THE LYCHGATE March 25, 2018
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Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 By
Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 By Elizabeth Sallinger M.M., Duquesne University, 2010 B.A., Pennsylvania State University, 2008 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Paul R. Laird Roberta Freund Schwartz Bryan Kip Haaheim Colin Roust Leslie Bennett Date Defended: 5 December 2016 ii The dissertation committee for Elizabeth Sallinger certifies that this is the approved version of the following dissertation: Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 Chair: Paul R. Laird Date Approved: 5 December 2016 iii Abstract In 1968, the sound of the Broadway pit was forever changed with the rock ensemble that accompanied Hair. The musical backdrop for the show was appropriate for the countercultural subject matter, taking into account the popular genres of the time that were connected with such figures, and marrying them to other musical styles to help support the individual characters. Though popular styles had long been part of Broadway scores, it took more than a decade for rock to become a major influence in the commercial theater. The associations an audience had with rock music outside of a theater affected perception of the plot and characters in new ways and allowed for shows to be marketed toward younger demographics, expanding the audience base. Other shows contemporary to Hair began to include rock music and approaches as well; composers and orchestrators incorporated instruments such as electric guitar, bass, and synthesizer, amplification in the pit, and backup singers as components of their scores. -
Department of English and American Studies
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Danuta Hudecová Transformations of Jesus Christ Superstar Master’s Diploma Thesis Supervisor: Mgr. Tomáš Kačer, Ph. D. 2015 1 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature 2 Acknowledgement I would like to thank my supervisor Mgr. Tomáš Kačer Ph.D. for his help, guidance, and advice. I am also indebted to my friend Fjodor Vinokurov for his valuable observations. 3 Table of Contents Introduction ..................................................................................................................... 5 1. Specifics of rock opera………………………………………………………………..8 1.1 What is rock opera?.........................................................................................8 1.2 ‘Rock opera’ or ‘rock musical’?....................................................................12 2. History of the rock opera Jesus Christ Superstar........................................................15 3. Many shapes of Jesus Christ Superstar......................................................................24 3.1 Timeliness of Jesus Christ Superstar..................................................................24 3.2 Three version of the rock opera Jesus Christ Superstar.....................................27 3.2.1 Norman Jewison’s 1973 film adaptation of Jesus Christ Superstar..........27 3.2.2 Jesus Christ Superstar -
1. Andrew Lloyd Webber
JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Divadelní fakulta Ateliér muzikálového herectví Mgr. Petra Štěpána Herectví v hudebních filmech podle muzikálů Andrew Lloyda Webbera Diplomová práce Autor práce: Pavlína Palmovská Vedoucí práce: Mgr. Miroslav Ondra Oponent práce: Mgr. Petr Štěpán Brno 2017 Bibliografický záznam PALMOVSKÁ, Pavlína. Herectví v hudebních filmech podle muzikálů Andrew Lloyda Webbera [Acting in musical films based on stage musicals by Andrew Lloyd Webber]. Brno: Janáčkova akademie múzických umění v Brně, Divadelní fakulta, Ateliér muzikálového herectví, 2017. 104 s. Vedoucí diplomové práce Mgr. Miroslav Ondra. Anotace Diplomová práce ,,Herectví v hudebních filmech podle muzikálů Andrew Lloyda Webbera“ zkoumá adaptace muzikálů A. L. Webbera na filmovém plátně. Zaměřuje se na vznik těchto filmů, snaží se popsat spolupráci autora hudby u vzniku snímků, shrnuje kritický ohlas. Speciální pozornost je věnována herectví (analýzy jednotlivých hereckých výkonů, metody herectví, přístupy ke ztvárnění postav). Autorka bude čerpat z vlastní recepce zmíněných filmových děl, z kritik, analýz, teoretické i historiografické literatury. Klíčová slova Andrew Lloyd Webber, Filmový muzikál, Filmové herectví, Jesus Christ Superstar – 1973, Evita – 1996, Josef a jeho úžasný pestrobarevný plášť – 1999, Fantom opery – 2004 Annotation The thesis „Acting in musical films based on stage musicals by Andrew Lloyd Webber“ researches adaptations for screen of musicals by A. L. Webber. It focuses on the origin of these films, tries to describe participation of the musical author in birth of film scenes and sums up critical reaction. Special attention is devoted to acting (to analysis of individual acting, methods of acting and of access to portrayal of characters). The author of the thesis is going to draw inspiration from her own reception of mentioned works of film art, from criticism works, analyzes and from theoretical and historiographic literature. -
Jésus Christ Superstar Janick Beaulieu
Document généré le 25 sept. 2021 09:43 Séquences La revue de cinéma Jésus Christ Superstar Janick Beaulieu Numéro 74, octobre 1973 URI : https://id.erudit.org/iderudit/51422ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer ce compte rendu Beaulieu, J. (1973). Compte rendu de [Jésus Christ Superstar]. Séquences, (74), 12–18. Tous droits réservés © La revue Séquences Inc., 1967 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Jesus CBrist Superstar Janick Beaulieu 12 SÉQUENCES 74 On fait un triomphe à JCS <", cet opéra-rock breuses critiques défavorables de différentes con qui raconte les derniers jours du Christ. Trois fessions religieuses, le film se prépare déjà à bat troupes itinérantes nous ont donné ici la version- tre tous les records de la Universal Pictures. Et concert de cet opéra à la Place des Nations et au Variety n'hésite pas à affirmer que JCS est deve Forum. Il y a eu le spectacle de Broadway. Main nu 'the biggest all-media parlay in show-business tenant, c'est au tour du film de Norman Jewison history'. -
Neelsole... La Filmografia Della Luce.. (Arc. Metatron) Un Film Nella Luce, Con La Luce, E Per La Luce …
NeelSole... La Filmografia della Luce.. (Arc. Metatron) Un film nella Luce, con la Luce, e per la Luce … Jesus Christ Superstar (1973) http://it.wikipedia.org/wiki/Jesus_Christ_Superstar_(film) http://www.youtube.com/watch?v=IvVr2uks0C8 http://www.youtube.com/watch?v=DAY3K85xx3U http://www.youtube.com/watch?v=gE7pgUvirgM http://www.youtube.com/watch?v=5g77AcTbjFo http://www.youtube.com/watch?v=1VGRwsYDAbY http://www.youtube.com/watch?v=JQjMf0KMcEM http://www.youtube.com/watch?v=kK4VImbHxAc Director: Norman Jewison Writers: Melvyn Bragg (screenplay) and Norman Jewison (screenplay) ... See more » Contact: View company contact information for Jesus Christ Superstar on IMDbPro. Release Date: 15 August 1973 (USA) See more » Genre: Drama | History | Musical See more » Tagline: and now the film... See more » Plot: Film version of the musical stage play, presenting the last few weeks of Christ's life, told in an anachronistic manner. Full summary » | Full synopsis » Plot Keywords: Rock Opera | Jesus Christ | Slow Motion | Based On Album | Reference To The Buddha See more » Awards: Nominated for Oscar. Another 3 wins & 9 nominations See more » NewsDesk: (27 articles) Andrew Lloyd Webber, Tim Rice to team up for new Oz musical (From RealBollywood. 28 May 2010, 4:19 AM, PDT) 'American Idol' Poll: Is 'Shania Twain Week' The Weirdest Theme Ever? (From MTV Newsroom. 27 April 2010, 10:06 AM, PDT) How Rock Became Broadway’s Go-To Genre (From Vanity Fair. 15 April 2010, 5:30 AM, PDT) User Reviews: Very good, if not quite a superstar, movie musical See more (181 total) » Cast (Cast overview, first billed only) Ted Neeley .. -
Two Perspectives on the High Priest Joseph Caiaphas: Challenges for Religious Educators Presenting Jesus’ Passion
TWO PERSPECTIVES ON THE HIGH PRIEST JOSEPH CAIAPHAS: CHALLENGES FOR RELIGIOUS EDUCATORS PRESENTING JESUS’ PASSION MAURICE RYAN Introduction Along with Pontius Pilate, the high priest Joseph Caiaphas moves to centre stage when the most dramatic events of the Christian story unfold – the arrest, interrogations and execution of Jesus of Nazareth. Despite his central role in the unfolding drama, the gospel authors present Caiaphas as a shadowy figure and offer little context which might assist readers to judge his character, motivations and intentions. His role is crucial to the unfolding drama, but his presence is muted in the gospel accounts. As a result, most Christians remain unaware and uninformed about Joseph Caiaphas. His name is not well known in the Christian story, especially when compared with Pontius Pilate who has attained greater recognition, in part because he is mentioned in the Church creeds while Caiaphas is not. His persona tends to be submerged among the general Temple leadership and Jewish opponents of Jesus. Caiaphas may indeed be their leader but the gospel authors tend to hide him among the crowd of Jesus’ aristocratic opponents. Notwithstanding this lack of information, medieval folklorists, novelists, film-makers, artists, scripture scholars and Christian preachers have rounded out his character, generated their own rationale to explain his decisions and presented Caiaphas as vengeful, jealous, self-serving and misguided. These characteristics of the key Jewish leader have profound implications for the way modern Christians understand Jesus within his Jewish culture. Contemporary understanding of the relationship between Jesus and Caiaphas also has implications for the course of relationships between modern Jews and Christians. -
Jesucristo Superstar
Jesucristo Superstar (JESUS CHRIST SUPERSTAR) EL MUSICAL I I Nº350 (FEBRERO 2011) SINOPSIS Jesucristo Superstar es una revolucionaria propuesta ambientada en la actualidad sobre los siete últimos días de la vida de Jesús en Jerusalén. La traición de Judas, la última cena, el amor de María Magdalena hacia Jesús y la crucifixión, articulan una historia a ritmo de rock que nos re- vela la fuerza del ser humano, la juventud de la rebeldía, la irreverencia más estimulante y el optimismo y esperanza que llenan cualquier vida. FICHA ARTÍSTICA Jesucristo ...................................................................... TED NEELEY Judas Iscariote ........................................................ CARL ANDERSON María Magdalena ...................................................YVONNE ELLIMAN Poncio Pilatos ............................................................BARRY DENNEN Caifás ......................................................................... BOB BINGHAM Simón ....................................................................LARRY MARSHALL Rey Herodes ...........................................................JOSHUA MOSTEL Anás ........................................................................ KURT YAGHJIAN Pedro .......................................................................... PAUL THOMAS FICHA TÉCNICA Año de Producción ............ 1973 Dirección .... NORMAN JEWISON Fotografía ...DOUGLAS SLOCOMBE Duración ..................... 112 min. Productora ............... UNIVERSAL Montaje ............ ANTONY -
Violence Causes Tense Weekend a the UNIVERSITY DAILY Lubbock
Shooting starts city unrest —•— Violence causes tense weekend After what Lubbock schools officials called an isolated incident between two youths was apparently shot in the hall of the school near the library and he collapsed some 300 resulted in the death of a 16-year-old Black youth Thursday, Lubbock saw a weekend of feet away near the principal's office. racial violence, unrest, curfews and confrontations, including one on the Tech campus. Juvenile division officers said Carver told them that he and Collier had argued over Included in the aftermath of the school tragedy was the arrest of a 15-year-old white some cigarettes early Thursday at the school and that in the argument Collier had youth and a sniper's critical wounding of a 25-year-old Lubbock policeman. Both in- slashed his arm. Carver added that Collier had threatened to kill him—and that's when cidents and following confrontations by Blacks resulted in Lubbock Mayor Jim Gran- he went home to get the gun. Police later recovered a gun from a dresser drawer at the berry calling a city-wide curfew Thursday and Friday nights. Carver residence. In a quickly-called meeting that was not tied with the shooting incident, but apparently Carver had originally been enrolled in Lubbock High School but was transferred to touched off by it, Tech campus Blacks met with Tech student leaders Friday afternoon to Dunbar just two days before the shooting after school officials discovered he lived in the air their grievances. Dunbar district. a Services for the high school shooting victim. -
JESUS CHRIST Super Star
Edwardsville High SCHOOL Drama CLub PROUDLY PRESENTS JESUS CHRIST Super STar LYRICS BY TIM RICE MUSIC BY ANDREW LLOYD WEBBER EHS Drama CLUB MARCH 27th - 29th, 2009 EDWARDSVILLE HIGH SCHOOL AUDITORIUM , M u SI c A LN UM B E R S ■ The Last Seven Days in the Life of Jesus of Nazareth ACT ONE Overture.................................................................................................. -........................... ..............ORCHESTRA Heaven On Their Minds...................................................................................-..............................................................JUDAS What's the Buzz - Bethany, Friday Night.........................................................-........JESUS, MARY, APOSTLES, COMPANY Strange Thing Mystifying.............................................................................................JUDAS, JESUS, APOSTLES, COMPANY Everything’s AInght..........................................................................................Mary, Judas, Jesus, Aposti.es, COMPANY This Jesus Must Die - Jerusalem, Sunday...............................................................................Caiaphas, Annas, PRIESTS Hosanna..........................................................................................................................-.............CAIAPHAS, JESUS, COMPANY Simon Zealotes.......................................... ..................... .......................................................- -SIMON, COMPANY Poor Jerusalem....................................................................................................................... -
And Starring Jesus As Himself: Cultural Context and the Images of Christ in North American Film
AND STARRING JESUS AS HIMSELF: CULTURAL CONTEXT AND THE IMAGES OF CHRIST IN NORTH AMERICAN FILM Rebecca Dawson A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2007 Committee: Angela Nelson, Advisor Jeffrey Brown Madeline Duntley ii ABSTRACT Angela Nelson, Advisor Jesus Christ may appear to be an unlikely candidate for movie stardom, yet few other figures have managed to both captivate and outrage its audience. From early appearances in silent epics to modern kung-fu action-comedies, depictions of Christ have done more than show his life and his message. The directors of these films, by using Christ’s image, have added a new interpretative dimension to the social issues and debate at the heart of each era of filmmaking. Post-Vietnam cynicism, feminism, gay rights, and the Christian Right have all found a champion in the character of Jesus. Jesus becomes malleable in a sense, as his image is changed and reconstituted to express the issues and beliefs closest to the filmmaker. This thesis will examine the evolution of the “Jesus film” in North American cinema, focusing on the varying depictions of Christ within four films; Jesus Christ Superstar (1973), The Last Temptation of Christ (1988), Jesus Christ Vampire Hunter (2001), and The Passion of the Christ (2004). These films may vary in their approach and depictions of Christ, ranging from a feminized neo-hippie to a very masculine and practically indestructible savior, yet they all present an evolution in how Jesus is presented and used in popular culture.