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Dissertation DISSERTATION Titel der Dissertation „Where Music Can Speak with Greater Effect. Zur Problematik der Gattungstransformation: Von der li- terarischen Vorlage zum Musical“ Verfasser Mag. Christian Scheichenstein angestrebter akademischer Grad Doktor der Philosophie (Dr.phil.) Wien, 2011 Studienkennzahl lt. Studienblatt: A 092 317 Dissertationsgebiet lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuerin: Univ.-Doz. Mag. Dr. Brigitte Dalinger 2 3 Inhalt Vorwort ....................................................................................................................................... 7 1. Einleitung ................................................................................................................................ 9 2. Theoretische Ansätze und grundlegende Begriffe ............................................................... 12 3. Literarische Vorlagen ............................................................................................................ 27 3.1. West End Musicals ......................................................................................................... 28 3.2. Antike Quellen ............................................................................................................... 29 3.2.1. Dramatische Texte .................................................................................................. 29 3.2.2. Episch-Narrative Texte ........................................................................................... 33 3.3. 14. Jahrhundert ............................................................................................................. 35 3.4. 16. und 17. Jahrhundert ................................................................................................ 37 3.5. 18. Jahrhundert ............................................................................................................. 48 3.6. 19. Jahrhundert ............................................................................................................. 51 3.6.1. Dramatische Vorlagen ............................................................................................ 51 3.6.2. Narrative Texte ....................................................................................................... 61 3.6.2.1. Kurzgeschichten und Novellas ......................................................................... 72 3.6.2.2. Romane ............................................................................................................ 77 3.7. Horrorvorlagen .............................................................................................................. 89 3.8. Märchenhafte Stoffe ..................................................................................................... 93 3.9. Jüdische Themen ........................................................................................................... 98 3.10. 20. Jahrhundert ......................................................................................................... 106 3.10.1. Pulitzer Prize Vorlagen ....................................................................................... 106 3.10.2. Dramatische Vorlagen ........................................................................................ 116 3.10.2.1. Kontinentaleuropäische Vorlagen ............................................................... 120 3.10.2.2. Zeitgenössische englischsprachige Vorlagen .............................................. 127 3.10.2.3. Adaptionen von Musik oder Musiktheatervorlagen ................................... 147 3.10.2.4. Von narrativen Texten adaptierte dramatische Vorlagen .......................... 154 4 3.10.3. Narrative Texte .................................................................................................. 160 3.10.3.1. Adaption narrativer Vorlagen und ihrer Verfilmungen .............................. 160 3.10.3.2. Comicbearbeitungen ................................................................................... 171 3.10.3.3. Kürzere narrative Texte (Sketches, Zeitungsartikel, Short Stories, Novellas) .................................................................................................................................... 175 3.10.3.5. Gedichte ...................................................................................................... 186 3.10.3.6. Fremdsprachige Vorlagen ........................................................................... 188 3.10.3.7. Romane des frühen 20. Jahrhunderts ........................................................ 192 3.10.3.8. Problematische Vertonungen sehr bekannter Vorlagen ............................ 196 3.10.3.9. Beispiele für unbekanntere Romanvorlagen .............................................. 203 3.10.3.10. (Auto) Biographische Vorlagen ................................................................. 211 3.10.3.11. Culture Clash ............................................................................................. 217 3.11. Conclusio ................................................................................................................... 221 4. Techniken und Variationen der Transformation ............................................................... 227 4.1. Adaptionen mit afroamerikanischen Themen ............................................................ 231 4.1.1. Werke, die primär die gesellschaftliche Situation von African Americans thematisieren ................................................................................................................. 231 4.1.2. Umarbeitungen für schwarze Darsteller .............................................................. 240 4.2. Griechische Tragödie in moderner Vertonung ........................................................... 250 4.2.1. Marie Christine ..................................................................................................... 251 4.2.2. Die „Thebanische Trilogie“ von Sophokles .......................................................... 256 4.2.3. Das Musical .......................................................................................................... 264 4.2.3.1. Die neue Kontextualisierung ......................................................................... 267 4.2.3.2. Antiker Text und moderner Gospel .............................................................. 275 4.2.4. Ein zusammenfassender Vergleich ...................................................................... 294 4.3. Raisin – Vertonung eines amerikanischen Dramas ..................................................... 297 4.2.1. Zum Theaterstück ................................................................................................ 298 5 4.2.2. Die strukturelle und inhaltliche Transformation .................................................. 307 4.2.3. Die textliche Adaption .......................................................................................... 314 4.2.4. Das Musical ........................................................................................................... 321 4.4. Purlie – Adaption einer amerikanischen Komödie ...................................................... 329 4.4.1. Das Theaterstück .................................................................................................. 330 4.4.2. Das Musical ........................................................................................................... 339 4.5. Simply Heavenly – Adaption von Short Fiction ............................................................ 351 4.5.1. Langston Hughes und sein Werk .......................................................................... 352 4.5.2. Laughing to Keep from Crying: Die Simple-Stories ............................................... 362 4.5.3. Simply Heavenly .................................................................................................... 375 4.5.3.1. Die Elemente der Haupthandlung ................................................................. 377 4.5.3.2. Hinzugefügte Nebenhandlungen................................................................... 386 4.5.3.3. Der Inhalt ....................................................................................................... 390 4.6. Big River – Vertonung eines amerikanischen Klassikers ............................................. 402 4.6.1. Mark Twain und Huckleberry Finn ....................................................................... 404 4.6.2. Der direkte inhaltliche Vergleich .......................................................................... 410 4.6.3. Das Musical ........................................................................................................... 423 4.7. Dessa Rose – Vertonung eines zeitgenössischen Romans .......................................... 457 4.7.1. Der Roman: Eine Neo-Slave Narrative.................................................................. 458 4.7.2. Die Adaption ......................................................................................................... 469 4.7.3. Das Musical ........................................................................................................... 483 5. Where Music Can Speak with Greater Effect ..................................................................... 514 5.1. Die analysierten Werke in ihrem historischen Kontext ............................................... 517 5.2. Die Adaption der Handlung ........................................................................................
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