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Hair: the Performance of Rebellion in American Musical Theatre of the 1960S’

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Hair: the Performance of Rebellion in American Musical Theatre of the 1960S’ View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Winchester Research Repository University of Winchester ‘Hair: The Performance of Rebellion in American Musical Theatre of the 1960s’ Sarah Elisabeth Browne ORCID: 0000-0003-2002-9794 Doctor of Philosophy December 2017 This Thesis has been completed as a requirement for a postgraduate research degree of the University of Winchester MPhil/PhD THESES OPEN ACCESS / EMBARGO AGREEMENT FORM This Agreement should be completed, signed and bound with the hard copy of the thesis and also included in the e-copy. (see Thesis Presentation Guidelines for details). Access Permissions and Transfer of Non-Exclusive Rights By giving permission you understand that your thesis will be accessible to a wide variety of people and institutions – including automated agents – via the World Wide Web and that an electronic copy of your thesis may also be included in the British Library Electronic Theses On-line System (EThOS). Once the Work is deposited, a citation to the Work will always remain visible. Removal of the Work can be made after discussion with the University of Winchester’s Research Repository, who shall make best efforts to ensure removal of the Work from any third party with whom the University of Winchester’s Research Repository has an agreement. Agreement: I understand that the thesis listed on this form will be deposited in the University of Winchester’s Research Repository, and by giving permission to the University of Winchester to make my thesis publically available I agree that the: • University of Winchester’s Research Repository administrators or any third party with whom the University of Winchester’s Research Repository has an agreement to do so may, without changing content, translate the Work to any medium or format for the purpose of future preservation and accessibility. • University of Winchester’s Research Repository reserves the right to remove the Work for any professional, administrative or legal reason. Equally, I may request that the Work is removed at any point in the future. I understand that once the Work is deposited, a citation to the Work will always remain visible, although the author retains the right to update the Work. • rights granted to the University of Winchester’ Research Repository through this agreement are entirely non-exclusive and royalty free; that I am free to publish the Work in its present version or future versions elsewhere; and that no ownership is assumed by the repository when storing the Work. Please select ONE of the following six statements: (by placing an X in the box) 1. The thesis is to be made available from the moment the deposit has been approved by the University of Winchester. £ 2. In order to facilitate commercial publication, I request an embargo period of 1 year* £ 3. In order to facilitate commercial publication, I request an embargo period of 2 years* £ 4. In order to facilitate commercial publication, I request an exceptional embargo period of 3 years* T Approval from the Director of Research and Knowledge Exchange (DRKE) is required for a 3 year embargo. Signature of Kate Adams DRKE: N.B. under Research Council UK (RCUK) rules and regulations, students who have received RCUK funding may apply for access to their thesis to be withheld for no more than 12 months. *Please provide an explanation for the length of the embargo period and information about the proposed publication arrangements. The date of the embargo period will commence from the date of the Award Letter sent from the Director of Postgraduate Research Students. A book proposal is currently with publishers for consideration. The suggested time period for delivery of the publication is 2.5 years from April 2018. 5. The title, abstract and keywords may be published, but the thesis may not be published in the data repository because it £ contains commercially sensitive data. ^ ^Please identify the commercially sensitive data. 6. The title, abstract and keywords may be published, but the thesis may not be published because my sponsors/funders £ own the rights to it. # #Please identify the funder/sponsor and the contract information. Please tick if you agree to the following TWO statements: (by placing an X in the box) 1. I agree that my thesis may be copied on demand T by individuals or libraries and that the copy of my thesis contains the following statement: Copyright © Author (year of submission] ‘Full thesis title’, University of Winchester, PhD Thesis, pagination, ORCID [number]. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. Copies (by any process) either in full, or of extracts, may be made only in accordance with instructions given by the author. Details may be obtained from the RKE Centre, University of Winchester. This page must form part of any such copies made. Further copies (by any process) of copies made in accordance with such instructions may not be made without the permission (in writing) of the author. No profit may be made from selling, copying or licensing the author’s work without further agreement. 2. I agree that my obligation is to notify the University of Winchester of any change of address in order to facilitate T any future requests for licensing. Author’s Name: SARAH ELISABETH BROWNE Author’s Signature: Date: 20th April 2018 Metadata to be included with the thesis: Title: Hair: The Performance of Rebellion in American Musical Theatre of the 1960s Author: Dr Sarah Elisabeth Browne Supervisors: Prof. Millie Taylor, Dr Marilena Zaroulia, Dr Marianne Sharp Funders or University of Wolverhampton, Faculty of Arts Sponsors: Key words (up to 10 keywords – ask your supervisory team for advice): Musical theatre, Hair, identity, race, gender, popular music, resistance, rebellion, utopia, counter-culture Abstract: This thesis considers the musical, Hair as a seminal moment in musical theatre history. In examining this musical’s social and historical context, the study explores the ways in which Hair raises cultural consciousness through its approach to representing marginalised identities on-stage. The analysis presented illustrates how Hair considered America’s Others and in doing so, asserts that both race and gender are not fixed and are instead fluid, created in-process and in response to cultural influences. Exploring the intersections of race, gender, age, and popular culture, this thesis utilises an approach grounded in critical musicology to illustrate the manner in which Hair can be considered as a form of rebellion, or resistance enacted against the established traditions of the Broadway stage. The thesis argues that Hair is the product of a postmodern age and, in considering how the theatrical ‘text’ is re-imagined beyond its original production, further asserts that Hair has resonances that, in themselves take on new meanings in altered contexts. Concluding that the ways in which it both reflects and informs the fragmented society from which it evolves, and contributes to the development of musical theatre, this thesis ultimately proposes that Hair can be considered as utopian as a result of occupying a liminal space in the history of musical theatre and placing those on the margins at the centre of its narrative. This work explores the varied and multiple ways in which Hair speaks to the urgency – and possibility – of social change. DECLARATION AND COPYRIGHT STATEMENT Declaration: No portion of the work referred to in the Thesis has been submitted in support of an application for another degree or qualification of this or any other university or other institute of learning. I confirm that this Thesis is entirely my own work. Copyright: Copyright © YEAR Sarah Elisabeth Browne ORCID: 0000-0003-2002-9794 This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acKnowledgement. Copies (by any process) either in full, or of extracts, may be made only in accordance with instructions given by the author. Details may be obtained from the RKE Centre, University of Winchester. This page must form part of any such copies made. Further copies (by any process) of copies made in accordance with such instructions may not be made without the permission (in writing) of the author. No profit may be made from selling, copying or licensing the author’s worK with further agreement. Intellectual Property Statement I confirm that the work in this thesis is the property of Sarah Elisabeth Browne. The images used in this thesis are in the public domain. Copyright license has not been obtained for musical excerpts and these, along with the images, will be removed after examination and prior to publication. These will be replaced with source information to allow the reader to find the original material. 1 ACKNOWLEDGEMENTS I would like to extend my gratitude to Dr John Pymm, Dean of the Faculty of Arts at the University of Wolverhampton for his professional support and sponsoring my studies. Equally, my thanks go to the staff in the department of music for supporting me in my managerial duties, with special thanks to Dr Paul Johnson and Dr Richard Glover for their collegiate support and sage advice in the final stages. I place on record my sincere gratitude to Professor Millie Taylor, Dr Marilena Zaroulia and Dr Marianne Sharpe for their support, guidance and mentorship throughout the course of my studies. My deepest thanks to Galt MacDermot and his family; his son, Vince, and daughter-in-law, MaryAnne for their patience and kind words of advice. Special thanks should go to all the music and musical theatre students I have had the pleasure of teaching during the past 24 years of my career: thank you for your thought-provoking discussions, you always inspire me to seek new ways to approach musical theatre.
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