America's Musical Stage: Two Hundred Years of Musical TheatreBloomsbury Academic, 06/12/1985 - 252 páginas Mates shows the musical stage in all its guises--from burlesque to musical comedy to grand opera--from its beginnings in pre-Revolutionary America to the present day. He deals sensitively with the recurrent aesthetic question of popular versus highbrow art and also looks at critical reactions to popular theatrical forms of musical entertainment. He introduces the reader to various types of theatrical companies, the changing repertory, and the many kinds of musical performers who have animated the stage. Mates focuses on the creative relationships between the different forms of opera, the minstrel show and circus, melodrama and dance, burlesque, revue, vaudeville, and musical comedy. |
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Página 56
... presented there . Even in New York and Baltimore one finds evidence of French opera before 1800 . But there is little evidence that American composers at- tempted this exotic form . The basic democratic attitude seemed to be that of a ...
... presented there . Even in New York and Baltimore one finds evidence of French opera before 1800 . But there is little evidence that American composers at- tempted this exotic form . The basic democratic attitude seemed to be that of a ...
Página 57
... presenting opera began to be available to Americans . First was visiting foreign opera companies . A tre- mendous ... presented , as far as it is possible to tell from this distance in time , with a strong influence from comic opera ...
... presenting opera began to be available to Americans . First was visiting foreign opera companies . A tre- mendous ... presented , as far as it is possible to tell from this distance in time , with a strong influence from comic opera ...
Página 71
... presented in French , so that Americans lost much of the wit and satire - probably a good thing , since some loss of popularity occurred when Amer- icans were informed that much of the wit was based on sexual innuendo . Offenbach's ...
... presented in French , so that Americans lost much of the wit and satire - probably a good thing , since some loss of popularity occurred when Amer- icans were informed that much of the wit was based on sexual innuendo . Offenbach's ...
Índice
Overture Some History an Analysis and a Polemic | 3 |
3 | 7 |
Performers | 39 |
Direitos de autor | |
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Outras edições - Ver tudo
America's Musical Stage: Two Hundred Years of Musical Theatre Julian Mates Pré-visualização limitada - 1987 |
America's Musical Stage: Two Hundred Years of Musical Theatre Julian Mates Visualização de excertos - 1987 |
America's Musical Stage: Two Hundred Years of Musical Theatre Julian Mates Visualização de excertos - 1985 |
Palavras e frases frequentes
actors afterpiece Amer American musical stage American Musical Theatre American Opera American stage American Theatre assortment attempt audience ballad opera ballet began Black Crook Boston Broadway burlesque burlesque shows characters Charles Chicago choreographer chorus circus cities Cohan comic opera composers concert dancers decade dissertation drama early eighteenth century entertainment example extravaganzas farce-comedy featured Follies George girls grand opera Harrigan and Hart helped History ical ican included Irving Berlin Jerome Kern Jerome Robbins John Durang later libretto Louis manager melodrama minstrel show Mulligan Guard museums musical comedy musical theatre Niblo's nineteenth century Old American Company opera companies opera houses operetta orchestra pantomime pany performers Ph.D Philadelphia plays plot popular production repertory reprinted New York revue Rodgers satire scene Show Boat singers singing songs and dances stars stock companies story Theatre Collection theatrical tradition traveled troupe twentieth century University Press variety acts vaudeville William wrote Ziegfeld
Referências a este livro
Singing the New Nation: How Music Shaped the Confederacy, 1861-1865 E. Lawrence Abel Pré-visualização indisponível - 2000 |