Letteratura scientifica selezionata sul tema "Musical cabarets"

Musical theatre can take root anywhere. The future of the musical may very well lie beyond Broadway and the West End. In recent years, successful musicals have been developed in Canada, Australia and the German speaking countries. Some, like Elisabeth, have travelled internationally without ever playing in English. Companies in Korea, Japan and China are investing in new works, both domestically and internationally. These different countries can learn from each other. In South Africa, people do literally burst into song on the streets. During the apartheid era, some of the freedom fighters were known to have gone to the gallows singing. Both there and in Argentina, musical theatre played an active role in the struggle against oppression. Shows like Sarafina weren’t just about the struggle against apartheid, they were part of it. This is nothing new – the cabarets of Weimar Berlin were also struggling against oppression. In fact, the birth of the musical coincided with the birth of democracy. On the other hand, during World War II, the all-female Takarazuka Revue was co-opted by the Japanese government for propaganda purposes. The real point of my book A Million Miles from Broadway is not just to tell a history of the musical. It’s what you do with that history after you’ve learned it that is important. Firstly to learn about our own musical theatre heritage, but also to learn about each other’s. We may find that people in other countries have found solutions to problems that we are struggling with.

This article looks at cosmopolitanism in the American film musical through the lens of the genre’s self-reflexivity. By incorporating musical numbers into its narrative, the musical mirrors the entertainment industry mise en abyme, and establishes an intrinsic link to America through the act of (cultural) performance. Drawing on Mikhail Bakhtin’s notion of the chronotope and its recent application to the genre of the musical, I read the implicitly spatial backstage/stage duality overlaying narrative and number—the musical’s dual registers—as a means of challenging representations of Americanness, nationhood, and belonging. The incongruities arising from the segmentation into dual registers, realms complying with their own rules, destabilize the narrative structure of the musical and, as such, put the semantic differences between narrative and number into critical focus. A close reading of the 1972 film Cabaret, whose narrative is set in 1931 Berlin, shows that the cosmopolitanism of the American film musical lies in this juxtaposition of non-American and American (at least connotatively) spaces and the self-reflexive interweaving of their associated registers and narrative levels. If metalepsis designates the transgression of (onto)logically separate syntactic units of film, then it also symbolically constitutes a transgression and rejection of national boundaries. In the case of Cabaret, such incongruities and transgressions eventually undermine the notion of a stable American identity, exposing the American Dream as an illusion produced by the inherent heteronormativity of the entertainment industry. The film advocates a cosmopolitan model of cultural hybridity and the plurality of identities by shedding light on the faultlines of nationalist essentialism.

The Dresden Dolls are a punk-cabaret band that use their music to delve into diverse and taboo subject matter including sexual assault, abortion, and trauma. Despite the morose and grotesque imagery invoked by their lyrics, this paper advocates for the therapeutic effects of catharsis as encouraged by The Dresden Dolls. This essay provides an overview of the applications of catharsis in the arts and psychotherapy, explores how the musical elements and performance contexts of punk-cabaret elicit catharsis, and develops a contemporary theory of catharsis as it pertains to the music of The Dresden Dolls. In considering manifestations of trauma and healing in the songs “Missed Me,” “Mandy Goes to Med School,” and “Lonesome Organist Rapes Page Turner,” this paper illustrates how, despite the potential challenges of confronting trauma through music, the approach of The Dresden Dolls is ultimately effective in cultivating catharsis and encouraging healing for their listeners.

Early in 1904 the American modern dancer Isadora Duncan, already notorious for her barefoot “Greek dancing” to concert music not intended for the stage, created a scandal in Germany by presenting a program of dances to Beethoven’s Seventh Symphony. Critics and composers responded in music journals and the daily press with a vigorous denunciation of Duncan’s trespass into the inner circle of German musical culture. What most disturbed Duncan’s critics, however, was the success of her Beethoven program with the public. Concern over Duncan’s hold on German audiences reveals the anxieties of professional musicians and critics whose status in Germany was also threatened by the popularity of music and dance entertainments in vaudeville and cabaret theater. Together with a musical parody of Duncan by Oscar Straus and a venomous attack by Max Reger, hostile reviews of Duncan illuminate serious musicians’ increasingly tenuous hold on the musical tastes of modern Bildungsbürger audiences.

Teatr Nasz in Michałowice or a family and village theatre companyThe note concerns Jadwiga and Tadeusz Kuta private theatre, Teatr Nasz Our theatre, which performs in the Karkonosze village of Michałowice. The actors sold their possessions in the city and decided to settle in the mountains, giving up their comfortable jobs in an institutional theatre. Twenty-five years ago they erected a wooden theatre building, a restaurant and cottages for guests in Michałowice. Their spectators flee cities in order to find some rest in Michałowice, and watch cabaret, comedy and musical shows. They also undergo a humor therapy, as it were, and experience the refreshing influence of the mountains.

This article explores the contribution of Cabaret Voltaire to the history of industrial and electronic music in the late 1970s and early 1980s. Heavily influenced by the music of Kraftwerk, the Cabs drew upon the dystopian landscapes of William Burroughs to create a paranoid soundscape. Like Kraftwerk, Cabaret Voltaire’s music was influenced by the artistic movements of the twentieth century (most prominently Dada) and drew upon modernist techniques. Especially significant in this regard was their location within post-industrial Sheffield and the ideologies of post-punk more generally. This discussion offers a critical assessment of Cabaret Voltaire as a form of avant-garde music that sought to carefully position itself in the context of the cultural politics of the late 1970s and early 1980s. Primarily through the work of Marxist aesthetic theory, I seek to offer a critical appreciation of the relationship between Cabaret Voltaire and the influence of Dada and modernism. The aim of the discussion is to reclaim a more critical understanding of Marxism while exploring its arguments in relation to artistic forms of modernism and popular culture. Especially important at this juncture is the rejection of the cultural populism of postmodernism and the reclaiming of a more critical language of evaluation and critique. Here the argument is that whatever Cabaret Voltaire’s limitations they continue to remind us of modernism’s ongoing capacity to offer arresting forms of art and critique.

Il saggio proposto intende analizzare l'importanza della canzone sociale come strumento d'espressione popolare nella Parigi degli anni quaranta del XIX secolo. L'autore offre una panoramica storiografica internazionale degli studi sulla canzone popolare, soffermandosi soprattutto sul contesto italiano e francese. La prospettiva adottata permette all'autore di considerare il canto nella sua globalitÀ, sia come "testo" che come "pratica sociale". Attraverso il concetto di sociabilitÀ, l'attenzione si focalizza sui modi di circolazione della produzione canora. Il lavoro archivistico sulle carte di polizia permette di mettere in luce i luoghi di diffusione del canto, come la strada, i cabaret e le associazioni musicali popolari, come le goguettes. L'autore svolge uno studio approfondito dei testi musicali per presentare alcuni importanti aspetti della politica e del pensiero dell'artigiano-operaio. Si evince chiaramente la funzione della canzone come un luogo d'emancipazione, come spazio di riflessione e di rivendicazione del lavoratore.

Neste estudo, busco compreender como as performances musicais das cantoras/chanteuses dos clubes noturnos de Porto Alegre nas primeiras décadas do século XX podem mediar as relações de gênero dentro e fora destes espaços de sociabilidade moderna. O termo chanteuse é largamente difundido na imprensa e nas crônicas brasileiras de início de século, posto que uma parcela considerável de artistas-cantoras eram enviadas da Europa para o mercado sul-americano e o termo francês conferia-lhes status sobretudo em relação às cantoras nacionais que também disputavam espaço neste cenário artístico-musical. Através de uma etnografia histórica, procuro recompor esse cenário, para compreender como a música, através do repertório e da performance, contribui na construção social da figura dessas mulheres nas urbes modernas. Apesar da associação, via senso comum, dessas artistas à prostituição, observo que a profissionalização artística lhes proporcionava uma alternativa ao meretrício, garantindo sua sobrevivência sem necessariamente vender seu sexo. Entretanto, a prática musical feminina aparece estreitamente relacionada ao corpo, à sensualidade, o que é fortemente expresso nas imagens e crônicas jornalísticas, colocando-o em evidência. A partir dos estudos de gênero e na literatura musicológica, trato de examinar a trajetória musical dessas mulheres através do fenômeno social dos cabarés na modernidade urbana do Brasil.
This study aims to understand how the musical performance of the singers/chanteuses of the night clubs in Porto Alegre, in the early decades of the twentieth century, could mediate the gender relationships either inside or outside these spaces of modern sociability. The term chanteuse is widely spread and used by the press and in the Brazilian chronicles of the early century, once a considerable amount of artists-singers would be sent from Europe to South America, and the French term would give them a superior status in relation to the national singers that were also competing for a place in this artistic-musical scenario. Through a historical ethnography, I have sought to rebuild this scenario in order to learn how music, through repertoire and performance, contributes to the social construction of these women in modern cities. Despite the association of the figure of these artists with prostitution, I observe that the fact of women turning into professionals of arts provided them an alternative of not being involved with prostitution, ensuring their survival without the need of selling sex. However, the female musical performance happens to be closely related to the body, sensuality and this fact is strongly expressed in the pictures and in the newspaper chronicles. From the studies of gender and musicological literature, I examine the musical journey of these women through the social phenomenon of cabarets in the modern cities in Brazil.

This thesis adduces the benefits in teaching undergraduate theatre majors the competency to create a cabaret. It expostulates that doing so during college gives students an advantage in marketing themselves professionally. It substantiates the general lack of cohesive undergraduate training in this area. The results of a survey of casting directors, assessing the worth of implementing the study of cabaret into theatre curricula, are incorporated. Those that responded agreed that performing cabarets can play a role in a performer’s career, even if the opinions varied as to what that specific role is. There was general agreement that the study of cabaret could benefit students in ways which potentially go beyond securing immediate employment. I have included a sample syllabus for a course focusing on the construction, and performance of a cabaret. It is anticipated this would serve for a performance class taught during a student’s fourth year of undergraduate study.

This thesis looks to explore the musical Cabaret through a critical, historical and political lens, with particular focus on Sally Bowles, questioning the creation and agency of this character in contrast with the political and societal values of various productions. Using a socio-political analysis, this thesis discusses the important relationship between politics and theater, using the pro-choice abortion movements of the 1960's as a way to understand Sally Bowles as a complex device for political and social commentary.

American Musical Theatre is one of the unique American methods of storytelling that exists in performance. In a musical, text, song, movement, and dance tell a story. In Music Theatre, when a character can no longer express what they desire in words, they sing. If singing cannot satisfy the need, the element of dance comes into play. Richard Kislan states, "What sets dance apart is the universality in movement and gesture which is not bound like language to nationality or culture. Dance transcends geography in a way that language cannot. Dance humanizes expression in a way that music cannot."(237) In American Musical Theatre History, dance was, at first, purely used for dance sake. The spectacle of dance was the interest of the public. Choreographers George Balanchine and Agnes De Mille helped to change dance in music theatre, by using dance numbers to further the plot of the story. They believed a musical number should enhance the tone, energy, and rhythm of the entire piece. Influenced by my mentors at VCU, I have discovered the important lesson of "telling a story." A musical number needs to take the audience on a truthful and emotional journey and aid in the flow of the play. Through the many projects that I have worked on with Patti D'Beck, I have learned a way to choreograph that is efficient and, to me, the best way to go about revealing a story to the audience. Using the musical Cabaret, I will highlight these important steps. I was the associate choreographer for the VCU Mainstage production of Cabaret. I assisted in all pre- production work and aided in the creation of all musical numbers. As part of my thesis, I was also in charge of teaching the choreography to all who were involved in the musical. Spacing and polishing the musical numbers once we arrived in the space was also a part of my job as the associate choreographer.The first part of this thesis is a guide for those who have an interest in the world of musical theatre choreography. It outlines a step by step process on how to go about choreographing a dance within a musical. Whether one has choreographed many dances or never choreographed at all, this guide will aid in their creative process as a choreographer. The second part of this thesis is a case study on Cabaret.. All the steps that are outlined in the first part of this thesis are reiterated within the analysis of VCU's Main Stage production.

Cabaret is one of America's most unusual forms of art and entertainment as it juxtaposes and creatively interconnects comedy, song, dance, theatre, speech, and performance art, much like that of its bigger sister, American musical theatre. Many elements of the American musical are shared by cabaret, however, cabaret is unique since it generally occurs in more intimate (and sometimes more unusual) performance venues, such as restaurants, nightclubs, lobbies, halls, small theatres and private homes. With close proximity to the performer(s), cabaret audiences are often seated at tables where they eat and/or drink while an interlocutor (an interactive Emcee, M.C. or Master of Ceremonies) guides them through the performance. Along with the creative and engaging interaction of an interlocutor, the intimate venue of a cabaret performance creates a forum that allows and encourages the performers' energy to combine with the audience's as the "theatrical fourth wall" is constantly broken through. The synergistic energy generated by audience and performers creates an entirely new and unique performance phenomena, which is one of the most exciting, appealing and exceptionally unique qualities of cabaret. Since a small body of scholarship exists on American cabaret as a unique genre, this study provides a thorough analysis and detailed dissection of cabaret both historically and musically. Discussed first is cabaret's origins, life and development by way of a historical narrative gleaned from existing resources on cabaret. Also tied into this narrative is information on other types of performance and music closely related to cabaret, such as Victorian music halls, concert saloons, dance halls, speakeasies, nightclubs and supper clubs, burlesque, vaudeville, and Tin Pan Alley. Next, this essay identifies and explores the "physical" elements that compose cabaret such as the framework of songs, the connective fabric of interlocking dialogue, songs, and musical numbers, the final look of the performance and the overall sound-blend of the performance. The essay progresses into a more detailed exploration of cabaret by identifying and discussing its "visceral" elements such as basic human nature and intimate contact via the human voice. Likewise, musical examples are presented that illustrate musical elements such as the "composer's hook," elicitation of body movement, patter songs and types of accompaniments supportive of the melody. Finally, musical patterns are presented that are analogous to motion, conflict, resolution and circular arcs of context such as syncopated patterns, dotted rhythms, swinging eighth notes, tied-note figures over bar lines, "chromatic toggling" and repeated-against-syncopated patterns. Consequently, all these musical elements in cabaret literature prompt human beings into movement in all three areas of body, mind and spirit. This essay then identifies and delineates several possible types and combinations of cabaret shows, such as formal, improvisational, musical revue, vaudeville-style, stand-up comedy, karaoke, female/male impersonator (drag show), "streetmosphere," flash mob, piano bar/lounge, open-mic., concert-style, aleatory and a mixture of any and all types. Finally, the most important contribution to cabaret scholarship is this essay's comprehensive resource on how to create and develop a cabaret show with specific suggestions for themes, music, underscoring, and scripted dialogue. In addition, this essay presents an example of an entire original cabaret show in order to clarify the findings of this study, and encourage further research, creation and composition, practice and prolongation of the genre of American cabaret.

Music and Theatre have always captivated me. As a child, my parents would take me to live performances and cinematic shows and I would sit rapt, watching the theatrical events and emotional moments unfold before my eyes. Movie musicals and live shows that combined music and theatre were my favorite, especially theatrical banter and improvisation or sketch comedy. Some of my favorite youthful memories were my annual family summer trips to Las Vegas to visit my grandparents for six weeks. As a youngster, I got to experience the "old school" Las Vegas, replete with extravaganza, spectacle, cabaret, circus, lounge and nightclub acts, stand-up comedy, intimate revues, and all things marketed under the guise of entertainment, art, or both. Those summers, while not overtly planned as academic or educational in nature, proved, in retrospect, to be the training ground for what was to become my passion: the art of the cabaret genre. As a person who has always loved theatrical diversity, I am drawn to cabaret as an art form. Anything that fuses other forms interests me, and cabaret amalgamates many of the artistic forms I have grown to love. I come from a unique background of classical, jazz, musical theatre and pop styles, and have studied these styles in both the piano and vocal arena. The cabaret genre allows me to realize fully the stylistic variety of performance techniques with which I excel. My mother is a classical singer and my father a jazz pianist; during my youth they would perform at the piano, "meeting in the middle" so to speak in the world of Musical Theatre, through the fusion of cabaret, classical, jazz, and pop. Growing up hearing a song like "Summertime," from Gershwin's Porgy and Bess, equally artistically rendered as both a classical aria and a jazz tune in my home was rich fodder for the vital informal education I received by being the offspring of musicians. It is due to this musical legacy that was passed on to me through my parents that I learned to explore the myriad of possibilities one can achieve through artistic musical and theatrical interpretation. Beyond the freedom of stylistic variety, cabaret performance also allows conventions such as direct interaction in the form of the proverbial "lowered fourth wall," allowing me to use my improvisational acting and interactive skill set as well as my musical skills. Cabaret is generally more intimate and personal in nature and I enjoy the camaraderie cabaret affords. Cabaret is interactive and intellectual and I am drawn to those aspects; I like the fusion of interactive banter and intellectual artistry. Also appealing to me is the "insider" sense cabaret not only allows but also encourages. Recalling my youthful memories of the Vegas shows in which the performer spoke directly to audience members, I remember the sense of belonging I felt at the recognition of some of the inside jokes. I knew I wanted to be involved with any aspect of music and theatre that would allow me the freedom to go with the moment, to reach people differently on any given day, to change with the times, and adapt to my audience and to the shifting world around me. I knew I had found a home in this intimate, insular, interactive, and intellectual art form known as cabaret. For these reasons and more I have chosen the genre of cabaret to be my intended thesis research project. I will produce, direct, and perform in a cabaret show, which will be the thesis performance. For the performance aspect of my thesis, in collaboration with my thesis partner, Josephine Leffner, I will perform a one-act chronological, historical, and stylistically varied cabaret show. The show will include material garnered from historical research of the cabaret genre, specifically settling on some of the famous women, songs, stories, lives, and important contributions. The cabaret will cover information, music, and spoken-word art from cabaret's inception in the Paris Montmartre district in 1881 to its height in Germany during the Weimar Republic. The show will culminate with cabaret's insurgence into American culture up to and including the state of American cabaret today. While my performance will focus mainly on American cabaret, a portion of the show will explore cabaret's European roots. Creating and performing this show will educate me further on the genre itself, as well as expand my performing skills through the varied styles in which I will perform within the realm of a single evening's entertainment. Creating and performing the show will also challenge me as a producer, director, promotional and administrative coordinator, music director, arranger, vocal director, collaborator, vocalist, pianist, actor, and writer. The show is intended as a kind of "Cabaret 101," in that the intended audience is treated to a night of variety entertainment with some historical background on the genre of cabaret. The audience is not expected to have any prior academic or experiential knowledge of cabaret in order to understand or enjoy the show. The cabaret intellectual will also be able to enjoy the show, as the songs, poems, skits, and sketches are intended to amuse and delight both the novice and the experienced cabaretist. For the research and analysis portion of my thesis monograph document I will provide information on cabaret's roots in France and Germany, as well as include informative research on American cabaret, its history and its current trends. I will have several chapters dedicated to the historical research and to other items such as the formatted libretto, documentation of a performance report from my thesis committee head, and a list of references used throughout the research and libretto chapters. I will include a structural and role analysis of the show itself and my contributions to it as outlined by the parameters of my graduate studies program. Several chapters of appendices will be included as information pertinent to the show such as costume, props, lighting lists as well as band and technical needs for the show itself. An introduction and conclusion will be created to bookend my document solidly and reveal myself as a person as well as a performer. This section will include reflective information on my intentions, triumphs, and tribulations, and will be codified through the opening and concluding perspectives. Through the process of writing the thesis monograph document I will create a public and personal record of the process, research, performance challenges, and decisions made throughout this journey. This document will be used as historical help to me should I need to refer to my thesis for later personal or professional use. The document will also be on record for the UCF theatre department, as I apply not only my performance training (as exhibited through the show itself) but also the research and critical thinking skills required of a masters degree candidate at a conservatory training program such as this one. Beyond its use for myself or for the department, I write this monograph document for others whose love and interest in studying the genre of cabaret match my own.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre

Cabaret as a genre has influenced and is influenced by musical theatre. As cabaret has evolved throughout history, musical theatre has often paralleled its journey. Cabaret thrived before the term "musical theatre" was coined and suffered hard times during the Golden Age of Musical Theatre. The correlation of the two genres cannot be denied, and exploring cabaret history will reveal how deeply the connection lies. My collaborator Debbie Tedrick and I will attempt to define cabaret through a two-woman cabaret show we will write, produce, and perform together. The show, Black Cats, Berlin, Broadway and Beyond, will be a one-act historical look at the genre of cabaret. It will include material garnered from historical research of the cabaret genre, specifically focusing on some of the famous women, songs, stories, lives, and important contributions. The cabaret show will cover information and art from cabaret's inception in the Paris Montmartre district in 1881 to its height in Germany during the Weimar Republic and will culminate with cabaret's insurgence into American culture up to, and including, the state of American cabaret today. American cabaret will be emphasized, but a portion of the show will explore American cabaret's European roots. My thesis will explore the triumphs and tribulations of putting together the show. As the culmination of my UCF studies, this project will test my abilities as a librettist, performer, creative artist, director, and collaborator. This thesis will include the actual show performances as well as a written monograph document recording the project's journey from its inception to conclusion.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre

Thesis (MDram)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: Empirical studies have shown that music has a determinable effect on human emotions. In this study, the function of music is analysed in terms of how it functions in the musical and the cabaret as genres. A broad overview regarding the development of these two genres shows how music is incorporated in these two genres through the ages. A further analysis regarding structural elements show how music is used in the musical to develop action and character, whilst also portraying how music supports the sosio-political onset of the cabaret. These functions are practically applied to My Fair Lady (1956) as text for the musical and applied to Die Kortstondige Raklewe van Anastasia W (2010) as text for the cabaret. In these two texts, chosen songs are analysed in terms of how the music functions in these two genres. In conclusion, a summary of how music functions in these two Musical Theatre genres is given by referring to the results discussed in this thesis. In the results are found a better understanding of how music functions in these genres to heighten the aesthetical and dramatic values of a theatre production. Music also heightens the emotional experience of the staged production.
AFRIKAANSE OPSOMMING: Empiriese studies het bewys dat musiek 'n daadwerklike effek op die mens se emosies het. In hierdie studie word ondersoek ingestel na die funksie van musiek in die musiekblyspel en die kabaret. 'n Breë oorsig van die ontwikkeling van hierdie twee genres toon aan hoe musiek daarin aangewend word. In 'n verdere bespreking van hierdie twee genres word die vorm en funksie van musiek in hierdie twee genres ontleed en aangetoon hoe musiek die handeling en karakterontwikkeling in die musiekblyspel beïnvloed en hoe musiek in die kabaret die sosiopolitiese aard van die kabaret ondersteun. Hierdie funksies is toegepas op My Fair Lady (1956) as musiekblyspel en Die Kortstondige Raklewe van Anastasia W (2010) as kabaret. In hierdie tekste is gekose liedjies ge-analiseer om aan te toon hoe die musiek ten opsigte van hierdie twee genres funksioneer. Ten slotte is daar opsommend uitgelig hoe musiek funksioneer in hierdie twee musiekteater genres met verwysing na die resultate gevind in die bespreking van die tesis. In die resultate word daar 'n beter begrip gekweek van hoe musiek in hierdie genres toegepas word om die estetiese en dramatiese ervaring van hierdie genres te verhoog. Musiek verhoog ook die gehoor se emosionele ervaring van die verhoogaanbieding.

MUSICAL THEATRE HANDBOOK FOR THE ACTOR By Maggie Elizabeth Marlin, MFA A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. Virginia Commonwealth University, 2009 Major Director: David S. Leong Chairman, Department of Theatre Musical Theatre is a performance style deeply woven into the fabric of the American theatre. We live in time and social climate where over half of the productions open on Broadway right now are musicals. If actor training institutions profess a mission to prepare their students for a career in the entertainment industry, why are so many components of an actor’s skill set left to the side and considered peripheral? One can make the argument that their actor training program is exclusively for the theatre, and even more specifically for straight plays for the theatre. Of course, what your career preparation institution chooses to target is your prerogative and as long as that is clear to the incoming students who wish to specialize only in that one faction of the artist’s opportunities for work then my argument is moot. However, if you believe that actor training has a duty to prepare actors to work in an ever changing and transforming field and to be competitive in meeting the demands of various media, among many other areas of focus you should consider preparing your students to develop their craft for musical theatre as legitimately as you would for a classical or contemporary straight play. In this thesis I propose an approach to creating a role for musical theatre using as an example my character development technique for the role of Sally Bowles from a recent production of Cabaret. My desire is to illustrate a seamless continuation of the actor’s craft to meet the additional requirements of skills necessary to perform in a musical. Rather than signifying a separate style of acting for musical theatre which is identified as being altogether different and often dismissed as inferior to the craft of acting in a straight play, I hope to challenge the reader to consider a new perspective in which the foundation of musical theatre performance is built on the fundamentals of acting in a straight play.

Le présent travail porte sur le phénomène de société que sont la production, la diffusion et la réalisation des chansons et airs à boire au XVIIe siècle. Plusieurs angles d’analyse sont considérés : l’étude des formes poético-musicales, des thématiques poétiques, des réseaux de sociabilité qui gravitent autour de cette production artistique et enfin de la manière dont les pratiques qui encadrent la consommation de vin et de musique s’intègrent dans le paysage culturel français du XVIIe siècle. Ce travail pluridisciplinaire permet de mettre en lumière d’une part l’existence d’un patrimoine poético-musical unique qui se construit autour des univers de l’air profane français et du vin, et d’autre part l’expansion de cercles sociaux bachiques singuliers, qui évoluent en parallèle des cercles mondains, principalement dans les cabarets et aux tables d’hôtes aisés. Malgré la présence de codes et de coutumes spécifiques, la variété des lieux et le contexte de réalisation des pièces couplé à l’attractivité de musiques faciles d’accès – aux thématiques poétiques séduisantes qui s’inscrivent pleinement dans une « culture de l’enivrement » profondément enracinée – permettent à l’univers musical bachique de toucher un large public. Soutenues par de riches mécènes, les sphères des buveurs musiciens croissent au cours du XVIIe siècle et s’ouvrent à un auditoire de plus en plus diversifié allant jusqu’à toucher la gent féminine. D’abord très critiqué au début du siècle, ce véritable phénomène de société passe peu à peu dans les mœurs
The present work deals with the social phenomenon of the production, diffusion and realization of songs and drinking tunes in the 17th century. Several angles of analysis are considered : the study of poetic-musical forms, poetic themes, the networks of sociability that revolve around this artistic production, and finally, the way in which the practices surrounding the consumption of wine and music fit into the French cultural landscape of the seventeenth century. This multidisciplinary work sheds light on the one hand on the existence of a unique poetic-musical heritage built around the worlds of secular French air and wine, and on the other hand on the expansion of singular bachic social circles, which evolved in parallel with the worldly circles, mainly in cabarets and at well-to-do tables. Despite the presence of specific codes and customs, the variety of places and the context in which the pieces are performed, coupled with the appeal of music that is easy to access - with seductive poetic themes that are fully in keeping with a deeply rooted "culture of intoxication" - allow the bachic musical universe to reach a wide audience. Supported by wealthy patrons, the spheres of musical drinkers grew during the 17th century and opened up to an increasingly diverse audience, even reaching out to women. Initially heavily criticized at the beginning of the century, this true social phenomenon gradually became a commonplace

Chapter 1 focuses on the diegetic music performed in the prostitute melodrama and the cabaretera subgenre, concentrating on the genre’s associations with sexuality, modernity, and gender. Since the Porfiriato, the prostitute functioned as a deeply controversial figure and symbol of womanhood in popular culture, perceived at once as a social vice and as an exploited “necessary evil.” Santa (1931), the tragic story of a young country girl turned prostitute, became Mexico’s first sound film. Cinema presented her musically in two distinct ways: dance music exposed her as a sexual figure, while romantic and sentimental boleros painted her as a figure of tragedy. This chapter analyzes the function of music performances in two canonic prostitute melodramas, Santa and the 1950 cabaretera film Víctimas del pecado. Music signified the prostitute-protagonist’s split identity as a seductress and an empathetic figure, uncovering her problematic position that continued to be exploited on and off screen.

The introduction defines “political action” and “solidarity” theoretically, as frameworks for organizing and dispersing the relationship between music and protest. It also introduces the Polish opposition to state socialism, giving an overview of the political agents (activists, critics, citizens, priests, bureaucrats, Party members, journalists) who are the main protagonists of this history and who guide the musics and scenes upon which the book focuses. One cabaret anthem, Jan Pietrzak’s “So That Poland Will Be Poland,” serves as an orientation point. The song’s text, key performances in Warsaw, and use by the US Information Agency for propaganda give insight into national and international perspectives on the Solidarity movement and its historiography from the 1980s into the present.

This chapter describes Stanisław Wielanek's Szlagiery starej Warszawy: Śpiewnik andrusowski (Hits of Old Warsaw: A Songbook of the Streetwise). Wielanek is the leader of Kapela Warszawska, a street band that usually performs for tips in an underpass near the Hotel Forum in the centre of Warsaw. They play mainly pre-war Warsaw urban folk music. Wielanek's 500-page volume contains a richness of material that is not only musical—including both scores and lyrics—but also literary and iconographic: from cabaret monologues and vignettes, jokes, bon mots, and biographical and contextual information, to drawings, posters, photographs, and postcards. Alongside old Warsaw songs and criminal or lumpenproletarian ballads, the book includes a separate section on Jewish folklore in Polish which is nearly 100 pages long, and another fifty-page section on Lwów.