'The Wizard of Oz' to 'Wicked': Trajectory of American Myth
FROM 'THE WIZARD OF OZ' TO 'WICKED': TRAJECTORY OF AMERICAN MYTH Alissa Burger A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2009 Committee: Ellen Berry, Advisor Gene S. Trantham Graduate Faculty Representative Don McQuarie Piya Pal Lapinski © 2009 Alissa Burger All Rights Reserved iii ABSTRACT Ellen Berry, Advisor The Wizard of Oz story has been omnipresent in American popular culture since the first publication of L. Frank Baum’s children’s book The Wonderful Wizard of Oz at the dawn of the twentieth century. Ever since, filmmakers, authors, and theatre producers have continued to return to Oz over and over again. However, while literally hundreds of adaptations of the Wizard of Oz story abound, a handful of transformations are particularly significant in exploring discourses of American myth and culture: L. Frank Baum’s The Wonderful Wizard of Oz (1900); MGM’s classic film The Wizard of Oz (1939); Sidney Lumet’s film The Wiz (1978); Gregory Maguire’s novel Wicked: The Life and Times of the Wicked Witch of the West (1995); and Stephen Schwartz and Winnie Holzman’s Broadway musical Wicked (2003). This project critiques theories of fixed or prescriptive American myth, instead developing a theory of American myth as active, performative and even, at times, participatory, achieved through discussion of the fluidity of text and performance, built on Diana Taylor’s theory of the archive and the repertoire. By approaching text and performance as fluid rather than fixed, this dissertation facilitates an interdisciplinary consideration of these works, bringing children’s literature, film, popular fiction, theatre, and music together in a theoretically multifaceted approach to the Wizard of Oz narrative, its many transformations, and its lasting significance within American culture.
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