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Relevant bibliographies by topics / American musical theater

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Journal articles
Dissertations / Theses
Books
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Academic literature on the topic 'American musical theater'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "American musical theater"

1

Newbury, Michael. "Polite Gaiety: Cultural Hierarchy and Musical Comedy, 1893-1904." Journal of the Gilded Age and Progressive Era 4, no. 4 (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 D

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Most, Andrea. "“We Know We Belong to the Land”: The Theatricality of Assimilation in Rodgers and Hammerstein's Oklahoma!" PMLA/Publications of the Modern Language Association of America 113, no. 1 (1998): 77–89. http://dx.doi.org/10.2307/463410.

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In the early twentieth century, a period of mass immigration, Jewish assimilation into mainstream American society was largely a theatrical venture. The musical theater, a predominantly Jewish field that portrayed a variety of American experiences, offers powerful illustrations of theatrical strategies of Jewish assimilation. The groundbreaking Rodgers and Hammerstein musical Oklahoma! (1943), created during one of the most anti-Semitic periods in United States history, exemplifies how ethnic outsiders demonized a racial other in an effort to be considered white and thus to be included in the

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Block, Geoffrey. ""Reading Musicals": Andrea Most's Making Americans: Jews and the Broadway Musical (Cambridge: Harvard University Press, 2004)." Journal of Musicology 21, no. 4 (2004): 579–600. http://dx.doi.org/10.1525/jm.2004.21.4.579.

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Andrea Most's Making Americans: Jews and the Broadway Musical studies eight musicals (The Jazz Singer, Whoopee, Girl Crazy, Babes in Arms, Oklahoma!, Annie Get Your Gun, South Pacific, and The King and I) in an effort to explore "how first- and second-generation American Jewish writers, composers, and performers used the theater to fashion their own identities as Americans."Most offers imaginative and often insightful sociological readings of musical librettos, lyrics, even stage directions, but virtually ignores music. That music can sometimes elucidate or contradict an exclusively social or

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Henson, Karen. "Verdi versus Victor Maurel on Falstaff: Twelve New Verdi Letters and Other Operatic and Musical Theater Sources." 19th-Century Music 31, no. 2 (2007): 113–30. http://dx.doi.org/10.1525/ncm.2007.31.2.113.

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This article introduces twelve new Verdi letters and other operatic and musical theater sources in the Yale Collection of Historical Sound Recordings. The materials hail from the French baritone Victor Maurel (1848-1923), Verdi's first Iago and first Falstaff, and from his second wife, the musical theater librettist and screenwriter Frederique Rosine de Gresac (1866/7-1943). The letters and other sources constitute an important resource for not only nineteenth-century opera and operatic performance but also the early American musical, film studies, the history of women, even the history of cel

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Samitov, Dmitry G. "THE FIRST REGIONAL THEATRES OF THE UNITED STATES AS AN ALTERNATIVE TO BROADWAY COMMERCIALISM." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 190–96. http://dx.doi.org/10.17223/22220836/40/16.

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The article aims to draw attention to the problem of the emergence and development of creative troupes of a new type. Non-profit theatres became noticeable to the public after a ten-year dominance of Broadway productions played on stages of American the ater. Contrary to Broadway and its commercialism non-profit theatres turned to art, becoming its alternative. The venues mostly performed musicals, uncomplicated comedies, musical shows. Huge halls, high ticket prices led to the fact that the theatre turned to a major business. The desire of theatrical figures to realize their creative powers i

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GABRIEL, JOHN. "There and Back Again: Zeitoper and the Transatlantic Search for a Uniquely American Opera in the 1920s." Journal of the Society for American Music 13, no. 2 (2019): 195–215. http://dx.doi.org/10.1017/s1752196319000075.

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AbstractThis article argues that in the late 1920s, the German genre of Zeitoper paradoxically became an essential component of the search for a new kind of uniquely American opera, resulting in a transatlantic cycle of mutual influence. This influence was possible because Germans and Americans alike saw the United States as the embodiment of modern life and technology. American producers and composers thus adapted German Zeitoper to bring it more in line with Americans’ self-image. I examine this dynamic by juxtaposing two German and two American Zeitopern, looking specifically at their engag

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Wright, Trudi. "Irving Berlin’s American Musical Theater by Jeffrey Magee (review)." Notes 69, no. 3 (2013): 579–81. http://dx.doi.org/10.1353/not.2013.0046.

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Porter, Susan L. "English-American Interaction in American Musical Theater at the Turn of the Nineteenth Century." American Music 4, no. 1 (1986): 6. http://dx.doi.org/10.2307/3052181.

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O'Leary, James. "Oklahoma!, “Lousy Publicity,” and the Politics of Formal Integration in the American Musical Theater." Journal of Musicology 31, no. 1 (2014): 139–82. http://dx.doi.org/10.1525/jm.2014.31.1.139.

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The achievements of Rodger and Hammerstein’s Oklahoma! (1943) are well known: since the musical opened, critics have proclaimed it a new version of the genre, distinguished by its “integrated” form, in which all aspects of the production—score, script, costume, set, and choreography—are interrelated and inseparable. Although today many scholars acknowledge that Oklahoma! was not the first musical to implement the concept of integration, the musical is often considered revolutionary. Building on the work of Tim Carter, I use the correspondence and press materials in the Theatre Guild Collection

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Lampe, Eelka. "Disruptions in Representation: Anne Bogart's Creative Encounter with East Asian Performance Traditions." Theatre Research International 22, no. 2 (1997): 105–10. http://dx.doi.org/10.1017/s0307883300020514.

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The avant-garde theatre director Anne Bogart has made her name in the U.S. theatre community through her deconstructions of modern classics such as the musical South Pacific (1984), Cinderella/Cendrillon (1988) after Massenet's opera, Büchner's Danton's Death (1986), Gorki's Summerfolk (1989), William Inge's Picnic (1992), as well as through her idiosyncratic and original dance/theatre ‘compositions’ developed collabortively with her company, the Saratoga International Theater Institute (SITI). Prominent among such compositions have been 1951 (1986) on art and politics during the McCarthy era,

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Dissertations / Theses on the topic "American musical theater"

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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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Grothues, Nicole M. "Celebrity and the Broadway Musical: Perceptions, Practices, and Prospects for an American Art Form." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306240634.

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Neal, Clay. "Guys and Dolls: the representation of gender in american musical theater since 1943." Thesis, Boston University, 2007. https://hdl.handle.net/2144/28581.

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Kerns, Nancy Jane. "Gretchen Cryer and Nancy Ford| Elevating the Female Voice in American Musical Theater." Thesis, University of Hawai'i at Manoa, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13421232.

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<p> Gretchen Cryer and Nancy Ford, along with most other female creators of musicals, remain in the shadows, in spite of an increased focus by the media on women’s contributions to society. The messages of Cryer and Ford’s dramatic themes and songs have not been fully understood by many critics and audience members. Scholarly and popular writings on women in theater remain scarce, and literature on Cryer and Ford contains errors and promotes misunderstandings. </p><p> In this thesis, I argue that Gretchen Cryer and Nancy Ford, a writer and composer of musical theater respectively

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Morales, Robin Lee. "A Performer's Guide to the American Musical Theater Songs of Kurt Weill (1900-1950)." Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/194115.

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With the broadening interest and popularity of musical theater studies in academic degree programs, more teachers of classical singing and students are meeting at the crossroads of conventional vocal study to broaden their skills in non-classical and musical theater techniques. Tracing back through the lineage of American musical theater, a fascinating example of vocal style emerges from the musical theater works of Kurt Weill. Weill's music exhibits operatic lyricism, jazz rhythms, and popular idioms but does not conform strictly to light opera, jazz, or popular music.In America, Kurt Weill

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Fernandez, Adriana Cristina. "Challenging the traditions of American musical theatre : stage managing Striking 12 at the University of Iowa." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1597.

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This thesis is documentation and analysis of the stage management process working on the 2014 production of Striking 12 at the University of Iowa’s Department of Theatre Arts. In this thesis, the author analyzes the challenges and successes of Striking 12 from a stage management perspective as well as reflects upon the process and its influence on her as a stage manager.

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Ruozzo, Stephanie Marie. "The Legitimate Princess: Intersections of Broadway and the Little Theatre Movement in Jerome Kern's Musical Comedies." Case Western Reserve University School of Graduate Studies / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=case1591286570783829.

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Cuskey, Lusie. "Roots in the Earth and a Flag in my Hand: Rural Gender Identity in American Musical Theatre." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20431.

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The integrated musical is a vehicle for the creation and communication of a national identity, created through the use of coded performances of gender and, at times, rural settings conceptualized as essentially “American.” There is, however, little research about the ways in which gender operates in rural settings in musical theatre, or the ways in which rural gender identities are utilized to communicate nationalist ideologies. This thesis seeks to address this gap in research by examining three contemporary American musicals – Carrie, Violet, and The Spitfire Grill – in light of both America

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Graff, Peter. "Music, Entertainment, and the Negotiation of Ethnic Identity in Cleveland’s Neighborhood Theaters, 1914–1924." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case1522858050676766.

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Hubsch, Jean-Frederic. "Musical theatre in translation: A semiotic analysis of Jacques Brel's "L'Homme de la Mancha"." Thesis, University of Ottawa (Canada), 2006. http://hdl.handle.net/10393/27375.

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Translation of musical theatre has been afforded little academic study. This project aims to help fill this gap in order to develop the study of musical theatre in translation studies. This begins with defining the specificity of musical theatre as a form, using prior work in both the study and translation of theatre and of opera. The goal is to position musical theatre as an object for analysis and to outline the constraints attached to the translation thereof. An analysis of the effect on translation of some of these constraints follows based on notions from discourse analysis and music inte

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Books on the topic "American musical theater"

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

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

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The musical: A look at the American musical theater. Applause, 1995.

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Bowers, Dwight Blocker. American musical theater: Shows, songs, and stars. Smithsonian Collection of Recordings, 1989.

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Cherbo, Joni Maya. American participation in opera and musical theater, 1992. Seven Locks Press, 1995.

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Our musicals, ourselves: A social history of the American musical theatre. Brandeis University Press, published by University Press of New England, 2003.

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Our musicals, ourselves: A social history of the American musica theater. Brandeis University Press, published by University Press of New England, 2003.

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The American musical stage before 1800. Greenwood Press, 1986.

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Hirsch, Foster. Harold Prince and the American musical theatre. Cambridge University Press, 1989.

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Harold Prince and the American musical theatre. Applause Theatre and Cinema Books, 2005.

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Book chapters on the topic "American musical theater"

1

Cornelius, Steven, and Mary Natvig. "American Musical Theater." In Music a Social Experience. Routledge, 2018. http://dx.doi.org/10.4324/9781315222868-13.

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Loney, Glenn. "Beyond the Broadway Musical: Crossovers, Confusions and Crisis." In Contemporary American Theatre. Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21582-9_9.

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Koegel, John. "Adolf Philipp and the German American Musical Comedy." In The Palgrave Handbook of Musical Theatre Producers. Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-43308-4_4.

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Hecht, Stuart J. "ART for ART’s Sake: The American Repertory Theatre." In The Palgrave Handbook of Musical Theatre Producers. Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-43308-4_49.

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Case, Claudia Wilsch. "Refining the Tastes of Broadway Audiences: The Theatre Guild and American Musical Theatre." In The Palgrave Handbook of Musical Theatre Producers. Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-43308-4_16.

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Vandevender, Bryan M. "Reclaiming, Restoring, and Reviving the American Musical: City Center Encores!" In The Palgrave Handbook of Musical Theatre Producers. Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-43308-4_40.

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Sam, O’Connell. "The Wiz And The African Diaspora Musical." In The Routledge Companion to African American Theatre and Performance. Routledge, 2018. http://dx.doi.org/10.4324/9781315191225-17.

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Case, Claudia Wilsch. "Broadway-Bound: La Jolla Playhouse as a Laboratory for New American Musical Theatre." In The Palgrave Handbook of Musical Theatre Producers. Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-43308-4_38.

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Tiatco, Sir Anril Pineda. "‘My American Dream’: Dreaming of Broadway and the West End in the Philippines." In The Palgrave Handbook of Musical Theatre Producers. Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-43308-4_33.

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

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Conference papers on the topic "American musical theater"

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Koch, Renate. "Marcel Prawy und das erste Broadway-Musical im Österreich der Nachkriegszeit." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.57.

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Marcel Prawy, born in Vienna, graduated in law. In 1936, the couple Kiepura/Eggerth engaged him as private assistant. Two years later Jan Kiepura helped him to emigrate to New York. In 1943, after his employment ended, Prawy joined the US Army. Finally he returned as an elite soldier to Vienna and began his pioneering work for ‘Broadway Musicals’. In 1955, he was appointed dramaturge at the ‘Wiener Volksoper’. One year later in February, Kiss Me, Kate was performed in two Austrian theatres. The Viennese version was produced by Prawy himself and staged by Heinz Rosen. In Graz André Diehl direct

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