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Voice teachers can train versatile singers by infusing musical theatre technique within bel canto evidence-based pedagogy. Seeing these two genres as possessing similarities instead of as unrelated fields allows teachers to not only match academic knowledge with the current entertainment job market, but most importantly, possess a versatile technique allowing them to train singers to perform fluently in multiple styles: the hybrid singer. An area of confusion in both bel canto and musical theatre training is mixed registration. This dissertation uses historic pedagogical texts and contemporary writings on mixed registration to understand laryngeal and acoustical events of the treble voice. The relationship between the two modes of voice production and musical theatre timbral acoustics ("legit" head voice, traditional belt, contemporary chest-mix, contemporary head-mix) is discussed with applicable tools for voice teachers training versatile singers.

Music and Theatre have always captivated me. As a child, my parents would take me to live performances and cinematic shows and I would sit rapt, watching the theatrical events and emotional moments unfold before my eyes. Movie musicals and live shows that combined music and theatre were my favorite, especially theatrical banter and improvisation or sketch comedy. Some of my favorite youthful memories were my annual family summer trips to Las Vegas to visit my grandparents for six weeks. As a youngster, I got to experience the "old school" Las Vegas, replete with extravaganza, spectacle, cabaret, circus, lounge and nightclub acts, stand-up comedy, intimate revues, and all things marketed under the guise of entertainment, art, or both. Those summers, while not overtly planned as academic or educational in nature, proved, in retrospect, to be the training ground for what was to become my passion: the art of the cabaret genre. As a person who has always loved theatrical diversity, I am drawn to cabaret as an art form. Anything that fuses other forms interests me, and cabaret amalgamates many of the artistic forms I have grown to love. I come from a unique background of classical, jazz, musical theatre and pop styles, and have studied these styles in both the piano and vocal arena. The cabaret genre allows me to realize fully the stylistic variety of performance techniques with which I excel. My mother is a classical singer and my father a jazz pianist; during my youth they would perform at the piano, "meeting in the middle" so to speak in the world of Musical Theatre, through the fusion of cabaret, classical, jazz, and pop. Growing up hearing a song like "Summertime," from Gershwin's Porgy and Bess, equally artistically rendered as both a classical aria and a jazz tune in my home was rich fodder for the vital informal education I received by being the offspring of musicians. It is due to this musical legacy that was passed on to me through my parents that I learned to explore the myriad of possibilities one can achieve through artistic musical and theatrical interpretation. Beyond the freedom of stylistic variety, cabaret performance also allows conventions such as direct interaction in the form of the proverbial "lowered fourth wall," allowing me to use my improvisational acting and interactive skill set as well as my musical skills. Cabaret is generally more intimate and personal in nature and I enjoy the camaraderie cabaret affords. Cabaret is interactive and intellectual and I am drawn to those aspects; I like the fusion of interactive banter and intellectual artistry. Also appealing to me is the "insider" sense cabaret not only allows but also encourages. Recalling my youthful memories of the Vegas shows in which the performer spoke directly to audience members, I remember the sense of belonging I felt at the recognition of some of the inside jokes. I knew I wanted to be involved with any aspect of music and theatre that would allow me the freedom to go with the moment, to reach people differently on any given day, to change with the times, and adapt to my audience and to the shifting world around me. I knew I had found a home in this intimate, insular, interactive, and intellectual art form known as cabaret. For these reasons and more I have chosen the genre of cabaret to be my intended thesis research project. I will produce, direct, and perform in a cabaret show, which will be the thesis performance. For the performance aspect of my thesis, in collaboration with my thesis partner, Josephine Leffner, I will perform a one-act chronological, historical, and stylistically varied cabaret show. The show will include material garnered from historical research of the cabaret genre, specifically settling on some of the famous women, songs, stories, lives, and important contributions. The cabaret will cover information, music, and spoken-word art from cabaret's inception in the Paris Montmartre district in 1881 to its height in Germany during the Weimar Republic. The show will culminate with cabaret's insurgence into American culture up to and including the state of American cabaret today. While my performance will focus mainly on American cabaret, a portion of the show will explore cabaret's European roots. Creating and performing this show will educate me further on the genre itself, as well as expand my performing skills through the varied styles in which I will perform within the realm of a single evening's entertainment. Creating and performing the show will also challenge me as a producer, director, promotional and administrative coordinator, music director, arranger, vocal director, collaborator, vocalist, pianist, actor, and writer. The show is intended as a kind of "Cabaret 101," in that the intended audience is treated to a night of variety entertainment with some historical background on the genre of cabaret. The audience is not expected to have any prior academic or experiential knowledge of cabaret in order to understand or enjoy the show. The cabaret intellectual will also be able to enjoy the show, as the songs, poems, skits, and sketches are intended to amuse and delight both the novice and the experienced cabaretist. For the research and analysis portion of my thesis monograph document I will provide information on cabaret's roots in France and Germany, as well as include informative research on American cabaret, its history and its current trends. I will have several chapters dedicated to the historical research and to other items such as the formatted libretto, documentation of a performance report from my thesis committee head, and a list of references used throughout the research and libretto chapters. I will include a structural and role analysis of the show itself and my contributions to it as outlined by the parameters of my graduate studies program. Several chapters of appendices will be included as information pertinent to the show such as costume, props, lighting lists as well as band and technical needs for the show itself. An introduction and conclusion will be created to bookend my document solidly and reveal myself as a person as well as a performer. This section will include reflective information on my intentions, triumphs, and tribulations, and will be codified through the opening and concluding perspectives. Through the process of writing the thesis monograph document I will create a public and personal record of the process, research, performance challenges, and decisions made throughout this journey. This document will be used as historical help to me should I need to refer to my thesis for later personal or professional use. The document will also be on record for the UCF theatre department, as I apply not only my performance training (as exhibited through the show itself) but also the research and critical thinking skills required of a masters degree candidate at a conservatory training program such as this one. Beyond its use for myself or for the department, I write this monograph document for others whose love and interest in studying the genre of cabaret match my own.

Cabaret as a genre has influenced and is influenced by musical theatre. As cabaret has evolved throughout history, musical theatre has often paralleled its journey. Cabaret thrived before the term "musical theatre" was coined and suffered hard times during the Golden Age of Musical Theatre. The correlation of the two genres cannot be denied, and exploring cabaret history will reveal how deeply the connection lies. My collaborator Debbie Tedrick and I will attempt to define cabaret through a two-woman cabaret show we will write, produce, and perform together. The show, Black Cats, Berlin, Broadway and Beyond, will be a one-act historical look at the genre of cabaret. It will include material garnered from historical research of the cabaret genre, specifically focusing on some of the famous women, songs, stories, lives, and important contributions. The cabaret show will cover information and art from cabaret's inception in the Paris Montmartre district in 1881 to its height in Germany during the Weimar Republic and will culminate with cabaret's insurgence into American culture up to, and including, the state of American cabaret today. American cabaret will be emphasized, but a portion of the show will explore American cabaret's European roots. My thesis will explore the triumphs and tribulations of putting together the show. As the culmination of my UCF studies, this project will test my abilities as a librettist, performer, creative artist, director, and collaborator. This thesis will include the actual show performances as well as a written monograph document recording the project's journey from its inception to conclusion.

I returned to school to receive an MFA in Musical Theater for many reasons, but paramount was the need to further explore and develop my range as an actress. Throughout my career, I have played a variety of roles, but none as challenging or possibly as rewarding as the man-hungry secretary UCharlieV in James Valcq5s Zombies from the Beyond, produced by the Jester Theatre in Winter Garden, FL. Performing this role allowed me to achieve one of my objectives when entering the grad program at UCF: to transition from a classical ingénue or soubrette into a leading lady or character actress; making Zombies from the Beyond the perfect capstone to my graduate experience. During the 1950s, American cinema was filled with sci-fi movies such as Forbidden Planet, The Thing from Another World, and Invasion of the Body Snatchers. Each movie depicted an otherworldly creature as the villain (a metaphor for the relationship between the United States and the USSR) who had only one purpose: total domination. Zombies from the Beyond aptly reveals the absurdity of the hysteria and paranoia surrounding the Ucold warV and the Uspace raceV that dominated America in the 1950s. The play makes comic use of the Udouble-red agentV and presents the belief that the space race and cold war inevitably were tied together, while examining Russia5s dirty tactics in the struggle for power. In addition to the historical ramifications of Zombies from the Beyond, post WWII America saw an explosive growth in female empowerment. Through each female iv character5s thoughts and actions on stage, Valcq5s musical tackles the struggle many women faced between the new feminist ideals and old-fashioned morals. My character, Charlene UCharlieV Osmanski, is the iconic man-hungry, working girl with a big heart (aka UThe SidekickV). She is a woman very much caught between the traditional values of the 1950s and the progressive, more feminist attitudes starting to take hold in the country. After accepting the role in Zombies from the Beyond, I realized my responsibility was to breathe new life into the role of the comedic sidekick while remaining true to the original vision and traditions that had been set forth by such brave comic pioneers as Rose-Marie, Thelma Ritter, and Vivian Vance. Faced with this daunting task and the enormity of creating a role with such a prominent historical and societal lineage, I asked myself, UWhat does an actor need to know in order to become the perfect sidekick?V To answer this compelling question and to ensure I did not fail in my task, I researched actresses who play a similar archetype; studied the evolution of the female comedienne; examined the audience5s relationship to the sidekick; and discussed the character5s future as an integral force in contemporary theatre, all in a convenient survival guide. Ultimately, the evolution of the mainstream audience and their shifting requirements for entertainment impact the sidekick5s portrayal on stage; however, since post-modernistic audiences no longer need one definitive stereotype or archetypal character, the ideas I set forth are not finite or absolute in nature. Instead, they create a v basic foundation that serves as a guide for the actor when creating a similar character while ensuring the sidekick5s place as a relevant and sustainable character for generations to come.

Theodor Adorno verkündete, das Model von Kurt Weill lasse sich nicht wiederholen. Seine Bühnenwerke wurden trotzdem zum unvermeidlichen Präzedenzfall für Komponisten auf beiden Seiten des Atlantiks. Diese Promotionsarbeit erkundet insbesondere die Rolle seiner formalen Innovationen im Musiktheater von Marc Blitzstein und Leonard Bernstein. Dabei haben die Komponisten seinem ästhetischen Beitrag zur amerikanischen Tradition entweder wiederstanden oder ihn heruntergespielt. Komparative Analysen aufgrund von Harold Blooms „Anxiety of Influence“ und anderen intertextuellen Methoden decken auf, dass die Grundsätze von Weills Opernreform eine einheimische Bewegung von anspruchsvollem, sozial-engagierten Musiktheater katalysierten. Die folgende Studie richtet den Fokus auf Werke, die verschiedene Phasen seiner Mission vertreten, die Gattung der Oper zu erneuern, eine Entwicklung, die sich von der Urform in Die Dreigroschenoper bis zum Musical Play (Lady in the Dark) und zur Broadway Opera (Street Scene) erstreckt. Blitzstein und Bernstein wiederum überwanden die formalen Grenzen zwischen Oper und Musical mit The Cradle Will Rock, Regina, Trouble in Tahiti, Candide und West Side Story, teil einer kurzlebigen Bewegung in Amerika des zwanzigsten Jahrhunderts. Dieselbe überschnitt sich mit einer Renaissance für Weills deutschsprachige Werke im Anschluss an die Premiere von Blitzsteins Übersetzung The Threepenny Opera unter Bernsteins Leitung. Das unveröffentlichte A Pray by Blecht, für welches Bernstein sich an Stephen Sondheim und Jerome Robbins, seine Kooperationspartner in West Side Story, wieder angeschlossen hat, vertieft den Bezug von Bernsteins Musiktheater-Ästhetik auf Weill. / Theodor Adorno famously proclaimed that the model of Kurt Weill could not be repeated. His stage works nevertheless set an inescapable precedent for composers on both sides of the Atlantic. My dissertation explores how Weill’s formal innovations in particular laid the groundwork for the music theater of Marc Blitzstein and Leonard Bernstein although they either resisted or downplayed his aesthetic contribution to American tradition. Comparative analysis based on Harold Bloom’s Anxiety of Influence and other modes of intertextuality reveal that the principles of Weill’s opera reform would catalyze an indigenous movement in sophisticated, socially engaged music theatre. The following study focuses on works that represent different phases of his mission to renew the genre of opera, evolving from the Urform (original or primitive form) in Die Dreigroschenoper to the musical play (Lady in the Dark) and Broadway Opera (Street Scene). Blitzstein and Bernstein in turn defied the formal boundaries between opera and musical theater with The Cradle Will Rock, Regina, Trouble in Tahiti, Candide and West Side Story, part of a short-lived movement in mid-twentieth century America that coincided with a renaissance for Weill’s German-period works following the premiere of Blitzstein’s translation, The Threepenny Opera, under Bernstein’s baton. The unpublished A Pray by Blecht, – for which Bernstein rejoined Stephen Sondheim and Jerome Robbins, his collaborators on West Side Story, – deepens the connection of Bernstein’s music theater aesthetic to Weill.

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La présente thèse porte sur les rapports entre le théâtre musical et la chanson populaire de São Paulo au cours de la période qui précède et accompagne le développement du disque et de la radio au Brésil, entre 1914 et 1934. Elle cherche à saisir l'importance du rôle du théâtre sous deux aspects particuliers: d'une part, dans son rapport avec le processus plus large de formation de la chanson populaire moderne au Brésil; d'autre part, en tant qu'espace d'invention d'une identité pauliste qui, à son tour, nourrira la production de chansons de la ville de São Paulo, en particulier celles que l'on identifiera comme "caipira", ou paysanne. La première partie, basée sur une enquête exhaustive de la presse locale, propose une cartographie du circuit du théâtre musical à São Paulo, qui faisait alors partie intégrante d'une culture de masse naissante. Dans ce cadre, nous présentons de manière préciseles salles de spectacle de la ville et leurs principaux entrepreneurs, mettant en lumière la capitalisation croissante dans l'univers du spectacle. Dans la seconde partie, nous nous concentrons sur divers aspects musicaux de la production théâtrale. Nous traitons de l'importance du théâtre dans le processus de professionnalisation des instrumentistes, des chefs d'orchestre et des compositeurs de la ville. Nous décrivons également le circuit de production, de distribution et de consommation de la musique, qui comprenait non seulement les théâtres, mais aussi l'édition musicale, les orchestres militaires et, plus rarement, l'industrie naissante du disque. Enfin, nous présentons quelques caractéristiques de la musique diffusée au théâtre, nous centrant sur l'évolution du chant dans les pièces théâtrales musicales. / This thesis investigates the relationship between musical theater and popular songs in the city of São Paulo during the early decades of the twentieth century (1914-1934), the period that precedes the consolidation of the music industry and the radio in Brazil. It aims to understand the importance of Sao Paulo’s musical and theater stages in two aspects: first, in their relationship with the more thorough process of constitution of the modern popular song in Brazil, and, second, as a locus for the invention of a paulista identity - which in turn, would feed back into the song production in São Paulo, especially the one known as “caipira”. Based on an extense data collection from São Paulo daily press, the first part maps the city's theater circuit, understood here as part of abursting mass culture. It presents the São Paulo concert halls and their main impresarios, revealing the increasing capitalization of the entertainment industry. It also characterizes the musical theatre genres performed in the city, with an emphasis on local production. The second part focuses on the musical aspects of this theater production. It discusses the importance of theatre in the professionalization of instrumentalists, conductors and composers in São Paulo, and describes the different circuits of musical production in the city, which included not only the theaters, but also editing music, bands and, very rarely, the phonographic industry. It also presents some characteristics of the theatre music and discusses the evolution of the song in musical theatre. / Esta tese investiga as relações entre o teatro musicado e a canção popularna cidade de São Paulo entre 1914 e 1934, período que antecede e acompanha aconsolidação do disco e do rádio no Brasil. Procura compreender a importânciados palcos paulistanos sob dois aspectos: de um lado, em sua relação com oprocesso mais amplo de formação da moderna canção popular no Brasil, e, deoutro, como espaço de invenção de uma identidade paulista – a qual, por sua vez,realimentou a produção cancional da capital, especialmente aquela identificadacomo “caipira”.Com base em um extenso levantamento realizado na imprensa, a primeiraparte faz um mapeamento do circuito teatral musicado paulistano, compreendidocomo parte de uma nascente cultura de massa. Para tanto, apresenta suas salas deespetáculo e seus principais empresários, revelando a crescente capitalização domundo das diversões. Também caracteriza os gêneros teatrais musicadosencenados na cidade, com ênfase na produção local.A segunda parte enfoca aspectos musicais dessa produção teatral. Discute aimportância dos palcos na profissionalização de instrumentistas, maestros ecompositores paulistas, além de descrever o circuito de produção, circulação econsumo musical na cidade, que incluía não só os teatros, mas também a edição departituras, as bandas militares e, bem mais raramente, o disco. Finalmente,apresenta algumas características da música divulgada no teatro e problematiza aevolução do canto nas peças musicadas, relacionando-a com a fixação de um gestocancional.

[ES] Esta tesis pone el foco sobre las prácticas artísticas en las que el sonido y/o la música es fuente de creación dramática. Como anteriormente hemos defendido (desde el 2017 a lo largo de distintas publicaciones y participaciones en congresos), la propuesta de teatro musical experimental se presenta como categoría en desarrollo para designar esta praxis. Por lo tanto, en este estudio, se analiza el funcionamiento de la escucha en el teatro y la concepción del lenguaje sonoro o diseño de sonido subordinado a las técnicas aprendidas de escucha más la inclusión y evolución de la tecnología electrónica. Proponemos a partir de ello un marco de análisis para el estudio de estas propuestas que aplicamos en dos estudios de caso (con enfoques distintos): Stifters Dinge (2007) de Heiner Goebbels como revisión de la bibliografía que se ha ocupado de esta pieza en profundidad con perspectiva analítico-crítica; y El rumor del ruido (2017) de Onírica Mecánica y Pedro Guirao que analizaremos a partir de la puesta en escena y la recepción directa del espectáculo. Nuestro enfoque evidencia que el uso acertado o no de los diferentes recursos teatrales (desde medios tecnológicos lineales a los interactivos) fomenta la interacción y en consecuencia la inmersión sonora gracias al efecto technosublime en el hecho escénico musical experimental. / [CA] Aquesta tesi posa el focus sobre les pràctiques artístiques en què el so i/o la música és font de creació dramàtica. Com hem defensat anteriorment (des del 2017 al llarg de diferents publicacions i participacions en congressos), la proposta de teatre musical experimental es presenta com a categoria en desenvolupament per designar aquesta praxi. Per tant, en aquest estudi, s'analitza el funcionament de l'escolta al teatre i la concepció del llenguatge sonor o disseny de so subordinat a les tècniques apreses d'escolta més la inclusió i l'evolució de la tecnologia electrònica. Proposem a partir d'això un marc d'anàlisi per a l'estudi d'aquestes propostes que apliquem en dos estudis de cas (amb diferents enfocaments): Stifters Dinge (2007) de Heiner Goebbels com a revisió de la bibliografia que s'ha ocupat d'aquesta peça en profunditat amb perspectiva analiticocrítica; i El rumor del soroll (2017) d'Onírica Mecànica i Pedro Guirao que analitzarem a partir de la posada en escena i la recepció directa de l'espectacle. El nostre enfocament evidencia que l'ús encertat o no dels diferents recursos teatrals (des de mitjans tecnològics lineals als interactius) fomenta la interacció i, en conseqüència, la immersió sonora gràcies a l'efecte technosublime en el fet escènic musical experimental. / [EN] This thesis focuses on artistic practices in which sound and/or music is a source of dramatic creation. The proposal of experimental music theatre is presented as a developing category to designate this praxis as we have previously defended (since 2017 throughout different publications and participations in congresses). In this study we analyse the functioning of listening in theatre and the conception of sound language or sound design subordinated to the learned techniques of listening and the inclusion and evolution of electronic technology. From this we propose a framework of analysis for the study of these proposals, which we apply to two case studies with different approaches: Stifters Dinge (2007) by Heiner Goebbels as a critical review of the bibliography of this piece and from our perspective; and El rumor del ruido (2017) by Onírica Mecánica and Pedro Guirao that we will analyse from that of the staging and direct reception of the performance. Our approach shows that the successful or unsuccessful use of different theatrical resources (from linear to interactive technological media) encourages interaction and, consequently, sound immersion by the technosublime effect in the experimental musical performance. / Gracias a la Generalitat Valenciana por la beca para la contratación de personal investigador de carácter predoctoral en el año 2019 con referencia ACIF/2019/235 / Bernal Molina, A. (2023). Territorios sonoros en el teatro posdramático. El sonido como lenguaje conductor de la dramaturgia escénica [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/198568