The Routledge companion to the contemporary musical

ISBN:

Other Number:

Mots-clés:

Notes:

Includes bibliographical references and index.<P><STRONG>Part 1 - </STRONG><STRONG>Setting the Stage: An Introduction to Analyzing the Musical Theater / </STRONG>1. Musical Theater Reception Theory, Or What Happens When You See a Show? <EM>(Katie Welsh and Stacy Wolf) / </EM>2. "[title of chapter]" <EM>(Millie Taylor) / </EM><B>Part 2 - Starting with the '70s / </B>3. They're Playing My Song: The American Musical in the Me-Decade <EM>(Bryan M. Vandevender) / </EM>4. "My Corner of the Sky": Adolescence and Coming of Age in the Musicals of Stephen Schwartz <EM>(Ryan Bunch) / </EM>5. Style as Star: Bob Fosse and Sixty Seconds That Changed Broadway <EM>(Ryan Donovan) / </EM>6. Recreating the Ephemeral: Broadway Revivals Since 1971 <EM>(James Lovensheimer) / </EM><B>Part 3 - Aesthetic Transformations / </B>7. <I>Sing</I>: Musical Theater Voices from <I>Superstar </I>to <I>Hamilton (Ben Macpherson) / </I>8. Amplifying Broadway After the Golden Age <EM>(Arreanna Rostosky) / </EM>9. Starlight Expression and Phantom Operatics: Technology, Performance and the Megamusical's Aesthetic of the Voice <EM>(Dominic Symonds) / </EM>10. The Sung and the Spoken in Michael John LaChiusa's Musicals <EM>(Alex Bádue) / </EM>11. The New "Sounds of Broadway": Orchestrating Electronic Instruments in Contemporary Musicals <EM>(Michael M. Kennedy) / </EM>12. Chart-Toppers to Showstoppers: Pop Artists Scoring the Broadway Stage <EM>(Matthew Lockitt) / </EM>13. Scenographic Aesthetics and Automated Technologies in Broadway Musicals <EM>(Christin Essin) / </EM><B>Part 4 - Reading the Musical Through Gender / </B>14. Do-Re-#MeToo: Women, Work and Representation in the Broadway Musical <EM>(Mary Jo Lodge) / </EM>15. It's Still <I>Working</I>: Collaborating to Perform the Stories of Everyday Americans, Then and Now <EM>(Trudi Wright) / </EM>16. The Pink Elephant in the Room <EM>(Aaron C. Thomas) / </EM>17. "A Little More Mascara": Drag and the Broadway Musical from <I>La Cage aux Folles</I> to <I>Kinky Boots (John M. Clum) / </I><B>Part 5 - Reading the Musical through Race and Ethnicity / </B>18. The Multiracial Musical Metropolis: Casting and Race after <I>A Chorus Line (Todd Decker) / </I>19. "Before the Parade Passes By": All-Black and All-Asian <I>Hello, Dolly!</I> as Celebration of Difference <EM>(Sissi Liu) / </EM>20. Race and the City: Racial Formation in <I>Avenue Q (SAJones) / </I>21. Can We "Leave Behind the World We Know"? Exploring Race and Ethnicity in the Musicals of Lin-Manuel Miranda <EM>(Elizabeth Titrington Craft) / </EM>22. <I>Falsettos </I>and <I>Indecent </I>in the Shadow of <I>Fiddler on the Roof</I>: Reconsidering Jewish Identity on Broadway in the New Millennium <EM>(Raymond Knapp and Zelda Knapp) / </EM><B>Part 6 - Reading the Musical through Dance / </B>23. What Makes a Musical? <I>Contact </I>(2000) and Debates About Genre at the Dawn of the Twenty-First Century <EM>(Joanna Dee Das) / </EM>24. Dance in Musical Theater Revival and Adaptation: Engaging With the Past While Creating Dances for the Present <EM>(Liza Gennaro) / </EM>25. The Convergence of Dance Styles in <I>Hamilton: An American Musical (Phoebe Rumsey) / </I><B>Part 7 - Reading the Musical through Interdisciplinary Lenses / </B>26. Post-Secular Musicals in a Post-Truth World <EM>(Jake Johnson) / </EM>27. Let's Do the Time Warp Again: Performing Time, Genre, and Spectatorship <EM>(Sarah Taylor Ellis) / </EM>28. The Eye of the Storm: Reading <I>Next to Normal</I> with Psychoanalysis <EM>(Aleksei Grinenko) / </EM>29. Parent/Child Relationships in the Musicals of Stephen Schwartz <EM>(Paul R. Laird) / </EM>30. John Kander: The First Ninety-One Years <EM>(James Leve) / </EM>31. Unlikely Subjects: The Critical Reception of History Musicals <EM>(Elissa Harbert) / </EM><B>Part 8 - Beyond Broadway: New Media and Fan Studies / </B>32. Worshipping Lin-Manuel Miranda: Fans and Totems in the Digital Age <EM>(Jessica Hillman-McCord) / </EM>33. "Trash Talk and Virtual Protests: The Musical Genre's Personal and Political Interactivity in the Age of Social Media" <EM>(Kelly Kessler) / </EM>34. The Great Generational Divide: Stage-to-Screen Hollywood Musical Adaptations and the Enactment of Fandom <EM>(Holley Replogle-Wong) / </EM>35. Play It Again (and Again, and Again): The Superfan and Musical Theater <EM>(James Deaville) / </EM>36. Joss Whedon and the Geek Musical <EM>(Renée Camus) / </EM>37. "YouTube! Musicals! YouTubesicals!" Cultivating Theater Fandom Through New Media <EM>(Aya Esther Hayashi) / </EM>38. Dual-Focus Strategy in a Serial Narrative: <I>SMASH, Nashville</I>, and the Television Musical Series <EM>(Robynn Stilwell) / </EM><B>Part 9 - Growth and Expansion: Across the Country and Around the World / </B>39. Sharon McQueen and Milwaukee's Alternative Regional Musical Theater <EM>(Amanda McQueen) / </EM>40. Musicals in the Regional Theater <EM>(Jeffrey Ullom) / </EM>41. <I>Big River</I>: A New Road to<I> </I>Broadway <EM>(Steven Adler) / </EM>42. The Third Biggest Market: Musical Theater in Germany Since 1990 <EM>(Frédéric Döhl) / </EM>43. The Korean Self/American Other: Korean Musical Theater in the Context of National Cultural Development <EM>(Hyunjung Lee) / </EM>44. <I>The Lion King</I>: An International History <EM>(Susan Bennett)</EM></P>Description based on CIP data; resource not viewed.