The musical as drama :a study of the principles and conventions behind musical shows from Kern to Sondheim
- 作者: McMillin, Scott,
- 出版: Princeton, N.J. : Princeton University Press ©2006.
- 稽核項: xvi, 230 pages :illustrations ;23 cm.
- 標題: History and criticism. , Musicals , Musicals United States -- History and criticism.
- ISBN: 0691164622 , 9780691164625
- 附註: 103年科技部補助人文及社會科學研究圖書設備計畫規劃主題:藝術學:全球化與劇場跨界. Includes bibliographical references (pages 213-219) and index. Integration and difference -- The book and the numbers -- Character and the voice of the musical -- The ensemble effect -- The drama of numbers -- The orchestra -- Narration and technology : systems of omniscience -- What kind of drama is this? נושא ישן: Musicals - United States - history and criticism.
- 摘要: "Derived from the colorful traditions of vaudeville, burlesque, revue, and operetta, the musical has blossomed into America's most popular form of theater. Scott McMillin has developed a fresh aesthetic theory of this underrated art form, exploring the musical as a type of drama deserving the kind of critical and theoretical regard given to Chekhov or opera. Until recently, the musical has been considered either an "integrated" form of theater or an inferior sibling of opera. McMillin demonstrates that neither of these views is accurate, and that the musical holds true to the disjunctive and irreverent forms of popular entertainment from which it arose a century ago." , "Discussing composers and writers such as Rodgers and Hammerstein, Stephen Sondheim, Kander and Ebb, Leonard Bernstein, and Jerome Kern, The Musical as Drama describes the continuity of this distinctively American dramatic genre, from the shows of the 1920s and 1930s to the musicals of today."--Jacket.
- 系統號: 005263183
- 資料類型: 圖書
- 讀者標籤: 需登入
- 引用網址: 複製連結
Derived from the colorful traditions of vaudeville, burlesque, revue, and operetta, the musical has blossomed into America's most popular form of theater. Scott McMillin has developed a fresh aesthetic theory of this underrated art form, exploring the musical as a type of drama deserving the kind of critical and theoretical regard given to Chekhov or opera. Until recently, the musical has been considered either an "integrated" form of theater or an inferior sibling of opera. McMillin demonstrates that neither of these views is accurate, and that the musical holds true to the disjunctive and irreverent forms of popular entertainment from which it arose a century ago. Critics and composers have long held the musical to the standards applied to opera, asserting that each piece should work together to create a seamless drama. But McMillin argues that the musical is a different form of theater, requiring the suspension of the plot for song. The musical's success lies not in the smoothness of unity, but in the crackle of difference. While disparate, the dancing, music, dialogue, and songs combine to explore different aspects of the action and the characters. Discussing composers and writers such as Rodgers and Hammerstein, Stephen Sondheim, Kander and Ebb, Leonard Bernstein, and Jerome Kern, The Musical as Drama describes the continuity of this distinctively American dramatic genre, from the shows of the 1920s and 1930s to the musicals of today.
來源: Google Book
來源: Google Book
評分
