translation. Based on the Skopos Theory of functional translation, this thesis takes the Chinese version of a series of western musicals produced by SEVENAGES as the object, and analyzes the Chinese translation of these musicals from the rules of Skopos, coherence and fidelity, with the aim to find out the best techniques of translating musical songs, and improve the quality of the translation.

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10

Lundy, Ben. „Fifty Key Stage Musicals“. Musical Theatre Educators Alliance Journal 5, Nr. 2024 (01.01.2024): 116–17. http://dx.doi.org/10.62392/kwet5572.

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In a post-pandemic climate, how might we, as instructors, challenge our students to infuse their knowledge of musical theatre history into their craft? Fifty Key Stage Musicals, edited by Robert W. Schneider and Shannon Agnew, is a refreshing musical theatre history text that illustrates Broadway’s changing tides while focusing on fifty innovative musicals...

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Plemenitaš, Katja. „Songs as Elements in the Generic Structure of Film Musicals“. ELOPE: English Language Overseas Perspectives and Enquiries 13, Nr. 1 (20.06.2016): 31–38. http://dx.doi.org/10.4312/elope.13.1.31-38.

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The paper focuses on the description of film musicals as a subgenre of the genre family of musicals. Their dramatic structure is examined in terms of the generic elements that constitute the progression of a story expressed through the combination of spoken dialogue, songs and dance. The function of songs in the generic structure of film musicals is examined in the framework of the systemic-functional theory of register and genre. Special attention is given to the role of songs in the unfolding of the narrative. The theoretical observations about the role of songs in the register and genre of film musicals are then illustrated with an analysis of the use of songs in the TV musical High School Musical 2.

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Fu, Linzi, und Kyunghoon Han. „A Study of Localization in the Stage Art of the Chinese Reimagined Musical <Fan Letter>“. Korean Society of Culture and Convergence 45, Nr. 8 (31.08.2023): 1197–210. http://dx.doi.org/10.33645/cnc.2023.08.45.08.1197.

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The purpose of this study is to select “Fan Letter” as a representative work of the localization process of Chinese musicals; to identify the localization situation and success factors of the work from three aspects of stage design, costume design, and lighting design by referring to articles, monographs, musical videos, stage design manuscripts, costume design manuscripts, and other materials related to Chinese localized musicals; to analyze the impact of the integration of localized aesthetics and stage art on the overall performance of the musical; and to draw implications for the stage art production of Chinese localized re-created musicals in the future. The analysis shows that the stage design of the Chinese version of the musical Fan Letter deconstructed and utilized Shanghai architectural elements, the costume design referenced Chinese history and used traditional colors and local materials, and the lighting design used colors that are easy for Chinese to understand to highlight the characters' inner emotions. This shows that the production is innovative in its combination with Chinese culture in the localized re-creation of stage art. The clever fusion of Chinese elements and musicals can be a great expressive tool in the localization of musicals.

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Higueras Rodríguez, Virginia E. „De Oklahoma! a Tick, Tick...Boom! La evolución del musical desde la Edad de Oro hasta las obras rock de Jonathan Larson“. Latente Revista de Historia y Estética audiovisual 20 (2022): 237–55. http://dx.doi.org/10.25145/j.latente.2022.20.09.

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Musical films do not evolve in parallel with the theatrical musicals on Broadway. It creates a gap of about a decade between the musicals on Broadway and those produced in Hollywood. In 2021 Lin-Manuel Miranda, director of the film Tick, Tick... Boom! revives Jonathan Larson, heir to the influences of the musicals of Richard Rodgers & Oscar Hammerstein II, and Stephen Sondheim

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BOMBOLA, GINA. „FromThere's Magic in MusictoThe Hard-Boiled Canary: Promoting “Good Music” in Prewar Musical Films“. Journal of the Society for American Music 12, Nr. 2 (05.04.2018): 151–78. http://dx.doi.org/10.1017/s1752196318000068.

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AbstractIn 1941, Paramount releasedThere's Magic in Music, a film about a soprano who sings opera in burlesque and wins a scholarship to attend Interlochen. The movie's utopian view of art music, however, caused difficulties for the studio in regard to marketing, leading to a studio-wide debate over the film's title. Archival documents positionThere's Magic in Musicas a valuable case study for investigating the transitional period of musical film production between the Great Depression and the onset of World War II, particularly with respect to operatic musicals. Just prior to the United States’ entry into the war, Hollywood moved away from the escapist fantasy of 1930s cinema toward the realism that would mark the 1940s. To reboot fading interest in musicals, studios toyed with the formula of the backstage musical to focus more on dramatic narratives and star power.There's Magic in Musicthus serves as a lens through which we might examine changes both in musical film production and in notions of “good music” at the eve of World War II.

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Rigopoulou, Faye. „Still Here? Aging Female Vocalities in Musical Theatre.“ IASPM Journal 14, Nr. 1 (18.03.2024): 113–33. http://dx.doi.org/10.5429/2079-3871(2024)v14i1.8en.

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Musical theatre has a complex relationship with ageing (and especially female ageing). As youth has always been at the forefront of musicals, essentialist approaches to ageing in articulation and enactment of ageing musical characters often lead to aesthetic peripheries and creative stagnation. Aiming for a deeper understanding of how female ageing vocalities are perceived, dramaturged and performed in musical theatre, the article takes under consideration viewpoints from ‘outsiders’/ageing performers who work ‘at the centre’ of the musical theatre industry (West End and Broadway).Through a close analysis of two ageing female characters (Madame Armfeldt and Grandma) in the musicals A Little Night Music and Billy Elliot, this article discusses and critiques preconceptions of ageing in the dramaturgy and performance of these roles, and it argues that musicals frequently fail to give agency to the voice of their ageing women.

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Zhang, Xiaoyu. „On the Subtitle Translation of Musical Lyrics from the Perspective of Domestication and Foreignization: A Case Study of Classic Musical Theatre Cats“. Communications in Humanities Research 15, Nr. 1 (20.11.2023): 204–9. http://dx.doi.org/10.54254/2753-7064/15/20230701.

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With various art gradually spreading all over the world, excellent musicals bearing the multicultural features have also entered into the public life. Translation as an important tool in transcultural communication, is indispensable in the expression and spreading of such art. For musicals that are played on the screen, given the unique features of the genre and the rules of subtitling, the translation of musicals requires delicate processing and special effort. This paper discussed the importance of musical translation and subtitle translation in the peoples modern life. With the focus on the translation of the cultural elements in the musical, this paper discovered the application of translation strategies: Domestication and Foreignization Strategies in the subtitle translation of Cats. Through comparing and analysis, the study at present discussed the effect of the strategies on the translation and provided suggestions on the choice of Domestication and Foreignization Strategies in the subtitle translation of musicals.

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Calderón Garrido, Diego, Josep Gustems Carnicer und Caterina Calderón Garrido. „Les colònies musicals: una oportunitat per al desenvolupament competencial“. Comunicació educativa, Nr. 28 (22.02.2016): 26. http://dx.doi.org/10.17345/comeduc201526-30.

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<p class="p1">Les colònies musicals són una proposta educativa amb identitat pròpia que combina l’educació musical amb la pedagogia de l’oci. En aquest article es descriuen les característiques de les colònies musicals actuals i s’assenyalen les diverses competències que s’hi desenvolupen.</p>

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Feng, Yizhang, und Kexu Chen. „On the inspiration of Lin-Manur-Miranda musical Hamilton“. International Journal of Education and Humanities 14, Nr. 1 (14.05.2024): 152–54. http://dx.doi.org/10.54097/6dyf4743.

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Lin-manuel-Miranda's musical "Hamilton" as the fastest in the history of Broadway music costs and began to profitable musical with its pioneer music style and the core values of drama structure in the world stage, the success of the Broadway musical is not only in the history, also for the development of world musical provides unprecedented possibilities.the success of Lin-Manuel Miranda's musical "Hamilton" has had a profound impact on the world of theater, particularly in the realm of musicals. Its pioneering music style and the core values of drama structure have opened up new possibilities for the development of musicals worldwide. The widespread appeal and profitability of "Hamilton" have inspired artists to experiment with different genres and storytelling techniques, pushing the boundaries of what is considered traditional musical theater. Furthermore, the global interest in historical and biographical musicals that "Hamilton" has generated has enriched the cultural landscape of musical theater, offering audiences a diverse range of stories and perspectives. Overall, "Hamilton" has left an indelible mark on the world stage, paving the way for future innovations in the field of musical theater.

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Anderson, Natasha. „Narrative and Number in Busby Berkeley’s Footlight Parade“. MUSIC.OLOGY.ECA 1 (11.09.2020): 40–59. http://dx.doi.org/10.2218/music.2020.5697.

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The backstage film musical was a successful genre of the brief ‘Pre-Code’ era of American film history (1929-1934), in which audiences witnessed the inner workings of a theatre studio and watched the creation and performance of a musical production unfold. This essay focusses on one of these film musicals, Footlight Parade, and examines its key musical numbers: ‘Honeymoon Hotel’, ‘By a Waterfall’ and ‘Shanghai Lil’. Using these examples, the article analyses the relationship between musical number and film narrative, while relating the film to wider issues surrounding musicals in the ‘Pre-Code’ era and beyond.

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Whitfield, Sarah K. „Disrupting Heteronormative Temporality through Queer Dramaturgies: Fun Home, Hadestown and A Strange Loop“. Arts 9, Nr. 2 (15.06.2020): 69. http://dx.doi.org/10.3390/arts9020069.

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This article considers how André De Shields performance in Hadestown (2019), and the musicals Fun Home (2015) and A Strange Loop (2019) can be seen to respond to the present moment and argues that they disrupt heteronormative temporality through queer dramaturgy. It explores musicals that present queer performativity and/or queer dramaturgies, and addresses how they enact queer strategies of resistance through historical materialist critiques of personal biographies. It suggests that to do this, they disrupt the heteronormative dramaturgical time of the musical, and considers how they may enact structural change to the form of the musical. The article carries out a close reading of De Shields’ performance practice, and analyses the dramaturgy of Fun Home and A Strange Loop through drawing on the methodologies of José Muñoz and Elizabeth Freeman. It considers how they make queer labour visible by drawing on post-dramatic strategies, ultimately suggesting that to varying extents, these musicals offer resistance to the heteronormative musical form.

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Sung Hee Kirk. „Translated Musicals and Musical Translation in Korea“. Journal of Translation Studies 9, Nr. 1 (März 2008): 283–309. http://dx.doi.org/10.15749/jts.2008.9.1.011.

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Mateo, Marta. „Sunset Boulevard in Spanish Performance: Translations on the Musical Stage“. Revista Alicantina de Estudios Ingleses, Nr. 37 (27.07.2022): 81. http://dx.doi.org/10.14198/raei.2022.37.03.

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This article focuses on Andrew Lloyd Webber’s musical Sunset Boulevard (1993), in order to present some relevant aspects of the production and reception of musicals both in an original and a target context. The study will first describe the eventful creative process of this musical text in its Anglophone source contexts, and will then move on to examine it from the perspective of its performance in Spanish translation. Recently translated for a Spanish-language production staged in Tenerife in 2017 (soon followed by another one in Argentina in 2018), Sunset Boulevard is a good example of the powerful impact that the importation of Anglo-American musicals has had in Spain in recent decades (see Mateo 2008) while it also serves to illustrate interesting aspects of the evolution and current situation of musicals’ production in this country. This macro-level study will therefore examine Lloyd Webber’s musical performed in sung translation, addressing it from a contextual standpoint and with a focus in Spain, with the aim of contributing to a deeper knowledge of theatre translation when it involves musical plays.

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McClane, Kenneth A. „Musicals“. Antioch Review 63, Nr. 4 (2005): 674. http://dx.doi.org/10.2307/4614888.

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Knapp, Raymond, und Zelda Knapp. „Musicals and the envoicing of mental illness and madness: From Lady in the Dark to Man of La Mancha (and beyond)“. Journal of Interdisciplinary Voice Studies 4, Nr. 2 (01.10.2019): 209–23. http://dx.doi.org/10.1386/jivs_00006_1.

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Abstract Because musicals routinely position musical expression as an enabling form of madness, they can have a difficult time when they try to consider mental illness in thoughtful ways. This essay considers four prominent musicals that deal overtly with mental illness and/or madness to delineate these difficulties and show how musicals try to surmount them. The relatively few musical numbers in Lady in the Dark (1941) allow its protagonist Liza Elliott to both confront her mental block and give voice to her emancipation. In Anyone Can Whistle (1964), Hapgood's ambiguous mental status allows him to swing from absurdities to rebellion to the touchingly human, each phase differently opposing the insanities of the world. Quixote, in Man of La Mancha (1965), defies reality in favour of impossible dreams. And the songs of next to normal (2008) provide a panoply of escapes from the painful realities of the dysfunctional Goodman family, none of whom quite finds a way to a desired 'normal'. As these shows exemplify, mentally unstable women and men generally have different options in musicals: women (at least, Liza and Diana Goodman) are obliged to chart paths to mental wholeness, with decidedly mixed results, whereas men (at least, Hapgood and Quixote) are allowed to indulge their flights from reality as forms of romanticized idealism, becoming heroes and liberators in the process. next to normal exemplifies a renewed determination to take mental illness seriously in musicals, further advanced in the four-season television series Crazy Ex-Girlfriend.

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Cuskey, Lusie. „Consent Based Considerations for the Musical Theatre“. Journal of Consent-Based Performance 1, Nr. 2 (24.08.2022): 137–67. http://dx.doi.org/10.46787/jcbp.v1i2.2873.

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Musicals have always tended to center romantic relationships, engaging these relationships both as a plot in their own right and, often, as a metaphor for broader social considerations. Despite a historical understanding of the form as light, many contemporary musicals engage explicit sexual content, and the formal conventions of all musicals means that even non-sexual content may feel particularly intimate for performers. Musical theatre is a field that expects high levels of vulnerability and availability, but it also tends to magnify the broader industry’s challenges of scarcity thinking and high pressure for actors to be easy to work with and eager to please; if actors are going to be able to navigate the tensions of the field with health and grace, they need the support of consent-based processes in their training institutions. This article explores the genre-specific challenges and opportunities of musical theatre, offering field-specific suggestions for cultivating consent-based creative spaces in the musical theatre. [1] Deer and Del Vara, 352-353.

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Tsai, Terence, und Shubo Liu. „Mamma Mia! Made in China — Challenges in Developing the Musical Industry“. Asian Case Research Journal 19, Nr. 02 (Dezember 2015): 419–42. http://dx.doi.org/10.1142/s0218927515500157.

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This case is about how United Asia Live Entertainment Co. Ltd. (United Asia), a real Chinese production and marketing company and a commercial arm of the Ministry of Culture, localized a popular global product, Mamma Mia!, to compete with other international and local firms during the period when the Government was pushing the reform of the cultural industry. Mamma Mia! is the first-ever Western musical without roots in the Chinese culture, being presented in Chinese (Mandarin) by an entire Chinese cast in China. United Asia staged the translated version with the creative team of the original musical. This case describes how United Asia faced and overcame many obstacles, including talent shortage, uncertain customer expectations and immature industrial clusters while it was preparing for the first show. The production turned out to be a big success. Although United Asia planned to launch more Western musicals in Chinese, the company aspired to go beyond introducing only copyrighted musicals and to create original musicals. This case leads to the reflection and discussion on what the company, as a groundbreaker in China’s new musical industry, should do next and how to sustain its competitive advantages.

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Carr, Tracy. „Book Review: The Complete Book of 2000s Broadway Musicals“. Reference & User Services Quarterly 57, Nr. 2 (28.12.2017): 154. http://dx.doi.org/10.5860/rusq.57.2.6547.

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The Complete Book of 2000s Broadway Musicals is arranged by year and lists each Broadway musical chronologically. The introduction states that the purpose of the work is to “provide a convenient reference source that gives both technical information (such as cast and song lists) and commentary (including obscure details that personalize both familiar and forgotten musicals” (xi). As in Dietz’s other volumes in this series, the reader comes for the technical information, but stays for the commentary.

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Garber, Michael G. „Tragicomedy, Melodrama, and Genre in Early Sound Films: The Case of Two “Sad Clown” Musicals“. CINEJ Cinema Journal 5, Nr. 2 (11.10.2016): 53–86. http://dx.doi.org/10.5195/cinej.2016.135.

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This interdisciplinary study applies the theatrical theories of stage genres to examples of the early sound cinema, the 1930 Hollywood musicals Puttin’ on the Ritz (starring Harry Richman, and with songs by Irving Berlin) and Free and Easy (starring Buster Keaton). The discussion focuses on the phenomenon of the sad clown as a symbol of tragicomedy. Springing from Rick Altman’s delineation of the “sad clown” sub-subgenre of the show musical subgenre, outlined in The American Film Musical, this article shows that, in these seminal movie musicals, naïve melodrama and “gag” comedy coexist with the tonalities, structures, philosophy, and images of the sophisticated genre of tragicomedy, including by incorporating the grotesque into the mise en scene of their musical production numbers.

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Xu, Yexiaxin. „Social Media Marketing Strategy in Chinese Musical Theatre Industry“. Communication, Society and Media 6, Nr. 4 (21.10.2023): p15. http://dx.doi.org/10.22158/csm.v6n4p15.

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The usage of social media in the context of musical theatre marketing continues to grow. More and more musical theatre production companies in China are using social media tools such as Weibo to provide various services and interact with customers. In an effort to help understand how the current musical theatre industry conducts social media marketing and the future development direction, this paper describes a case study which applies content analysis to examined posts on Weibo sites of five top musical theatre production companies: Seven Ages, Shanghai Culture Square, Musicals, Focustage, and Amazing Musicals. The results provide insights into the characteristics of social media marketing strategies of musical theatre production companies and changes after covid-19 pandemic. The study results add to the rapidly evolving field of social media within the musical theatre industry marketing context. Moreover, it advocates for an active role for the musical companies to explore and actively participate in the customer and musical fan communities on social media.

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Gray, John, und Robert Nunn. „Local Boy Makes Good: Three Musicals“. Canadian Theatre Review 61 (Dezember 1989): 82. http://dx.doi.org/10.3138/ctr.61.016.

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Make no mistake about it : these are musicals. In John Gray’s fascinating introduction to the collection, he proposes a theory of the Canadian musical, based on his experience that Canadian audiences behaved like uncomfortable eavesdroppers, “their hands covering their eyes,” when the actors observe the invisible fourthwall conventions of naturalism, and come to life when the perforrrance is openly presentational. Hence the attraction of the musical, in which the songs are alredy presentational, and exert a kind of gravitational pull if you ignore the conventions of the standard Broadway musical.

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Gregori i Cifré, Josep Maria. „IFMuC: un proyecto universitario para la recuperación del Patrimonio Musical de Catalunya“. Cuadernos de Investigación Musical, Nr. 1 (20.03.2017): 12–26. http://dx.doi.org/10.18239/invesmusic_2016.01.1306.

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Este artículo se centra en reflejar la trayectoria de la recuperación del patrimonio musical de Catalunya, estudiando en primer los antecedentes desde el siglo XIX hasta la creación, ya en el siglo XX, del Centre de Documentació Musical (CDM) y del Institut de Documentació i d’Investigació Musicològiques Josep Ricart i Matas (IDIM), ambos organismos promovidos desde la Universidad Autónoma de Barcelona (UAB). Ello sirve para comprender la necesidad y motivación del proyecto IFMuC (Inventari dels Fons Musicals de Catalunya), creado asimismo en el seno de la UAB con el objetivo principal de crear una base de datos digital que ponga a disposición de la comunidad musical un repertorio inédito que aporte información y acceso a las principales fuentes musicales de Catalunya con un cuádruple beneficio: científico, artístico, social y educativo.

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Hornby, Richard. „Musicals Revived“. Hudson Review 45, Nr. 3 (1992): 452. http://dx.doi.org/10.2307/3851755.

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Friedman, Alan Warren. „Beckett's Musicals“. Études anglaises 59, Nr. 1 (2006): 47. http://dx.doi.org/10.3917/etan.591.0047.

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Salzman, E. „Reading Musicals“. Theater 33, Nr. 1 (01.01.2003): 92–96. http://dx.doi.org/10.1215/01610775-33-1-92.

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Martí, Josep. „Música i festa: Algunes reflexions sobre les pràctiques musicals i la seva dimensió festiva“. Anuario Musical, Nr. 57 (30.12.2002): 277. http://dx.doi.org/10.3989/anuariomusical.2002.57.92.

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[ca] En aquest article es tracta la relació entre les practiques musicals i la festa. Després de delimitar la idea de festa des d'una perspectiva antropològica, es delineen els principals tipus de manifestacions musicals talment com apareixen a les celebracions festives i s'intenta explicar la rellevància del fet musical en l'àmbit festiu a partir principalment de la estreta complicitat de la música amb les quatre constants que Vittorio Lanternari va formular per entendre la festa: sociabilitat, participació, ritualitat i l'anul•lació temporal i simbòlica de l'ordre.

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Das, Joanna Dee, und Ryan Donovan. „Special Issue: Dance in musical theatre“. Studies in Musical Theatre 13, Nr. 1 (01.03.2019): 3–7. http://dx.doi.org/10.1386/smt.13.1.3_2.

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This special issue of Studies in Musical Theatre examines the role of dance in musical theatre from a variety of perspectives. Given the scholarly turn from textual analysis to performance analysis, even studying musicals without extensive dance per se can benefit from understanding how movement shapes meaning. The introduction below explains some key themes that have emerged in the six articles that follow. One is the question of genre: what exactly is musical theatre dance? Another is auteurship: what is the role of the choreographer in shaping musicals? A third is technology, which reminds readers that choreography extends beyond human bodies. Finally, the articles all consider questions of methodology and history – how do we best study musical theatre? While there are several other areas of potential inquiry not covered in these six articles, this special issue, the first in the field to focus on dance in musical theatre, aims to help define and cohere an important subfield.

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Park, Moon Hee. „The Definition of Concept and the Role of the Audience in Concept Musicals“. Liberal Arts Innovation Center 9 (30.05.2022): 259–82. http://dx.doi.org/10.54698/kl.2022.9.259.

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The purpose of this paper is to define the term ‘concept’ as it is used in conceptual musicals and to investigate what the role of the audience is. So far, there have been efforts by several scholars to define the concept of concept musicals; however, existing definitions are limited to the subject or focus on form, making it difficult to understand the concept musicals properly. Further, because the meaning and relationship of the attributes that make up the concept are not clear, definitions are bound to suffer confusion. The concept musical’ must create a new form to embody the theme implied in the content, i.e., the information delivered by the characters to the audience, and represent the audience through performances using the concept to reveal the theme while also remaining as an abstract substance hidden in the script. The concept does not have a fixed meaning, but concept that exists in the passage of time and must be included in the attributes that define the concept musical'. In addition, the role of the audience in the concept musical is of paramount importance. Just as it was thought in the experimental theatre in the late 20th century that the completion of the performance depended on the audience participating in the show and playing roles, the concept musical must also include the audience's participation and role performance in the shows for the attributes of the concept to reach a complete definition in the concept musical. Then in a true sense, the show of the concept musical is completed.

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Clarke, Kevin. „Musicals, operettas and Heiteres Musiktheater in East Germany 1949‐89“. Studies in Musical Theatre 16, Nr. 1 (01.04.2022): 21–51. http://dx.doi.org/10.1386/smt_00084_1.

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This article examines the development of operetta and musicals in East and West Germany from 1949 until the reunification in 1989‐90. It focuses on the special ideological requirements of popular musical entertainment in the socialist east, discusses how works by Offenbach and Strauss were adapted, considers how works from the Soviet Union were imported and examines how new works were created to fulfil the ideal of ‘socialist realism’. The arrival of Broadway musicals in East Germany in the 1960s were typically made to fit into the system of state subsidized theatre.

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Huang, Cuiqing, und Qiang Zhang. „Research on Music Emotion Recognition Model of Deep Learning Based on Musical Stage Effect“. Scientific Programming 2021 (26.10.2021): 1–10. http://dx.doi.org/10.1155/2021/3807666.

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The change of life style of the times has also prompted the reform of many art forms (including musicals). Nowadays, the audience can not only enjoy the wonderful performances of offline musicals but also feel the charm of musicals online. However, how to bring the emotional integrity of musicals to the audience is a technical problem. In this paper, the deep learning music emotion recognition model based on musical stage effect is studied. Firstly, there is little difference between the emotional results identified by the CRNN model test and the actual feelings of people, and the coincidence degree of emotional responses is as high as 95.68%. Secondly, the final recognition rate of the model is 98.33%, and the final average accuracy rate is as high as 93.22%. Finally, compared with other methods on CASIA emotion set, the CRNN-AttGRU has only 71.77% and 71.60% of WAR and UAR, and only this model has the highest recognition degree. This model also needs to update iteration and use other learning methods to learn at different levels so as to make this model widely used and bring more perfect enjoyment to the audience.

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Sun, Wenxuan, Yujin Jang und Seong-Joon Limb. „A study on paid online musical consumer viewing behavior - Based on the Extended Theory of Planned Behavior“. Korea Association Of Cultural Economics 27, Nr. 1 (30.04.2024): 39–71. http://dx.doi.org/10.36234/kace.2024.27.1.39.

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This research aimed to investigate the viewing behavior of paying online musical consumers based on the Extended Theory of Planned Behavior. To achieve this, we initially analyzed the impact of the variables comprising the Theory of Planned Behavior model, including attitude toward attendance, subjective norms, and perceived behavioral control, on the intention to attend. Subsequently, we examined the influence of the selection attributes of paid online musicals (visual factor, interactive factor, price factor, promotional marketing factor) on viewers' attitudes toward attendance. Results revealed that among the variables constituting the Theory of Planned Behavior model, attitude toward attendance and perceived behavioral control had an impact on the intention to attend. Furthermore, among the selection attributes of paid online musicals, it was found that both the visual factor and the price factor influenced the attitude towards attendance. Lastly, the visual factor and price factor of paid online musicals influenced the intention to attend mediated by the attitude toward attendance. This research provides insights into the consumer behavior patterns related to the monetization of online performances, offering implications for the development of paid audiences for online musicals.

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Jung, Jiyoon. „The right to see and not be seen: South Korean musicals and young feminist activism“. Studies in Musical Theatre 14, Nr. 1 (01.04.2020): 37–50. http://dx.doi.org/10.1386/smt_00017_1.

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In South Korea, musicals are considered as ‘female culture’. Based on recent fieldwork, this essay gives attention to the ways in which female fans project themselves in three common spaces: in dark theatre auditoriums, online fan forums and feminist protests. In each of the three spaces, female musical fans nurture and enact their own version of feminism. I employ the discourse of ‘voyeurism’ and ‘half-visibility’ to understand how young South Korean women navigate patriarchal capitalist society. I ultimately argue that today’s South Korean musicals empower young South Korean women by providing safe spaces for feminism.

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Wu, Ke, Yanjin Wu und Yisheng Chen. „The Role of Musicals in Music Education for Children with Hearing Impairment“. Highlights in Art and Design 4, Nr. 3 (20.12.2023): 109–16. http://dx.doi.org/10.54097/e5e2gwb6.

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This paper explores the multifaceted role of musicals in the music education of children with hearing impairments, providing a comprehensive theoretical and practical analytical framework that integrates perspectives from education, psychology, musicology, and linguistics. Initially, the paper outlines the general impact of music education on child development, with a special focus on the unique educational needs of children with hearing impairments. It then delves into a multidisciplinary exploration of how musicals can foster the development of cognitive, psychological, social, and linguistic skills in these children. Through specific case studies, this paper demonstrates the effective application of musicals in actual teaching, while also assessing the practical value of various teaching methods and strategies. Finally, the paper discusses the challenges and future opportunities in musical education, offering insights into future research directions. This study aims to provide deep insights into the field of music education for children with hearing impairments and to guide future educational practices and research.

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Мукманова und A. Mukmanova. „Communication Barriers in the Russian Market of Musicals“. Modern Communication Studies 5, Nr. 2 (18.04.2016): 79–84. http://dx.doi.org/10.12737/18974.

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The article addresses the problem of adaptation of musical as a genre in the context of Russian musical theatre market. The study investigates the obstacles the genre faces, and focuses on finding efficient communication solutions for making musicals more accepted by the Russian audience. The author uses literature review combined with historical analysis and quantitative research in form of a poll to conceptualize Russian market of commercial musical theatre and understand how the audience perceives the genre and what expectations it has about it.

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Stahrenberg, Carolin. „‘Meine Heimat ist der Wagen’: Negotiation of mobility and settledness in two German post-war musicals“. Studies in Musical Theatre 16, Nr. 3 (01.12.2022): 237–43. http://dx.doi.org/10.1386/smt_00106_1.

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Persecution and expulsion due to Nazi terror and the Second World War led to massive population shifts within Europe. First was the mass exodus from the German Reich, as a result of racist and political persecution. Then, after the end of the war, millions of German refugees and up to 12 million displaced persons – former forced labourers and foreign concentration camp prisoners – had to find new homes or be repatriated. These movements led to the discursive negotiation of wandering, mobility and settledness in German language musical theatre of the 1950s. This article analyses such relations by looking at the musicals Feuerwerk (1950) and Katharina Knie (1957) and focusing on their structures, receptions and evolutions; in both cases, special attention is paid to the dream ballets. Both musicals (at that time referred to as ‘musical comedies’ or ‘musical folk plays’) premiered at Munich’s Gärtnerplatztheater and, as part of their plots, thematize the nomadic life of circus people opposed to a settled existence.

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Regev, Motti. „Pop-rock, cosmopolitisme musical i coneixement musical corporeïtzat“. Debats. Revista de cultura, poder i societat 138, Nr. 1 (30.05.2024): 33–46. http://dx.doi.org/10.28939/iam.debats-138-1.2.

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Aquest article suggereix que després de més de mig segle en què les generacions successives de fans de països de tot el món han abraçat múltiples gèneres i estils locals i globals de música pop-rock, persones de nombrosos països s’han dotat a poc a poc de coneixements sonors i musicals que permeten desxifrar de manera immediata, espontània i intuïtiva sonoritats musicals amplificades, elèctriques, electròniques i manipulades. El fet de disposar d’aquesta mena de coneixement corporal i la seua posada en pràctica rutinària per part de persones de molts llocs diferents, resulta en una manifestació mundana del cosmopolitisme cultural actual, o més aviat el musical, en la vida quotidiana. En aquest article s’analitza la noció de cosmopolitisme musical i el significat del pop-rock com a cultura estètica. Així mateix, s’hi exposa una tipologia de coneixements relacionats amb la música, que consta de tres categories principals —coneixement discursiu, musical i sonor— per a, finalment, centrar-se en el tercer tipus.

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Knapp, Raymond, Rachel Knapp und Zelda Knapp. „Making broken things seem whole: A family’s conversation about Into the Woods“. Studies in Musical Theatre 17, Nr. 3 (01.12.2023): 167–75. http://dx.doi.org/10.1386/smt_00127_1.

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A family shares their recollections and insights regarding Into the Woods and their engagement with Sondheim and with musicals more generally. Recalling that their parents were on the brink of divorce when Into the Woods appeared on American television in March 1991, sisters Rachel Knapp and Jenny (Zelda) Knapp dialogue 31 years later with their father Raymond Knapp about their separate and mutual involvements with the musical’s themes – including broken families, separation and connectedness, responsibility and consequences, learning, mistakes, disappointment, tragedy, leaving home, absence, forgiveness, repair and just growing up – and how the show fostered and sustained their shared love of musicals over the decades.

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Jenkins, J. Daniel. „The Early Years of the American Musical in Vienna“. Journal of Austrian-American History 6, Nr. 1 (18.05.2022): 89–103. http://dx.doi.org/10.5325/jaustamerhist.6.1.0089.

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Abstract The individual most responsible for bringing the American musical to the Viennese stage was Marcel Prawy (1911–2003). Born into a Jewish Austro-Hungarian noble family, Prawy moved to the US in the late 1930s. While his first love was opera, he also developed an appreciation for the Broadway musical. He returned to Vienna after World War II and produced musical revues in local theaters that included showtunes. Upon becoming a dramaturge at the Vienna Volksoper in 1955, he began overseeing productions of American musical theater, which were among some of the earliest productions of American musicals on the European continent. The article reviews archival documents at the Prawy archive, housed at the Wienbibliothek, to better understand Prawy’s early efforts to bring American musical theater to the Viennese stage. The focus will be on the two earliest musicals Prawy produced, Kiss Me, Kate and Wonderful Town. The analysis will consider how Prawy packaged, promoted, and “sold” the American musical to his Viennese audience. A close reading of some of Prawy’s translations of libretti will be part of the analysis, revealing interesting insights into how Americans and American culture may have been viewed by the Viennese audience.

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Roost, Alisa. „How To Make It In Musicals: The Insider's Guide To A Career In Musicals, and: Staging A Musical (review)“. Theatre Journal 53, Nr. 3 (2001): 516–17. http://dx.doi.org/10.1353/tj.2001.0086.

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Block, Geoffrey, Stephen Banfield und Martin Gottfried. „Sondheim's Broadway Musicals“. Notes 51, Nr. 3 (März 1995): 956. http://dx.doi.org/10.2307/899321.

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Tepperman, Julie. „Immersed in Musicals“. Canadian Theatre Review 171 (Juli 2017): 76–82. http://dx.doi.org/10.3138/ctr.171.013.

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Zeitschriftenartikel zum Thema „Musicals“

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