Eudora Welty is well-known for her many works of fiction and non-fiction, but not known for her works for the theater. In the summer of 1948 Welty moved to New York and wrote, in collaboration with another writer, a musical revue entitled What Year Is This? Only one of the sketches, “Bye-Bye Brevoort,” was ever produced. This and other sketches in the unpublished manuscript deserve to be studied alongside Welty’s other work. These writings provide a window into her love of New York, her vast knowledge of the fine arts, and the evolution of her writing styles. In January of 2010, a reading was staged at the Balzer Theater at Herren’s, Atlanta, Georgia. Audience reaction indicates that these pieces, both songs and skits, deserve more attention.

Esta dissertação tem como objetivo a análise do sonho americano em Pins and Needles. Criada na cidade de Nova Iorque em 1937 por dramaturgos ligados ao teatro de esquerda, a peça espalhou-se pelos Estados Unidos, angariou trabalhadores para os sindicatos, influenciou grupos amadores de teatro, parodiou shows populares e satirizou eventos da Grande Depressão, mostrando um humor incomparável. Nos quesitos histórico e cultural, a peça mais popular da década de 1930 é única, por ser representante do apogeu do Movimento Teatral dos Trabalhadores Americanos e da Frente Popular durante o Novo Acordo. Através do que denominamos de os quatro eixos ideológicos do sonho americano, estudamos como o texto dramatúrgico de Pins and Needles, na sua mistura de agitprop e revista musical, questiona se haveria de fato para os trabalhadores igualdade de oportunidades, direito à vida, liberdade e busca da felicidade, (possibilidade de) atuação e mobilidade social como recompensa do trabalho árduo, ajudando-nos a reconceptualizar a ideologia da nação norte-americana. / This dissertation aims at analyzing the American dream in Pins and Needles. Originated in the city of New York in 1937 by playwrights connected to the theater of the left, the play spread throughout the United States, attracted workers to the labor unions, influenced amateur theater groups, parodied popular shows and satirized Great Depression events, by using an incomparable humor. In the historical and cultural requisites, the most popular play in the 1930s is unique, by being the representative of the apogee of the American Workers Theater Movement and of the Popular Front during the New Deal. By observing what we call the four ideological axes of the American dream, we study how the dramaturgical text of Pins and Needles, in its blend of agitprop and musical revue, questions if really there were equality of opportunities, right to Life, Liberty, and the pursuit of Happiness, agency and social mobility as a result of hard work to the workers, helping us to reconceptualize the ideology of the American nation.

Esta dissertação tem como objetivo a análise do sonho americano em Pins and Needles. Criada na cidade de Nova Iorque em 1937 por dramaturgos ligados ao teatro de esquerda, a peça espalhou-se pelos Estados Unidos, angariou trabalhadores para os sindicatos, influenciou grupos amadores de teatro, parodiou shows populares e satirizou eventos da Grande Depressão, mostrando um humor incomparável. Nos quesitos histórico e cultural, a peça mais popular da década de 1930 é única, por ser representante do apogeu do Movimento Teatral dos Trabalhadores Americanos e da Frente Popular durante o Novo Acordo. Através do que denominamos de os quatro eixos ideológicos do sonho americano, estudamos como o texto dramatúrgico de Pins and Needles, na sua mistura de agitprop e revista musical, questiona se haveria de fato para os trabalhadores igualdade de oportunidades, direito à vida, liberdade e busca da felicidade, (possibilidade de) atuação e mobilidade social como recompensa do trabalho árduo, ajudando-nos a reconceptualizar a ideologia da nação norte-americana. / This dissertation aims at analyzing the American dream in Pins and Needles. Originated in the city of New York in 1937 by playwrights connected to the theater of the left, the play spread throughout the United States, attracted workers to the labor unions, influenced amateur theater groups, parodied popular shows and satirized Great Depression events, by using an incomparable humor. In the historical and cultural requisites, the most popular play in the 1930s is unique, by being the representative of the apogee of the American Workers Theater Movement and of the Popular Front during the New Deal. By observing what we call the four ideological axes of the American dream, we study how the dramaturgical text of Pins and Needles, in its blend of agitprop and musical revue, questions if really there were equality of opportunities, right to Life, Liberty, and the pursuit of Happiness, agency and social mobility as a result of hard work to the workers, helping us to reconceptualize the ideology of the American nation.

Esta tese trata da produção em disco e teatro de revista do cantor carioca Francisco Alves entre 1920 e 1932, período que marcou sua consagração como intérprete. Procura mapear através de sua carreira, a trajetória e o papel do disco e do teatro de revista enquanto seus mediadores, comparando-os como meio de circulação e fixação das músicas gravadas e interpretadas por Alves. Através de uma pesquisa realizada em jornais e revistas da época, na primeira parte do trabalho foi feito um levantamento das peças em que atuou e nos arquivos da companhia teatral recuperados trechos e falas dos personagens que representou. Essa primeira parte engloba de 1920 e 1926, período que atuou como ator secundário no Teatro São José e gravou sem sucesso alguns discos nas gravadoras Popular e Casa Edison. A maneira como estas canções circularam nas festas populares e no teatro de revista foi abordada assim como uma comparação dos modos de produção do teatro e da indústria fonográfica. A segunda parte engloba de 1927 e 1932 e marca uma inversão quantitativa na produção de peças de teatro e de discos na trajetória de Francisco Alves, quando foi consolidada sua consagração. Foi enfocada a maneira como as músicas gravadas por ele passaram a se redimensionar nos palcos e ele a se definir como cantor, se articulando com a gravadora, compositores e outros cantores através de seu posicionamento enquanto agente nas diferentes instâncias de mediação. Neste período a ascensão de Francisco Alves coincidiu com a de vários gêneros musicais urbanos e a tese mostrará o caminho deles para o disco e o teatro e entre um e outro meio. / This thesis focuses on the artistic record and musical revue production by Rio de Janiro (carioca) singer Francisco Alves between 1920 and 1932. Such period is known for bringing the artist\'s consecration as a performer. By recovering his career we try to map the trajectory and role of record and theater production in Brazil as mediator compared to the means of circulation and establishment of the songs recorded and performed by Alves. Through extensive research recovering newspapers and magazines of the time, the first part of our work brings the history of the plays Francisco Alves participated in, also searching the archives of the theater companies he worked for and the lines of the characters he impersonated. Thus, the first part of the thesis recovers from 1920 to 1926, period in which Alves was still a secondary performing actor working in the Theater São José and would release a few songs trough the recording companies Popular and Casa Edison. The way such songs have circulated in national popular parties and in the musical revue tradition was taken into account, pointing to the specific means of production of the theater and the music industry. The second part of the thesis ranges from 1927 e 1932 and it marks a quantitative turn in the production of songs and plays in the trajectory of Francisco Alves, consolidating his achievements. We are interested in the way the songs he recorded were staged and how the artist started to be defined as a true singer, articulated with recording companies, composers and other singers. We also consider his role as an agent in many instances of cultural mediation during that time. Finally, the emergence of Francisco Alves has coincided with that of many urban musical genres. This work intends to show the path recovered by those genres in order to be recorded and/or gain the theater, caught in the middle of one and other medium.

Esta tese trata da produção em disco e teatro de revista do cantor carioca Francisco Alves entre 1920 e 1932, período que marcou sua consagração como intérprete. Procura mapear através de sua carreira, a trajetória e o papel do disco e do teatro de revista enquanto seus mediadores, comparando-os como meio de circulação e fixação das músicas gravadas e interpretadas por Alves. Através de uma pesquisa realizada em jornais e revistas da época, na primeira parte do trabalho foi feito um levantamento das peças em que atuou e nos arquivos da companhia teatral recuperados trechos e falas dos personagens que representou. Essa primeira parte engloba de 1920 e 1926, período que atuou como ator secundário no Teatro São José e gravou sem sucesso alguns discos nas gravadoras Popular e Casa Edison. A maneira como estas canções circularam nas festas populares e no teatro de revista foi abordada assim como uma comparação dos modos de produção do teatro e da indústria fonográfica. A segunda parte engloba de 1927 e 1932 e marca uma inversão quantitativa na produção de peças de teatro e de discos na trajetória de Francisco Alves, quando foi consolidada sua consagração. Foi enfocada a maneira como as músicas gravadas por ele passaram a se redimensionar nos palcos e ele a se definir como cantor, se articulando com a gravadora, compositores e outros cantores através de seu posicionamento enquanto agente nas diferentes instâncias de mediação. Neste período a ascensão de Francisco Alves coincidiu com a de vários gêneros musicais urbanos e a tese mostrará o caminho deles para o disco e o teatro e entre um e outro meio. / This thesis focuses on the artistic record and musical revue production by Rio de Janiro (carioca) singer Francisco Alves between 1920 and 1932. Such period is known for bringing the artist\'s consecration as a performer. By recovering his career we try to map the trajectory and role of record and theater production in Brazil as mediator compared to the means of circulation and establishment of the songs recorded and performed by Alves. Through extensive research recovering newspapers and magazines of the time, the first part of our work brings the history of the plays Francisco Alves participated in, also searching the archives of the theater companies he worked for and the lines of the characters he impersonated. Thus, the first part of the thesis recovers from 1920 to 1926, period in which Alves was still a secondary performing actor working in the Theater São José and would release a few songs trough the recording companies Popular and Casa Edison. The way such songs have circulated in national popular parties and in the musical revue tradition was taken into account, pointing to the specific means of production of the theater and the music industry. The second part of the thesis ranges from 1927 e 1932 and it marks a quantitative turn in the production of songs and plays in the trajectory of Francisco Alves, consolidating his achievements. We are interested in the way the songs he recorded were staged and how the artist started to be defined as a true singer, articulated with recording companies, composers and other singers. We also consider his role as an agent in many instances of cultural mediation during that time. Finally, the emergence of Francisco Alves has coincided with that of many urban musical genres. This work intends to show the path recovered by those genres in order to be recorded and/or gain the theater, caught in the middle of one and other medium.

This thesis introduces two author's fairy tale musicals called Snow White and Cinderella. These musicals are intended for the early and late school-aged children. To understand the broader context and to provide for more information about this particular genre, the theoretical part discusses how musicals as a musical genre was created and then, it discusses its development, changes, forms and main features. It provides the information about the development of musicals in both the Czech Republic and abroad. Then, it elaborates on the professional musicals production for children (being the performers), again both abroad and in the Czech Republic. This is then followed by a practical part that introduces the two pieces mentioned above. It presents the information about their creation, realisation and motivation. In addition, it presents a critical analysis of their appropriateness for the child performers in light of their musical skills, abilities and the specifics of this age group while focusing on the music components of these pieces, such as melodic and harmonic aspects of the musicals, any key issues and issues of the transition from one key to another, rhythm, tempo changes and any challenges given by the dramatic expression and ability to speak other languages. The analysis was performed...

[ES] En el Teatro Ruzafa de Valencia se desarrolló una actividad artística y cultural que con los años ha quedado olvidada, però que en su època tuvo mucha importància para la ciudad. Creado en 1868, ofreció durante más de un siglo gran variedad de géneros musicales y teatrales; zarzuela, sainetes, dramas, comédias, espectáculos de variedades y revista, género del cual fué un gran exponente, a demàs de cine. La investigación de este estudio ha estado basada principalment sobre el legado del teatro conservado por la família de Rafael Culla, quien fué gerente del Ruzafa desde el año 1924, trabajo que continuaron sus descendientes hasta 1973 cuando el teatro cerró definitivamente sus puertas. El legado de Rafael Culla consiste en un archivo de teatro y música que recoge obras teatrales escritas y publicadas durante las últimas décadas del S. XIX hasta las cuatro primeras del S. XX. Contiene unos 3.000 volúmenes entre manuscritos originales, cópias, ediciones, partituras musicales, algunas de ellas acompañadas de sus respectivos libretos, programas de mano, fotografías y documentación administrativa. Palabras clave: Teatro Ruzafa; teatro valenciano; companyia teatral; zarzuela, revista musical, variedades. / [CA] Al Teatre Russafa de València es va desenvolupar una activitat artística i cultural que amb els anys ha quedat oblidada, però que en la seua època va tindre molta importància per a la ciutat. Creat l'any 1868, oferí durant més d'un segle gran varietat de gèneres musicals i teatrals; sarsuela, sainets, drames, comèdies, espectacles de varietats i revista, gènere del qual va ser el gran exponent, a més de cinema. La recerca d'aquest estudi ha estat basada principalment sobre el llegat del teatre conservat per la família de Rafael Culla, qui va ser gerent del Russafa des de l'any 1924, tasca que fou continuada pels seus descendents fins al 1973 quan el teatre va tancar definitivament les seues portes. El llegat de Rafael Culla, consisteix en un arxiu de teatre i música que recull obres teatrals escrites i publicades durant les últimes dècades del S. XIX fins a les quatre primeres del S. XX. Conté uns 3.000 volums entre manuscrits originals, còpies, edicions, partitures musicals, algunes acompanyades pels seus respectius llibrets, programes de mà, fotografies i documentació administrativa. Paraules clau: Teatre Russafa; teatre valencià; companyia teatral; sarsuela; revista musical; varietats. / [EN] In the Ruzafa Theater of Valencia an artistic and cultural activity was developed that over the years has been forgotten, but in this time it was very important for the city. Created in 1868, it offered a great variety of musical and theatrical genres for more than a century; zarzuela, skits, dramas, comedies, variety shows and musical magazines, a genre of which he was a great exponent, as well as cinema. The investigation of this study has been based mainly on the legacy of the theater preserved by the family of Rafael Culla, who was manager of Ruzafa since 1924, work that his descendants continued until 1973 when the theater finally closed its doors. Rafael Culla's legacy consists of a theater and music archive that includes plays written and published during the last decades of the 19th century up to the first four decades of the 20th century. It contains about 3.000 volumes including original manuscripts, copies, editions, musical scores, some of them accompanied by their respective scripts, hand programs, photographs and administrative documentation. Keywords: Russafa Theater; valencian theater; theater company; Operetta; musical comedy; varieties. / Sales Babiera, J. (2024). El Teatre Russafa de València. La vida artística musical i teatral de la ciutat vista mitjançant el llegat de Rafael Culla [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/204585