Готові списки джерел за темами / Musical theater

Добірка наукової літератури з теми "Musical theater"

Автор: Grafiati
Опубліковано: 4 червня 2021
Оновлено: 29 липня 2024

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Статті в журналах з теми "Musical theater"

1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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Дисертації з теми "Musical theater"

1

Gallagher, Kelsey B. "So Much Better: A Lighting Design Approach for a Production of Legally Blonde: The Musical." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555414324698267.

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2

Axtell, Katherine Leigh. "Maiden voyage : the genesis and reception of Show boat, 1926-1932 /." Digitized version, 2009. http://hdl.handle.net/1802/10968.

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Анотація:
Thesis (Ph. D)--University of Rochester, 2009.
Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/10968
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3

Gordon, Wendy A. "The marriage of musical theater and the avant-garde: The musical theater of Tina Landau as experimental theater." Thesis, The University of Arizona, 2004. http://hdl.handle.net/10150/292018.

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Tina Landau's writing and directing work has gained increasing prominence over the last decade. She has made strides in both the experimental and the musical theater arenas, and her accomplishments in each are noteworthy independent of each other. However, her concurrent interest and success in both arenas, which are commonly viewed as quite disparate, make her work particularly interesting. These interests, which might seem incongruent, are actually interrelated; her work in one area influences her work in the other, a fact which is evident both in her rehearsal process and the end products. Her experimental work has a musical sensibility and her work in musical theater is quite experimental. This thesis examines works for which she was both writer and director as representative examples: 1969, Stonewall: Night Variations, Space, Floyd Collins and Dream True. Her amalgamated sensibility results in a directing style which serves contemporary musicals, particularly "smart musicals," well.
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4

Bidgood, Lee. "River Song (musical theater production)." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/1049.

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5

Lentz, Cassandra Nicole. "The Scenic Design for a Production of Legally Blonde the Musical." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555345046533812.

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Sugarbaker, Sarah. "Scenic design for the musical Godspell." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243614306.

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7

Nogar, Julianne K. "Costume Design and Production for Legally Blonde the Musical book by Heather Hach,Music and Lyrics by Nell Benjamin and Laurence O’Keefe." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555364601372494.

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8

Wilson, Jarod Douglas. "A Lighting Design Process for a Production of Aida, with Music by Elton John and Lyrics by Tim Rice." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306296781.

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Hoffman, Brian D. "Elements of the Musical Theater Style: 1950–2000." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1307322562.

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10

Albawardy, Reema. "Costume Designs for "Urinetown| The Musical"." Thesis, The George Washington University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1599645.

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Urinetown: The Musical by Greg Kotis and Mark Hollman was produced by the Department of Theatre and Dance at George Washington University in the Fall of 2014. The show opened on October 30, 2014 at the Dorothy Betts Marvin Theatre, part of the George Washington University in Washington DC. It was directed by Muriel Von Villas along with costume designer Reema Albawardy, lighting designer Carl Gudenius, and set designer Kirk Kristlibas. This thesis explores the costume design process for Urinetown: The Musical and the challenges of working with a large cast and dealing with many quick changes.

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Книги з теми "Musical theater"

1

Allen, Cohen. Writing musical theater. New York, NY: Palgrave Macmillan, 2006.

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2

Cohen, Allen, and Steven L. Rosenhaus. Writing Musical Theater. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-04810-3.

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3

1948-, Walker Christine, ed. Wooleycat's musical theater. Santa Rosa, Calif: Tortuga Press, 2003.

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4

Len, Platt, ed. Musical theater and American culture. Westport, Conn: Praeger, 2003.

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5

Irving Berlin's American musical theater. New York: Oxford University Press, 2012.

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6

Drone, Jeanette Marie. Musical theater synopses: An index. Lanham, Md: The Scarecrow Press, 1998.

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7

Alberto, Basso, ed. Musica in scena: Storia dello spettacolo musicale. Torino: Unione tipografico-editrice torinese, 1995.

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8

Chen, Bill. The musical. Alhambra, Calif: Heryin Books, Inc., 2013.

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9

Novak, Elaine Adams. Staging musical theatre. Cincinnati, Ohio: Betterway Books, 1996.

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10

Blumenfeld, Robert. Blumenfeld's dictionary of musical theater: Opera, operetta, musical comedy. New York: Limelight Editions, 2010.

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Частини книг з теми "Musical theater"

1

Cornelius, Steven, and Mary Natvig. "American Musical Theater." In Music a Social Experience, 209–27. Second edition. | New York ; London : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315222868-13.

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2

Cornelius, Steven, and Mary Natvig. "American Musical Theater." In MusicA Social Experience, 239–58. 3rd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003155812-15.

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McGill, Craig M., Alan Chaffe, and Kyle Ross. "American Musical Theater." In The Routledge Handbook of LGBTQ Identity in Organizations and Society, 304–19. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003128151-24.

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4

Cohen, Allen, and Steven L. Rosenhaus. "Theater Basics." In Writing Musical Theater, 3–13. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-04810-3_1.

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5

Goldberg, Halina. "Musical Theater." In Music in Chopin's Warsaw, 217–53. Oxford University Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780195130737.003.0008.

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"Musical Theater." In The Musical, 23–76. Routledge, 2005. http://dx.doi.org/10.4324/9780203329764-6.

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7

"MUSICAL THEATER." In In Search of American Jewish Culture, 59–87. Brandeis University Press, 2014. http://dx.doi.org/10.2307/jj.3385960.6.

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McLamore, Alyson. "Whither Musical Theater?" In Musical Theater, 507–25. Routledge, 2017. http://dx.doi.org/10.4324/9781315563770-46.

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"Whither Musical Theater?" In Musical Theater, 310–12. Taylor & Francis, 2016. http://dx.doi.org/10.4324/9781315663517-50.

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Wallace, Mary Elaine. "American Musical Theater." In Music in American Society 1776–1976, 161–73. Routledge, 2019. http://dx.doi.org/10.4324/9781351318488-11.

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Тези доповідей конференцій з теми "Musical theater"

1

Postolache, Inga. "Premises of the appearance of the Romanian musical: pages of history." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.13.

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The musical is a genre of the musical theater of non-academic orientation, which syncretically combines literature, theater, music, dance, scenography, light design, thus creating a show for audiences of all ages. The purpose of the article is to analyze the premises of the appearance of the musical on the Romanian stage, as well as to reveal the first attempts to create the national musical.
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2

Koroliova, Elfrida. "The book on theater – an element of cultural heritage." In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.07.

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The article “The book on theater – an element of cultural heritage” includes publications on Moldovan Drama Theater, from the late 60s of the XX century to the 20s of the XXI century. Books signed by D. Prilepov, L. Cemortan, E. Coroliova, N. Bătrânu, V. Tăzlăuanu, N. Rojkovskaia, B. Zavatin, P. Proca, P. Pelin, A. Manoil, A. Ghilaș, A. Roșca, I. Nechit, L. Ungureanu, V. Fedorenco, T. Kotovici and others analyze the evolution processes of the Moldovan theater during the decades, of personalities – directors, actors, who worked in the theaters of the republic “Mihai Eminescu” National Theater, “Luceafărul” Theater, “B. P. Hasdeu” Musical-Dramatic Theater in Cahul, “Vasile Alecsandri” National Theater from Bălți, etc.
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Lee, YeaJi, Ariana Wyatt, Jiayuan Dong, Tanner Upthegrove, Brandon Hale, Chelsea H. Lyles, Koeun Choi, et al. "Robot Musical Theater for Climate Change Education." In 2022 17th ACM/IEEE International Conference on Human-Robot Interaction (HRI). IEEE, 2022. http://dx.doi.org/10.1109/hri53351.2022.9889644.

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Mardari, Elena. "Vlad Burlea – portrait of creation." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.05.

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Анотація:
Vlad Burlea is a prominent personality of the local musical culture. He is prodigiously active in the field of musical creation, signing works of great artistic value. He is involved in the musical life of the Republic, both by organizing various events, concerts, and directly participating in them. He manifests himself prodigiously in the sphere of musical pedagogy, educating generations of young musicians within the Ștefan Neaga Center of Excellence in Artistic Education and the Academy of Music, Theater and Fine Arts. The works of composer Vlad Burlea are successfully performed in concert halls in our country and abroad. The prestigious New Music Days International Festival organized annually in Chisinau has an important role in revealing the musical personality of maestro Vlad Burlea and his manner of composing.
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Falavigna, Gladis, and Marta Spier. "Music teaching in public schools in the State of Rio Grande do Sul, Brazil." In Musica viva in schola. Brno: Masaryk University Press, 2023. http://dx.doi.org/10.5817/cz.muni.p280-0272-2023-2.

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Thinking about new strategies for the teaching-learning process of music and other arts can mean both the use of current information and communication technologies – tablets, the internet, virtual learning environment, artificial intelligence – and online programs for musical scores. It would also be possible to carry out activities in artistic and cultural spaces outside the school environment. For example, concerts, exhibitions, musical auditions, technical visits to music schools, theater, and dance schools, among others. More than thinking about new strategies, perhaps it is urgent to expand the concept of the classroom.
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Barnes, Jaclyn, S. Maryam FakhrHosseini, Eric Vasey, Joseph Ryan, Chung Hyuk Park, and Myounghoon Jeon. "Promoting STEAM Education with Child-Robot Musical Theater." In 2019 14th ACM/IEEE International Conference on Human-Robot Interaction (HRI). IEEE, 2019. http://dx.doi.org/10.1109/hri.2019.8673311.

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ROMAN, Diana. "The Actor, Between the Self from Theatre and the Other from Music." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0021.

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The worlds of music and theatre have been brought together under the sign of scenic creation since the origins of the appearance of the theatre, the interdisciplinary artistic dialogue between the two arts sharing common aesthetic, psychological, psycho-social landmarks. The interactions between these worlds gave birth, finally, going through different forms and long searches, to the most original and popular theatre genre, the Musical. At the same time with technology and the digital revolution, live music, the orchestra, the musicians present on the stage of the theatre, were replaced with recordings, original stage music faces increasingly rare performance in theaters. The amazing intersection of theatre and music must be seen as a matter of course. My research will focus on the analysis of the fragile relationship between identity and alterity in the case of a few artists at the congruence between theatre and music (Ada Milea – A lost letter in concert, The Explorer, Chirița in concert, Răzvan Mazilu – Cabaret, Maria de Buenos Aires, Bobo Burlăcianu – Cats, The City, Metamorphosis, Alexander Hausvater – The Machine. Musical, Ada Lupu-Hausvater – Hamlet, Tibor Càri – The little prince). If a few years ago shows like Rocky Horror Show by Alexander Hausvater were considered original or controversial precisely because they skilfully crossed the boundaries between theatre and music, today we realize that the hybrid genre is also on an upward trend in terms of public taste (proof is The Young Actor`s Gala 2022 theme) and dramaturgy (Eugen Rotaru – Musical Theatre Plays), and of actors with professional training in both fields, tempted by the border between the arts. The cocreation experiences between the actor and the musician also bring with them important pedagogical aspects, resulting in an improvement of the work of each individual artist. The requirement to constantly search for new ways of artistic expression remains important, wich inevitably brings together artists from different art forms.
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Krylovskaya, Izabella Ilinichna. "Orchestra of the Khabarovsk Territory Musical Theater as a part of the theater history development in the Far East of Russia." In X International Research-to-practice conference. TSNS Interaktiv Plus, 2017. http://dx.doi.org/10.21661/r-129868.

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Krylovskaia, Izabella Ilinichna. "From the History of the Musical Theater of Russia: Basic Concepts and Terms." In All-Russian Scientific Conference with International Participation. Publishing house Sreda, 2021. http://dx.doi.org/10.31483/r-99879.

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Juncu, Alexandru. "Concerto no. 2 for trombon and orchestra by Oleg Negrutsa." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.04.

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This article is focused on the musicological and interpretive analysis of Concerto no. 2 for trombone and orchestra by Oleg Negrutsa. This composition, written in 2020, was dedicated to the memory of the composer's father, being performed for the first time by the author of this article during a doctoral recital on June 25, 2022, in the Great Hall of the Academy of Music, Theater and Fine Arts. In addition to the analysis carried out, the author of this study identified different optimal solutions to overcome the difficulties of performing and executing the elements of the musical language, proposing various exercises developed on the basis of the thematic material of the studied creation.
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Звіти організацій з теми "Musical theater"

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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.

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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
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Study of Social Entrepreneurship and Innovation Ecosystems in the Latin American Pacific Alliance Countries: Case Study: La Tarumba, Peru. Inter-American Development Bank, July 2016. http://dx.doi.org/10.18235/0009335.

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This report sets out to present some of the highlights from a more in depth study carried out on social entrepreneurship and innovation ecosystems in Peru, presenting the case study of La Tarumba. La Tarumba trains young people in life-skills through theater, circus and music, to improve their employability, leadership skills self esteem, creativity and social inclusion.
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