Journal articles on the topic 'Musical theater'
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Feng, Yizhang, and Kexu Chen. "On the inspiration of Lin-Manur-Miranda musical Hamilton." International Journal of Education and Humanities 14, no. 1 (May 14, 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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Walker, Gwen, Max Chernin, Eliana Rubin, Jonah Schwartz, and Becca Suskauer. "MTEA Diversity, Equity, and Inclusion Committee Focus Group Series: Addressing Anti-Semitism Inclusive Musical Theatre Pedagogy." Musical Theatre Educators Alliance Journal 5, no. 2024 (January 1, 2024): 8–15. http://dx.doi.org/10.62392/mcqn9899.
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As an ongoing effort to support inclusive musical theater training within our musical theater educational community, the MTEA Diversity, Equity, and ELIANA RUBIN, Inclusion Committee hosts a Focus Group Series. On July 29th, 2023, Vice IONAH SCHWARTZ., AND President of the MTEA DEI Committee Gwen Walker convened a focus group BECCA SUSKAUER to discuss rising anti-Semitism and what musical theatre educators can do to address it. Included in our discussion from our community is an established professional, an educator, a young professional, and a student currently in an academic musical theater program.
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Jenkins, J. Daniel. "The Early Years of the American Musical in Vienna." Journal of Austrian-American History 6, no. 1 (May 18, 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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Tsihan, Xia. "INTERPRETATION OF MUSICAL GENRE IN THE WORKS OF R. IGNATIEV AND K. BREITBURG." Arts education and science 1, no. 2 (2021): 121–25. http://dx.doi.org/10.36871/hon.202102015.
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Theater in Russia has for a long time neither cultivated nor encouraged the pursuit of entertainment and commercial success. Perhaps that is why, the first attempts to integrate the musical into the Russian theater environment ended in failure. "My Fair Lady" by F. Loewe, staged at the Stanislavsky and Nemirovich-Danchenko Theatre, "Avtograd–1929", staged at the Satire Theater and the "Chicago" musical, after several performances, were removed from the repertoire or, like enterprise productions, ceased to exist. The purpose of this research is to determine the reasons for the growing popularity of the literary musical in Russia. The article examines the development of literary musical through the work of its outstanding representatives, composers R. Ignatiev and K. Breitburg. Scientific novelty of the work lies in the study of previously unpopular classical literature samples, which are the basis for the modern musical theatre genre.
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PLAKHOTNYUK, Oleksandr. "CHOREOGRAPHERS OF THE STATE THEATER OF MUSICAL COMEDY IN LVIV FROM 1946-1953." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 203–11. http://dx.doi.org/10.30970/vas.20.2019.10625.
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A study is conducted of the historical processes of the formation of dance traditions in musical theaters, as well as operetta theaters on the example of the activities of choreographers of the Lviv Theater of Musical Comedy in the period from 1946 to 1953. The study outlines the historical processes of the formation of the above dance traditions. This study identifies the personalities of the choreographers of the directors of this theater and their creative result; there is a careful attitude to the traditions of the past and the introduction of modern techniques of theatrical choreographer. In the context of the features of choreographic numbers and their significance for the opera performance, their repertoire is considered. Definition of research. At the beginning of the 21st century, the event of the separation of choreography as a separate scientific specialty called “Choreographic Art” took place in Ukrainian art, which in turn requires a deep and meaningful study of the choreographic art of Ukraine in all its aspects and the development perspective. One of the aspects of this study is the study of the activities of the theatrical choreographer. The purpose of this study is to track the historical processes of the formation of dance traditions in musical theaters using the example of the Lviv Theater of Musical Comedy in the period 1946-1953. Main objective of the study. To personify the choreographers of the theater and to indicate the result of their activities; to trace their careful attitude to the traditions of the past and modern traditions in the context of the activities of the theatrical choreographer; determine the prospect of further scientific research. Methodology. The general scientific methods of objectivity, historicism, systemicity and observation are applicable here. The method of objectivity and historicism provided an opportunity to trace the conditions and the main stages of the creative activity of the choreographers of the State Theater of Musical Comedy in Lviv. The comparative method is suitable for use in the analysis of the creative work of choreographers of the Musical Comedy Theater in Lviv, because such a method provides an opportunity to discover common and different features. The systematic approach allowed us to study this phenomenon comprehensively. The observation method, which was used for a comparative analysis of the activities of choreographers in the post-war years in Lviv with modern ballet activity, revealed the nature and inheritance of the traditions of musical theater. Conclusions. So, the dance became the main axis for the whole drama performance, on which interconnected episodes were strung together in pop and musical theaters. The introduction of choreography into theatrical performances by the choreographers released the energy, musicality, plasticity contained in it, and endowed the performance with dynamism. The dance introduced into the musical theater became the starting point for the use of dance in the cinema, avant-garde ballet, performances, installations and so on.All this was subtly felt and skillfully used in their activities by the choreographers of the Lviv Musical Comedy Theater O. Opanasenko, I. Brzhinsky, B. Tairov, N. Denson. It is pleasant to realize that the results of their activities and their choreographic inventions used in musical performances certainly found their response in the activities of theatrical choreographers of Ukraine in the modern environment. We consider the prospects for further research in the study of biographical facts from life, from the legacy of the work of choreographers of Lviv theaters of the 20-21 centuries. All this will provide an opportunity to determine the basis for the formation of the theater-choreographic school of Lviv in particular and Ukraine as a whole.
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Breytburg, Kimol A. "Broadway musical commercial theater in the context of the socio-cultural environment of the 70s of the XX century." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 46 (2022): 182–95. http://dx.doi.org/10.17223/22220836/46/15.
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Broadway musicals created in the 70s of the XX century are a reflection of many socio-cultural phenomena taking place in the USA at that time. Their dynamic, originally formed musical dramaturgy, an appeal to topical topics consonant with the public consciousness of the era of the 70s, makes this period of development truly unique. The works created during these years by Stephen Sondheim, Stephen Schwartz, John Kander, Fred Ebb, Marvin Hamlisch, Edward Kleban greatly influenced the development of the musical genre, enriching it with new musical and dramatic techniques, a fundamentally new worldview for that time. The 70s of the XX century were the heyday of the creative work of musical theater di- © К.А. Брейтбург, 2022 rectors such as Harold Prince, Bob Foss, Jerome Robins, Michael Bennett, whose work revealed the musical and dramatic features of musicals, created an atmosphere and a unique charm of entertainment, but at the same time a special psychological depth, for which such musicals as “Chicago”, “Corps de Ballet”, “Company”, “Little Night Music” became famous. Commercial theater is also professional management and non-trivial production solutions that promote artistic works to the market. Perhaps because of this, these musicals have become beloved by a huge audience and iconic in the history of the genre as a whole. The 70s were especially difficult for the life survival of Broadway theaters, because the conditions of the economic crisis in the United States were increasing. Society, on the one hand, became more and more divided, on the other hand, various racial and gender minorities united, intensifying the struggle for their civil rights, the women's movement for equality was gaining more and more strength. Since its inception in the middle of the XIX century and up to the beginning of the XXI century, the Broadway musical has been and remains a vibrant, viable entertainment form. The musical as a kind of musical theater has endured devastating economic and political crises, radical shifts in public consciousness and the development of much more modern, less expensive and supported mass entertainment media with enviable resilience. This type of musical and scenic art continues to live and develop steadily, and in recent years its importance in social and cultural life and popularity among the general population, including in our country, has increased significantly. The stage American musical is a constantly adapting commercial musical and theatrical entertainment form, which is the product of a dynamically developing socio-cultural environment. It is impossible to separate the processes occurring in the genre-stylistic evolution of the musical from the economic, socio-political and social phenomena occurring at each individual historical stage of the development of society. That is why the materials presented in the article are interdisciplinary. They are connected not only with the musical as a kind of musical and scenic art, but, what is fundamentally important and new for this kind of research, with the socio-historical background that influenced the formation of certain trends in the development and formation of musical theater.
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Fulton, Patrick. "Musical Theater Songs." Music Reference Services Quarterly 19, no. 3-4 (October 2016): 238–41. http://dx.doi.org/10.1080/10588167.2016.1231483.
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Sajewski, Mallory. "Musical Theater Songs." Notes 73, no. 4 (2017): 764–65. http://dx.doi.org/10.1353/not.2017.0061.
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Gang, Yi, and Bi Zhang. "A Study of Choreography Courses for Musical Theater Majors." Studies in Art and Architecture 1, no. 1 (December 2022): 8–13. http://dx.doi.org/10.56397/saa.2022.12.02.
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Musical theater education in Chinese universities is generally focused on training musical performance talents, and the dance courses involved are also set up to enhance dance performance. The dance styles learned are mainly ballet, modern dance, jazz dance and tap dance, which are common in European and American musicals. However, in the actual musical rehearsal process, the use of dance to create dramatic characters, develop dramatic events, and show dramatic emotions and conflicts requires the skilled creative ability of the musical choreographer. The educational process of musical choreography is a multi-faceted process, which requires the choreographer to have a solid theoretical basis and flexible creative skills. By comparing with universities in Europe, America and South Korea that have musical theater major, this paper studies the advantages and disadvantages of musical theater major courses in Chinese universities in terms of choreography training. Based on the actual situation of China, this study finds the curriculum that conforms to musical choreography through multi-angle analysis of practice, creation, and theory.
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Kuklinskaya, M. Ya. "Opera and “Director’s” Theatre of the 21st Century." Observatory of Culture 15, no. 3 (August 19, 2018): 272–81. http://dx.doi.org/10.25281/2072-3156-2018-15-3-272-281.
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The article raises the issues of interaction between modern direction and the musical text of opera. Researches of foreign and domestic scientists in the fi eld of theatre studies and musicology allow analyzing a musical performance as an independent text, in which there is an interchange between different types of art. The author focuses on the opera as a dialogue between music and theater. The author proposes three main forms of the dialogue for consideration: the director and the composer, the director and the viewer, the director and the actor. The article expresses the opinion that, in the process of interaction between the director and the opera text, some myths appeared and started to impede the development of this process and to cause confl ict situations while analyzing the fi nal results. Among those kinds of myths, the author reckons the idea of director-conceptualist as the destroyer of the composer’s idea, the unconditional defi nition of this idea, and the so-called “reverse logic” of feeling and action in musical theater. Observing the functioning of each of these myths on concrete examples, the author comes to conclusion on the necessity to “debunk” them for further successful development of musical theater. From this position, the article analyzes fragments from operas by Russian and foreign composers and their stage impersonations. In the dialogue “director—viewer”, two main ways of the participants’ interaction are defi ned: the theater as a form of escapism and the theater as a “catalyst” of intelligence. The author emphasizes the need to have both the ways, so that the viewer should be able to choose. The author considers the relations between the director and the actor to be the most positive for the modern theatre, which led to the emergence of a new type of performer on the modern opera stage: singerartist, who fully owns the acting technique of “internal action”. The article concludes that there is an ambiguous, but rather perspective and positive situation in the modern musical theater, which determines further ways of the genre’s development.
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Kaidi, Wang. "CULTURAL CONTACTS BETWEEN RUSSIA AND CHINA IN THE FIELD OF MUSIC AND DRAMA THEATER (50s of the XXth century)." Arts education and science 1, no. 2 (2021): 99–106. http://dx.doi.org/10.36871/hon.202102012.
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The article is devoted to the cultural cooperation between the USSR and the People's Republic of China in the field of musical theater. The Treaty of Friendship, Alliance and Mutual Assistance between these two countries, signed in Moscow on February 14, 1950, became a starting point in the development of cultural contacts. The most productive period was from 1949 to early 1960s. An important marker of the development of Soviet-Chinese cultural relations was the tour of theater troupes from both countries to the Soviet Union and the Celestial Empire. The Stanislavsky and Nemirovich-Danchenko Moscow Musical Theater team visited China in 1954, and later the artists of the Shaoxing Opera and the Shanghai Theater of Beijing Musical Drama demonstrated their art in Russian cities. The two countries' directors showed mutual interest in the classical opera art of their counterparts: in Beijing and Tianjin P. I. Tchaikovsky's "Eugene Onegin" and "The Queen of Spades" were performed by Chinese singers, while in Russian cities the traditional Chinese theatre plays "The Spilled Cup" and "The Grey-Haired Girl" were staged by Russian artists.
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Cox, Jane. "Encountering Road Show." Studies in Musical Theatre 17, no. 3 (December 1, 2023): 229–35. http://dx.doi.org/10.1386/smt_00135_1.
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The author considers her experience as the lighting designer for John Doyle’s production of the Stephen Sondheim and John Weidman’s musical Road Show at the Public Theater in New York City in 2008. She reflects on the experience of her life and career as an immigrant designer in the American theatre in relationship to the story of the musical, and relates her experience of the rehearsal and technical process of the production. The author considers her relationship to the American musical through the experience of designing this one particular Sondheim musical and explores various relationships to America, to the musical and to theatre in capitalism in the context of particular songs from the musical.
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TKACHUK, VOLODYMYR. "Formation of Associative Thinking of Future Conductors in the Process of Processing Music of Theater Genres." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 2(59) (June 30, 2023): 50–65. http://dx.doi.org/10.31318/2414-052x.2(59).2023.295414.
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The specifics of the conductor's work on works of music and theater genres were studied, the components of this process and the importance of associative thinking were determined. The specifics of the genre of operetta, musical comedy, which consists in the fact that the main role in the productions of plays is played by the director, who builds the dramaturgical concept of the play, and in most cases is also the author of the script, is considered. Attention is drawn to the obligatory implementation of the stage work of the director in close contact with the conductor, who is responsible for the musical component of the performance. It is noted that the foundations of a conductor's professional skill are laid in the process of professional training and are consolidated during artistic practice in musical theaters. Attention is focused on the role of theatrical performance in the education of associative thinking in future conductors. The specifics of the conductor's work in the operetta theater and the opera theater are characterized as a means of analyzing the creative experience of outstanding artists. The role of the conductor's associative thinking is defined not only in psychological (as thinking with the help of images and associations) and art history aspects (as a subfactor of the synthesis of arts), but also from a sociological point of view — as corporate thinking based on interpersonal interaction of participants in the creative process, joint activity which is aimed at achieving a specific result. The need for creative adaptation of the score for a specific composition of the musical theater orchestra is substantiated. The nature of the conductor's creative interaction with the director, soloists, choir and orchestra is highlighted. Problematic aspects of students' artistic practice in musical theater are outlined and ways to overcome them are proposed. Attention is focused on creative competitions as one of the means of professional formation of conductors. Four pedagogical conditions and basic principles of formation of associative thinking of students of the opera and symphonic specialty are defined. The importance of associative thinking as a professionally necessary quality of a musical theater conductor is proven. It was found that the work of a musical theater conductor requires the formation of a set of professional competencies (professional skills, musical abilities, personal qualities, individual and psychological characteristics)
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Krylovskaya, Izabella I. "Operetta Theater in the Far East in the Period between Two Wars (1906–1914)." Problemy Muzykal'noj Nauki / Music Scholarship, no. 3 (2022): 120–32. http://dx.doi.org/10.56620/2782-3598.2022.3.120-132.
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The author highlights the period of the pre-revolutionary operetta theater in the Far East, spanning the years between two Wars – the Russo-Japanese War and World War I, characterized by an intensive development of the given sphere. Both the inner and the overall Russian tendencies find reflection in this process. This is revealed in forming the repertoire with the fundamental musical compositions, including operettas by contemporary composers from Russia and from other countries. The cameo theaters which spread in the region at that time stipulated the appearance of one-act performances, as well as “shortened” versions of classical and Viennese operettas in the programs of the non-repertory theaters. Among the regional traditions of musical theater, we can observe “competitional” productions and incorporation of inserted numbers, which enhance the multicultural character of operetta. When comparing the dynamics of the functioning of the operetta theater in the country’s central and southern provinces, the conclusion is formed about the leadership of the peripheral territories in this sphere. The cities of the Far East, Harbin, Khabarovsk and Vladivostok broadened the geographical areas of activity of the operetta theater in the remote territories of the Russian Empire.
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Mamy, Sylvie, Giovanni Morelli, Reinhard Strohm, and Thomas Walker. "Drammaturgia Musicale Veneta. Musical Theater in the Venetian-Republic." Revue de musicologie 72, no. 1 (1986): 149. http://dx.doi.org/10.2307/928787.
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Shornikova, Alexandra V. "About the Influence of the Performative Features of the Avant-garde Theater on Documentary Opera." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (2022): 186–94. http://dx.doi.org/10.33779/2782-3598.2022.1.186-194.
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Documentary qualities in the art of music are among of the bright, interesting and little researched phenomena of modernity. Having been generated in the sphere of cinema and drama theater, the present tendency also became circulated in the sphere of musical theater. The introduction of documentary innovative materials – verbal and audio – into the artistic context of works written in the opera genre substantially transformed the traditional structure of musical performance. The article ascertains that the source of such types of experimental attempts was the elaboration of the avant-garde dramatic theater, whose producers made broad use of the techniques of performative art. This became the artistic orientation for documentary musical theater. Analysis of the stage endeavors of theatrical producers Erwin Piscator, Giorgio Strehler, Andrei Serban and Peter Sellars has made it possible to bring to light the vectors of impact of avant-garde theater on the musical documentary theater, which broadly applied the principles of performativity. Accentuation is made of the role of contemporary computer technologies, which gave the opportunities to producers and composers to obtain an instrumentarium that is broad in its artistic resources and inclination towards synthesis, to realize the performative forms of presentation of musical theater. The new features include minimalistic scenography, political allusions, the extension of time and space, and special forms of interaction with the audience. Their appropriation by musical documentary theater proves the force of impact of avant-garde artistic practices, which have greatly transformed opera traditions.
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Dyatlov, Dmitry A. "”Musical theater” by Mark Levyant." Sphere of culture 2, no. 4 (December 17, 2021): 89–101. http://dx.doi.org/10.48164/2713-301x_2021_6_89.
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The article is devoted to the work of Samara composer Mark Levyant. The musician celebrates his anniversary in 2021. In the composers extensive creative background of writing there is a variety of genres including classical music. Brief analytical overview presents composers chamber, choral, vocal and symphonic works. They are all considered in the music paradigm of drama theatre. Each of them reflects some interaction with the composers theatre music.
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Brower, John. "A Core Musical Theater Collection." Music Reference Services Quarterly 8, no. 2 (December 2002): 45–86. http://dx.doi.org/10.1300/j116v08n02_05.
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Krom, Anna E. "David Lang’s Postminimalist Musical Theater." Vestnik of Saint Petersburg University. Arts 12, no. 3 (2022): 432–48. http://dx.doi.org/10.21638/spbu15.2022.302.
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The article explores issues of the American musical theater of the nineteenth century, fruitfully developing on the basis of postminimalism. Among the brightest representatives of this style is the composer David Lang (1957), a member of the group “Bang on a Can”. His theatrical projects of the last two decades demonstrate a new phase in the development of postminimalist theater, the foundation of which was laid by his older contemporaries, Philip Glass, Steve Reich, and John Adams. Using the example of stage works — “The Difficulty of Crossing a Field” (2002), “Prisoner of the State” (2019), and “Anatomy Theater” (2016) — the author identifies the main features of Lang’s musical and theatrical style and traces a close relationship with the operas of his predecessors. They are brought closer by the appeal to postmodern dramaturgy (fragmentation, discreteness, commentarity), social problems, the desire for genre uniqueness of each performance, repetitive methods of organizing musical facture. In his theatrical work, Lang relies on postminimalism and repetitive technique, which manifests itself at different levels — dramatic, verbal (repetition of syllables, words, phrases in the libretto) and musical. A characteristic feature of Lang’s stage opuses is the synthesis of academic opera traditions and non-academic genres and directions (Musical, jazz, rap), which allows us to draw analogies with the art of crossovers. The Musical in some cases acts as the genre basis of the work (non-academic vocals, dances, a speech episodes). Lang’s theater is a chamber theater, it assumes a small composition of participants, placement of vocalists and orchestra members on the stage, laconic timing of plays. All these factors allow us to make an assumption about the formation in Lang’s musical and theatrical work of the next phase of the evolution of postminimalism, which can be characterized as postpostminimalism.
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Gun, G. E. "Music Theater “Online”." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 26, no. 4 (2020): 93–99. http://dx.doi.org/10.15826/izv1.2020.26.4.074.
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The article discusses the features of online broadcasts of musical performances in a pandemic. The paper emphasizes the ambiguity of the attitude towards online broadcasts, examines the problems and experience gained in the process of organizing online shows of theater performances, notes the potential of online formats for the development of theater audiences. The author analyzes the summary billboard of online broadcasts in AprilMay 2020 and gives recommendations for the development of online formats for musical theater.
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Lee, KyoungHwa, JongWoo Jun, and DaeHyun Lee. "Proposal of Musical Music Director Curriculum Focusing on Core Competencies: A Case Study on Overseas Musical Music Director." Korean Society of Culture and Convergence 45, no. 12 (December 31, 2023): 1437–50. http://dx.doi.org/10.33645/cnc.2023.12.45.12.1437.
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The purpose of this study is to propose an educational curriculum for musical music directors. As a research method, we investigated the competencies of professional music directors and analyzed cases of ‘Music Theatre Direction’ major curricula at Rider University ·Webster University·Baldwin Wallace University in the United States. This case was examined based on the core competencies targeted by the Ministry of Education, and in-depth interviews were conducted with three experts who both work in musical education and field work to verify feasibility. As a result, musical music director education was complexly linked with other subjects such as theater· musicals· and dance, based on music education of knowledge and technology. Through these complex subjects, social skills of collaboration and communication can be developed, and furthermore, it has been shown to affect one’s own planning· design and execution·defense and argument. This study has meaning in providing the basis for the Musical music director curriculum, and will provide an academic viewpoint in that it bridged the gap between field work and educational institutions.
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Udina, Vera I. "The metamorphoses of musical theater in the culture of pre-revolutionary Russian province." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 46 (2022): 224–36. http://dx.doi.org/10.17223/22220836/46/19.
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Article is devoted to system characteristic of the musical theater in the context of the culture of the pre-revolutionary Russian province. On the example of the opera genre top trends of historical development of provincial theater of Russia throughout XVIII - the beginnings of the 20th centuries are analyzed: the periodization of musical and theatrical process in the province, the social, cultural and historical conditionality of this process. According to the selected stages change of genre musical and scenic dominants (the early comic opera, the vaudeville, the operetta, the Russian and European classical opera) is traced. Transformation of different institutional forms of existing of opera art on the provincial stage (farmstead, city stationary theater, an enterprise, an opera partnership) in the context of socially historical development of domestic culture of the pre-revolutionary period is revealed. Important typological characteristic of a provincial opera scene is its character, “reflective” in relation to capital theater. It was shown in tour practice as the most mobile form of distribution of opera art across all Russia. In the article considerable attention is paid to such problems, methodologically important for characteristic of pre-revolutionary provincial musical theater, as territorial and geographical correlation of different Russian regions to capital cities, historically changing conditions of cultural interaction between the center and peripheries. On this basis some art features of opera culture of the prerevolutionary Russian province are analysed: the essence of the opera repertoire (national and foreign), performing forces, level and quality of opera settings, public relation to musical theater, etc. The conclusion is drawn that opera theater - an important component of musical culture of the Russian province. The opera studied the history of development which analysis significantly supplements an overall picture of evolution of domestic musical theater on the provincial stage.
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Vinogradova, A. S. "The Man of the Theater from the Environment of P.I. Tchaikovsky: K.N. De‐Lazari." Art & Culture Studies, no. 3 (October 2021): 306–33. http://dx.doi.org/10.51678/2226-0072-2021-3-306-333.
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This paper is dedicated to a creative personality from P.I. Tchaikovsky’s friendly circle, Konstantin Nikolaevich De-Lazari (stage name Konstantinov). Throughout the composer’s life, this artist of almost all theatrical genres (from drama and opera to vaudeville and operetta) maintained friendly relations with Pyotr Ilyich himself, then with his brothers and father. Serving alternately in the troupes of the opera (Bolshoi Theater, Moscow) and drama theaters (Alexandrinsky Theater, St. Petersburg), he did not lose touch with either the musical or dramatic environment and was considered “his own man” behind the scenes of the theaters of both capitals. He was a friend of Pyotr Ilyich’s friends: N.G. Rubinstein, G.A. Laroche; patronized talented actresses who played prominent roles in the destinies of M.I. Tchaikovsky (M.G. Savina) and A.I. Tchaikovsky (A.Ya. Glama-Meshcherskaya). K.N. De-Lazari left several memoir texts; their exact number and significance for the biography of P.I. Tchaikovsky has not yet received a scientific assessment. These texts and their interpretation will help to expand our understanding of the composer’s circle of friends and the synthetism of perception of musical and dramatic theater, characteristic of P.I. Tchaikovsky, his natural artistry, in a broad sense.
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Valeriia, Liubchenko. "“SUICIDE” ON THE KHARKIV STAGE: MUSIC AND STAGE READING BY S. PASICHNYK – H. FROLOV." Aspects of Historical Musicology 24, no. 24 (October 13, 2021): 199–214. http://dx.doi.org/10.34064/khnum2-24.11.
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Statement of the problem. The article examines the theatrical heritage of Les Kurbas, the founder of Shevchenko Kharkiv Academic Ukrainian Drama Theatre (originally called «Berezil»). Les Kurbas is the reformer of the Ukrainian theater; his theatrical ideas demonstrate a new understanding of the synthesis of the arts. He concentrated his creative aspirations not only on acting, but also on all components of the performance, in particular on music. The paper examines methodically the application of the basic principles of Les Kurbas Theatre – the co-authorship of the director and composer – in Kharkiv theatre. The article also studies the works by H. Frolov – talented Kharkiv composer. The critical legacy dedicated to the works of Les Kurbas does not fully illuminate the uniqueness of his views regarding directing and the originality of the musical language in the genre of dramatic performance (CherkashynaHubarenko, 2002; Hordieiev, 2003; Yermakova, 2012; Labinska, 2012). There are a number of works devoted to the issues of music in theater (Kurysheva, 1984; Kozyurenko, 1986; Tarshis, 2010; Matsepura, 2013; Lesakova, 2017; Oseeva, 2019; Kovalchuk, 2017; Nurtazin, 2013; Spagnolo, 2017). The novelty of our research. The paper investigates musical component in the current practice of Shevchenko Kharkiv Academic Ukrainian Drama Theatre and creative method of its leading composer H. Frolov. The aim of the article is to reveal the interconnection of music with the stage elements of the performance. The study of the stage play “Suicide” in Kharkiv Drama Theater required the implementation a number of scientific approaches: historical and genetic, studying the modern function of music in the analyzed dramatic performance in Kharkiv Drama Theater, the origins of which go back to Kurbas “Berezil”; a comparative analysis, revealing the ways of preserving old traditions in modern performance; genre analysis, investigating the embodiment of the comedy dell arte in the musical scenes; stylistic analysis, revealing the composer’s thinking in making the director’s decision regarding stagecraft. The presentation of the main material. The article analyzes a musical component in the stage performance “Suicide” based on the play by Nikolay Erdman (1928), reinterpreted by our contemporaries – the stage director Stepan Pasichnyk and the composer Henadii Frolov. The work reviews the production itself and the acting troupe. The article outlines the inheritance and development of the traditions in Les Kurbas Theatre regarding the mutual work of the composer and director, aimed at the organic fusion of the stage action and musical accompaniment of the performance. Conclusions. Dramaturgical and genre-compositional analyzes of the performance detected such distinctive features of the individual style of H. Frolov as: musical organization of the stage with one intonation, which, depending on the drama, can be flexible and transformative, acquiring new meanings and qualities and thus making the musical development monothematic; unity of the figurative and semantic layers of music with the director’s concept of the performance; transformation of genre features of tragic farce and commedia dell’arte.
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Pushkar, Larysa, Olga Lobova, Nataliia Pavlushchenko, Svitlana Parfilova, Olha Vasko, and Vita Butenko. "Theatrical Activity as a Way of Developing Musical-Choreographic Competence in Future Preschool and Primary School Teachers." Revista Romaneasca pentru Educatie Multidimensionala 14, no. 3 (September 2, 2022): 18–31. http://dx.doi.org/10.18662/rrem/14.3/595.
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The article highlights the possibilities of applying elements of theatre arts in the process of preschool and primary school teachers professional training. In particular, it reveals the issue of forming musical and choreographic competence in students by means of various forms, types and methods of drama. The main forms of musical and choreographic competence formation in preschool and primary school teachers are practical and laboratory classes (disciplines “Pedagogy”, “Fundamentals of pedagogical creativity”, “Fundamentals of stage and screen art with teaching methods”, “Organization of theater activity in preschool education institutions”, “Methods of music education”, “Musical art with methods of teaching”, etc.) and extracurricular forms of students’ theater activity (drama societies, drama studios, etc.).
Important types of drama activities in the process of training future preschool and primary school teachers are staging and dramatization, within which it is advisable to use different methods of forming students’ musical and choreographic competence: music-motor and drama games, staging of fairytales and songs, improvisation on a given theme-image, sketches, etc. Their use contributes to the development of a holistic set of musical and choreographic abilities, formation of singing skills, stage and dance movements, upbringing of future teachers’ performance culture and so on.
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Jennings, Brendan, and Tim Summers. "Songs of Rapture—Creating a Bioshock Musical Show." Journal of Sound and Music in Games 3, no. 4 (2022): 56–62. http://dx.doi.org/10.1525/jsmg.2022.3.4.56.
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In this interview, musical director Brendan Jennings describes the process of creating a twenty-minute musical theater show based on the video game Bioshock. The musical show was written as a show choir competition piece for the high school choir Powerhouse. The performance was a huge success in competition settings and attained international attention from media outlets and fans of both musical theater and video games.
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Odazhiev, Petar. "An Innovative Form of Access to the Cultural Heritage of Musical Theatre: A Perspective from Bulgaria." Cultural and Historical Heritage: Preservation, Representation, Digitalization 7, no. 1 (2021): 178–92. http://dx.doi.org/10.26615/issn.2367-8038.2021_1_013.
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Providing as an example the Virtual Museum of Bulgarian Musical Theatre, institutionalized as an independent and constantly evolving Internet platform at the Museum of the Bulgarian Musical Theater (MBMT), this study represents a new contribution to the application of digital technologies to management and cultural promotion. The research answers questions regarding the current development and applications of digital technologies for designing multimedia content aiming to represent cultural heritage. The results offer an original virtual museum constructing method for interactive access to archival samples of performances in the following genres: opera, ballet, operetta, and musical. Additionally, the museum offers access to a presentation of the achievements of music and stage art through permanent thematic collections of repertoire programs, up-to-date information about the creative process of artists, conductors, directors, scenographers, choreographers. Keywords: Digitization, Preservation, Cultural Heritage, Digital Collections, Musical Theatre, Opera, Ballet
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Newbury, Michael. "Polite Gaiety: Cultural Hierarchy and Musical Comedy, 1893-1904." Journal of the Gilded Age and Progressive Era 4, no. 4 (October 2005): 381–407. http://dx.doi.org/10.1017/s1537781400002760.
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In 1903, Alan Dale, the theater critic for the New York American and Journal, when contemplating the state of the American stage, came to the conclusion that “the only national theatre I can find, after severe cogitation, is that beautiful, flip, and classic commodity known as musical comedy.” Dale pointed out that musical comedy's exorbitant popularity was a recent development, emerging only in the previous five or ten years, and that his anointing of the form as the national theater would not sit well with more serious-minded devotees of drama. “Well read gentlemen with heavy minds,” wrote Dale, would prefer different sorts of productions, plays that “mere commercial managers don't want to stage and mere amusement seekers don't want to see.” Seeking an improbable bridge over this cultural divide, Dale suggested that “[Henrik] Ibsen might air his neat little views on heredity in happy verse set to music…[His] favorite subject of maggots on the brain” could feature a “chorus of pretty girls disguised as maggots.”
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Vania, Nirvana, Sukanta Sukanta, and Iwan Gunawan. "Teater Musikal Anak "Pemetik Senyuman" oleh Nuart School of Musical Theatre (Analisis Proses Penggarapan Musik)." SWARA - Jurnal Antologi Pendidikan Musik 3, no. 3 (December 1, 2023): 103–14. http://dx.doi.org/10.17509/swara.v3i3.36286.
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Teater musikal adalah salah satu bentuk pertunjukan teater yang menggabungkan lagu, dialog lisan, akting, dan tarian. Cerita dan konten emosional dari musik - humor, kesedihan, cinta, kemarahan - dikomunikasikan melalui kata-kata, musik, gerakan, dan aspek teknis dari hiburan sebagai satu kesatuan yang utuh. Berangkat dari sebuah puisi yang ditransformasikan menjadi sebuah pertunjukan dibutuhkan kemampuan kreatifitas tinggi dari seorang komposer dalam penggarapan dari segi cakupan seni pertunjukan dan musik pun memiliki peran krusial sebagai pemicu atau penggugah suasana. Penelitian ini berjudul “Teater Musikal Anak “Pemetik Senyuman” oleh Nuart School of Musical Theater: Analisis Proses Penggarapan Musik”. Permasalahan dan tujuan pada penelitian ini untuk mendeskripsikan dan menganalisis proses interpretasi musik, proses garapan musik, dan penyajian pertunjukan dalam teater musikal anak “Pemetik Senyuman”. Metode yang digunakan dalam penelitian ini yaitu metode deskriptif analisis dengan pendekatan kualitatif. Pengumpulan data yang dilakukan peneliti melalui logbook yang diberikan oleh mentor, wawancara, dokumentasi, dan studi pustaka. Hasil dari penelitian ini menjelaskan bahwa kordinasi sutradara berserta jajaranya berubah menjadi kerja secara ansambel berdasarkan pengetahuan dan keterampilan, hasil interpretasinya bisa merealisasikan program Nuart School of Musical Theatre sesuai dengan ekspetasi untuk tahap awal proses pengenalan tentang teater musikal pada anak-anak.
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Ahmadova, Gulkhara. "WORLDLY SIGNIFICANCE OF THEATERS: IREVAN STATE AZERBAIJAN DRAMA THEATER." Scientific Journal of Polonia University 58, no. 3 (September 1, 2023): 10–14. http://dx.doi.org/10.23856/5801.
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Historically and even now, the literary and cultural environment of Azerbaijan is known both in the East and in the West. As a result of the severe tragedies, deportations, and genocides inflicted on the people of Azerbaijan, scientific and educational institutions, state institutions, museums, natural monuments, and cultural centers created in our country have suffered as much as our people. Theaters were also forced to live the fate of refugees. Today Shusha Musical Drama Theater, Aghdam State Drama Theater, Fuzili State Drama Theater continue their activities in the field of refugees. All three theaters, which have a great tradition of Armenian influence, have undoubtedly struck a blow. The annals of the Theater, which went through a tumultuous journey and was repeatedly subjected to Armenian vandalism, is a part of the historical destiny of our compatriots in the ancient lands of Azerbaijan. The article discussed the history, activity, and post-deportation activities of the Yerevan State Azerbaijan Drama Theater in exchange for all these processes. At the same time, attention was drawn here to the current situation of the Iravan State Azerbaijan Drama Theater and the works in the theater's repertoire. It was emphasized that the theater, which went through a difficult and turbulent path, goes on tours today, stages new plays, and gives successful performances. The article is dedicated to the ongoing processes related to the Yerevan State Azerbaijan Drama Theater.
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Moniz, Justin John. "The Changing Face of Opera in America: Musical Theatre on the American Operatic Stage." Journal of Singing 78, no. 2 (October 21, 2021): 171–76. http://dx.doi.org/10.53830/gndz3859.
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To address the opera industry’s ongoing struggle to maintain self-sustaining business models, more and more major opera companies turn to musical theater to build audiences and revenue. This article identifies challenges successfully met by several specific opera companies, discusses opportunities for programming music theater on the operatic stage, including effects on the casting process, and looks toward a promising future that is inclusive of both opera and musical theater in one canon or repertoire.
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Shout, John D. "The Musical Theater of Marc Blitzstein." American Music 3, no. 4 (1985): 413. http://dx.doi.org/10.2307/3051828.
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Bryer, Jackson R. "O'Neill on the Musical Theater Stage." Eugene O'Neill Review 37, no. 2 (September 2016): 168–71. http://dx.doi.org/10.5325/eugeoneirevi.37.2.168.
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Bryer. "O'Neill on the Musical Theater Stage." Eugene O'Neill Review 37, no. 2 (2016): 168. http://dx.doi.org/10.5325/eugeoneirevi.37.2.0168.
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Shchukina, Yuliia. "Oleksandr Ivashutych, a student of Les Kurbas, as a universal figure in the theater of musical comedy." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 345–57. http://dx.doi.org/10.34064/khnum2-19.20.
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Background. Analyzing the origins of the school of Kharkiv Academic Theater of Musical Comedy, we cannot ignore its founders. People’s Artist of the UzSSR O. Ivashutych was a director, head of the theatre (during the 1940s), drama actor from the year of its founding (1929) to 1971. Methods and novelty of the research. The research is based on historicalchronological, biographical, typological, and comparative methods with an element of performances and roles reconstruction. Not much is known about O. G. Ivashutych. The only encyclopedic reference about him (from the “Encyclopedia of Modern Ukraine”) does not shed light on the director’s method, indirectly giving an idea only of the acting range. The work of Yu. Stanishevsky (1970) on the first forty years of musical comedy theaters of Ukraine (“Colors of Ukrainian operetta”) has several useful elements of reconstructions of the roles in the early period of O. Ivashutych’s work. N. Yermakova’s (2012) monograph “The Berezil Culture…” contains facts and important assessments of O. Ivashutych’s activity as a member of the Berezil Art Association. The author of this paper has collected more than 30 articles in the funds of scientific libraries and Specialized music and theater library of Kharkiv, as well as in the archives of KhATMK, and for the first time the information about the work of O. Ivashutych is analyzed. In addition, the actresses who worked with O. Ivashutych were interviewed. Therefore, this study is the first to reveal and systematize peculiarities of the creative path of O. Ivashutych, an actor, director, head of Kharkiv Theater of Musical Comedy. The director made about 40 productions on the stage of Kharkiv Theater of Musical Comedy and in Central Asia, where he was later evacuated. As an actor, O. Ivashutych played more than 100 versatile roles. The article aims to identify and characterize the main stages of the creative path of O. Ivashutych as well as differences between his acting and directing in different aesthetic eras. Results. O. Ivashutych’s creative individuality leaned towards the tragicomedy of Charlie Chaplin and Maryan Krushelnytsky. As a student of Les Kurbas in the Berezil Art Association and a member of the director’s laboratory of this theater, Les Ivashutych mastered the method of the famous avant-garde company, Les Ivashutich mastered the stage method of the famous avant-garde company, skillfully building rhythm of a performance and a role, turning to circusize, grotesque sharpening of images. In his directing work on the stage of the Musical Comedy Theater, O. Ivashutych, as a pupil of “The Berezil”, sought to consistently develop two repertoire trends: the embodiment of the best European classics (often exclusive in the country salon repertoire) and Ukrainian works (musical comedies and operettas by M. Verykivsky, M. Lysenko, O. Riabov). In our opinion, during these years L. Ivashutych drew a dash line of the European repertoire in his theater: he presented unique in the history of Kharkiv Theater of Musical Comedy operettas “The Borgia’s Garter” by K. Kraus, “Jeanne Who Cries and Jean Who Laughs” by J. Offenbach, “Ball at the Savoy” by P. Abraham (1940), “The Marriage Market” by V. Jacobi (1947), “The Eagle Feathers” by F. Farkas (1957), “Fraskita” by F. Lehár (1959), “The Waltz King” by J. Strauss (1961) and the first productions of famous operettas “Rose Marie” by G. Stotgardt and L. Friml (1942), “The Circus Princess” (1947), “Zorika (Gypsy Love)” by F. Lehár (directed by O. Ivashutych in the year of the composer’s death). In addition, O. Ivashutych staged four performances based on the musical comedies of the classic of Ukrainian operetta O. Riabov. The only performance, which could directly reveal the methodology of “The Berezil” was a fantastic comedy “Viy” (1951). The director also impressed with frank theatricality in circus scenes from the Milyutin’s operetta “Circus lights the fires” – together with choreographer A. Gulesco he managed to set up the style related to “girls” from “The Berezil” revues. Conclusions. Olexandr Ivashutych’s acting naturally evolved from the avantgarde of the 1920s – early 1930s, when he created, in particular, an eccentric image of Orpheus in the production of J. Offenbach, to the realistically psychological roles of 1950–1960, performed in a soft comedic manner (Amadeus in “The Bat”, Rooster in “Akulini”, Underwud in “The Kiss of Cianita”). L. Ivashutych worked as a director only during the period of the theater of “socialist realism”, which resulted in the corresponding realistic principles of his productions. However, even in such circumstances the director appreciated and skillfully used bright elements of theatrical imagery (fantasticality in “Viy” by M. Gogol, choreography in the spirit of the revue in “Circus lights the fires”). O. Ivashutych’s activity in Kharkiv Theater of Musical Comedy was based on the significant personal culture of the artist and his worldview of an intelligent leader.
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Hong, Wan Sik, and Sun-Ah Moon. "A study on the copyright protection for the director." Korean Public Land Law Association 100 (November 30, 2022): 509–31. http://dx.doi.org/10.30933/kpllr.2022.100.509.
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A director of the musical or theater is the person responsible for the all element of a performance. But the copyrights of the musical or theater director is not protected by the Korean Copyrights Act. First of all terms of copyright, the term “work” means a creative production that expresses human thoughts and emotions and the term “author” means a person who creates a work. The right of the director of the musical or theater is regulated as a performer not an author. According to the Copyrights Act §2②, the term “performer” means a person who gives a stage performance by expressing works through acting, dancing, musical playing, singing, narrating, reciting or other artistic means or by expressing things other than works in a similar way, including a person who conducts, directs or supervises a stage performance. Thus a director of the musical or theater is a performer and the rights of the director is protected as the neighboring copyright. But the director who contribute their thinking and insights to play or musical performance might contribute creatively to a production is protected as the copyright. A theater production or a musical production can be broken into two parts, the words on the page and the work on stage. The directors right about the work on stage shall be protected as the writers right about the words on the page can be protected. The current copyright statutes seem easily to accommodate co-authorship. A director’s copyright would instigate a complex, cumbersome array of derivative copyrights that would stymie and ultimately prevent multiple productions of a playwright’s script.
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Hong, Wan Sik, and Sun-Ah Moon. "A study on the copyright protection for the director." Korean Public Land Law Association 100 (November 30, 2022): 509–31. http://dx.doi.org/10.30933/kpllr.2022.100.509.
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A director of the musical or theater is the person responsible for the all element of a performance. But the copyrights of the musical or theater director is not protected by the Korean Copyrights Act. First of all terms of copyright, the term “work” means a creative production that expresses human thoughts and emotions and the term “author” means a person who creates a work. The right of the director of the musical or theater is regulated as a performer not an author. According to the Copyrights Act §2②, the term “performer” means a person who gives a stage performance by expressing works through acting, dancing, musical playing, singing, narrating, reciting or other artistic means or by expressing things other than works in a similar way, including a person who conducts, directs or supervises a stage performance. Thus a director of the musical or theater is a performer and the rights of the director is protected as the neighboring copyright. But the director who contribute their thinking and insights to play or musical performance might contribute creatively to a production is protected as the copyright. A theater production or a musical production can be broken into two parts, the words on the page and the work on stage. The directors right about the work on stage shall be protected as the writers right about the words on the page can be protected. The current copyright statutes seem easily to accommodate co-authorship. A director’s copyright would instigate a complex, cumbersome array of derivative copyrights that would stymie and ultimately prevent multiple productions of a playwright’s script.
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Pereverzeva, Marina V. "Genre Specifics of the Musical and Its Reflection in Stage Practice (Experience in Staging the Performance by College Students)." Uchenye Zapiski RGSU 20, no. 1 (March 30, 2021): 164–71. http://dx.doi.org/10.17922/2071-5323-2021-20-1-164-171.
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Pop faculties and departments of universities and colleges became the main suppliers of musical actors, interest in which arose in Russia in the 90s of the XX century. The methodological support for the preparation of musical artists has not yet been sufficiently covered due to the youth of this genre and the specifics not fully studied. The popularity of the musical in our country gradually leads to an increase in the number of specialized educational institutions and relevant faculties in existing theater and music colleges and universities, which, of course, should increase the overall level of stage productions in this genre and bring the Russian musical to new creative heights. Annotation. Pop faculties and departments of universities and colleges became the main suppliers of musical actors, interest in which arose in Russia in the 90s of the XX century. The methodological support for the preparation of musical artists has not yet been sufficiently covered due to the youth of this genre and the specifics not fully studied. The popularity of the musical in our country gradually leads to an increase in the number of specialized educational institutions and relevant faculties in existing theater and music colleges and universities, which, of course, should increase the overall level of stage productions in this genre and bring the Russian musical to new creative heights. As far as graduates of the College of Music and Theater master the skills of stage skills and singing in the process of training, the practice of their participation in theatrical productions as musical theater actors shows. In this case, the participation of college graduates in the most famous musical in Russia “Notre-Dame de Paris” is considered.
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Isakov, Yuriy I. "VITRUVIUS ON THE VALUE OF MUSIC FOR ENHANCING THE ARCHITECTURE OF THE ANTIQUE THEATER’S AUDIENCE SPACE. Part 1." Architecton: Proceedings of Higher Education, no. 4(72) (December 28, 2020): 10. http://dx.doi.org/10.47055/1990-4126-2020-4(72)-10.
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Vitruvius' legacy points to the importance of music in architecture for enhancing the acoustics of ancient theaters. In particular, he described in detail the sounding vessels, or ηχεια – “echea”, the effectiveness of which has not been proven. The effect of “echeas” on the acoustic parameters of a small classical Greek theater is investigated using computer modeling methods. The theater models developed take into account Vitruvius' recommendations and published research and measurements of ancient theater acoustic parameters reconstructed in our time. The descriptions of Vitruvius and the musical theories of Aristoxenus and Pythagoras were considered when developing the “echeas” models. Using the standard algorithm of the EASE4.4 program, the parameters of a small theater were calculated and the C50, C80, STI acoustic parameters of the theater’s sound field were found to benefit from the “echeas” or sounding vessels.
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Chang, Seolyoung, and Hobung Chung. "The Effect of Musical Theater on Depression and Self-esteem in the Elderly." Korean Society of Culture and Convergence 45, no. 12 (December 31, 2023): 679–88. http://dx.doi.org/10.33645/cnc.2023.12.45.12.679.
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The purpose of this study is to investigate the effects of musical theater on depression and self-esteem in elderly people. The subjects of this study were 23 elderly people aged 65 to 75 who used a senior welfare center in N-si, Gyeonggi-do. The music theater program was conducted once a week for a total of 8 sessions, 120 minutes per session. To verify its effectiveness, geriatric depression tests and self-esteem tests were conducted and analyzed before and after the program was implemented. As a result of the study, musical theater was significant in reducing depression in the elderly (t=5.348, p<.001) and improving self-esteem (t=-7.934, p<.001). Therefore, this study confirmed that musical theater has a positive effect on reducing depression and improving self-esteem in the elderly.
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Collins, Nick. "A Funny Thing Happened on the Way to the Formula: Algorithmic Composition for Musical Theater." Computer Music Journal 40, no. 3 (September 2016): 41–57. http://dx.doi.org/10.1162/comj_a_00373.
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Algorithmic composition methods must prove themselves within real-world musical contexts to more firmly solidify their adoption in musical practice. The present project is an automatic composing program trained on a corpus of songs from musical theater to create novel material, directly generating a scored lead sheet of vocal melody and chords. The program can also produce output based upon phonetic analysis of user-provided lyrics. The chance to undertake the research arose from a television documentary funded by Sky Arts that considered the question of whether current-generation, computationally creative methods could devise a new work of musical theater (the research described here provides but one strand within that project). Allied with the documentary, the resultant musical had a two-week West End run in London and was itself broadcast in full. Evaluation of the project included both design feedback from a musical theater composer team, and critical feedback from audiences and media coverage. The research challenges of the real-world context are discussed, with respect to the compromises necessary to get such a project to the stage.
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Voronova, Tatiana. "Opera by Lev Kolodub "The Poet" as a Vector of the Director's Actualization of the Kobzar’s Image in Modern Ukrainian Realities." Ukrainian musicology 47 (October 21, 2021): 28–38. http://dx.doi.org/10.31318/0130-5298.2021.47.256716.
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Creative and ideological prerequisites of the director's appeals to L. Kolodub's opera "The Poet" are considered. The reasons for the need for a new scientific and creative understanding of opera in the sociocultural realities of a modern Ukraine are clarified. The scientific novelty of the research is determined, which consists of the original conceptual vision of updating the performance in accordance with the requirements of the present on the basis of synthesis of achievements of scientific thought and creative heritage of iconic figures of Ukraine and abroad. The purpose of the research is the need for new readings of the opera "The Poet" by Lev Kolodub as an ideological and integral work, devoid of the narrative of the Soviet era and the pathos of canonization of Kobzar as a "Superman", which is not characterized by human and romantic experiences, the research methods chosen: to determine the influence of world socio-cultural processes on the musical theater of Ukraine – system-analytical; to consider the creative heritage of L. Kolodub - biographical; to analyze the musical drama of the work — genre stylistic; to analyze the director's embodiments of the Opera — interpretative; to create your own concept of a creative art project — experimental modeling. The main results and conclusions of the study are obtained, which are as follows: a long break between the time of writing the opera "The Poet" by L. Kolodub (1984-1988) and its first stage reading (2001) is associated with subjective reasons due to the inconsistency of actions between musical theaters of Ukraine. The opera "The Poet" from the point of view of the composer's idea is definitely a new look at the image of Taras Shevchenko. In fact, Levko Kolodub invented a new genre of musical theater with this work — "biographical opera". Its versatility can be regarded as an attempt by the composer himself to "revive the classics" and bring them closer to the audience's perception. In this vein, this work provides a wide range of opportunities for director's reading and can live an active repertoire, ideologically true life at opera venues in Ukraine and diasporas. A comparative analysis of the Opera implementations in the Lysenko Kharkiv National Academic Opera and Ballet Theatre and the National Philharmonic of Ukraine allowed us to determine the difference between the director's approaches to solving mise en scene due to traditional (theater stage in Kharkiv) and non — traditional (concert hall in Kyiv, in the past-a room for balls of the merchant's House) locations. The post-graduate student predicted her own conceptual vision of the creative art project - the opera "The Poet" by L. Kolodub, which provides for the use of the latest achievements of scientific thought and original creative findings of leading figures of musical theater in Ukraine and abroad.
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Xiaoxiao, Song. "The role of theater architecture in music education." E3S Web of Conferences 389 (2023): 06017. http://dx.doi.org/10.1051/e3sconf/202338906017.
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The article examines the role of theater architecture in music education. It is determined that the study of theatrical architecture is an important part of obtaining musical education, especially for those who plan to become a professional musician. As part of music education, students can study theater architecture and its impact on musical performances. It should also be noted that music education necessarily includes the development of the general culture of students, for this reason, the architectural features of theater buildings can contribute to the development of the general culture of students.
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Yuliia, Shchukina. "Development of the dance-rock opera genre in the creative content of ‘Mykhailo Vodianoi’ Academic Theatre of Musical Comedy, Odesa." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (October 3, 2021): 111–25. http://dx.doi.org/10.34064/khnum1-60.06.
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Background. Staging of rock opera began in Ukraine simultaneously in theaters of drama, opera and musical comedy in the mid-80s. The first drama and ballet performances were based on the works of Russian authors. From 1986 to 1993 Kharkiv Theater of Musical Comedy made stage production of rock operas based on the works of Alexander Zhurbin, Andrew Lloyd Webber and Alexey Rybnikov leaders of its repertoire policy. Since the 2000s, Odessa Theater of Musical Comedy has staged a dance-rock opera as a new modification of stage play with rock opera. The relevance of the article. Stage performances of dance-rock operas have not yet been sufficiently studied in Ukraine. Such Ukrainian musicologists as Olga Verkhovenko, Iryna Palkina, Halyna Filkevych fragmentarily have studied genre features and performance forms of dance-rock operas. In addition, some periodicals have covered these productions in their critical reviews. Methods. The work is based on a typological method, which made it possible to classify performances as a rock opera genre. The biographical method has also been applied to determine the artistic influences on the choreographer Heorhii Kovtun. The comparative method made it possible to separate the dancerock opera from other productions related to the genre of rock opera, as well as from apologetic performances that exploit already invented forms. When analyzing the performances, some elements of the reconstruction method were used. Results of the study. Odessa Musical Comedy Theater presented four performances in the genre of dance-rock opera, three of which were staged by Heorhii Kovtun. The first (and most successful) production with a new performance approach was the play “Romeo and Juliet” based on Shakespeare’s tragedy with music and libretto by Yevhen Lapeiko (Odessa). A new type of leading performers (selected at casting) appeared in the play. The type of rock opera artist represented by Kyryl Turychenko is characterized by freedom from musical comedy clichés. A pop singer with appropriate acting, athletic and dance training, he could sing when falling, climbing a two-story stage tower, or during a dynamic dance. Scenography by Stanislav Zaitsev showed a tendency towards brevity, constructiveness and simultaneous development of action in three stage dimensions. Other productions of Heorhii Kovtun – “The Canterville Ghost” and “Silicon Silly Woman.net” based on the works of Russian authors D. Rubin, A. Ivanov, O. Pantykin and K. Rubinsky developed rock opera principles invented by the choreographer rather than deepened them. The director of “The Canterville Ghost” did not quite clearly indicate the vector of the main idea. This led to the breakup of stage action into spectacular theatrical attractions with pyrotechnics and impressive stage design transformations. In fact, it is still not clear what the director was trying to recreate – a melodrama, a comedy with elements of satire or Guignol. The play “Tristan and Isolde” based on the works of the Ukrainian composer Alexander Nezhigai and playwright Serhii Piskuriov was staged by the theater director Vladimir Savinov. His ignorance of musical theater specifics contributed to the vocally and musically weak performance. Most of the action in the stage production was organized by the choreography of Anatolii Bedichev. Contrary to expectations, V. Savinov’s performance was also significantly inferior to Н. Kovtun’s performances in relation to libretto adaptation, stage design and tempo-rhythm of the performance. All rock-dance opera performances were aimed at teenage and youth audiences. Conclusions. Unlike rock operas of the previous decades, the production proposed by choreographer H. Kovtun is characterized by a synthesis of modern choreography, spectacular show, performance universalism and dynamс crowd scenes. As a choreographer, he did not pay much attention to the actors’ work on the characters. Vocally the singers gravitated towards the pop style (using microphones). Unlike earlier productions of rock operas in Ukrainian theater (with phonograms or symphonic jazz instrumentation of the theater orchestra), the troupe of Odessa Musical Comedy Theater performed rock operas with combined accompaniment (studio phonogram, theater orchestra, rock band). Further study of the multiple issues identified in the article requires a deep analysis of the repertoire, types of rock opera in the theater of musical comedy in Ukraine and the distinctive vocal and acting performance features.
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Kin, Vyacheslav Kondratievich. "Issues of musical and vocal education of theater students." Uchenyy Sovet (Academic Council), no. 6 (May 20, 2021): 456–60. http://dx.doi.org/10.33920/nik-02-2106-06.
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The author considers the problem of training specialists in the field of Acting and shows that the need of theaters for actors of a "synthetic" kind (with universal voice capabilities, with a high degree of musicality) is dictated by the increasing role of musical elements in a modern performance and is also determined by the search in modern directing. Theatrical practice demonstrates that the musicality of an actor is a crucial quality of acting. Today, in general, as always, the issues of organizing and implementing vocal education for future actors are among the most complex and energy-intensive. First-year students who come to the theater program track at the higher educational institution either do not have any preliminary vocal training at all, or are trained at the elementary level. Nevertheless, it should be noted that some of them were trained to play musical instruments and have musicality. The article deals with the specifics of working with students, aimed mainly at the formation of basic singing skills, which are associated with the acoustic properties of sound, high singing position, vocal diction, breathing, voice science, i.e. all the things that make up the technology of singing professionalism. Meanwhile, the author shows that this work is not with students of the vocal department, but with future actors of the drama theater. And our task is to educate an artistic and creative person, a participant in the dramatic process, which is all theatrical activity.
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Virc, Benjamin. "Opera in Translation: Unity and Diversity." STRIDON: Studies in Translation and Interpreting 1, no. 2 (November 30, 2021): 115–23. http://dx.doi.org/10.4312/stridon.1.2.115-123.
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The edited volume Opera in Translation: Unity and Diversity, published by John Benjamins in 2020, can be viewed—at least through the eyes of all opera aficionados and interdisciplinary scholars connected with musical theater—as a logical and much-awaited continuation of both theoretical and more pragmatically oriented research on the ever-growing topic of translating operas (and artworks within musical theater in general).
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RENIHAN, COLLEEN. "Pitching Opera: Innovating New Music Theater at Banff and Stratford, 1970–1990." Journal of the Society for American Music 14, no. 1 (January 15, 2020): 33–50. http://dx.doi.org/10.1017/s1752196319000531.
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AbstractThe Banff Summer Festival of the Arts and the Stratford Summer Music Festival have been unrecognized sites of operatic innovation in Canada. Indeed, the flourishing of what might be termed “new music theater” in Canada is imbricated with the history of these two festivals. Archival research reveals that the inventive, often revolutionary, approaches to music theater honed at Stratford and Banff from 1970–1990 ultimately defined the course of Canadian new music theatre in the decades that followed. Founded in 1953 as a Shakespeare festival, the Stratford Festival eventually became renowned for its (nearly exclusive) focus on musical theater. At Banff, discussions about generic innovation occurred regularly, producing what I suggest was one of the foremost centers in the world for innovation in music theater. Charting the development of opera in Canada through conversations that took part at the Banff and Stratford festivals during the period 1970–1990 reveals the unique possibilities that the peripheral positioning of these festivals—aesthetically, critically, and geographically—offered to the development, dissemination, and innovation of so-called new music theater in Canada.
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Li, Qiang. "Peculiarities of the mutual influence of Italian and Chinese musical theater tradition in historical development." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 67, no. 67 (October 22, 2023): 56–77. http://dx.doi.org/10.34064/khnum1-67.04.
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Statement of the problem. Modern opera performance art in China is closely related to the national theater tradition, which has a thousand-year history. Despite the fact that Italian (and generally European) musical and dramatic art has been known in China for more than a few century, the public did not perceive it for a long time due to significant differences in many aspects: from stage dramaturgy, vocal roles to behavioral norms in the theater institutions. This study draws historical parallels between Italian opera and national Chinese music-theatre art and examines attempts to adapt Italian vocal art to Chinese. Objectives, methods, novelty of the research. In this investigation, we tried to find common and distinctive features in Italian and Chinese musical theater by comparison, as well as to identify the factors that influence the perception of the theater work by the Chinese public. The scientific novelty of the study lies in the fact that for the first time the path taken to adapt Italian vocal art to the Chinese language, the national musical theater and its audience is analyzed, and the role of tradition in this process. The main research method is comparative, with the help of which the common and distinctive features of Chinese and Italian musical theater are revealed; methods of historical musicology and cultural studies were also used. Research results. The development of Italian and Chinese musical theater in certain historical periods took place in parallel, so they have a number of similar typological features. Both Chinese and Italian theaters synthesize different types of art: singing, ballet, visual series (decoration, costumes), dramatic action. At the same time, they are fundamentally different manifestations of theatrical art. In Chinese opera, the visual component is of great importance – costumes, make-up, decor, etc., and the content and plot vicissitudes are deliberately simplified so that the audience is not distracted, but can enjoy the spectacle. The difference of Chinese opera is circus art: the actors had to have acrobatic and fighting skills and impress the audience with them. In Italian opera at the stage of its formation, the visual series was given great importance, but due to the fact that the authors of the first opera models (Florentines) considered as a model the Greek drama with its idea of moral improvement through catharsis, its dramaturgy is radically different from that of the Chinese theater; therefore, tragedies and dramas were not perceived by the Chinese audience who went to the theater to be entertained and enjoy the skill of the actors. For quite a long period after the penetration of European culture, the Chinese public did not perceive works of Western art, treated them as exotic and often did not understand their essence, aesthetics and value in general. The main obstacle was usually the language, but also the content of the theatrical works of European playwrights, translated into Chinese, did not find a response in the audience, despite the rather significant commonality in plots, themes, and issues. The public did not understand complex ideas that were accompanied by dramatic events or had a tragic ending. Conclusion. Italian and Chinese opera have many common features, but differ in their basis, and the Chinese audience did not perceive Western art for so long because of the fundamental difference in the approach to the visual and content aspects. The originality of Chinese theater drama consists in maximum visualization, which distinguishes it from European drama, in which the content is the basis of the work. The formation of modern opera performing art in China took place in the middle of the 20th century, and this process has a distinctive feature: modern national opera in European traditions was created in order to interest the Chinese public, to draw their attention to the new art. The first example of such an opera (yangban xi) – “The White-Haired Girl “(1945), created by the team of authors of the Academy of Fine Arts named after Lu Xin, became popular among the Chinese, which confirmed the correctness of the creative approach that combined European forms and Chinese performance traditions. In addition, the work was adapted for plastic (ballet), screen and traditional theater (xìqǔ) arts. The appearance of such productions contributed to the fact that the public gradually got used to European opera, and today Chinese opera art is widely represented on the national and world stages. In the years since the appearance of the first Western-style national opera, Chinese singers have mastered various classical vocal styles: Italian bel canto, traditional Chinese singing, Chinese bel canto, and now represent their own national vocal school on world stages.
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Arpaia, Maria. "Sounds on Stage: Musical and Vocal Languages and Experiences." Greek and Roman Musical Studies 7, no. 2 (August 20, 2019): 346–69. http://dx.doi.org/10.1163/22129758-12341355.
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Abstract The twenty-four papers delivered at the graduate conference entitled “Sounds on Stage: Musical and Vocal Languages and Experiences” (L’Aquila, 14-16 November 2018) investigated the relationship between music and theatrical performances from a comparative perspective. The presentations dealt with the role of music in several theatrical genres from different cultures and times: ancient Greek drama, musical theater (especially opera), modern and contemporary theater and ancient ritual Sanskrit drama.
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Lovensheimer, Jim. "Mormons, Musical Theater, and Belonging in America, Jake Johnson (2019) Lying in the Middle: Musical Theater and Belief at the Heart of America, Jake Johnson (2021)." Studies in Musical Theatre 16, no. 3 (December 1, 2022): 248–51. http://dx.doi.org/10.1386/smt_00110_5.
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Review of: Mormons, Musical Theater, and Belonging in America, Jake Johnson (2019) Urbana, Chicago and Springfield, IL: University of Illinois Press, 199 pp., ISBN 978-0-25208-433-1, p/bk, $25.00 Lying in the Middle: Musical Theater and Belief at the Heart of America, Jake Johnson (2021) Urbana, Chicago and Springfield, IL: University of Illinois Press, 159 pp., ISBN 978-0-25208-599-4, p/bk, $24.95