Broadway Musical Theatre

In a dexterous moment of storytelling in the second act of the 2016 Broadway musical Shuffle Along-Or The Making Of The Musical Sensation of 1921 And All That Followed, composer Eubie Blake (played by Brandon Victor Dixon) steps forward and explains to the audience that three nights in a row, George Gershwin sat behind him not watching the stage but observing his conducting technique and a particular clarinet player, William Grant Still. The accusatory tale and song in the show 'Till Georgie Took 'Em Away' is told through a solo tap dancer 'playing' clarinet in a smoky spotlight, with the Harmony Kings singing and 'patting' downstage right. 1 The dancer begins with simple rhythms, and as the telling of the wrongdoings of the borrowing of Blake's music and style increases, the riffs of the dancing clarinetist grow in complexity, along with the body percussion of the Harmony Kings. The magnitude of the theft is felt through the commanding and forceful tap and rhythm styles. Though Blake's suggestions are done with a sly wink, the notion of appropriation is readily put forth. Certainly lyrics such as 'steal those black notes, steal that rhythm, write a hit song' emphasize the point (Shuffle Along, 2016). Importantly, the accentuation and building of tensions in regard to the appropriation

Efforts to contain the spread of Acquired Immune Deficiency Syndrome (AIDS) have been slowed by numerous arguing factions, political, religious, and medical, all of which perceive the AIDS epidemic through a different set of symbols. The images can be more easily understood using Kenneth Boulding's Threat, Integry, and Exchange (or TIE) model. The triangular model suggests that interactions based on threat images are destructive, founded on one group subjugating another. Groups who base their actions on threat images include Christian fundamentalists, who conclude that the disease is an act of divine retribution; the medical community, which sees AIDS as a threat to its authority and ability to cure disease, and some gay groups, who see AIDS as a threat to their political autonomy and sexual freedom. Action based on exchange images are more productive, including spending tax dollars on AIDS research, while action based on integrative images is the most productive, encompassing the acknowledgement of identity in relation to others. Churches that have welcomed gays into their membership and groups that have been formed to deal specifically with the AIDS issue fall into this category. It is held that Boulding's concept of integry provides the best model for a pragmatic and thoughtful response to the "situational exigence" of AIDS, and the public should attend to those in the AIDS debate who articulate this unifying image. (Four pages of references are included.) (JC)

This article examines the 'operetta crisis' that blighted the Italian operetta industry in the 1920s. Little has been written about the crisi dell'operetta in scholarship on Italian operetta to date, despite extensive coverage in contemporary sources. I attribute this neglect to the contested legacy of the composer, impresario and publisher Carlo Lombardo, at the height of his influence in the 1920s and responsible for most of the best-known Italian operettas today. Lombardo's works embodied critical anxieties about operetta's perceived artistic degradation, thanks to their overt sexuality and embrace of popular music (i.e. jazz). However, as I argue with reference to the 1925 operetta Cin-ci-là, narratives of artistic decline may miss the true significance of the crisis. Operetta, striving to be a 'light' form of opera but never fully accepted as such by the Italian establishment, was ultimately ill-equipped to survive in an entertainment landscape reshaping itself around popular music.

Основна мета статті полягає в виявленні принципів і прийомів трансформації музично-театрального тексту Wicked в кіномюзиклі Джона М. Чу. Як і в інших найкращих зразках бродвейських мюзиклів, музично-театральний текст Wicked ілюструє активне використання лейтмотивів, тематичних арок (реприз), принципів об'єднання ряду номерів в крупніші побудови чи навпаки насичення номерів багатоплановою дією, що перетворює їх на розгорнуті сцени. Всі ці принципи гіперболізуться в кіномюзиклі. Здійснений аналіз дозволив зробити висновки про такі прийоми трансформації оригінального музично-театрального тексту Wicked в його кіноадаптації, як: лейтмотивізація (зростання інтенсивності використання існуючих і створення нових музичних лейтмотивів), інтертекстуалізація (поглиблення зв'язків з текстами The Wonderful Wizard of Oz 1939 року та театральною постановкою), узагальнення (образ Ельфаби, основний конфлікт); розростання масштабів (партитура і сюжет); поява рис епізації драматургії. Ключові слова: бродвейський мюзикл, голлівудський мюзикл, кіномюзикл, кіноадаптація, творчість С. Шварца, музично-театральний текст, інтертекстуальність.

This paper explores a recurring characteristic of epic paradigms in Euripides’ plays. Beyond their similarities, the connection between the illustrans and illustrandum is crafted through antitheses and inversions. The analysis examines selected passages from Homer and Euripides, highlighting this shared stylistic trait. In Homer, the use of the paradigmatic figure operates within a framework of polar logic. Euripides adopts and modifies this model to reflect his unique worldview, rather than merely paying homage to tradition.

Artificial Intelligence (AI) is revolutionizing the music industry by reshaping composition, performance, and distribution processes. This study explores the integration of AI in music production, focusing on its impact on creativity, efficiency, authenticity, and the evolving role of human musicians. Using a systematic literature review, the research examines AI-driven tools such as machine learning algorithms, deep neural networks, and generative models that assist in melody creation, harmonization, orchestration, and even lyrical composition. While AI offers significant advantages, enhancing productivity, democratizing music creation, and expanding creative possibilities, it also raises ethical concerns regarding originality, copyright ownership, and the potential displacement of traditional musicians. Additionally, AI-generated music challenges conventional definitions of artistic expression, prompting debates on whether machine-created compositions can evoke the same emotional depth as human-crafted works. The study highlights key case studies of AI in contemporary music, including applications in film scoring, algorithmic composition, and personalized music streaming experiences. It also discusses the intersection of AI with live performances, exploring how artists and producers integrate AI to enhance concert experiences and audience engagement. Findings suggest that while AI is a powerful tool for musical innovation, it should be viewed as an augmentation rather than a replacement for human artistry. The research concludes by emphasizing the need for ethical guidelines and responsible AI integration to ensure a balanced coexistence between technology and human creativity.

In 1927, the American composer George Gershwin wrote the songs for a musical; his brother Ira Gershwin contributed the lyrics. The story, written by George S. Kaufman, portrays an American cheese manufacturer who manages to get the US government to impose prohibitive import tariffs on foreign competitors. The cheese country of Switzerland acts up and imposes retaliatory tariffs – whereupon the US Armed Forces, under the leadership of the businessman, march into Swiss territory. In my “Magazin” essay, I paid tribute to Gershwin's attempt to confront the popular culture of the interwar period with important political issues. I discuss the obstacles this musical had to overcome on its way to Broadway in New York and show how it ended up in Switzerland more than 70 years later, at an inopportune time. Today, however, its significance is obvious.
1927 schrieb der US-amerikanische Komponist George Gershwin die Songs für ein Musical; sein Bruder Ira Gershwin steuerte die Texte bei. Die Story aus der Feder von George S. Kaufman schildert einen amerikanischen Käsefabrikanten, der erwirkt, dass die US-Regierung prohibitive Importzölle auf ausländische Konkurrenzprodukte verhängt. Das Käse-Land Schweiz gibt sich renitent und verhängt Retorsionszölle – woraufhin die US Armed Forces unter der Führung des Businessman in der Schweiz einmarschieren. In meinem «Magazin»-Essay würdigte ich Gershwins Versuch, die Populärkultur der Zwischenkriegszeit auf anspruchsvolle Weise mit wichtigen politischen Fragen zu konfrontieren. Ich gehe auf die Widerstände ein, die dieses Musical auf seinem Weg zum New Yorker Broadway überwinden musste und ich zeige, wie es mehr als 70 Jahre später, zur Unzeit, in der Schweiz landete. Heute liegt seine Brisanz allerdings offen zutage.

Este documento intenta, de forma breve, narrar y entender la historia del Teatro Musical desde sus orígenes hasta su inclusión en la cultura mexicana a mediados del siglo XX. En él también intento agregar elementos que no se encuentran en las narraciones más tradicionales sobre la evolución de este género.

Actress Lotte Lenya (1898-1981) and composer Kurt Weill (1900-1950) met in 1924, and from 1927 onwards – with the creation of the new Weill/Brecht song style in Lenya's incomparable interpretation – the rise to fame followed. She became a sought-after star actress in Berlin, he turned to the great epic opera. In 1933 Weill had to leave his homeland. After an interlude in Paris and London, Weill and Lenya arrived in the USA in 1935. There, the composer created a new type of Broadway opera. He died in 1950 as an 'American composer', and Lenya survived her husband by thirty years. She devoted the first half of this time to numerous Weill concerts as well as recordings of reference recordings. Then followed a triumphant 'third' career on Broadway and in Hollywood for the now over sixty-year-old. At the age of 78, she was in the spotlight for the last time, she died in 1981. This work documents the legacy of her sound recordings

Статья посвящена художнику – русскому эмигранту первой волны Алексею Михайловичу Кремкову (1898–1948), выпускнику Морского корпуса, гардемарину, получившего военное образование и боевое крещение во время Первой мировой и Гражданской войн, работавшему затем в качестве карикатуриста во Франции и США под псевдоним Alex Gard. В США Алекс Гард сотрудничал с газетой New York Harold Tribune и рестораном Sardi's в Нью Йорке, был участником Второй мировой войны, нарисовал и издал несколько книг карикатур (в том числе о военной службе, звездах Голливуда и русском балете). Карикатуры Алекса Гарда нарисованы «искусно, холодно и яростно». Многих звезд театра и кино они заставляли плакать; но другим его карикатуры, пока они висели на стенах ресторана Sardi's, помогали сохранять уверенность в себе и позволяли лучше понять самих себя. До сих пор о нем написано мало, а по иронии судьбы статья в Википедии, посвященная художнику, сумевшему запечатлеть весь цвет театральной и кинематографической богемы Америки 1930-1940-х годов, проиллюстрирована чужой фотографией. В настоящей статье публикуются винтажные фото и автографы, включая рисунок художника из собрания автора статьи, двоюродный дед которого – артист Русского балета в эмиграции – Dimitri Rostoff (Д.Н. Кульчицкий) – и Кремков были близкими друзьями.

The solo art has been performed on stage by different solo performers but the approach adopted in the performance has mostly been the conventional approach where a single actor performs alone and this has led to a great neglect of the African perspective and concept of performing the solo art. That is why this research is on Greg Mbajiorgu’s The Prime Minister’s Son, in an African Storytelling Experience, thereby using the African concept of storytelling, total theatre and folkism in the performance of the solo play thereby showcasing the African aesthetics and perspective of performing the solo art on the proscenium stage/theatre. The work is objected at moving solo drama away from the general perspective to African perspectives and filling a knowledge gap by showcasing the African perspective of the art. The research methodologies adopted in the course of the research are the literary and artistic method of research which encompasses the consultation of books and the personal experience of the actor in the African story telling expersience. The African storytelling experience is achieved through the practical session of the research and the display of the African storytelling, total theatre aesthetics.

Методичні рекомендації призначені для вивчення особливостей драматургії мюзиклу «Свіні Тодд» С. Сондхайма в рамках Теми 6 «Мюзикли С. Сондхайма: непопулярний еталон». На прикладі аналізу ключових драматургічних вузлів мюзиклу-початкових номерів, фіналу І дії, опенінгу другої дії, а також «останніх 15 хвилин шоу», ролі лейтмотивів і дуетів-розкривається специфіка інтерпретації С. Сондхаймом моделі зрілого мюзиклу, сформованої в «Золоту еру», а також її індивідуальне композиторське прочитання.

In this age of rapidly developing high technology and the invasion of corporate culture, American theatre is facing extraordinary challenges. Nevertheless, it seems to be bravely exploring and expanding its territory. This paper examines first the effects shown in actual productions of technological devices and corporate cultural sensibilities in the first and second sections. In the third and fourth sections, it investigates areas of hope for American theatre in the twenty-first century, taking examples from the work of two women playwrights who have courageously created an arena in which the role of drama in American society is reconsidered. Both playwrights deal with current social problems via theatre, in a way no other social institutions at present can do with the same impact. The works discussed here are: Anna Deavere Smith’s 1992 play, Fires in the Mirror: Crown Heights, Brooklyn and Other Identities, and Paula Vogel’s 1998 Pulitzer-Prize winning play, How I Learned to Drive.1

In this age of rapidly developing high technology and the invasion of corporate culture, American theatre is facing extraordinary challenges. Nevertheless, it seems to be bravely exploring and expanding its territory. This paper examines first the effects shown in actual productions of technological devices and corporate cultural sensibilities in the first and second sections. In the third and fourth sections, it investigates areas of hope for American theatre in the twenty-first century, taking examples from the work of two women playwrights who have courageously created an arena in which the role of drama in American society is reconsidered. Both playwrights deal with current social problems via theatre, in a way no other social institutions at present can do with the same impact. The works discussed here are: Anna Deavere Smith's 1992 play, Fires in the Mirror: Crown Heights, Brooklyn and Other Identities, and Paula Vogel's 1998 Pulitzer-Prize winning play, How I Learned to Drive. 1 I THE USE OF TECHNOLOGY American Theatre magazine, September 1999, includes a special section: "Theatre of Tomorrow," which covers the various impacts hightechnology devices have had on a number of American playwrights. Jennifer Tanaka reports on a "site-specific work in cyberspace" given in New York City in the summer of 1999. "In front of fifty or so New 91

Translating a musical for performance in another language and culture while staying true to the original text is a complex task that requires both creativity and precision. This process offers insight into the specialized field of translation, which combines music and lyrics. Musicals, a genre that evolved in the U.S. influenced by various musical-theatrical styles, are a significant part of American culture, though their reception and social significance differ across countries, including Spain.

In Spain, Broadway musicals have been influential, but their success is not solely driven by profitability; the universality of themes and cultural relevance also play key roles. This project involves translating the second act of *Sunday in the Park with George* by Sondheim and Lapine into Spanish for potential performance by a Barcelona-based company like Dagoll-Dagom. Using functionalist translation theories, which focus on the purpose (Skopos) of the translation, the goal is to create a version that resonates with a Spanish audience. The translation is framed not only to suit the target culture but also to explore cross-cultural and timeless issues, contributing to broader discussions in musical and theatrical translation.

The two major American entertainment industries, Hollywood and Broadway, have always entertained close relationships, taking advantage of their respective products to obtain maximum financial returns. So films have often been adapted into musical comedies, and theatre shows into films. In recent decades, these cultural products have become part of a complex multimedia panorama, where the transfer no longer takes place only from screen to stage and vice versa, but through several different media: musical films and shows become the basis for DVDs/Blu-Rays, music CDs, concerts, videogames, theme parks such as Disneyland and for all the forms of merchandising (from clothing to toys to food and drinks ...). And new Broadway adaptations inspire new films, in a constant hybridization process that feeds the global entertainment market.

Le due industrie americane dell’intrattenimento, Hollywood e Broadway, hanno sempre intrattenuto stretti rapporti, sfruttando i rispettivi prodotti per ottenerne il massimo rendimento. Così i film si sono spesso tradotti in commedie musicali, e gli spettacoli teatrali in film. Negli ultimi decenni, questi prodotti culturali sono entrati in un panorama multimediale complesso, in cui il trasferimento non avviene più soltanto dallo schermo al palcoscenico e viceversa, ma attraverso più media diversi: film e commedie musicali diventano la base per DVD/BluRay, CD musicali, concerti, videogames, parchi a tema come Disneyland e per le mille forme di merchandising (dall’abbigliamento ai giocattoli ai cibi e bevande …). E nuovi adattamenti di Broadway ispirano nuovi film, in un costante processo di ibridazione che alimenta il mercato globale dell’intrattenimento.

La ansiedad, la depresión y el suicidio son temas tabúes de los que todavía poco se habla de una manera abierta y honesta, tanto en el teatro musical como en su homónimo cinematográfico. En 2015 vemos sobre las tablas la obra Dear Evan Hansen con letra y música de Ben Pasek y Justin Paul y ibreto de Steven Levenson, en que por primera vez se trata abiertamente las consecuencias de patologías mentales. Sin embargo, esto no significa que no haya ejemplos a lo largo de la historia del teatro y el cine musical donde los personajes protagonistas exhiban algún tipo de patología mental. Por ello, en este artículo analizaremos el caso de las obras Lady in the Dark (Moss Hart, 1941), Sweeney Todd (Stephen Sondheim, 1979) y Dear Evan Hansen, poniendo de relevancia la escasa representación de enfermedades mentales a lo largo de la historia del teatro y el cine musical.

The wide spread of media-technologies has demanded a change in the modus operandi of human and business operations in the contemporary world. By implication, theatre practice today has gone beyond mere interpretation of the dramatic text to create performances with a contemporary feel. For the theatre, indeed Christian theatre, this proliferation has necessitated a modification in the process of creating and delivering the live performance. Sight and Sound theatres, USA, a
leading light for Christian theatre productions in the United States has provided a template for contemporary performances by introducing technical elements into performance of bible stories on stage. However, there is a lack of documentation on the technical elements used by Sight and Sound theatres in the creation of their remarkable productions which have constantly commanded audience attention and patronage. The study engages Hans-Thies Lehmann’s ‘Postdramatic theatre’ and Ole Thyssen’s ‘Aesthetic communication theory’ as theoretical framework. It engages
the mixed method of data gathering and a content analysis of the performances of Joseph (2010) and Noah (2008). It documents the technical details of theatrical productions at Sight and Sound theatres by examining the elements embedded in the production of the performances understudy. Observably, Sight and Sound Theatres, prioritizes the inclusion of technical elements into performance to enhance performance quality and ensure effective communication of the dramatic story. Hence, by documenting these elements, Sight and Sound theatres provide a template for the creation of performance in contemporary times, and most especially Christian theatrical productions around the globe.

In this article, former students and colleagues reflect on the life, career, and impact of Barbara Doscher . In addition to personal reminiscences, Doscher's pedagogy is also explored, collectively depicting a comprehensive portrait of her teaching style, maxims, and core beliefs about vocal technique and the art of singing. These short essays are presented for a new generation of singers and teachers who have not had the privilege of directly experiencing Doscher's tutelage and provide deeper insight into the work and career of one of the most important voice pedagogues of the twentieth century. This article was originally published as an appendix for the 2023 paperback second edition of The Functional Unity of the Singing Voice and is reprinted here with permission of the publisher. arbara Doscher left behind two distinct, yet intertwined legacies. The first is her influence upon the academic voice pedagogy community that she achieved in large part through publication of The Functional Unity of the Singing Voice, first published in 1988, with a second edition that followed in 1994. In April of this year, the new copublishing program between NATS and Rowman and Littlefield reissued the expanded second edition with an introduction by John Nix. 1 Doscher's second, equally important legacy is a more personal one: the impact she made upon her colleagues and an entire generation of students from her position at the University of Colorado Boulder. To complement the reissue of her seminal pedagogy book, some of those individuals whose lives and careers were especially touched by Doscher agreed to be interviewed. These are merely a few of the hundreds of individuals who are carrying her pedagogic legacy forward into the twenty-first century. These interviews were originally published as an appendix for the 2023 paperback expanded second edition of The Functional Unity of the Singing Voice. 2 Barbara Doscher possessed the masterful combination of voice knowledge, technical application, and consummate patience. She was keenly aware that she was speaking more to the muscles of the singer (coordination) than the brain. She was specific and deliberate with her words, yet she knew the value of nuance when gently nudging a singer in the right direction. Knowing that the voice was often in flux, Barbara never micromanaged the singer and comfortably acknowledged transitional sounds as the path to true functional

Associate editor Matthew Hoch revisits Walter C. Foster's 1998 book Singing Redefined, reconsidering its arguments within a twenty-first century context. Hoch uses Foster's compendium of historical writings on various aspects of voice pedagogy as a starting point for examining the challenging task of defining pedagogic terms and concepts. Hoch argues that published definitions are a product of their era and the endeavor of defining pedagogic concepts is a perpetually moving target that always involves the periodic redefining of terminology as new science emerges and society evolves, recontextualizing our knowledge of the singing voice. The author concludes by speculating on several emerging trends that may inform pedagogic discourse and expand our lexicon moving forward. O ver the past twenty-five years I have accumulated a large number of voice pedagogy books, enough to occupy their own shelf in my studio. Some of these-like those by William D. Vennard, Richard Miller, Barbara Doscher, and Scott McCoyare well-worn and have been opened, read, and taught from many times over the course of my career. 1 Others, however, show few if any signs of wear; I have never gotten around to reading them for one reason or another. One of these "like new" volumes was gifted to me several years ago by Glendower Jones: Singing Redefined by Walter C. Foster. The title alone intrigued me, as did its copyright date, 1998; Foster's book was published exactly a quarter century ago, when I was a senior undergraduate student at Ithaca College. As so much has changed in the world of voice pedagogy over the past twenty-five years, I was eager to read about how Foster "redefined" singing in 1998, and whether his definitions within this volume necessitated further revision. (My hypothesis was that they did.) Under the title, in finer print on the blue clothbound cover, was perhaps the longest subtitle I have ever encountered. The book's full title, including this subtitle, is as follows:

The purpose of this study was to develop a case of contemporary belting pedagogy for emerging adult, female singers. Informants for the case included Jeannette LoVetri and Lisa Popeil, two well-respected pedagogues in both contemporary commercial and classical styles of singing. Data were collected through interviews with the pedagogues and observations of their teaching. The pedagogues' practices confirmed findings from prior research that three facets of singing differentiated contemporary belt singing from classical singing: (a) increased subglottal pressure coupled with increased closed quotient; (b) thyroarytenoid-dominant vocal production; and (c) resonance strategies involving a narrowed pharynx or oral cavity. LoVetri and Popeil characterized pedagogy for emerging adult .singers as similar to pedagogy for classical singing in that it ought to be built on breath support and avoidance of vocal fold pressing. Further, the pedagogues recommended utilizing repertoire with moderate demands. However, they e~phasized beginning with resonance strategies such as widening the mouth and lowering the velum .

Due sono gli aspetti che mi sono sembrati centrali nel tentativo di inquadrare Moulin Rouge! (2001) di Baz Luhrmann all'interno del dibattito sul rapporto tra musica e immagine: 1) la volonta del regista di dare nuovo lustro al genere del musical e, 2) l'impiego in tal senso delle tecniche e del linguaggio del cinema post-moderno. Partendo dal primo punto mi sono posto il problema di verificare quali siano le coordinate del genere musical e di individuare di conseguenza quali possano essere stati i luoghi di intervento focalizzati dal regista nell'attuare i suoi propositi. Apparentemente intuitiva, la definizione di musical – uno spettacolo teatrale o cinematografico in cui si avvicendano musica e recitazione – e tutt'altro che priva di insidie, soprattutto se ai pronunciamenti degli studiosi di musical si cerca di trovare puntuali conferme nella vasta produzione teatrale o, come nel nostro specifico, in quella cinematografica. Un po' di ordine in tal senso lo ha...

Die Ausgabe betrachtet verschiedene Medien, die durch Musicals beeinflusst werden, in denen Musicals stattfinden, die die Form des Musicals durch ihre Medialität verändern oder in denen Musicals Medien umorganisieren. In Anknüpfung an die bisherige Forschung der Musik- und Theaterwissenschaft wird das Musical durch die Rahmung als affektives Artefakt in der Synergie mit diversen medialen Formen für die medienwissenschaftliche Forschung geöffnet. Durch die Interdisziplinarität der Beiträge dient sie anschlussfähiger Startschuss der Bearbeitung medienwissenschaftlicher Blindflecke der Gattung Musical.
The issue looks at various media that are influenced by musicals, in which musicals take place, which change the form of the musical through their mediality or in which musicals reorganize media. Following on from previous research in musicology and theater studies, the musical is opened up to media studies research through its framing as an affective artifact in synergy with diverse media forms. Thanks to the interdisciplinary nature of the contributions, it serves as a useful starting point for addressing media studies blind spots in the musical genre.

This chapter highlights the contributions of Quiara Alegría Hudes and Erin McKeown’s Miss You Like Hell to the increasingly productive “theater of undocumentedness” (Guterman), arguing that the musical centers a seldom-explored facet of undocumentedness—motherhood—while interrogating some of the major tropes in the representation of undocumented migrants. More specifically, the close analysis shows the ways in which the play critically engages with humanizing and especially victimizing discourses predicated on the melodramatic performance of suffering. Furthermore, by focusing on a community-in-the-making, the piece is argued to rescript popular approaches to staging immigrant motherhood, subverting the isolated martyr tropes and inviting the audience to consider the fundamental role of networks of support in imagining alternative scenarios for the undocumented. Creating a platform of visibility and performative agency for such lead characters as Beatriz, and ultimately a temporary space of existence for a category that has been relegated to legal non-existence, Miss You Like Hell thus allows for more nuanced understandings and hopefully more generous futures to be envisaged for undocumented mothers.

From the diverse proto-musicals of the mid-1800s, through the revues of the 1920s, the "true musicals" of the 1940s, the politicization of the 1960s and the "mega-musicals" of the 1980s, every era in American musical theatre reflected a unique set of socio-cultural factors. Nathan Hurwitz uses these factors to explain the output of each decade in turn, showing how the most popular productions spoke directly to the audiences of the time. He explores the function of musical theatre as commerce, tying each big success to the social and economic realities in which it flourished. This study spans from the earliest spectacles and minstrel shows to contemporary musicals such as Avenue Q and Spider-Man. It traces the trends of this most commercial of art forms from the perspective of its audiences, explaining how writers and producers strove to stay in touch with these changing moods. Each chapter deals with a specific decade, introducing the main players, the key productions and the major developments in musical theatre during that period.

Este trabalho reflete sobre a canção vertida e cantável (do português para o inglês e do inglês para o português), entendendo que considerá-la somente com base na letra seria tirar dela toda a poesia, uma vez que seu valor poético está cravado de sentimentos que a música vem acordar. Minha proposta é oferecer uma nova escuta para a versão cantável de canções populares, partindo do princípio de que são criadas para serem cantadas, por serem uma combinação de letra e música, passando assim a intercambiarem uma teia sempre renovável de significações. Além disso, mostrar que essa teia de significações é criada e articulada não somente pelo versionista, mas também pelo cantor e pelo arranjador, que atuam como coautores. Para tanto, o corpus da pesquisa faz um recorte que seleciona canções vertidas do português para o inglês no disco Brasil (1987), gravado pelo grupo vocal americano The Manhattan Transfer, com canções brasileiras de Ivan Lins, Djavan, Milton Nascimento e Gilberto Gil. O trabalho também se apoia, para efeito de comparação, em um breve estudo das versões do inglês para o português criadas por Carlos Rennó. Apliquei à escuta e ao cotejo dessas canções a abordagem teórica oferecida principalmente pelo Princípio do Pentatlo de Peter Low e por Klaus Kaindl em sua perspectiva sociossemiótica.

As Cinderella became the archetypal figure of a beautiful girl who gets into hypergamy, her character was often depicted under the gold digger trope. This paper employs the Constructionist Approach of Representation Theory propounded by Stuart Hall to read the Grimms' and Walt Disney's versions of Cinderella comparatively from the cultural lens, to decipher the varying representations of Gold Digger embedded in the story of the German and its Americanized Disney version. Under the Constructionist Approach of Representation theory, two models, the Semiotic and the Discursive Approaches, will be incorporated to frame the arguments. The study traces the disjuncture in the representation and the culture's ambiguous constructions of the gold digger stereotype by analyzing the difference in narrations and signs projected through the characters' actions, behaviors, and perceptions in both versions. It finds that the stepmother and stepsisters in the Grimms' tale and the projections of Cinderella in the Disney version coalesced into the trope of a gold digger. In contrast, Ashputtel (Cinderella) of the Grimm version could not be associated with the stereotype.

A woman being trashed by words is not a novel thing. The past few decades have archived literature that tells the story of how some women met their fate of being the subject of gossip or ended up being cautionary tales. This paper outlines how women fell from being the admired 'pretty woman' to monstrous figures and perceived as a predator and labeled as 'gold diggers', or 'la belle dame sans merci' the study is done qualitatively through texts such as Gold Digger; The Outrageous Life and Times of Peggy Hopkins Joyce by Constance Rosenblum (2000), Gentlemen Prefer Blondes by Anita Loos (1925), "La Belle Dame Sans Merci" by John Keats (1819). The paper unfolds the sexual politics of males and females in terms of materialism and beauty by employing the Theory of Deviance propounded by Howard Becker in his book The Outsider in 1963 and the concept of Naomi Wolf in The Beauty Myth in 1990, providing the arguments on the politics of both genders on how the mentioned labels are inscribed.

First printed edition of a composition by Cathy Berberian that was completely unknown until a few years ago. The work, for seven instruments and conductor (as active participants in the dramaturgy of the performance) should be understood as a kind of imaginary theatre, charged with the author's humour-filled verve.

Between 1913-1920 a family of Spanish dancers settled in New York to perform in vaudeville. Among the best-known Spanish dancers here for at least the first half of the twentieth century, the Cansinos had an outsized impact on the white American imagination. I trace here the professional careers of the Cansino family as dancers, teachers and Hollywood choreographers from the perspective of race and national identity. The Cansinos rose to fame just as the U.S. was emerging as a superpower on the global stage. How did the Cansinos perform the contradictory images of Spain as both conquistador¬—the first American superpower—and “Moorish”/“Gypsy”? They played up Spain’s kinship with the U.S. as both white and European while simultaneously conjuring Spain’s darkly exotic Otherness. At this pivotal moment in the rise of the imperial U.S., such oscillating images of Spain fed a U.S. fantasy of racial purity, signaling both kinship with (white) Europe and (racialized) superiority in the wake of successful conquest. In this telling, the U.S. had successfully expunged its Native, African, and Spanish American cultural inheritance by folding it into an emerging modernity. By contrast, Spain’s whiteness was shadowed by miscegenation and haunted by the fall of its once-great empire. To quote famed jazz artist Jelly Roll Morton, “the Spanish tinge” thus designated an inferior and alien off-whiteness. Spanish dance, as a metonym of Spain, tread the narrow edge between white European dances and Black dances of the Americas, a liminal position that the Cansinos had to negotiate throughout their careers.