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Artículos de revistas sobre el tema "Musical theater x History"

Autor: Grafiati

Publicado: 27 de julio de 2024

Última modificación: 31 de julio de 2025

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1

Gagnon, Donald P. "Our Musicals, Ourselves: A Social History of the American Musical Theatre." Journal of Popular Culture 39, no. 1 (2006): 162–64. http://dx.doi.org/10.1111/j.1540-5931.2006.00214.x.

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2

Goldstein, Sam. "Our Musicals, Ourselves-A Social History of the American Musical Theatre." Journal of American Culture 27, no. 1 (2004): 126–28. http://dx.doi.org/10.1111/j.1537-4726.2004.121_21.x.

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3

Li, Qiang. "Peculiarities of the mutual influence of Italian and Chinese musical theater tradition in historical development." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 67, no. 67 (2023): 56–77. http://dx.doi.org/10.34064/khnum1-67.04.

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Statement of the problem. Modern opera performance art in China is closely related to the national theater tradition, which has a thousand-year history. Despite the fact that Italian (and generally European) musical and dramatic art has been known in China for more than a few century, the public did not perceive it for a long time due to significant differences in many aspects: from stage dramaturgy, vocal roles to behavioral norms in the theater institutions. This study draws historical parallels between Italian opera and national Chinese music-theatre art and examines attempts to adapt Itali

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4

Wolf, Stacy. "The Cambridge Companion to the Musical. Edited by William A. Everett and Paul R. Laird. Cambridge: Cambridge University Press, 2002; pp. xvii + 310 + 18 illus. $65 cloth, $23 paper; Boy Loses Girl: Broadway's Librettists. By Thomas S. Hischak. Lanham, MD: Scarecrow Press, 2002; pp. x + 277. $39.95 cloth." Theatre Survey 45, no. 1 (2004): 129–31. http://dx.doi.org/10.1017/s0040557404270089.

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“Those who created this book, and many of its readers, think of the musical as art,” write Everett and Laird in their preface to The Cambridge Companion to the Musical (xv). Indeed, many of us who study or teach musical theatre feel the need to defend it as a viable artistic form worthy of scholarly examination. Both of these books demonstrate the musical's importance in cultural history and amply illustrate the artistry of its production.

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5

Radu-Țaga, Consuela. "13. The Systematic of the Characters from the Opera a Stormy Night by Paul Constantinescu." Review of Artistic Education 19, no. 1 (2020): 100–109. http://dx.doi.org/10.2478/rae-2020-0013.

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AbstractIn the history of the Romanian musical theatre the comic opera A Stormy Night written by Paul Constantinescu set up the buffa style. All along the two acts carried out in approximately 50 minutes you can hear Romanian folklore resonances, with Anton Pann echoes, as the 7 characters from the opera live in the Bucharest of the 19th century. The leitmotif technique is at the basis of the musical story, 9 melodious-rhythmic configurations getting detached. The musical discourse of the singers is entirely subordinated to the text, and the ample breath appeals to the recitative singing, whic

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6

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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7

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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8

Wolf, S. "Showtime: A History of the Broadway Musical Theater." Journal of American History 98, no. 3 (2011): 917–18. http://dx.doi.org/10.1093/jahist/jar364.

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9

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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10

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

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

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11

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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12

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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13

Wright, Trudi. "Larry Stempel,Showtime: A History of the Broadway Musical Theater." Journal of Musicological Research 32, no. 1 (2013): 65–67. http://dx.doi.org/10.1080/01411896.2013.752291.

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14

Susidko, Irina P., and Dana A. Nagina. ""...Support is everywhere". An interview with Irina P. Susidko." Contemporary Musicology, no. 3 (2021): 88–99. http://dx.doi.org/10.56620/2587-9731-2021-3-088-099.

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Irina P. Susidko, Full Professor, Doctor of Art Studies, Head of the Analytical Musicology Department at the Gnessins Russian Academy of Music, is one of the leading musicologists in Russia. She is a Chair of the Academy’s Dissertation Council. She supervises graduate theses and doctoral dissertations. She also leads a range of international research projects: an online journal Contemporary Musicology and two regular conferences — Opera in Musical Theater: History and Present Time and Musical Composition. Musical Composition was initiated by professors of the Analytical Musicology Department.

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15

Fedenko, Alevtyna. "The importance of M. Kropyvnytskyi’s children’s theater for the formation of a professional musical children’s theater in Ukraine." Aspects of Historical Musicology 19, no. 19 (2020): 332–45. http://dx.doi.org/10.34064/khnum2-19.19.

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Introduction and statement of the problem. Before the revolution of 1917, artists, writers, musicians and teachers created a rich literary fund that could be the basis for professional musical children’s theater in Ukraine. That is why there is a need to study the children’s musical and dramatic heritage of the past, which is an inexhaustible treasury of cultural and educational ideas that can be creatively developed and successfully applied in modern conditions. The process of creative development of the genre of children’s musical performance is today one of the most pressing problems of pro

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16

Chang, Seolyoung, and Hobung Chung. "The Effect of Musical Theater on Depression and Self-esteem in the Elderly." Korean Society of Culture and Convergence 45, no. 12 (2023): 679–88. http://dx.doi.org/10.33645/cnc.2023.12.45.12.679.

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The purpose of this study is to investigate the effects of musical theater on depression and self-esteem in elderly people. The subjects of this study were 23 elderly people aged 65 to 75 who used a senior welfare center in N-si, Gyeonggi-do. The music theater program was conducted once a week for a total of 8 sessions, 120 minutes per session. To verify its effectiveness, geriatric depression tests and self-esteem tests were conducted and analyzed before and after the program was implemented. As a result of the study, musical theater was significant in reducing depression in the elderly (t=5.

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17

KULIYEVA, ANTONINA, OLHA MURAVSKA, LIN YUHENG, and FU JIA. "GENRE-STYLE AND SPIRITUAL-ETHICAL METAMORPHOSIS OF FRENCH MUSICAL THEATER OF THE 17TH-20TH CENTURIES." AD ALTA: Journal of Interdisciplinary Research 14, no. 2 (2024): 95–98. http://dx.doi.org/10.33543/j.140243.9598.

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The purpose of the work is to identify the genre-stylistic and spiritual-meaning specifics of the French musical theater of the New Age and its evolutionary paths in the European culture of the 17th-20th centuries. The historical paths of the development of French musical theater of the 17th–20th centuries reveal its genre and stylistic diversity, represented by the typologies of “lyrical tragedy”, “salvation opera”, Empire opera, “grand” French opera, lyric opera and numerous varieties of samples of experimental musical theater and synthetic genres formations of the 20th century. The timbre-i

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18

GRAHAM, T. AUSTIN. "Fitzgerald's “Riotous Mystery”:This Side of Paradiseas Musical Theater." F. Scott Fitzgerald Review 6, no. 1 (2008): 21–53. http://dx.doi.org/10.1111/j.1755-6333.2008.00002.x.

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19

Wanke, Eileen M., Esther K. Kunath, Franziska Koch, et al. "Survey of Health Problems in Musical Theater Students: A Pilot Study." Medical Problems of Performing Artists 27, no. 4 (2012): 205–11. http://dx.doi.org/10.21091/mppa.2012.4038.

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Musical theater performers are the “triathletes” in the performing arts. The field requires versatility in a combination of skills including dancing, singing, and drama in a high frequency of performances. The aim of this study was to analyze and evaluate the health situation of musical theater students using a complete musical educational institute as an example (n = 37). Methods: The basis for the evaluation was a questionnaire survey (standardized F 1000). All students of the school participated (20 males, 17 females). Results: Of the students, 62% have a part-time job for financial reasons

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20

Pescada, Gonçalo André Dias. "Episoden, Figuren - the Concept of Musical and Instrumental Theater." Asian Research Journal of Arts & Social Sciences 19, no. 2 (2023): 31–42. http://dx.doi.org/10.9734/arjass/2023/v19i2424.

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The combination of scenic action and music, called "musical theatre", corresponds to a technique previously used in the History of Music by composers such as Satie and Debussy. In turn, the concept of "instrumental theatre" emerges as a concept where musicians assume the role of actors while playing. In this field, Mauricio Kagel assumes himself as one of the composers who most explored the aspects of staging allied to musical performance, attributing to the interpreter also actor functions, such as: adopting certain facial expressions while playing, entering the stage in a particular way, int

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21

Antipkina, Elena N., Yuri A. Kondratenko, and Varvara S. Svyatogorova. "Formation of the Stage Traditions of Mordovian National Ballet through the Work of Composer N. Kosheleva." Finno-Ugric world 16, no. 3 (2024): 348–60. http://dx.doi.org/10.15507/2076-2577.016.2024.03.348-360.

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Introduction. This article explores the history of the formation of the stage traditions of the national ballet of Mordovia, which can resist contemporary processes of globalization and unification that lead to the erosion of ethnic culture. The stage history of the ballet reflects the priorities of Russia's national policy, which aims to strengthen the unity of the multinational people while preserving its ethnocultural diversity. The aim of the research is to identify the features of the staging of national ballets on the theatrical stage of Mordovia, using the work of composer N. V. Koshele

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22

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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23

Tsvetkova, P. Yu. "BRECHT'S "TURANDOT" AT THE TAGANKA THEATRE: HISTORY OF CREATION AND MUSICAL DESIGN BY A. SCHNITTKE." Arts education and science 1, no. 3 (2021): 118–25. http://dx.doi.org/10.36871/hon.202103015.

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The article presents the history of the creation of "Turandot" based on the play by B. Brecht at the Taganka Theater, directed by Yu. Lyubimov. A significant place as a prototype for Yu. Lyubimov's production is devoted to the unfinished play by the German playwright "Turandot, or the Congress of Whitewashers", work on which was interrupted for many years and resumed only in the early 50s. It is emphasized that in the Taganka Theater, the main form of performance was a musical spectacle with simple vocal and instrumental episodes. The paper analyzes ten zongs for male voice by A. Schnittke, cr

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24

Stroman, Elissa. "Nothing Like a Dame: Conversations with the Great Women of Musical Theater." Oral History Review 48, no. 2 (2021): 305–6. http://dx.doi.org/10.1080/00940798.2021.1950428.

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25

SANZHIEVA, E. G. "MILITARY PAGES OF THE HISTORY OF THE BURYAT MUSICAL AND DRAMA THEATER." Issues of Social-Economic development of Siberia, no. 4(42) (2020): 134–37. http://dx.doi.org/10.18324/2224-1833-2020-4-134-137.

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26

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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27

Lesakova, N. I. "Прессинг как излюбленный формат музыкального решения постановок пьесы «Ромео и Джульетта» в ХХI веке". Studia Culturae, № 54 (3 квітня 2023): 57. http://dx.doi.org/10.31312/2310-1245-2022-54-57-65.

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For more than four centuries, Shakespeare's tragedy «Romeo and Juliet» has been staged on theater stages around the world. The directors of different times presented the tragedy, emphasizing different meanings. The twentieth century most often considered history in a realistic aesthetic. Directors (both foreign and domestic) have always paid special attention to the musical solution of productions based on the famous tragedy, creating an incredibly organic fusion of poetic and musical lines, action and music. The musical design of the performances «Romeo and Juliet» in the domestic theater of

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28

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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29

Orlov, Vladimir V. "The Ensemble “Theater of New Music”: Its History, Activities and New Forms." ICONI, no. 4 (2019): 85–90. http://dx.doi.org/10.33779/2658-4824.2019.4.085-090.

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The article traces the history of the ensemble “Theater of New Music” from 2010 and 2019 and defines the main stages of the ensemble’s development: the first stage is the period of the ensemble’s formation (2010–2012), the second stage is the period of concerts in the form of theatrical performances and the quest for new forms of presentation of academic music (2012–2015), the third is the search for new forms of interaction between music and the other arts (2015–2018), and the fourth is the period of multimedia projects (since 2018). The main forms of presentation of academic music which were

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30

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

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

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31

Seregina, N. S. "Griboyedov’s “Code” in Russian Musicology (A.S. Griboyedov, M.D. Rezvoy, V.F. Odoevsky)." Art & Culture Studies, no. 4 (December 2023): 478–99. http://dx.doi.org/10.51678/2226-0072-2023-4-478-499.

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One of Griboyedov’s unrealised lines of work shaped by his musical talents was his interest in the foundations of musical science. Griboyedov’s scholarly ideas about the value-based content of music, musical theory and terminology, and his interest in musical ethnography were implemented by his younger contemporaries and companions V.F. Odoyevsky and M.D. Rezvoy. The moments of mutual influence between Griboyedov and Odoyevsky are revealed in their epistolary contacts. The contacts between Griboyedov and Rezvoy can be apprehended through the 1825 pencil portrait of Griboyedov by Rezvoy. The ra

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32

Tomchuk, David, Kyle Schneider, and Jacklyn Bascomb-Harrison. "COVID-19 Symptom Reporting Compliance Rates Among University Performing Arts Majors." Medical Problems of Performing Artists 38, no. 2 (2023): 89–96. http://dx.doi.org/10.21091/mppa.2023.2011.

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AIMS: The COVID-19 pandemic negatively affected the performing arts sector by temporarily closing venues. As venues reopened, COVID-19 symptom self-reporting and monitoring were one tool to identify potentially symptomatic cast and crew, who would then undergo contact tracing, testing, or isolation to prevent spreading COVID-19. However, the compliance rates for submitting a COVID-19 self-monitoring checklist among undergraduate performing art majors remain unknown. METHODS: This retrospective medical chart review investigated 282 cast and crew (68 males and 214 females) regarding their daily

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Naumov, Aleksandr V. "From Criticism to Practice: Music in the Early Literary Heritage of V.I. Nemirovich-Danchenko." Observatory of Culture 19, no. 2 (2022): 182–92. http://dx.doi.org/10.25281/2072-3156-2022-19-2-182-192.

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The article examines the relationship between the literary work of V.I. Nemirovich-Danchenko that preceded the opening of the Moscow Art Theater, and his directorial activity. For him, journalism, fiction and drama formed a unity that had a serious impact on his pedagogical and staging practice. The main issues related to the topic of the work have been repeatedly raised by researchers of theater and literature, but have not yet come to the attention of musicologists, which determines the main parameter of the study’s novelty. In this context, the article aims at pinpointing the actual musical

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RENIHAN, COLLEEN. "Pitching Opera: Innovating New Music Theater at Banff and Stratford, 1970–1990." Journal of the Society for American Music 14, no. 1 (2020): 33–50. http://dx.doi.org/10.1017/s1752196319000531.

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AbstractThe Banff Summer Festival of the Arts and the Stratford Summer Music Festival have been unrecognized sites of operatic innovation in Canada. Indeed, the flourishing of what might be termed “new music theater” in Canada is imbricated with the history of these two festivals. Archival research reveals that the inventive, often revolutionary, approaches to music theater honed at Stratford and Banff from 1970–1990 ultimately defined the course of Canadian new music theatre in the decades that followed. Founded in 1953 as a Shakespeare festival, the Stratford Festival eventually became renow

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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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36

Fedenko, A. Yu. "Musical and dramatic creativity by Olena Pchilka in the development of children musical theater in Ukraine." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 73–92. http://dx.doi.org/10.34064/khnum1-56.05.

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Background. Today in the minds of Ukrainians there is a process of reappraisal of values, which requires new approaches to the cultural education of citizens. At the current stage of the formation of the Ukrainian state, in front of its culture, in particular, children education, important and responsible educational tasks arise for the younger generation to develop a worldview focused on national ideals and traditions, preserved in folk songs, tales, in outstanding literary, musical works and other significant achievements of spiritual culture. That is why there is a need to study the childre

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Zhumagazin, Zhanbolat. "Evolution of opera at early stages of development as a musical theater." Pedagogy and Psychology 42, no. 1 (2020): 230–36. http://dx.doi.org/10.51889/2020-1.2077-6861.29.

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The opera originated in Italy. Researchers, right up to the exact date, say the time, when the first piece of music, called the opera today, was written. Nevertheless, the opera form has its own history, despite the fact that it was still a new art form at that time. The roots of this musical style go back to the musical everyday life of ancient Italian village entertainments, so-called «May» games, accompanied by songs and dramatic performances. Around the middle of the 13th century, in Umbria on the squares, people began to hold lauds, religious chants on the plots of gospel themes, which be

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Kholodova, M. V., and M. M. Chikhacheva. "OUTSTANDING FIGURES OF OPERA ART OF KRASNOYARSK: LARISA VLADIMIROVNA MARZOEVA." Northern Archives and Expeditions 5, no. 2 (2021): 159–67. http://dx.doi.org/10.31806/2542-1158-2021-5-2-159-167.

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The study of the culture of various regions of Russia, including the musical culture of Siberia, is one of the intensively developing areas of modern russian art history and cultural studies. The history of the formation and development of the musical culture of Krasnoyarsk - one of the largest siberian centers — is a multi-faceted picture, already meaningful in a number of fundamental works, a series of scientific publications. At the same time, not all aspects of the musical life of Krasnoyarsk received comprehensive coverage, many of its pages are waiting for their researcher. The article p

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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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Okuneva, Ekaterina G. "Bent Sørensen’s Sounds Like You as a Phenomenon of Contemporary Musical Theater." Problemy muzykal'noi nauki / Music Scholarship, no. 1 (2023): 62–76. http://dx.doi.org/10.56620/2782-3598.2023.1.062-076.

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The article focuses on the processes of renewal of the musical and theatrical genres taking place at the beginning of the 21st century. The object of the study is formed by a composition for orchestra, chorus, actors and audience participation, Sounds Like You (2009) written by Danish composer Bent Sørensen in collaboration with librettist Peter Asmussen commissioned by the Danish Broadcasting Company. In the article attention is focused on the genre and the compositional-dramaturgic laws of this work the musical material of which is based on Sorensen’s earlier orchestral piece Exit Music (200

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Mai, Alexander Chih-Yuan. "Recreating an American Myth: An Analytical Reading of Paul Bunyan by W. H. Auden and Benjamin Britten." Review of European Studies 11, no. 3 (2019): 26. http://dx.doi.org/10.5539/res.v11n3p26.

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One of the ability which music possesses is to evoke the audience&rsquo;s sense of cultural and national identity. In the second half of the twentieth century, people can easily travel and relocate to a new country in order to search for a better living condition. However, with this newly found freedom, people&rsquo;s sense of belonging and cultural identity has been put into serious doubts and tests. W. H. Auden and Benjamin Britten&rsquo;s Paul Bunyan encapsulates and foresees this phenomenon. Both have just arrived at the United States to escape from the war-torn Britain. Eager

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Ivanova, Nadezhda Sergeevna. "The influence of the first productions of S. S. Prokofiev's opera "War and Peace" on the composition. Birth of new versions of the work. (To the history of the production of "War and Peace" on the stage of the Maly Opera House, 1946-1947)." Философия и культура, no. 11 (November 2023): 1–11. http://dx.doi.org/10.7256/2454-0757.2023.11.68835.

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The subject of the study is the peculiarities of the formation of the canonical two-evening edition of S. S. Prokofiev's opera "War and Peace" and the influence on this process of the authors of the first production of the composition at the Maly Opera House in 1946 - the musical and stage version of conductor S. A. Samosud, director B. A. Pokrovsky and artist V. V. Dmitriev. The main purpose of the work is to identify the key aspects of the impact of the theater and the production process on the appearance of the legendary opera epic S. S. Prokofiev. The methodology of work is based on the pr

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Olga, Volosatykh. "Folklore in Mykhailo Starytsky’s plays as a ground for the formation of Ukrainian music and drama theater." Aspects of Historical Musicology 26, no. 26 (2022): 7–21. http://dx.doi.org/10.34064/khnum2-26.01.

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Statement of the problem. The study and preservation of folk traditions played an important role for the Ukrainian society in the process of forming national consciousness in the second half of the XIX century. It was from that time that the theater movement, whose soul M. Starytsky was, became active, and ethnography significantly influenced both the artist’s theatrical activity and the development of the Ukrainian music and drama theater in general. The article examines ethnographic elements in M. Starytsky’s plays with the purpose to find out the role of folklore in his work as a factor tha

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ashton, nigel j. "Cold War Political Theater." Diplomatic History 33, no. 3 (2009): 535–38. http://dx.doi.org/10.1111/j.1467-7709.2009.00789.x.

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Goldfeder, André. ""Mudar a ordem entre as coisas"." Aletria: Revista de Estudos de Literatura 33, no. 2 (2023): 195–222. https://doi.org/10.35699/2317-2096.2023.40984.

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The paper addresses the theatrical experiment Stifters Dinge, by theater director and musical composer Heiner Goebbels, first premiered in 2007. Drawing from an analysis of this play without actors, understood as a project of mise-en-scène of human-non human assemblages, it reflects on the convergence between aspects of two theoretical-practical debates which address the problem of intermediality in theater and a few ecocritical challenges fostered in respect to spontaneous assumptions identified in a widespread ecological thought. In regard to the first debate, the paper aims at a cross-readi

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Tikhonov, Aleksandr Aleksandrovich. "Musical and creative life in the Tarsky Priirtyshie in the second half of the 20th century: periods, communities, personalities." Исторический журнал: научные исследования, no. 2 (February 2023): 107–16. http://dx.doi.org/10.7256/2454-0609.2023.2.40582.

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The author examines the theatrical life in a small town on the example of the city of Tara, Omsk region. The theatrical life of the second half of the XX century is studied in dynamics, the key creative associations, personalities, periods are identified. In this article, we rely on such concepts as "local history" (meaning the consideration of the theatrical life of a separate locus - the Tarsky Priirtyshie region through the influence of individuals, associations and processes on the cultural process, referring both to written sources and historical memory), "cultural nest", "cultural enviro

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Haojie, Chen, Peng Ran, Ding Keyuan, Liu Yehao, and Liu Xueliang. "Analysis of the Development of Acoustic Environment in Chinese Theater Architecture Based on SoundPLAN: A Case Study of the Wuhan Region." Journal of Salutogenic Architecture 3, no. 1 (2024): 1–15. http://dx.doi.org/10.38027/jsalutogenic_vol3no1_1.

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Considering that previous literature has focused on the structure, performance space, and acoustic design of ancient and modern theater buildings but neglected the changes, contexts, sound transmission characteristics of performances, and the connections between them, This study aims to investigate the factors that have influenced the evolution of ancient and modern Chinese theater architecture, as well as the changes in the acoustic environment of the performance space during the evolution process. This study uses SoundPLAN acoustic simulation software to simulate the acoustic environments of

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PAZYCHEVA, INNA. "UZEYIR HAJIBEYLI’S “KOROGLU” OPERA IN THE CONTEXT OF THE PRINCIPLES OF NATIONAL MUSICAL THINKING." Культурный код, no. 2022-4 (2022): 51–66. http://dx.doi.org/10.36945/2658-3852-2022-4-51-66.

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The article reveals the features of U. Hajibeyli's musical thinking in the opera “Koroglu”, which determined the principles of h work’s thematic organization. The national beginning was clearly manifested in the opera through an appeal to the history and worldview of the people, the entire set of musical and expressive means, which characterize the genres of Azerbaijani music of oral tradition. The emergence of the opera was prepared by the composer's research activities in studying the foundations of folk music, as well as his innovative research in the field of musical theater related to the

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Panova, E. V. "THE BALLET "THE LITTLE HUMPBACKED HORSE" BY CESARE PUGNI: BORROWINGS AND CITATIONS OF MUSIC MATERIAL." Arts education and science 1, no. 4 (2020): 139–48. http://dx.doi.org/10.36871/hon.202004018.

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The article is devoted to one of the central works of creative heritage of the composer Cesare Pugni — the ballet "The Little Humpbacked Horse", which premiered on the stage of the Saint Petersburg Imperial Bolshoi (Stone) Theater in 1864 with choreography by Arthur Saint-Leon. "The Little Humpbacked Horse" was one of the ballets that survived the October Revolution of 1917 and was firmly established in the repertoire of Soviet theaters. For more than one hundred years, this work was very popular with the public, but due to the appearance of the ballet of the same name by R. K. Shchedrin, it w

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Goodman, Jane E. "Acting with One Voice: Producing Unanimism in Algerian Reformist Theater." Comparative Studies in Society and History 55, no. 1 (2013): 167–97. http://dx.doi.org/10.1017/s001041751200062x.

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AbstractScholars of democracy from Tocqueville to Habermas have long considered the proliferation of so-called voluntary associations as a sign of a flourishing civil society and as central to the rise of democratic modernity. I contend that the Algerian theatrical and musical associations of the reformist period anticipate another kind of civic history: a history of displays of unanimism in public life. I am interested in how and why Algerians learned to produce public displays of agreement for particular audiences (including themselves) at particular historical moments. I emphasize three fac

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