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Journal articles on the topic 'Musical theater'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Feng, Yizhang, and Kexu Chen. "On the inspiration of Lin-Manur-Miranda musical Hamilton." International Journal of Education and Humanities 14, no. 1 (2024): 152–54. http://dx.doi.org/10.54097/6dyf4743.

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Lin-manuel-Miranda's musical "Hamilton" as the fastest in the history of Broadway music costs and began to profitable musical with its pioneer music style and the core values of drama structure in the world stage, the success of the Broadway musical is not only in the history, also for the development of world musical provides unprecedented possibilities.the success of Lin-Manuel Miranda's musical "Hamilton" has had a profound impact on the world of theater, particularly in the realm of musicals. Its pioneering music style and the core values of drama structure have opened up new possibilities

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2

Walker, Gwen, Max Chernin, Eliana Rubin, Jonah Schwartz, and Becca Suskauer. "MTEA Diversity, Equity, and Inclusion Committee Focus Group Series: Addressing Anti-Semitism Inclusive Musical Theatre Pedagogy." Musical Theatre Educators Alliance Journal 5, no. 2024 (2024): 8–15. http://dx.doi.org/10.62392/mcqn9899.

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As an ongoing effort to support inclusive musical theater training within our musical theater educational community, the MTEA Diversity, Equity, and ELIANA RUBIN, Inclusion Committee hosts a Focus Group Series. On July 29th, 2023, Vice IONAH SCHWARTZ., AND President of the MTEA DEI Committee Gwen Walker convened a focus group BECCA SUSKAUER to discuss rising anti-Semitism and what musical theatre educators can do to address it. Included in our discussion from our community is an established professional, an educator, a young professional, and a student currently in an academic musical theater

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3

Jenkins, J. Daniel. "The Early Years of the American Musical in Vienna." Journal of Austrian-American History 6, no. 1 (2022): 89–103. http://dx.doi.org/10.5325/jaustamerhist.6.1.0089.

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Abstract The individual most responsible for bringing the American musical to the Viennese stage was Marcel Prawy (1911–2003). Born into a Jewish Austro-Hungarian noble family, Prawy moved to the US in the late 1930s. While his first love was opera, he also developed an appreciation for the Broadway musical. He returned to Vienna after World War II and produced musical revues in local theaters that included showtunes. Upon becoming a dramaturge at the Vienna Volksoper in 1955, he began overseeing productions of American musical theater, which were among some of the earliest productions of Amer

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4

Feng, Zimo. "Analysis of the Business Model of Chinese Musical Theater Based on Community Economy." Journal of Applied Economics and Policy Studies 12, no. 1 (2024): 77–82. http://dx.doi.org/10.54254/2977-5701/12/2024114.

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In recent years, the Chinese musical theater industry has developed rapidly, becoming an important component of the cultural industry. Compared to traditional musical theater production and distribution methods, the community economy offers a new business model for Chinese musicals. This paper aims to explore how the community economy, combined with self-media platforms, supports the promotion and profitability of Chinese musicals. It analyzes the factors behind its success, the challenges it faces, and its future development prospects. Through an in-depth analysis of the existing business mod

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Tsihan, Xia. "INTERPRETATION OF MUSICAL GENRE IN THE WORKS OF R. IGNATIEV AND K. BREITBURG." Arts education and science 1, no. 2 (2021): 121–25. http://dx.doi.org/10.36871/hon.202102015.

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Theater in Russia has for a long time neither cultivated nor encouraged the pursuit of entertainment and commercial success. Perhaps that is why, the first attempts to integrate the musical into the Russian theater environment ended in failure. "My Fair Lady" by F. Loewe, staged at the Stanislavsky and Nemirovich-Danchenko Theatre, "Avtograd–1929", staged at the Satire Theater and the "Chicago" musical, after several performances, were removed from the repertoire or, like enterprise productions, ceased to exist. The purpose of this research is to determine the reasons for the growing popularit

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6

PLAKHOTNYUK, Oleksandr. "CHOREOGRAPHERS OF THE STATE THEATER OF MUSICAL COMEDY IN LVIV FROM 1946-1953." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 203–11. http://dx.doi.org/10.30970/vas.20.2019.10625.

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A study is conducted of the historical processes of the formation of dance traditions in musical theaters, as well as operetta theaters on the example of the activities of choreographers of the Lviv Theater of Musical Comedy in the period from 1946 to 1953. The study outlines the historical processes of the formation of the above dance traditions. This study identifies the personalities of the choreographers of the directors of this theater and their creative result; there is a careful attitude to the traditions of the past and the introduction of modern techniques of theatrical choreographer.

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7

Lkhagvasuren, Damdinsuren, and Batsaikhan Dashdondog. "On the issue of establishing the origins of the State Academic Opera and Ballet Theater." Mongolian Journal of Arts and Culture 25, no. 49 (2024): 122–30. https://doi.org/10.69561/mjac.v25i49.3835.

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The State Central Theater, founded in 1931, was a traditional drama theater. In 1943, the theater was renamed the State Musical Drama Theater. In 1963, the party and government decided to reorganize the theater into two new professional theaters: the Opera and Ballet Theater and the Drama Theater, and the theater was divided into two independent theaters. The current Academic Opera and Ballet Theater (ADBOT) has been counting its age since 1963, which is a mistake. However, it is reasonable and historically significant to start counting its age from 1943, when the Musical Theater was founded.

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8

Breytburg, Kimol A. "Broadway musical commercial theater in the context of the socio-cultural environment of the 70s of the XX century." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 46 (2022): 182–95. http://dx.doi.org/10.17223/22220836/46/15.

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Broadway musicals created in the 70s of the XX century are a reflection of many socio-cultural phenomena taking place in the USA at that time. Their dynamic, originally formed musical dramaturgy, an appeal to topical topics consonant with the public consciousness of the era of the 70s, makes this period of development truly unique. The works created during these years by Stephen Sondheim, Stephen Schwartz, John Kander, Fred Ebb, Marvin Hamlisch, Edward Kleban greatly influenced the development of the musical genre, enriching it with new musical and dramatic techniques, a fundamentally new worl

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9

Fulton, Patrick. "Musical Theater Songs." Music Reference Services Quarterly 19, no. 3-4 (2016): 238–41. http://dx.doi.org/10.1080/10588167.2016.1231483.

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10

Sajewski, Mallory. "Musical Theater Songs." Notes 73, no. 4 (2017): 764–65. http://dx.doi.org/10.1353/not.2017.0061.

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11

Gang, Yi, and Bi Zhang. "A Study of Choreography Courses for Musical Theater Majors." Studies in Art and Architecture 1, no. 1 (2022): 8–13. http://dx.doi.org/10.56397/saa.2022.12.02.

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Musical theater education in Chinese universities is generally focused on training musical performance talents, and the dance courses involved are also set up to enhance dance performance. The dance styles learned are mainly ballet, modern dance, jazz dance and tap dance, which are common in European and American musicals. However, in the actual musical rehearsal process, the use of dance to create dramatic characters, develop dramatic events, and show dramatic emotions and conflicts requires the skilled creative ability of the musical choreographer. The educational process of musical choreogr

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12

Lam, Tszyan. "A Study on Immersive Experiences in Chinese Musicals in the Digital Media Environment: Taking the Immersive Small Theater at Shanghai Asia Mansion as an Example." Lecture Notes in Education Psychology and Public Media 106, no. 1 (2025): 72–80. https://doi.org/10.54254/2753-7048/2025.cb25104.

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Against the backdrop of rapid development in digital media, immersive theater has reshaped the relationship between audiences and performances by breaking down traditional boundaries between spectators and performers, becoming an important phenomenon in contemporary urban culture in China. Taking the immersive theater musical series Star Space at Shanghai Asia Mansion as its research object, this paper explores the characteristics of immersive experiences and the reconstruction of audience-performance relationships in Chinese musical theater within a digital media environment. Based on the Use

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13

Savchenko, Yuliia, and Maksym Sokhan. "PREPARING SINGERS FOR MUSICAL THEATER PERFORMANCE." Musical art in the educological discourse, no. 9 (2024): 83–90. https://doi.org/10.28925/2518-766x.2024.912.

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This article is dedicated to identifying the specificities of the work and professional training of an artistvocalist in musicals — one of the most prominent and sought-after genres of the 21st century. It highlights that the development of the musical as a synthetic genre was influenced by musical theater, opera, operetta, vaudeville, minstrel shows, and burlesque. The emergence of its various forms, such as American, British, French, and domestic musicals, was shaped by the unique characteristics of national compositional schools, approaches to plot selection, dramaturgical interpretation, a

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Kuklinskaya, M. Ya. "Opera and “Director’s” Theatre of the 21st Century." Observatory of Culture 15, no. 3 (2018): 272–81. http://dx.doi.org/10.25281/2072-3156-2018-15-3-272-281.

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The article raises the issues of interaction between modern direction and the musical text of opera. Researches of foreign and domestic scientists in the fi eld of theatre studies and musicology allow analyzing a musical performance as an independent text, in which there is an interchange between different types of art. The author focuses on the opera as a dialogue between music and theater. The author proposes three main forms of the dialogue for consideration: the director and the composer, the director and the viewer, the director and the actor. The article expresses the opinion that, in th

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Kaidi, Wang. "CULTURAL CONTACTS BETWEEN RUSSIA AND CHINA IN THE FIELD OF MUSIC AND DRAMA THEATER (50s of the XXth century)." Arts education and science 1, no. 2 (2021): 99–106. http://dx.doi.org/10.36871/hon.202102012.

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The article is devoted to the cultural cooperation between the USSR and the People's Republic of China in the field of musical theater. The Treaty of Friendship, Alliance and Mutual Assistance between these two countries, signed in Moscow on February 14, 1950, became a starting point in the development of cultural contacts. The most productive period was from 1949 to early 1960s. An important marker of the development of Soviet-Chinese cultural relations was the tour of theater troupes from both countries to the Soviet Union and the Celestial Empire. The Stanislavsky and Nemirovich-Danchenko M

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Rakhymberdiyeva, S., and G. Dzhumaseitova. "«ASTANA MUSICAL» THEATER: THE INFLUENCE OF WESTERN TRADITIONS ON THE FORMATION OF A PROFESSIONAL NATIONAL MUSICAL." POLISH JOURNAL OF SCIENCE, no. 51 (June 16, 2022): 3–6. https://doi.org/10.5281/zenodo.6651019.

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The article reveals the significance of productions of French musicals on the stage of the «Astana musical» Theater. Using the example of the musicals «Notre Dame de Paris» and «Romeo and Juliet», the author examines the prospects for further development of the musical genre in the theatrical space of Kazakhstan.

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17

Cox, Jane. "Encountering Road Show." Studies in Musical Theatre 17, no. 3 (2023): 229–35. http://dx.doi.org/10.1386/smt_00135_1.

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The author considers her experience as the lighting designer for John Doyle’s production of the Stephen Sondheim and John Weidman’s musical Road Show at the Public Theater in New York City in 2008. She reflects on the experience of her life and career as an immigrant designer in the American theatre in relationship to the story of the musical, and relates her experience of the rehearsal and technical process of the production. The author considers her relationship to the American musical through the experience of designing this one particular Sondheim musical and explores various relationships

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18

TKACHUK, VOLODYMYR. "Formation of Associative Thinking of Future Conductors in the Process of Processing Music of Theater Genres." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 2(59) (June 30, 2023): 50–65. http://dx.doi.org/10.31318/2414-052x.2(59).2023.295414.

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The specifics of the conductor's work on works of music and theater genres were studied, the components of this process and the importance of associative thinking were determined. The specifics of the genre of operetta, musical comedy, which consists in the fact that the main role in the productions of plays is played by the director, who builds the dramaturgical concept of the play, and in most cases is also the author of the script, is considered. Attention is drawn to the obligatory implementation of the stage work of the director in close contact with the conductor, who is responsible for

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19

Li, Jian, and Yu Hu. "How does the audience return to the music theater? Exploring the influence of musical theater adaptation of Chinese nursery rhymes." PLOS One 20, no. 5 (2025): e0321689. https://doi.org/10.1371/journal.pone.0321689.

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Musicals, as an art form, are attracting greater attention in China’s increasingly competitive market. In particular, the adaptation of Chinese nursery rhymes in musicals and its influence on audience affective reactions and behavioral intentions has emerged as a notable research focus. This study aims to explore the impact of nursery rhyme adaptations in musicals on audience interaction, affective reactions, satisfaction, and repurchase intention. Using questionnaire surveys and structural equation modeling, we empirically analyse how audience interaction and affective reactions in these musi

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20

Krylovskaya, Izabella I. "Operetta Theater in the Far East in the Period between Two Wars (1906–1914)." Problemy Muzykal'noj Nauki / Music Scholarship, no. 3 (2022): 120–32. http://dx.doi.org/10.56620/2782-3598.2022.3.120-132.

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The author highlights the period of the pre-revolutionary operetta theater in the Far East, spanning the years between two Wars – the Russo-Japanese War and World War I, characterized by an intensive development of the given sphere. Both the inner and the overall Russian tendencies find reflection in this process. This is revealed in forming the repertoire with the fundamental musical compositions, including operettas by contemporary composers from Russia and from other countries. The cameo theaters which spread in the region at that time stipulated the appearance of one-act performances, as w

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21

Mamy, Sylvie, Giovanni Morelli, Reinhard Strohm, and Thomas Walker. "Drammaturgia Musicale Veneta. Musical Theater in the Venetian-Republic." Revue de musicologie 72, no. 1 (1986): 149. http://dx.doi.org/10.2307/928787.

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22

Gordeev, Petr N. "Elena Malinovskaya: Theatrical and Musical Education in the Late 1910s–1930s." Russian Musicology, no. 4 (2024): 129–37. https://doi.org/10.56620/rm.2024.4.129-137.

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The article discusses the views and influence of the prominent figure of the Soviet theater, Elena Konstantinovna Malinovskaya (1875–1942), on educational institutions in the field of music and theater. The latter included the Theater School of Moscow and one of its successors, the Ballet College, various studios, and the Moscow Conservatory. For many years, Malinovskaya was at the centre of Moscow’s theatrical life, holding various responsible positions: following the October Revolution, she headed Moscow’s state theaters until 1924; for a significant part of this period, she was also the dir

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23

Shornikova, Alexandra V. "About the Influence of the Performative Features of the Avant-garde Theater on Documentary Opera." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (2022): 186–94. http://dx.doi.org/10.33779/2782-3598.2022.1.186-194.

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Documentary qualities in the art of music are among of the bright, interesting and little researched phenomena of modernity. Having been generated in the sphere of cinema and drama theater, the present tendency also became circulated in the sphere of musical theater. The introduction of documentary innovative materials – verbal and audio – into the artistic context of works written in the opera genre substantially transformed the traditional structure of musical performance. The article ascertains that the source of such types of experimental attempts was the elaboration of the avant-garde dra

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Agayeva, Malakhat Rafael. "Central Asian playwrights' works on the Azerbaijani stage." Klironomy 1, no. 7 (2023): 16–25. https://doi.org/10.47451/art2023-03-02.

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It is a historical tradition of the Azerbaijani theater to refer to translated works, to show examples of world drama, works of neighboring nations. Central Asian playwrights’ woks (Fitrat’s (Abduarif Rashidov) “Indian Inventors”) have been staged on the stage of the Azerbaijani theater since the mid-1920s. Central Asian playwrights’ works contributed to bring our peoples closer and develop cultural relationships besides enriching the repertoire of Azerbaijani theaters. The subjects of these works introduced people to the culture, art and moral norms of other nati

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25

Udina, Vera I. "The metamorphoses of musical theater in the culture of pre-revolutionary Russian province." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 46 (2022): 224–36. http://dx.doi.org/10.17223/22220836/46/19.

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Article is devoted to system characteristic of the musical theater in the context of the culture of the pre-revolutionary Russian province. On the example of the opera genre top trends of historical development of provincial theater of Russia throughout XVIII - the beginnings of the 20th centuries are analyzed: the periodization of musical and theatrical process in the province, the social, cultural and historical conditionality of this process. According to the selected stages change of genre musical and scenic dominants (the early comic opera, the vaudeville, the operetta, the Russian and Eu

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26

Rindel, Jens Holger. "Acoustical aspects of the development of Greek theaters in the 4th century B.C.E." Journal of the Acoustical Society of America 157, no. 3 (2025): 2042–66. https://doi.org/10.1121/10.0036255.

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In ancient Greece, the 4th century B.C.E. was a time of rapid development in arts, culture, science, politics, and theater architecture. The first part of this article describes the origin and use of the Greek theater building and its connection to the Dionysus cult and festivals with musical and drama competitions. Next, scientific context is discussed as a background regarding the highly skilled architects who designed these theaters. The 4th century B.C.E. is characterized by the blooming of the sciences, especially mathematics, strongly stimulated by Plato's Academy near Athens. The archit

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Jung, Chang Joo. "Reinterpretation of Bible Stories and Theological Communication through Musicals." Global Association of Applied Liberal Arts Studies 3, no. 1 (2025): 85–103. https://doi.org/10.58990/galas.2025.3.1.85.

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Musical theater has become a significant medium for expressing Christian faith and communicating biblical messages in contemporary society. By integrating music, acting, and dance, musicals provide an emotionally immersive experience that allows audiences to connect deeply with biblical narratives. Unlike traditional methods of teaching or preaching, musicals use storytelling, visual effects, and dynamic performances to engage audiences on a personal and emotional level. This study delves into the historical relationship between Christianity and performance arts, focusing on the evolution of m

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Dyatlov, Dmitry A. "”Musical theater” by Mark Levyant." Sphere of culture 2, no. 4 (2021): 89–101. http://dx.doi.org/10.48164/2713-301x_2021_6_89.

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The article is devoted to the work of Samara composer Mark Levyant. The musician celebrates his anniversary in 2021. In the composers extensive creative background of writing there is a variety of genres including classical music. Brief analytical overview presents composers chamber, choral, vocal and symphonic works. They are all considered in the music paradigm of drama theatre. Each of them reflects some interaction with the composers theatre music.

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Brower, John. "A Core Musical Theater Collection." Music Reference Services Quarterly 8, no. 2 (2002): 45–86. http://dx.doi.org/10.1300/j116v08n02_05.

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Krom, Anna E. "David Lang’s Postminimalist Musical Theater." Vestnik of Saint Petersburg University. Arts 12, no. 3 (2022): 432–48. http://dx.doi.org/10.21638/spbu15.2022.302.

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The article explores issues of the American musical theater of the nineteenth century, fruitfully developing on the basis of postminimalism. Among the brightest representatives of this style is the composer David Lang (1957), a member of the group “Bang on a Can”. His theatrical projects of the last two decades demonstrate a new phase in the development of postminimalist theater, the foundation of which was laid by his older contemporaries, Philip Glass, Steve Reich, and John Adams. Using the example of stage works — “The Difficulty of Crossing a Field” (2002), “Prisoner of the State” (2019),

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Gun, G. E. "Music Theater “Online”." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 26, no. 4 (2020): 93–99. http://dx.doi.org/10.15826/izv1.2020.26.4.074.

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The article discusses the features of online broadcasts of musical performances in a pandemic. The paper emphasizes the ambiguity of the attitude towards online broadcasts, examines the problems and experience gained in the process of organizing online shows of theater performances, notes the potential of online formats for the development of theater audiences. The author analyzes the summary billboard of online broadcasts in AprilMay 2020 and gives recommendations for the development of online formats for musical theater.

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Vinogradova, A. S. "The Man of the Theater from the Environment of P.I. Tchaikovsky: K.N. De‐Lazari." Art & Culture Studies, no. 3 (October 2021): 306–33. http://dx.doi.org/10.51678/2226-0072-2021-3-306-333.

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This paper is dedicated to a creative personality from P.I. Tchaikovsky’s friendly circle, Konstantin Nikolaevich De-Lazari (stage name Konstantinov). Throughout the composer’s life, this artist of almost all theatrical genres (from drama and opera to vaudeville and operetta) maintained friendly relations with Pyotr Ilyich himself, then with his brothers and father. Serving alternately in the troupes of the opera (Bolshoi Theater, Moscow) and drama theaters (Alexandrinsky Theater, St. Petersburg), he did not lose touch with either the musical or dramatic environment and was considered “his own

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Lee, KyoungHwa, JongWoo Jun, and DaeHyun Lee. "Proposal of Musical Music Director Curriculum Focusing on Core Competencies: A Case Study on Overseas Musical Music Director." Korean Society of Culture and Convergence 45, no. 12 (2023): 1437–50. http://dx.doi.org/10.33645/cnc.2023.12.45.12.1437.

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The purpose of this study is to propose an educational curriculum for musical music directors. As a research method, we investigated the competencies of professional music directors and analyzed cases of ‘Music Theatre Direction’ major curricula at Rider University ·Webster University·Baldwin Wallace University in the United States. This case was examined based on the core competencies targeted by the Ministry of Education, and in-depth interviews were conducted with three experts who both work in musical education and field work to verify feasibility. As a result, musical music director educa

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Jennings, Brendan, and Tim Summers. "Songs of Rapture—Creating a Bioshock Musical Show." Journal of Sound and Music in Games 3, no. 4 (2022): 56–62. http://dx.doi.org/10.1525/jsmg.2022.3.4.56.

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In this interview, musical director Brendan Jennings describes the process of creating a twenty-minute musical theater show based on the video game Bioshock. The musical show was written as a show choir competition piece for the high school choir Powerhouse. The performance was a huge success in competition settings and attained international attention from media outlets and fans of both musical theater and video games.

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Pushkar, Larysa, Olga Lobova, Nataliia Pavlushchenko, Svitlana Parfilova, Olha Vasko, and Vita Butenko. "Theatrical Activity as a Way of Developing Musical-Choreographic Competence in Future Preschool and Primary School Teachers." Revista Romaneasca pentru Educatie Multidimensionala 14, no. 3 (2022): 18–31. http://dx.doi.org/10.18662/rrem/14.3/595.

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The article highlights the possibilities of applying elements of theatre arts in the process of preschool and primary school teachers professional training. In particular, it reveals the issue of forming musical and choreographic competence in students by means of various forms, types and methods of drama. The main forms of musical and choreographic competence formation in preschool and primary school teachers are practical and laboratory classes (disciplines “Pedagogy”, “Fundamentals of pedagogical creativity”, “Fundamentals of stage and screen art with teaching methods”, “Organization of the

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Valeriia, Liubchenko. "“SUICIDE” ON THE KHARKIV STAGE: MUSIC AND STAGE READING BY S. PASICHNYK – H. FROLOV." Aspects of Historical Musicology 24, no. 24 (2021): 199–214. http://dx.doi.org/10.34064/khnum2-24.11.

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Statement of the problem. The article examines the theatrical heritage of Les Kurbas, the founder of Shevchenko Kharkiv Academic Ukrainian Drama Theatre (originally called «Berezil»). Les Kurbas is the reformer of the Ukrainian theater; his theatrical ideas demonstrate a new understanding of the synthesis of the arts. He concentrated his creative aspirations not only on acting, but also on all components of the performance, in particular on music. The paper examines methodically the application of the basic principles of Les Kurbas Theatre – the co-authorship of the director and composer – in

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Щукіна, Ю. П. "ІНТЕРПРЕТАЦІЇ ТВОРІВ У ЖАНРАХ «ВІДЕНСЬКОЇ» ТА УКРАЇНСЬКОЇ ОПЕРЕТИ РЕЖИСЕРОМ ЮРІЄМ СТАРЧЕНКОМ". Традиції та новації у вищий архітектурно-художній освіті, № 5 (5 січня 2019): 120–23. https://doi.org/10.5281/zenodo.2532063.

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The article analyzes the approach of Yuriy Starchenko (in the period from 1985 to 1996 – the main director of the Kharkiv Academic Theater of Musical Comedy) to the implementation of classical operettas and their domestic genre analogues. Yu. Starchenko’s work was multifaceted: these were the first productions of rock operas in Ukraine, the resuscitation of intelligent viewer’s curiosity to the classical operetta, and the embodiment of dramatic quality works in the genre of musical. Background. Unlike the productions in the genre of rock opera by this director, the topic for

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Киселёв, Герман Анатольевич. "INFLUENCE OF THE MUSICAL COMEDY GENRE ON THE DEVELOPMENT TRENDS OF MUSICAL THEATER." Культурное наследие России, no. 1(32) (July 23, 2021): 60–65. http://dx.doi.org/10.34685/hi.2021.32.1.008.

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Развитие некоторых направлений в опере и мюзикле обусловлено желанием авторов сделать произведения максимально доступными для понимания массовым зрителем. Многие тенденции, проникшие в эти оперы и мюзиклы, ранее были характерны для музыкальной комедии. Да и сам жанр музыкальной комедии нередко присутствует на афишах, но иногда появляется под разными иными названиями. The development of some areas in opera and musical is due to the desire of the authors to make the works as accessible as possible to the general public. Many trends that penetrated these operas and musicals were previously charac

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Odazhiev, Petar. "An Innovative Form of Access to the Cultural Heritage of Musical Theatre: A Perspective from Bulgaria." Cultural and Historical Heritage: Preservation, Representation, Digitalization 7, no. 1 (2021): 178–92. http://dx.doi.org/10.26615/issn.2367-8038.2021_1_013.

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Providing as an example the Virtual Museum of Bulgarian Musical Theatre, institutionalized as an independent and constantly evolving Internet platform at the Museum of the Bulgarian Musical Theater (MBMT), this study represents a new contribution to the application of digital technologies to management and cultural promotion. The research answers questions regarding the current development and applications of digital technologies for designing multimedia content aiming to represent cultural heritage. The results offer an original virtual museum constructing method for interactive access to arc

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Higueras Rodríguez, Virginia E. "Ansiedad, depresión y suicidio en el musical estadounidense. Una visión a través de Lady in the Dark, Sweeney Todd y Dear Evan Hansen." Latente Revista de Historia y Estética audiovisual, no. 22 (2024): 142–58. http://dx.doi.org/10.25145/j.latente.2024.22.07.

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Anxiety, depression, and suicide are taboo subjects that are still rarely talked about in an open and honest way, both in musical theatre and in its cinematic namesake. In 2015 we see on the stage the work Dear Evan Hansen, Dear Evan Hansen with lyrics and music by Ben Pasek and Justin Paul and book by Steven Levenson, which for the first time openly deals with the consequences of mental pathologies. However, this does not mean that there are no examples throughout the history of musical theatre and film where the main characters do not exhibit some kind of pathology. For this reason, in this

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Axayskova, Ekaterina Olegovna. "Immersive theater technology in the musical and creative education of older preschool children." Pan-Art 5, no. 1 (2025): 36–41. https://doi.org/10.30853/pa20250004.

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The article reveals the relationship of immersive theater with the musical and creative education of older preschool children and integrated approaches to it. Theatricalization as a component of musical and creative development of children was actively discussed by psychologists and teachers of the 20th century. Today, theatricalization has acquired a new format of immersive theater, which is based on elements of play and integrativity, the specifics of involving children in multisensory experiences and full immersion in a simulated situation. Based on the theory of the theatrical and playful

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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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Ahmadova, Gulkhara. "WORLDLY SIGNIFICANCE OF THEATERS: IREVAN STATE AZERBAIJAN DRAMA THEATER." Scientific Journal of Polonia University 58, no. 3 (2023): 10–14. http://dx.doi.org/10.23856/5801.

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Historically and even now, the literary and cultural environment of Azerbaijan is known both in the East and in the West. As a result of the severe tragedies, deportations, and genocides inflicted on the people of Azerbaijan, scientific and educational institutions, state institutions, museums, natural monuments, and cultural centers created in our country have suffered as much as our people. Theaters were also forced to live the fate of refugees. Today Shusha Musical Drama Theater, Aghdam State Drama Theater, Fuzili State Drama Theater continue their activities in the field of refugees. All t

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Moniz, Justin John. "The Changing Face of Opera in America: Musical Theatre on the American Operatic Stage." Journal of Singing 78, no. 2 (2021): 171–76. http://dx.doi.org/10.53830/gndz3859.

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To address the opera industry’s ongoing struggle to maintain self-sustaining business models, more and more major opera companies turn to musical theater to build audiences and revenue. This article identifies challenges successfully met by several specific opera companies, discusses opportunities for programming music theater on the operatic stage, including effects on the casting process, and looks toward a promising future that is inclusive of both opera and musical theater in one canon or repertoire.

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Lestari, Prima, Syahrul Syah Sinaga, Suharto S, Udi Utomo, and Eko Sugiarto. "The Aesthetics of Rock Music in Musical Drama Performances." Catharsis 13, no. 2 (2024): 225–42. https://doi.org/10.15294/catharsis.v13i2.18103.

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Drama is one of the components of theater education that can be integrated with other art forms. Within the various elements of theater or drama, there is a collaboration of visual arts, music, dance, drama, and literature. Popular music has been developing in Indonesia since the colonial era, particularly in the 20th century. During this period, genres such a Krontjong, Jazz, orchestral music, and rock music began to emerge. In the world of popular music, rock music has carved out its own space among enthusiasts, symbolizing freedom, rebellion, and high creativity, marked by its dynamic melod

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Vania, Nirvana, Sukanta Sukanta, and Iwan Gunawan. "Teater Musikal Anak "Pemetik Senyuman" oleh Nuart School of Musical Theatre (Analisis Proses Penggarapan Musik)." SWARA - Jurnal Antologi Pendidikan Musik 3, no. 3 (2023): 103–14. http://dx.doi.org/10.17509/swara.v3i3.36286.

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Teater musikal adalah salah satu bentuk pertunjukan teater yang menggabungkan lagu, dialog lisan, akting, dan tarian. Cerita dan konten emosional dari musik - humor, kesedihan, cinta, kemarahan - dikomunikasikan melalui kata-kata, musik, gerakan, dan aspek teknis dari hiburan sebagai satu kesatuan yang utuh. Berangkat dari sebuah puisi yang ditransformasikan menjadi sebuah pertunjukan dibutuhkan kemampuan kreatifitas tinggi dari seorang komposer dalam penggarapan dari segi cakupan seni pertunjukan dan musik pun memiliki peran krusial sebagai pemicu atau penggugah suasana. Penelitian ini berjud

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Hong, Wan Sik, and Sun-Ah Moon. "A study on the copyright protection for the director." Korean Public Land Law Association 100 (November 30, 2022): 509–31. http://dx.doi.org/10.30933/kpllr.2022.100.509.

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A director of the musical or theater is the person responsible for the all element of a performance. But the copyrights of the musical or theater director is not protected by the Korean Copyrights Act. First of all terms of copyright, the term “work” means a creative production that expresses human thoughts and emotions and the term “author” means a person who creates a work. The right of the director of the musical or theater is regulated as a performer not an author. According to the Copyrights Act §2②, the term “performer” means a person who gives a stage performance by expressing works thr

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Hong, Wan Sik, and Sun-Ah Moon. "A study on the copyright protection for the director." Korean Public Land Law Association 100 (November 30, 2022): 509–31. http://dx.doi.org/10.30933/kpllr.2022.100.509.

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A director of the musical or theater is the person responsible for the all element of a performance. But the copyrights of the musical or theater director is not protected by the Korean Copyrights Act. First of all terms of copyright, the term “work” means a creative production that expresses human thoughts and emotions and the term “author” means a person who creates a work. The right of the director of the musical or theater is regulated as a performer not an author. According to the Copyrights Act §2②, the term “performer” means a person who gives a stage performance by expressing works thr

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Rzhevska, Maiia. "Musical theater in internet: aspects of form creation and communication." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 139 (February 28, 2024): 65–74. https://doi.org/10.31318/2522-4190.2024.139.301111.

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The relevance of the study. Renewal of the poetics and aesthetics of modern art is caused by many factors, among which we can single out the intensity of the processes of development of the information society and the emergence of new ways of communication, including artistic ones. As a result, in the recent decades, changes have taken place at the stylistic, genre, and types levels. Works of art have undergone significant transformations, along with the forms of their presentation, as well as the ways of interaction between artists and the viewing/listening audience. Internet with its various

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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 (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 Ukr

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