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Journal articles on the topic 'Musical comedy'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

Greenspan, Charlotte. "Death Comes to the Broadway Musical." Daedalus 141, no. 1 (January 2012): 154–59. http://dx.doi.org/10.1162/daed_a_00137.

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The Broadway musical is an excellent prism for viewing the narrative of American life – as it is, has been, and perhaps should be. In the first part of the twentieth century, musicals viewed life through rose-colored glasses; musicals were equivalent to musical comedy. Starting in the 1940s, the mood of musicals darkened. One indication of the new, serious tone was that characters in musicals died in the course of the show. This essay examines several questions relating to death in the Broadway musical, such as who dies, when in the course of the drama the death occurs, and how the death is marked musically. It concludes with a look at musicals involving the deaths of historical characters and at AIDS-related musicals, works whose assumptions and ideals are very far from those of the musical comedies of the early twentieth century.

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2

Hornby, Richard. "Death of a Musical Comedy." Hudson Review 45, no. 1 (1992): 109. http://dx.doi.org/10.2307/3852105.

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Simpson, Dave. "Picks, Shovels and Musical Comedy." Ecological Restoration 15, no. 2 (1997): 179–82. http://dx.doi.org/10.3368/er.15.2.179.

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4

조만수. "Dramatic and Musical Composition in the Musical Comedy Les Misérables." Cross-Cultural Studies 44, no. ll (September 2016): 315–42. http://dx.doi.org/10.21049/ccs.2016.44..315.

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5

KUPFER, PETER. "‘Our Soviet Americanism’:Jolly Fellows, Music, and Early Soviet Cultural Ideology." Twentieth-Century Music 13, no. 2 (July 22, 2016): 201–32. http://dx.doi.org/10.1017/s1478572216000049.

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AbstractThe musical comedy film was perhaps a surprising genre to appear and flourish in the Soviet Union during the 1930s, a decade traditionally associated with the grimmer realities of Stalin's ruthless consolidation of power, show trials, and purges. Despite (and in many ways because of) this, the musical comedy became quite popular, with audiences and officials alike. Its creation did not, however, proceed without controversy or difficulty. In this article, I examine how director Grigory Aleksandrov and composer Isaak Dunayevsky drew on well-known and well-liked American musical and cinematic models to construct the first Soviet musical comedy film,Jolly Fellows(1934), and the role of music in the controversy that the film sparked. I argue that in choosing musical content appropriate for contemporary Soviet viewers and transmitting it by using American-inspired formal structures that rely on music, Aleksandrov and Dunayevsky created a powerful hybrid that spoke convincingly to audiences and critics, who ultimately used the film and its music as a means for debating issues of cultural significance.

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Garber, Michael G. "Tragicomedy, Melodrama, and Genre in Early Sound Films: The Case of Two “Sad Clown” Musicals." CINEJ Cinema Journal 5, no. 2 (October 11, 2016): 53–86. http://dx.doi.org/10.5195/cinej.2016.135.

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This interdisciplinary study applies the theatrical theories of stage genres to examples of the early sound cinema, the 1930 Hollywood musicals Puttin’ on the Ritz (starring Harry Richman, and with songs by Irving Berlin) and Free and Easy (starring Buster Keaton). The discussion focuses on the phenomenon of the sad clown as a symbol of tragicomedy. Springing from Rick Altman’s delineation of the “sad clown” sub-subgenre of the show musical subgenre, outlined in The American Film Musical, this article shows that, in these seminal movie musicals, naïve melodrama and “gag” comedy coexist with the tonalities, structures, philosophy, and images of the sophisticated genre of tragicomedy, including by incorporating the grotesque into the mise en scene of their musical production numbers.

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Hornby, Richard. "The Decline of the American Musical Comedy." Hudson Review 41, no. 1 (1988): 182. http://dx.doi.org/10.2307/3850853.

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AUSTERN, LINDA PHYLLIS. "MUSICAL PARODY IN THE JACOBEAN CITY COMEDY." Music and Letters 66, no. 4 (1985): 355–66. http://dx.doi.org/10.1093/ml/66.4.355.

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9

Graves, James B. "The American Musical Comedy: A Theoretical Discussion." Journal of Popular Culture 19, no. 4 (March 1986): 17–26. http://dx.doi.org/10.1111/j.0022-3840.1986.1904_17.x.

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Tsuji, Sahoko. "‘Salute to Radio’: The self-reflexive artistry of Betty Comden and Adolph Green in Fun with the Revuers." Studies in Musical Theatre 14, no. 2 (July 1, 2020): 149–61. http://dx.doi.org/10.1386/smt_00029_1.

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Betty Comden and Adolph Green are well-known librettists and lyricists of stage musicals and musical films; their artistic style and verbal expression are considered to bear urban witness to a period understanding of the 1940s and 1950s. Nonetheless, previous studies have scarcely investigated the aesthetic features of their dramaturgy, especially with regard to linguistic expression. This article focuses on the radio comedy Fun with the Revuers, for which they wrote scripts and lyrics. Through a close look at the scripts and sound recordings, it analyses the ‘interruptive sound and voice’ functions that construct the show, and examines how these satirize the conventions of the format, as well as the essential features of the medium. This article will offer a new perspective on the generational dynamics of Comden and Green’s artistry.

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11

Newbury, Michael. "Polite Gaiety: Cultural Hierarchy and Musical Comedy, 1893-1904." Journal of the Gilded Age and Progressive Era 4, no. 4 (October 2005): 381–407. http://dx.doi.org/10.1017/s1537781400002760.

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In 1903, Alan Dale, the theater critic for the New York American and Journal, when contemplating the state of the American stage, came to the conclusion that “the only national theatre I can find, after severe cogitation, is that beautiful, flip, and classic commodity known as musical comedy.” Dale pointed out that musical comedy's exorbitant popularity was a recent development, emerging only in the previous five or ten years, and that his anointing of the form as the national theater would not sit well with more serious-minded devotees of drama. “Well read gentlemen with heavy minds,” wrote Dale, would prefer different sorts of productions, plays that “mere commercial managers don't want to stage and mere amusement seekers don't want to see.” Seeking an improbable bridge over this cultural divide, Dale suggested that “[Henrik] Ibsen might air his neat little views on heredity in happy verse set to music…[His] favorite subject of maggots on the brain” could feature a “chorus of pretty girls disguised as maggots.”

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Yuliia, Shchukina. "Development of the dance-rock opera genre in the creative content of ‘Mykhailo Vodianoi’ Academic Theatre of Musical Comedy, Odesa." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (October 3, 2021): 111–25. http://dx.doi.org/10.34064/khnum1-60.06.

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Background. Staging of rock opera began in Ukraine simultaneously in theaters of drama, opera and musical comedy in the mid-80s. The first drama and ballet performances were based on the works of Russian authors. From 1986 to 1993 Kharkiv Theater of Musical Comedy made stage production of rock operas based on the works of Alexander Zhurbin, Andrew Lloyd Webber and Alexey Rybnikov leaders of its repertoire policy. Since the 2000s, Odessa Theater of Musical Comedy has staged a dance-rock opera as a new modification of stage play with rock opera. The relevance of the article. Stage performances of dance-rock operas have not yet been sufficiently studied in Ukraine. Such Ukrainian musicologists as Olga Verkhovenko, Iryna Palkina, Halyna Filkevych fragmentarily have studied genre features and performance forms of dance-rock operas. In addition, some periodicals have covered these productions in their critical reviews. Methods. The work is based on a typological method, which made it possible to classify performances as a rock opera genre. The biographical method has also been applied to determine the artistic influences on the choreographer Heorhii Kovtun. The comparative method made it possible to separate the dancerock opera from other productions related to the genre of rock opera, as well as from apologetic performances that exploit already invented forms. When analyzing the performances, some elements of the reconstruction method were used. Results of the study. Odessa Musical Comedy Theater presented four performances in the genre of dance-rock opera, three of which were staged by Heorhii Kovtun. The first (and most successful) production with a new performance approach was the play “Romeo and Juliet” based on Shakespeare’s tragedy with music and libretto by Yevhen Lapeiko (Odessa). A new type of leading performers (selected at casting) appeared in the play. The type of rock opera artist represented by Kyryl Turychenko is characterized by freedom from musical comedy clichés. A pop singer with appropriate acting, athletic and dance training, he could sing when falling, climbing a two-story stage tower, or during a dynamic dance. Scenography by Stanislav Zaitsev showed a tendency towards brevity, constructiveness and simultaneous development of action in three stage dimensions. Other productions of Heorhii Kovtun – “The Canterville Ghost” and “Silicon Silly Woman.net” based on the works of Russian authors D. Rubin, A. Ivanov, O. Pantykin and K. Rubinsky developed rock opera principles invented by the choreographer rather than deepened them. The director of “The Canterville Ghost” did not quite clearly indicate the vector of the main idea. This led to the breakup of stage action into spectacular theatrical attractions with pyrotechnics and impressive stage design transformations. In fact, it is still not clear what the director was trying to recreate – a melodrama, a comedy with elements of satire or Guignol. The play “Tristan and Isolde” based on the works of the Ukrainian composer Alexander Nezhigai and playwright Serhii Piskuriov was staged by the theater director Vladimir Savinov. His ignorance of musical theater specifics contributed to the vocally and musically weak performance. Most of the action in the stage production was organized by the choreography of Anatolii Bedichev. Contrary to expectations, V. Savinov’s performance was also significantly inferior to Н. Kovtun’s performances in relation to libretto adaptation, stage design and tempo-rhythm of the performance. All rock-dance opera performances were aimed at teenage and youth audiences. Conclusions. Unlike rock operas of the previous decades, the production proposed by choreographer H. Kovtun is characterized by a synthesis of modern choreography, spectacular show, performance universalism and dynamс crowd scenes. As a choreographer, he did not pay much attention to the actors’ work on the characters. Vocally the singers gravitated towards the pop style (using microphones). Unlike earlier productions of rock operas in Ukrainian theater (with phonograms or symphonic jazz instrumentation of the theater orchestra), the troupe of Odessa Musical Comedy Theater performed rock operas with combined accompaniment (studio phonogram, theater orchestra, rock band). Further study of the multiple issues identified in the article requires a deep analysis of the repertoire, types of rock opera in the theater of musical comedy in Ukraine and the distinctive vocal and acting performance features.

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Bratton, J. S. (Jacqueline S. ). "Oscar Asche, Orientalism and British Musical Comedy (review)." Modern Drama 48, no. 3 (2005): 619–21. http://dx.doi.org/10.1353/mdr.2006.0003.

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14

Kupfer, Peter. "Volga-Volga." Journal of Musicology 30, no. 4 (2013): 530–76. http://dx.doi.org/10.1525/jm.2013.30.4.530.

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Volga-Volga (1938), the third musical comedy made by the Soviet director-composer team of Grigory Aleksandrov and Isaak Dunayevsky, is one of the most emblematic films of the Soviet 1930s. Indeed, it won its makers a Stalin Prize in 1941 and was supposedly Stalin’s favorite film. But Volga-Volga was also a success with Soviet viewers: they flocked by the millions to see the film, which was still playing in theaters at the outbreak of war in June 1941. As a combination of slapstick comedy and memorable musical numbers that addressed an appropriately Soviet theme, the film clearly spoke to both the masses and officials. But what does Volga-Volga have to say? The film tells the story of a musical “civil war” between a folk ensemble and a classical orchestra, both of which head to Moscow to participate in the national musical Olympiad. Due to “accidental” circumstances, the two ensembles eventually join forces and win the competition with a performance of the “Song about the Volga.” Though this merger of musical forces and styles seems to serve predominantly comedic purposes, the “story of a song” can also be read as a commentary on the development of music in the Soviet Union in the 1930s. In a period marked by debates and uncertainties in all realms of musical production about what exactly Socialist Realist music was to be, Aleksandrov and Dunayevsky offer as their solution a musical practice that advocates inclusivity by seeking to combine features from many types of music into a distinctly Soviet blend. This thematization of music is enhanced by the nature of the film musical, whose stylistic reliance on music as a bridge between real and ideal worlds embodies the aesthetic demands of Socialist Realism. Furthermore, the film can be understood as an instance of what film scholar Miriam Hansen calls “vernacular modernism,” namely, the adaptation of an American cinematic model into a foreign context as a tool for reflecting and refracting experiences of modernity.

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15

Shchukina, Yuliia. "Oleksandr Ivashutych, a student of Les Kurbas, as a universal figure in the theater of musical comedy." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 345–57. http://dx.doi.org/10.34064/khnum2-19.20.

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Background. Analyzing the origins of the school of Kharkiv Academic Theater of Musical Comedy, we cannot ignore its founders. People’s Artist of the UzSSR O. Ivashutych was a director, head of the theatre (during the 1940s), drama actor from the year of its founding (1929) to 1971. Methods and novelty of the research. The research is based on historicalchronological, biographical, typological, and comparative methods with an element of performances and roles reconstruction. Not much is known about O. G. Ivashutych. The only encyclopedic reference about him (from the “Encyclopedia of Modern Ukraine”) does not shed light on the director’s method, indirectly giving an idea only of the acting range. The work of Yu. Stanishevsky (1970) on the first forty years of musical comedy theaters of Ukraine (“Colors of Ukrainian operetta”) has several useful elements of reconstructions of the roles in the early period of O. Ivashutych’s work. N. Yermakova’s (2012) monograph “The Berezil Culture…” contains facts and important assessments of O. Ivashutych’s activity as a member of the Berezil Art Association. The author of this paper has collected more than 30 articles in the funds of scientific libraries and Specialized music and theater library of Kharkiv, as well as in the archives of KhATMK, and for the first time the information about the work of O. Ivashutych is analyzed. In addition, the actresses who worked with O. Ivashutych were interviewed. Therefore, this study is the first to reveal and systematize peculiarities of the creative path of O. Ivashutych, an actor, director, head of Kharkiv Theater of Musical Comedy. The director made about 40 productions on the stage of Kharkiv Theater of Musical Comedy and in Central Asia, where he was later evacuated. As an actor, O. Ivashutych played more than 100 versatile roles. The article aims to identify and characterize the main stages of the creative path of O. Ivashutych as well as differences between his acting and directing in different aesthetic eras. Results. O. Ivashutych’s creative individuality leaned towards the tragicomedy of Charlie Chaplin and Maryan Krushelnytsky. As a student of Les Kurbas in the Berezil Art Association and a member of the director’s laboratory of this theater, Les Ivashutych mastered the method of the famous avant-garde company, Les Ivashutich mastered the stage method of the famous avant-garde company, skillfully building rhythm of a performance and a role, turning to circusize, grotesque sharpening of images. In his directing work on the stage of the Musical Comedy Theater, O. Ivashutych, as a pupil of “The Berezil”, sought to consistently develop two repertoire trends: the embodiment of the best European classics (often exclusive in the country salon repertoire) and Ukrainian works (musical comedies and operettas by M. Verykivsky, M. Lysenko, O. Riabov). In our opinion, during these years L. Ivashutych drew a dash line of the European repertoire in his theater: he presented unique in the history of Kharkiv Theater of Musical Comedy operettas “The Borgia’s Garter” by K. Kraus, “Jeanne Who Cries and Jean Who Laughs” by J. Offenbach, “Ball at the Savoy” by P. Abraham (1940), “The Marriage Market” by V. Jacobi (1947), “The Eagle Feathers” by F. Farkas (1957), “Fraskita” by F. Lehár (1959), “The Waltz King” by J. Strauss (1961) and the first productions of famous operettas “Rose Marie” by G. Stotgardt and L. Friml (1942), “The Circus Princess” (1947), “Zorika (Gypsy Love)” by F. Lehár (directed by O. Ivashutych in the year of the composer’s death). In addition, O. Ivashutych staged four performances based on the musical comedies of the classic of Ukrainian operetta O. Riabov. The only performance, which could directly reveal the methodology of “The Berezil” was a fantastic comedy “Viy” (1951). The director also impressed with frank theatricality in circus scenes from the Milyutin’s operetta “Circus lights the fires” – together with choreographer A. Gulesco he managed to set up the style related to “girls” from “The Berezil” revues. Conclusions. Olexandr Ivashutych’s acting naturally evolved from the avantgarde of the 1920s – early 1930s, when he created, in particular, an eccentric image of Orpheus in the production of J. Offenbach, to the realistically psychological roles of 1950–1960, performed in a soft comedic manner (Amadeus in “The Bat”, Rooster in “Akulini”, Underwud in “The Kiss of Cianita”). L. Ivashutych worked as a director only during the period of the theater of “socialist realism”, which resulted in the corresponding realistic principles of his productions. However, even in such circumstances the director appreciated and skillfully used bright elements of theatrical imagery (fantasticality in “Viy” by M. Gogol, choreography in the spirit of the revue in “Circus lights the fires”). O. Ivashutych’s activity in Kharkiv Theater of Musical Comedy was based on the significant personal culture of the artist and his worldview of an intelligent leader.

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Pöhlmann, Egert. "Menander, Theophorumenē: A Song to Kybele on the Comic Stage." Greek and Roman Musical Studies 10, no. 1 (March 7, 2022): 114–35. http://dx.doi.org/10.1163/22129758-bja10036.

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Abstract While Old Comedy abounds in musical parts, New Comedy restricts music to four act-dividing songs, about which in the papyri nothing but remarks like χοροῦ are transmitted. Monodies sung by actors are extremely rare. In Menander there are only two examples, a monody of a priestess in the Leukadia and a song to Kybele in the Theophoroumenē, transmitted in nine book fragments, three fragments on papyri and five mosaics depicting scenes connected with the song of the possessed girl. By integrating the book fragments and the recently enriched pictorial evidence it is possible to attempt a hypothetical reconstruction of the comedy: Menander wanted to tell the well-worn story of a foundling girl, her love affairs, rescue and marriage in a new, unexpected way by inventing the role of a girl presumably possessed by Kybele. This way he could bring a thrilling musical scene and fascinating Kybele ritual onto the stage.

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Katsnelson, Anna Wexler. "The Tramp in a Skirt: Laboring theRadiant Path." Slavic Review 70, no. 2 (2011): 256–78. http://dx.doi.org/10.5612/slavicreview.70.2.0256.

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In this article, Anna Wexler Katsnelson focuses on Grigorii Aleksandrov's musical comedy,'Svetlyi put'(The Radiant Path, 1940) as a way of investigating the modes of screening laughter in the USSR in the 1930s and exploring the reasons for the film's gradual disavowal of laughter. The key questions posed by the article are why does laughter disappear from the nominally comedic, purposefully merrySvetlyi put'?Where is its affective energy redirected? And, finally, is laughter on film at all possible under the conditions of high Stalinism?

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18

Alter, Nora M. "Marcel Ophüls' "November Days": German Reunification as "Musical Comedy"." Film Quarterly 51, no. 2 (December 1997): 32–43. http://dx.doi.org/10.2307/3697139.

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Wade, Cameron. "#UsToo: A Musical Comedy about Sexual Assault and Harassment." Drama Therapy Review 6, no. 2 (October 1, 2020): 129–48. http://dx.doi.org/10.1386/dtr_00024_1.

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#UsToo debuted at the 39th Annual Conference of the North American Drama Therapy Association. It was written and performed by the author as an autoethnographic therapeutic theatre performance investigating her experiences with sexual assault and harassment perpetrated by members of the drama therapy community. This article includes an annotated version of the script with a discussion on form, content, aesthetic choices and embodiment. This article concludes with a synthesis of authorial learnings and outcomes throughout the devising, rehearsal and performance processes.

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Buhin, Anita. "Love and fashion: musical comedy and Yugoslav dolce vita." Studies in Eastern European Cinema 10, no. 2 (February 11, 2019): 96–110. http://dx.doi.org/10.1080/2040350x.2018.1554306.

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Drieu, Cloé. "Rimgaila Salys, The Musical Comedy Films of Grigorii Aleksandrov." Cahiers du monde russe 50, no. 50/4 (December 15, 2009): 817–20. http://dx.doi.org/10.4000/monderusse.7173.

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Moore, Timothy. "Facing the Music: Character and Musical Accompaniment in Roman Comedy." Syllecta Classica 10, no. 1 (1999): 130–53. http://dx.doi.org/10.1353/syl.1999.0010.

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Fernández, Enrique. "«Celestina», a Tragic Music Comedy de Brad Bond. Creación y evolución de un musical de Broadway." Celestinesca 42 (January 16, 2021): 83. http://dx.doi.org/10.7203/celestinesca.42.20218.

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Editamos aquí el libreto de la adaptación de La Celestina que, con el título de «Celestina», a Tragic Music Comedy, Brad Bond escribió para luego estrenarla en una sala de Broadway en 1999. Incluimos una breve historia textual de esta obra desde sus inicios, cuando su autor era un estudiante universitario, hasta su estreno en Broadway y la evolución que ha sufrido desde entonces. Aunque esta adaptación musical respeta el argumento y los personajes del original, es más que una mera versión musicada: es una recreación en que la acción ocurre en el mundo moderno, en una ciudad costera de Estados Unidos, y los diálogos están llenos de referencias a personajes y objetos modernos (Sigmund Freud, condones, barbacoas). También, en consonancia con las convenciones del género de los musicales de Broadway, se introdujeron personajes como los «Celestina Boys», un coro de maliciosos súcubos que acompaña a Celestina. Además de poder acceder al texto, el lector puede escuchar alguno de los números musicales al estar el texto conectado con enlaces de internet a sus grabaciones en línea. Se añaden también algunas notas que clarifican las expresiones coloquiales inglesas usadas en los diálogos.

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Steichen, James. "Balanchine’s “Bach Ballet” and the Dances of Rodgers and Hart’s On Your Toes." Journal of Musicology 35, no. 2 (2018): 267–93. http://dx.doi.org/10.1525/jm.2018.35.2.267.

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This article uncovers an unrealized “Bach Ballet” by choreographer George Balanchine previously unexamined by scholars of music or dance. Inspired by tap dancer Paul Draper and conceived of by Balanchine’s patron Lincoln Kirstein, this work is probably an early inspiration for the choreographer’s now iconic ballet Concerto Barocco (1941, set to J. S. Bach’s D-minor concerto for two violins, BWV 1043). This “Bach Ballet” provides an occasion to reevaluate the aesthetic and institutional stakes of Balanchine’s better-known endeavor from the same period: his well-regarded dances for Richard Rodgers and Lorenz Hart's musical comedy On Your Toes, in which the worlds of classical music and ballet collide with popular music and dance. New insights into the dramaturgical function and reception of the dances in On Your Toes offer a way to revisit the show’s status as an early exemplar of “integrated” musical comedy and to understand the musical’s engagement with the phenomenon of Russian ballet in New Deal America. This essay analyzes the musical’s three dances—the Princess Zenobia ballet, the “On Your Toes” number, and the concluding Slaughter on Tenth Avenue—as an allegory of Balanchine’s Americanization as a choreographer. This complex of projects provides a fresh perspective on how Balanchine’s personal contact with a range of dancers (white and African-American, tap and ballet performers) affected his development as a choreographer and in the process helped realize, if inadvertently, the erstwhile goal of Balanchine and Kirstein’s ballet enterprise: to reinvent the art form in a native idiom.

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Farahat, Martha. "On the staging of madrigal comedies." Early Music History 10 (October 1991): 123–43. http://dx.doi.org/10.1017/s026112790000111x.

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The brief life of the madrigal comedy spans the forty-year period from 1590 to 1630. Coming at the end of the sixteenth century, the genre marked the decline of the polyphonic madrigal style and heralded the evolution of secular vocal music's emphasis on the dramatic. As a genre, the madrigal comedy is not well known, and its designation can lead to confusion, because the term refers to collections of compositions that need not consist of madrigals or by themselves form comedies. Nevertheless it is a term that retains some usefulness in isolating a body of works from the late sixteenth and early seventeenth centuries that share common elements. Not until the most recent edition of Grove's Dictionary was there an entry under the heading ‘Madrigal Comedy’; earlier editions had described such works as madrigal operas, clearly an even more problematic term. The brief life of the genre – from Orazio Vecchi's Selva di varia recreatione of 1590 to Banchieri's last publication, the Trattenimenti da villa of 1630 – as well as the variety of types of composition and of musical style to be found in these collections, and the fact that there are so few of them, make it particularly difficult to define more narrowly or more precisely.

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Koegel, John. "Adolf Philipp and Ethnic Musical Comedy in New York's Little Germany." American Music 24, no. 3 (October 1, 2006): 267. http://dx.doi.org/10.2307/25046034.

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Mendenhall, Christian. "American Musical Comedy as a Liminal Ritual of Woman as Homemaker." Journal of American Culture 13, no. 4 (December 1990): 57–69. http://dx.doi.org/10.1111/j.1542-734x.1990.00057.x.

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Abazov, Al'bek Chamirovich, Madina Muaedovna Bakova, and Aishat Maevna Astezheva. "ON THE FORMATION OF MUSICAL COMEDY GENRE IN THE KABARDINO-CIRCASSIAN DRAMA." Philological Sciences. Issues of Theory and Practice, no. 2-2 (February 2018): 223–25. http://dx.doi.org/10.30853/filnauki.2018-2-2.1.

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Dowling, John. "Gorostiza's Contigo pan y cebolla: From Romantic Farce to Nostalgic Musical Comedy." Theatre Survey 28, no. 1 (May 1987): 49–58. http://dx.doi.org/10.1017/s0040557400008978.

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Pan y cebolla — bread and onion. In Madrid or Mexico City, you may see construction workers at lunch or at a rest break having a nutritious and economical snack: an onion sandwich, made simply of a barra de pan — a hard roll — and a juicy Spanish onion, washed down perhaps with wine drunk from the bottle. It is an eminently proletarian lunch.

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Burrows, George. "Anything Goes on an ocean liner: Musical comedy as a carnivalistic heterotopia." Studies in Musical Theatre 7, no. 3 (December 1, 2013): 327–45. http://dx.doi.org/10.1386/smt.7.3.327_1.

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Carrier, Achsah H., and James G. Carrier. "BRIGADOON, OR; MUSICAL COMEDY AND THE PERSISTENCE OF TRADITION IN MELANESIAN ETHNOGRAPHY." Oceania 57, no. 4 (June 1987): 271–93. http://dx.doi.org/10.1002/j.1834-4461.1987.tb02222.x.

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Moore, James Ross. "The Gershwins in Britain." New Theatre Quarterly 10, no. 37 (February 1994): 33–48. http://dx.doi.org/10.1017/s0266464x00000075.

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Overwhelmingly, the British reputation of George Gershwin is as a ‘serious’ composer: but this is liable to obscure not only the contributions he and his brother Ira made to the popular music theatre in Britain, but also, conversely, the British influences upon this seemingly all-American pair. George was profoundly influenced by that pre-eminent American Anglophile of his time, Jerome Kern, while British influences upon the semi-scholarly Ira extended far beyond W. S. Gilbert and P. G. Wodehouse. After ‘Swanee’ swept Britain in 1920, and George had honed his art and craft by writing the score for the West End revue, The Rainbow (1923), came the musical comedy, Primrose (1924) – its score his first to be published, and including some of his earliest orchestrations. A prototype of the frivolous comedies of the era, Primrose marked the first time the brothers were billed together as the Gershwins, since Ira had earlier written as ‘Arthur Francis’: it was also the immediate precursor of their first great Broadway hit, Lady, Be Good! Finally, in 1928, Ira collaborated, without George, on the London show That's a Good Girl – though Damsel in Distress, the brothers' last film musical, was a valedictory to the British-American musical comedy of the era. James Moore's earlier transatlantic study, of Cole Porter in Britain, appeared in NTQ30 (1992), and his Radio Two programme on the revue producer André Charlot was broadcast in October 1993.

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Afanasev, Nurgun Vyacheslavovich, and Ul'yana Valer'evna Titova. "The role of cultural industries in modern cultural life of the region (on the example of N. D. Neustroev's comedy “Tieteybit”)." Философия и культура, no. 9 (September 2021): 47–52. http://dx.doi.org/10.7256/2454-0757.2021.9.34510.

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The object of this research is the role of the comedy “Tieteybit” by N. D. Neustroev in cultural life of the Sakha Republic (Yakutia). The subject is the impact of modern creative industries upon cultural life of the region. On the example of Nikolay Denisovich Neustroev's comedy play “Tieteybit”, the authors examine the use of creative approaches towards preservation and popularization of cultural heritage of the Sakha people. It is noted that over the recent years, a major event in the development of spiritual culture and cultural life of the region overall has become the innovations introduced by the contemporaries in staging the Yakut comedies. Motifs of the comedy “Tieteybit” served as the prototype for staging the the first Yakut musical comedy, and even a film. A survey was conducted touching upon the following questions: are the innovations introduced in culture in form of a screen version of classical literature with the elements of innovation encourage the young generation to studying the Yakut cultural heritage?; what is the relevance of the work by N. D. Neustroev “Tieteybit”? The conclusions is made that in the XXI century, N. D. Neustroev's comedy “Tieteybit” has become one of the basics for the development of creative industry of the region. As an instrument for the development of regional culture, creative industry may play the strongest and highly effective role in the development of social life of the region.

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Komilovna, Isokova Matluba. "Khorezm regional state uzbek theater of musical drama and comedy named after agahi." ACADEMICIA: An International Multidisciplinary Research Journal 10, no. 4 (2020): 532. http://dx.doi.org/10.5958/2249-7137.2020.00195.0.

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Walden, Joshua. "Leaving Kazimierz: Comedy and realism in the Yiddish film musical Yidl mitn Fidl." Music, Sound, and the Moving Image 3, no. 2 (December 2009): 159–93. http://dx.doi.org/10.1353/msm.0.0072.

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Rusak, Nadezhda Georgievna. "ACTIVITY OF THE PRIMARY PARTY ORGANIZATION OF THE IRKUTSK THEATER OF MUSICAL COMEDY." Вестник Восточно-Сибирского государственного института культуры 176, no. 3 (November 25, 2019): 49–56. http://dx.doi.org/10.31443/2541-8874-2019-3-11-49-56.

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DOE, JULIA. "TWO HUNTERS, A MILKMAID AND THE FRENCH ‘REVOLUTIONARY’ CANON." Eighteenth Century Music 15, no. 2 (September 2018): 177–205. http://dx.doi.org/10.1017/s1478570618000040.

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ABSTRACTLarge-scale programming studies of French Revolutionary theatre confirm that the most frequently staged opera of the 1790s was not one of the politically charged, compositionally progressive works that have come to define the era for posterity, but rather a pastoral comedy from mid-century:Les deux chasseurs et la laitière(1763), with a score by Egidio Duni to a libretto by Louis Anseaume. This article draws upon both musical and archival evidence to establish an extended performance history ofLes deux chasseurs, and a more nuanced explanation for its enduring hold on the French lyric stage. I consider the pragmatic, legal and aesthetic factors contributing to the comedy's widespread adaptability, including its cosmopolitan musical idiom, scenographic simplicity and ready familiarity amongst consumers of printed music. More broadly, I address the advantages and limitations of corpus-based analysis with respect to delineating the operatic canon. In late eighteenth-century Paris, observers were already beginning to identify a chasm between their theatre-going experiences and the reactions of critics: Was a true piece of ‘Revolutionary’ theatre one that was heralded as emblematic of its time, or one, likeLes deux chasseurs, that was so frequently seen that it hardly elicited a mention in the printed record?

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Walen, Denise A. "Momma Rose: An Aristotelian heroine in the mother of all musicals." Studies in Musical Theatre 14, no. 3 (December 1, 2020): 293–306. http://dx.doi.org/10.1386/smt_00042_1.

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The character of Rose from Gypsy has been compared to tragic characters such as Medea, King Lear and Willy Loman. She has been credited as one of the most psychologically complex characters in musical theatre history and is a role coveted by performers. Equally appalling and compelling, Rose, like characters in ancient Greek tragedies, is an imperfect human struggling to do her best in difficult situations but is ultimately misguided and suffers a tragic reversal of fortune. This article applies dramatic theory from Aristotle’s Poetics and Arthur Miller’s article ‘Tragedy and the common man’ to discover the dramaturgical practices the authors of Gypsy used to structure Rose, a figure from musical comedy, within the theoretical constructs of a tragic heroine.

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Midwinter, Eric. "W. S. Gilbert: Victorian Entertainer." New Theatre Quarterly 3, no. 11 (August 1987): 273–79. http://dx.doi.org/10.1017/s0266464x00015256.

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Interpretive criticism applied to the plays of W. S. Gilbert verges upon self-parody, suggests Eric Midwinter. The musical plays to which Sullivan contributed his inimitable scores were careful and calculated blends of the theatrical resources which Gilbert could command with plot and character conventions of proven and sustained appeal – which could, moreover, attract to the theatre the respectable family audiences for which the Savoy became almost a home-from-home. Eric Midwinter analyzes the ingredients of the operas which contributed to this popular success, describes the veritable industry of spin-offs which they generated, and assesses their contribution to the development of the ‘musical play’ as distinct from the ‘musical comedy’. Eric Midwinter is a social historian and social policy analyst, whose books include Make 'Em Laugh: Famous Comedians and Their World (1979) and Fair Game: Myth and Reality in Sport (1986). He has published widely on social aspects of popular theatre and television, and is presently Director of the Centre for Policy on Ageing.

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Cavallaro, Daniela. "THE DAZZLING HOUR:AN ITALIAN COMEDY ADAPTED FOR THE AMERICAN STAGE." Theatre Survey 52, no. 2 (November 2011): 251–73. http://dx.doi.org/10.1017/s004055741100038x.

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Judging from the number of its theatrical adaptations and the countries in which it was adapted, Anna Bonacci'sL'ora della fantasia(The Fantasy Hour) was indeed “the most successful Italian comedy of the postwar era.” After its 1944 premiere in Rome, the play was performed again in Geneva in 1949 and in Paris in 1953 under the titleL'Heure éblouissante(The Dazzling Hour). The enormous success the play received in Switzerland and France opened the way in the 1950s to numerous stagings worldwide, from Lisbon and Stockholm to Amsterdam and Mexico City.L'ora della fantasiahas also been adapted for other media, including a musical, a film, and a television film. In fact, one of its film adaptations, Billy Wilder's 1964Kiss Me, Stupid, has proved to be so well known that Bonacci's comedy is now often presented on the Italian stage asBaciami stupido!, and is sometimes even set in Climax, Nevada, the location Wilder used in his film.

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Schleuse, Paul. "“A Tale Completed in the Mind”: Genre and Imitation in L'Amfiparnaso (1597)." Journal of Musicology 29, no. 2 (2012): 101–53. http://dx.doi.org/10.1525/jm.2012.29.2.101.

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Musical histories before the twentieth century consistently described Orazio Vecchi's L'Amfiparnaso (published in 1597) as an early or nascent form of opera, despite the composer's explanation that the work is an aural spectacle, not a visual one. Later scholars have persisted in viewing L'Amfiparnaso as a fundamentally theatrical work (in a notional genre called madrigal comedy), designed for quasi-dramatic performance before a listening audience. A close reading of this historiography, along with a partial reconstruction of the membership and movements of the Gelosi and Uniti theater companies in the 1590s, disproves the widely held assumption that L'Amfiparnaso was composed and performed in 1594, and suggests that its characters' names refer to specific actors who performed with the Uniti in Bologna in 1595 and 1596. This new account of the book's origin opens it up to interpretation as a recreational collection of musical imitations of theatre, rather than as an incomplete “script” for a novel kind of dramatic performance. Through its diverse musical styles and poetic registers (Vecchi penned both the poems and the music), as well as its unusual custom-made woodcut illustrations, L'Amfiparnaso presents scenes whose range defies cinquecento theatrical convention. Urban comic dialogues share the imagined stage with tragicomic monologues, idiosyncratic musical dialogues are found alongside serious madrigals, and the woodcuts depict both characteristic comic and pastoral stage settings. As a whole, then, L'Amfiparnaso represents—in Vecchi's words—“almost all the actions of the private man.” This emphasis on variety locates the book firmly within the poetic sphere of Vecchi's other large-scale collections, Selva di varia ricreatione (1590) and Convito musicale (1597), and adds special resonance to his claim that those seeking “a complete tale” in L'Amfiparnaso will find it only “in the mind.”

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Schneider, Magnus Tessing. "Seeing the Empress Again On Doubling in L'incoronazione di Poppea." Cambridge Opera Journal 24, no. 3 (November 2012): 249–91. http://dx.doi.org/10.1017/s0954586712000286.

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AbstractThis article presents a reading of Gian Francesco Busenello's and Claudio Monteverdi's opera L'incoronazione di Poppea in light of seventeenth-century theatrical practices. Reconstructing the doubling plan from the opera's premiere in 1643 on the basis of contemporary doubling practices and the correspondence of the Ferrarese music patron Marquess Cornelio Bentivoglio, the author argues, adducing circumstantial evidence, that Ottavia and Drusilla were conceived as a double role for the operatic quick-change artist Anna Renzi. While Renzi is known to have created Ottavia, this part is half the size of all other roles written for her, which invariably involve dramatic, emotional and musical variety to a much greater extent than does Monteverdi's tragic Empress. Renzi was admired for her command of both tragedy and comedy, and the essay develops the hypothesis of the double role as an intertextual interpenetration of the title heroines from the pseudo-Senecan tragedy Octavia and Girolamo Bargagli's sixteenth-century comedy La pellegrina.

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Double, Oliver. "Teddy Brown and the Art of Performing for the British Variety Stage." New Theatre Quarterly 25, no. 4 (November 2009): 379–90. http://dx.doi.org/10.1017/s0266464x09000669.

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British variety theatre has been largely ignored by theatre historians, in spite of its huge popularity in the early twentieth century. Here, Oliver Double examines variety through its exemplification in the work of one performer, Teddy Brown, a virtuoso xylophone player whose career coincided with the heyday of the variety stage between and just after the two world wars. The key historical and stylistic aspects of the form typified by Brown's success included the development of a stage persona, novelty, skill, participation, a distinctive musical style, and the ability to exploit the complex relationship between variety and the other types of popular entertainment of the time, notably cinema, revue, and radio. Former comedian Oliver Double is a Senior Lecturer in Drama at the University of Kent, and is the author of Stand-Up! On Being a Comedian (Methuen, 1997) and Getting the Joke: the Inner Workings of Stand-Up Comedy (Methuen, 2005). His stand-up comedy DVD Saint Pancreas is available from the University of Kent website.

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Lloyd, Mike. "Nerds in the City: Flight of the Conchords Makes Good Television Humour." Media International Australia 131, no. 1 (May 2009): 57–67. http://dx.doi.org/10.1177/1329878x0913100107.

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First screened in 2007 on HBO television, Flight of the Conchords has received the best international reception of any New Zealand-based television comedy. The series shows the two Kiwis, Bret and Jemaine — a musical duo — bumbling their way through trying to make it in New York. The failure scenario could have led to the typical sitcom fare of conflicting personalities with specific character types as the butt of humour; however, Flight of the Conchords avoids this standard route, and this may partly explain its popularity. Details are provided of exactly how the series makes ‘good’ humour, with a beginning contrast made to the Australian television series Kath and Kim, which has ridicule at its heart. Turnbull (2004) has pinpointed some unease about comedy based on ridicule, and specifically identifies genre mixing as a source of concern in Kath and Kim. In contrast, Flight of the Conchords, while getting close to ridicule, successfully avoids condescension by a different mix of genres and material.

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Wilson, James F. "The somewhat different diva: Impersonation, ambivalence and the musical comedy performances of Julian Eltinge." Studies in Musical Theatre 12, no. 1 (March 1, 2018): 9–23. http://dx.doi.org/10.1386/smt.12.1.9_1.

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Sidorenko, Nadezhda R. "THE THEATER OF MUSICAL COMEDY IN ROSTOV-ON-DON: ARCHITECTURAL DESIGNS AND THEIR IMPLEMENTATION." Architecton: Proceedings of Higher Education, no. 4(72) (December 28, 2020): 11. http://dx.doi.org/10.47055/1990-4126-2020-4(72)-11.

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The Theater of Musical Comedy in Rostov-on-Don is a unique structure that clearly reflects the features of Soviet modernism. This landmark building is known for its long history of design and implementation (1969-1999). Its construction lasted almost 25 years. This, of course, affected the architectural and artistic appearance of the building. The various design proposals and the actual project have significant differences in stylistic techniques: the bold forms of brutalism appearing in the initial developments remained on paper and the building that embellished the central street of the city was significantly influenced by the minimalistic trends of the 1990s. Based on archival materials, the paper attempts to analyze the evolution of the theater’s design solutions, evolving from eccentric dynamic volumes to a static monumental composition, shows the changes that took place during implementation, and identifies their causes and contexts.

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Timothy J. Moore. "When Did the Tibicen Play?: Meter and Musical Accompaniment in Roman Comedy." Transactions of the American Philological Association 138, no. 1 (2008): 3–46. http://dx.doi.org/10.1353/apa.0.0005.

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Hexter, Ralph J. "Big Women: Mark Adamo's Lysistrata, or the Nude Goddess between Monteverdi and Musical Comedy." American Journal of Philology 128, no. 1 (2007): 119–24. http://dx.doi.org/10.1353/ajp.2007.0016.

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Terentyev, S. S. "INSIDE THE DANTE WORLDS: SYMBOLIC SPACE OF BORIS TISHCHENKO’S "DANTE-SYMPHONIES" On the 755th anniversary of the birth of Dante Alighieri (1265–1321)." Arts education and science 1, no. 4 (2020): 117–25. http://dx.doi.org/10.36871/hon.202004015.

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The article is devoted to the embodiment of Dante's "Divine Comedy" in the music of the Saint Petersburg composer Boris Tishchenko (1939–2010) using his "Dante Symphonies", op. 123 (1997–2005) as an example. There are several studies, analyzing various aspects of the implementation of the immortal Dante's masterpiece in the field of musical art. Among these works it is worth mentioning the research essays dedicated directly to "Dante-symphonies", which are authored by A. N. Knyazev, G. P. Ovsyankina, M. S. Samarina, S. Yu. Sumin. The present research lies in the plane of the local key problem, which brings relevance and novelty to the sphere of modern musical dantology — synthesis of numerical codes and biblical symbols in "Dante-symphonies". The article reviews biblical symbolism as the forming element of Boris Tishchenko's "Dantesymphonies". The analysis reveals the principles of synthesis of composer's techniques of the XXth century, sacred symbolism of the Holy Writ and numerical codes. The accompanying text to the symphony is studied. The author examines characteristic features of the composer's style as applied to the musical language of "Dante-symphonies".

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Bragina, N. N. "The Marriage of Balzaminov by A. Ostrovsky: Musical Reading." Art & Culture Studies, no. 1 (2021): 180–99. http://dx.doi.org/10.51678/2226-0072-2021-1-180-199.

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In the article the dramatic composition of A. Ostrovsky’s comedy Holiday Dream Before Dinner is investigated with the method used in the analysis of musical texts. The general structure of the work is defined as an analog of the monothematic sonata form. The basis of monothema- tism is the theme of dream. The dream is the thematic core of the play. It absorbs all the motives and images that are consistently revealed in the play. So, the first theme is the image of Balzaminov as a dreamer, and the second theme is the embodiment of Balzaminov’s dream in the image of the Nichkin’s rich house. The interaction of these themes goes along the line of their convergence up to full identification. In addition to the analysis of general structure of the text, the article traces the entire motivic dramaturgy, which emphasizes the features of a musical composition. Thematic arches between sections of the text, the intonation structure of the characters’ speech, acoustic effects giving the text a resemblance to an orches- tral composition are revealed. The analysis of the play leads the author to the conclusion about the universality of musical forms.

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