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German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
The Mousmé and the Cultural Mobility of Musical Comedy
6 Henry Balme Yale University, USA Between Modernism and Japonism: The Mousmé and the cultural mobility of musical comedy Edwardian musical comedy had been sidelined in music and theatre histories due to its conservative design and frivolous narratives, but it is now being critically reassessed for the role it played in the creation of a first globalised network of theatre. The Mousmé is a work that exemplifies the process of performative re- contextualisation that accompanied musical comedies as they travelled from London’s West End across the world, as far as Yokohama and Tokyo. The work appealed to British audiences because it was held to be a realistic reconstruction of Japanese culture and society, but it was also enjoyed by Japanese audiences, despite its stereotypical portrayal of their people. This apparent dichotomy is explored in this essay, which presents little-known documents surrounding the production and its travels. It sheds light on how musical theatre became culturally mobile during the first age of globalisation. Henry Balme is a full-time Ph.D. candidate in Music History at the Department of Music of Yale University. He completed his M.St. at the University of Oxford (2015) and his B.Mus. at City, University of London. Keywords: Bandmann Opera Company, cultural mobility, Edwardian musical comedy, Florence Smithson, George Edwardes, globalisation, japonism, Maurice E. Bandmann, modernity ulture is rarely stable or fixed.1 This claim is corroborated by the global Ctransmission and reception of Edwardian musical comedy. For a long time the genre had been considered an obscure part of musical theatre history and thus demoted to the sidelines of musicology and theatre studies.2 It is now being critically re-assessed for the importance it played in the globalisation of theatre during the first fifteen years of the twentieth century: musical comedy became a medium of extraordinary mobility, transmitted via the transnational travel and communication networks that had been put into place during the nineteenth century. -
Social Discourse in the Savoy Theatre's
SOCIAL DISCOURSE IN THE SAVOY THEATRE’S PRODUCTIONS OF THE NAUTCH GIRL (1891) AND UTOPIA LIMITED (1893): EXOTICISM AND VICTORIAN SELF-REFLECTION William L. Hicks, B.M. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS August 2003 APPROVED: John Michael Cooper, Major Professor Margaret Notley, Committee Member Mark McKnight, Committee Member James C. Scott, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Hicks, William L, Social Discourse in the Savoy Theatre’s Productions of The Nautch Girl (1891) and Utopia Limited (1893): Exoticism and Victorian Self-Reflection. Master of Music (Musicology), August 2003, 107 pp., 4 illustrations, 12 musical examples, references, 91 titles. As a consequence to Gilbert and Sullivan’s famed Carpet Quarrel, two operettas with decidedly “exotic” themes, The Nautch Girl; or, The Rajah of Chutneypore, and Utopia Limited; or, The Flowers of Progress were presented to London audiences. Neither has been accepted as part of the larger Savoy canon. This thesis considers the conspicuous business atmosphere of their originally performed contexts to understand why this situation arose. Critical social theory makes it possible to read the two documents as overt reflections on British imperialism. Examined more closely, however, the operettas reveal a great deal more about the highly introverted nature of exotic representation and the ambiguous dialogue between race and class hierarchies in late nineteenth-century British society. Copyright, 2003 by William L. Hicks ii ACKNOWLEDGEMENTS Because of the obscurity of The Nautch Girl and Utopia Limited, I am greatly indebted to the booksellers Christopher Browne and Wilfred M. -
Imagining China in London Musical Theatre During the 1890S: the Geisha and San Toy
Imagining China in London Musical Theatre during the 1890s: The Geisha and San Toy William A. EVERETT University of Missouri-Kansas City Conservatory of Music and Dance 4949 Cherry Street, Kansas City, MO 64110-2229, USA E-mail: [email protected] (Received: March 2016; accepted: June 2016) Abstract: For people living in London during the 1890s, China and the Chinese were largely mythical constructions. Attitudes towards China, as well as the Chinese them- selves, were being imagined at the time through various media, including popular musical theatre. Two shows, both with music by Sidney Jones and produced by George Edwardes at Daly’s Theatre, were significant in this identity construction: The Geisha (1896) and San Toy (1899). Both musicals are set in East Asia and include Chinese and British characters. In The Geisha, which takes place in Japan, the sole Chinese char- acter is Wun-Hi, the owner of a teahouse. He is less than honorable, and his music is in an ethnic-based music hall style, with nearly speech-sung melodies and unashamed Pidgin English. In Jones’s score for San Toy, which is set in China, characters who endorse Western views sing glorious melodic lines reminiscent of Gilbert and Sullivan while those who do not sound like Wun-Hi in The Geisha, with clipped articulations and non-standard English. Keywords: Orientalism, China, Operetta, The Geisha, San Toy How the British imagined China and the Chinese at the end of the nineteenth century was a complex, multi-faceted, and sometime contradictory affair. London at the time had a Chinese population of only about 300, and most Londoners as- sociated the Chinese with laundries, catering businesses, or opium dens.1 (Charles Dickens’ The Mystery of Edwin Drood provides a vivid example for the last of these images, with its menacing atmosphere filled with mystery and unknowing.) 1. -
Precious Nonsense
Precious Nonsense NEWSLETTER OF THE MIDWESTERN GILBERT AND SULLIVAN SOCIETY June 2001 -- Issue 63 Of course, you will understand that, as Chancellor of the Exchequer, I am bound to see that due economy is observed. There's nothing like a bargain. W ith the postal rate on letters weighing more than an ounce going up on July 1, it seemed like a good idea to try to get a "fat" newsletter out before the change. So here we are. Although we're lacking any play synopses this time around, we do have the answers to last year's Big Quiz, plenty of news of G&S productions, and some interesting insights from Arthur Robinson. So let's see how it goes. Oh, Members, How Say You, What is it You've Light Opera at (330) 263-2345 / www.wooster.edu/OHIOLIGHTOPERA/ . Or e-mail Done? [email protected]. And their address is The We were saddened and pleased to learn that MGS College of Wooster, Wooster, OH 44691. member and frequent G&S lead performer David Michaels is leaving the Chicago area for Seattle. Sad because he’s Although Light Opera Works isn't presenting any G&S going, and glad because he’ll be seeing more of his family this season, they do have an interesting program for youth, (and able to report on G&S activity in Washington State)! featuring, among other things, an opportunity to work on a Best wishes for his move and his future! production of The Pirates of Penzance. Their Musical Theater Summer Workshops (“for kids 8 to 18") this year By the way, someone asked what our membership include Annie (July 9-14, 2001), Pirates of Penzance (July statistics are, after the renewals were returned. -
Madama Butterfly IOA 2012
A Japanese Tragedy In Two Acts STUDY GUIDE 2012 Madama Butterfly by Giacomo Puccini Special thanks to: Intermountain Opera Association, Bozeman, Montana Virginia Opera Coco Douma, Public Schools IOA Liaison Jackie Vick, IOA Executive Director Table of Contents Premiere …………………………………….3 Cast of Characters …………………………..3 Plot Synopsis and Musical Highlights ………4 Historical Background ………………………7 A Short History of Opera …………………..10 The Operatic Voice ………………………...11 Opera Production …………………………..12 Discussion Questions ………………………13 2 Premiere Teatro alla Scala, Milan, on 17 February 1904 (revised version Brescia, Teatro Grande, 28 May 1904) Cast of Characters Madama Butterfly (also known as Cio-Cio-San) soprano B. F. Pinkerton, Lieutenant in the United States Navy tenor Suzuki, Butterfly’s servant mezzo-soprano Sharpless, American Consul at Nagasaki baritone Goro, a marriage broker tenor The Bonze, Butterfly’s uncle bass Kate Pinkerton mezzo-soprano Prince Yamadori baritone Imperial Commissioner bass Yakuside baritone The Official Registrar baritone Butterfly’s mother mezzo-soprano Butterfly’s aunt mezzo-soprano Butterfly’s cousin soprano Dolore (Sorrow or Trouble), Butterfly’s child silent Libretto by Giuseppe Giacosa and Luigi Illica, based on Madame Butterfly, David Belasco’s drama based on a short story by John Luther Long, which in turn was based partly on Pierre Loti’s tale Madame Chrysanthème. The action takes place in 1904 in Nagasaki. 3 PLOT SYNOPSIS AND MUSICAL HIGHLIGHTS Act 1 A hill near Nagasaki; in the foreground a Japanese house with terrace and garden. With the introduction of the “Nagasaki” theme, the curtain rises. Lieutenant Pinkerton of the United States Navy is being shown his new house overlooking Nagasaki harbor by the marriage broker, Goro. -
Madama Butterfly Composed By: Giacomo Puccini
Presents Madama Butterfly Composed by: Giacomo Puccini A Japanese Tragedy in Two Acts Study Guide 2018-2019 Season Please join us in thanking the generous sponsors of the Education and Outreach Activities of Virginia Opera: Alexandria Commission for the Arts ARTSFAIRFAX Chesapeake Fine Arts Commission Chesterfield County City of Norfolk CultureWorks Dominion Energy Franklin-Southampton Charities Fredericksburg Festival for the Performing Arts Herndon Foundation Henrico Education Fund National Endowment for the Arts Newport News Arts Commission Northern Piedmont Community Foundation Portsmouth Museum and Fine Arts Commission R.E.B. Foundation Richard S. Reynolds Foundation Suffolk Fine Arts Commission Virginia Beach Arts & Humanities Commission Virginia Commission for the Arts Wells Fargo Foundation Williamsburg Area Arts Commission York County Arts Commission Virginia Opera extends sincere thanks to the Woodlands Retirement Community (Fairfax, VA) as the inaugural donor to Virginia Opera’s newest funding initiative, Adopt-A-School, by which corporate, foundation, group and individual donors can help share the magic and beauty of live opera with underserved children. For more information, contact Cecelia Schieve at [email protected] 1 Table of Contents Premiere 2 Cast of Characters 2 Plot Synopsis and Musical Highlights 3 Historical Background 6 A Short History of Opera 10 The Operatic Voice 12 Opera Production 14 Discussion Questions 16 2 Premiere Teatro alla Scala, Milan, on 17 February 1904 (revised version Brescia, Teatro -
Madama Butterfly
The MeT: hD Live in Schools 2015–16 Educator Guide puccini Madama Butterfly Lead sponsorship of HD Live in Schools is made possible by Bank of America The program is supported through a partnership with the New York City Department of Education. | What to Exp Ect from madama butterfly maNy of Puccini’S opEraS fEatUrE rEalistIcally Drawn fEmale THE WORK: characters that meet a tragic end, but none of these stories is more poignant madama butterfly than that of Cio-Cio-San, the title heroine of Madama Butterfly. This tale of an opera in two acts, sung in Italian a young Japanese geisha who marries an American naval officer who then music by Giacomo puccini leaves her explores themes of devotion and irresponsibility, fidelity and Libretto by Giuseppe Giacosa and Luigi Illica justice. Cio-Cio-San’s journey takes her from innocence and happy anticipa- Based on the play by David Belasco tion through failing hope to calm acceptance of the tragic destiny that her first performed february 17, 1904 personal code of honor demands. But she is no frail victim. Her optimism at the teatro alla Scala, milan, Italy in the midst of even the darkest of circumstances makes her a heroine in every sense of the word. It is Cio-Cio-San’s touching mixture of sweetness PRODUCTION and anguish, vulnerability and courage that elicits some of Puccini’s most Karel mark chichon, conductor emotionally expansive and heartbreakingly tender music. anthony minghella, production The Met’s production, first seen on Opening Night of the 2006–07 season, carolyn choa, Director and was directed by acclaimed filmmaker Anthony Minghella, who pointed choreographer out that in Madama Butterfly everything revolves around Cio-Cio-San. -
Turn of the Century British Musical Comedy in an American Performance Library Victoria Peters University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2018 Turn of the Century British Musical Comedy in an American Performance Library Victoria Peters University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Music Commons, and the Theatre History Commons Recommended Citation Peters, Victoria, "Turn of the Century British Musical Comedy in an American Performance Library" (2018). Theses and Dissertations. 1896. https://dc.uwm.edu/etd/1896 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. TURN OF THE CENTURY BRITISH MUSICAL COMEDY IN AN AMERICAN PERFORMANCE LIBRARY by Victoria Peters A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music at The University of Wisconsin-Milwaukee May 2018 ABSTRACT TURN OF THE CENTURY BRITISH MUSICAL COMEDY AND THIER USE IN AN AMERICAN PERFORMANCE LIBRARY by Victoria Peters The University of Wisconsin-Milwaukee, 2018 Under the Supervision of Professor Gillian Rodger The genre label 'musical comedy' gained its stride in the 1920s, but the term emerged as early as the 1870s. These early musical comedies are often overlooked in the historical discussion of musical theater, due to a lack of integration between the storyline and musical numbers. With the help of the Tams-Witmark collection, housed at the University of Wisconsin-Madison’s Mills Music Library, this paper examines how two of these early musical comedies, composed by England’s Ivan Caryll and Sidney Jones, were exported and used by touring theater companies in The United States. -
The Year's Music
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com TheYear'smusic THE YEAR'S MUSIC Wa& 03.oijul Meg of |Ka^ic, TENTERDEN STREET, HANOYER SQUARE. INSTITUTED, 1822. INCORPORATED BY ROYAL CHARTER, 1830. '{Jatroits : HER MOST GRACIOUS MAJESTY THE QUEEN. Their Royal Hiqhnrsses THE PRINCE AND; PRINCESS OF WALES, And other Members of the Royal Family. President-K.Vi.VL. THE DUKE OF SAXE-COBURG AND GOTHA, DUKE OF EDINBURGH, K.G. Principal- SIR ALEXANDER CAMPBELL MACKENZIE, Mus.D., F.R.A.M. THE ROYAL ACADEMY OF MUSIC offers to students of both sexes (whether amateur or profeisional) a thorough training in all branches of music under the most able and distinguished Professors. In addition to receiving individual lessons in the various branches of the Curriculum, students have the advantage of attending the Orchestral, Choral, and Chamber Music Classes, and the weekly lectures on music and musi cians. Evidence of their progress is given at the Fortnightly and Public Concerts and by periodical Operatic and Dramatic Performances. The Lent Term commences January 5th. The Fee for the ordinary curriculum is n Guineas per Term. A large number of Scholarships and Prizes are founded and are competed for periodically. Students who show special merit and ability receive the distinction of being elected by the Directors Associates of the Institution, and are thereby entitled to the use after their names of the initials A.R.A.M. -
Theatrical Touring Companies and Amateur Dramatics in Colonial India
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Institutional Repository of the Freie Universität Berlin The Historical Journal http://journals.cambridge.org/HIS Additional services for The Historical Journal: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here ENTERTAINING THE EMPIRE: THEATRICAL TOURING COMPANIES AND AMATEUR DRAMATICS IN COLONIAL INDIA TOBIAS BECKER The Historical Journal / Volume 57 / Issue 03 / September 2014, pp 699 - 725 DOI: 10.1017/S0018246X13000538, Published online: 14 August 2014 Link to this article: http://journals.cambridge.org/abstract_S0018246X13000538 How to cite this article: TOBIAS BECKER (2014). ENTERTAINING THE EMPIRE: THEATRICAL TOURING COMPANIES AND AMATEUR DRAMATICS IN COLONIAL INDIA. The Historical Journal, 57, pp 699-725 doi:10.1017/S0018246X13000538 Request Permissions : Click here Downloaded from http://journals.cambridge.org/HIS, IP address: 87.77.118.212 on 03 Sep 2014 The Historical Journal, , (), pp. – © Cambridge University Press doi:./SX ENTERTAINING THE EMPIRE: THEATRICAL TOURING COMPANIES AND AMATEUR DRAMATICS IN COLONIAL INDIA* TOBIAS BECKER Freie Universität Berlin ABSTRACT. This article argues that theatre in colonial India – both in the form of touring companies and amateur dramatics – offered much more than mere entertainment: first, it was an important social space where the British diaspora constituted itself as a community. Secondly, it served as a lifeline to the home country. By watching theatrical performances either brought to them straight from London or which they performed themselves, colonial Britons felt in touch with their homeland. Finally, theatre not only allowed colonial audiences to participate in the metropolitan culture; it inadvertently helped to unify the British empire. -
Humbug Programme
A Musical “Christmas Carol” by Fraser Charlton Dramatis Personæ Narrator....................................................................... ROGER CROWTHER Scrooge....................................................................... FRASER CHARLTON Bob Cratchit..............................................................................TIM BECK Fred.................................................................................LARS BUECHLER Bess ............................................................................... VANESSA WARD Mr. Hope................................................................SEBASTION DAVIDSON Mrs. Charity .................................................................BRENDA WALLACE Jacob Marley........................................................... SEBASTION DAVIDSON Ghost of Christmas Past................................................BRENDA WALLACE Mr. Fezziwig......................................................................PAUL MURPHY Belle.................................................................................... ZOE THOMA Young Scrooge .................................................................. ZAC WANCKE Ghost of Christmas Present.................................................PAUL MURPHY Mrs Cratchit............................................................ ESTHER COHEN-TOVÉE Peter Cratchit.............................................................. GEORGE FERGUSON Belinda Cratchit .............................................................. BETH FERGUSON