Thesis (Ph. D.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (leaves 200-211).

Thesis (M.M.)--Boston University / This operetta was written to bring musical experiences to the children of the upper elementary school grades. In performing lines, in singing the songs, and dancing to the tunes, the children may be able to capture some of the spirit and gaiety of the habits and customs of the people of Switzerland.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1997. / Typescript. Includes bibliographical references (leaves 315-330).

Gilbert and Sullivan’s operettas continue to enjoy popularity worldwide, in both amateur and professional settings. Their 1884 collaboration Princess Ida¸ however, remains a contested work regarding its representation of women and feminism. In this thesis, I argue that Gilbert and Sullivan were attempting to satirize men’s reactions to feminism, rather than feminism itself. This thesis situates Princess Ida within its Victorian social context to determine to what extent a proto-feminist interpretation of the operetta is valid. Princess Ida is based on, and a parody of, Tennyson’s The Princess (1847). Tracing the chronology of Ida’s story from its beginnings in Tennyson’s poem through to Gilbert and Sullivan’s operetta clarifies what Gilbert chose to satirize in his libretto. Victorian masculinity emerges as a central theme in Princess Ida, and the complexities of Gilbert and Sullivan’s representations of men in their operetta informs my discussion of proto-feminism. This thesis historically contextualizes Princess Ida and examines the operetta through the lens of feminist critiques of Western art music.

No description available.

Zugl.: Berlin, Freie Univ., Diss., 2004

Thesis--Columbia University, 1935. / Vita. "A dated list of the ... plays of Favart which have never hitherto been studied": p. xii-xiv. Bibliography: p. 401-407.

Thesis (D. Mus. Arts)--University of Washington, 1999. / Vita. Includes bibliographical references (leaves 199-205).

AN ABSTRACT OF THE THESIS OF Lillian Casey Watkins, for the Masters in Fine Arts degree in Theater, presented on May 2, 2014, at Southern Illinois University Carbondale. TITLE: DIE FLEDERMAUS: OR HOW I LEARNED TO STOP WORRYING AND LOVE THE TRIM MAJOR PROFESSOR: Wendi Zea In February of 2014, the School of Music and the Department of Theater at Southern Illinois University presented a production of the operetta Die Fledermaus. This thesis is a presentation of the process and final product of the costume design of that production. Die Fledermaus exhibits the best of carnival escapism, with daring disguises, topsy turvy scenarios, opulent scenes and extravagant use of alcohol. This design project was an attempt at capturing that escapism and expressing it through costuming, paying particular attention to detail and trim and actor movement and dance, creating the bubbly, champagne-filled fantasy that is Die Fledermaus. Chapter 1 contains research and analysis of the script, including information about the composer, cultural and historical occurrences that inform the script and previous production history and critical analysis. Chapter 2 focuses on analysis of the characters and their relationships, and how those inform the design of their costumes. The goals that I wished to accomplish with the design and production of the show are covered within Chapter 3. Chapter 4 documents my design process, leading to Chapters 5 and 6, which document the build and production processes, respectively. Chapter 7 is an analysis of the full process and production itself, in regards to the fulfillment of the aforementioned goals. The appendices contain renderings, research, production paperwork and photos.

abstract: Emmerich Kálmán (1882-1953) was a leading composer during the Silver Age of Viennese operetta. His final work, Arizona Lady (1954), premiered posthumously, on Bavarian Radio, January 1, 1954. The stage premiere followed on February 14, 1954, at the Stadttheater in Bern, Switzerland. It is his only operetta that is set entirely in the United States, in Tucson, Arizona. Arizona Opera commissioned and produced a new adaptation of Arizona Lady, which was performed in October 2015, in both Tucson, Arizona, and Phoenix, Arizona. The libretto was heavily revised, as well as translated, primarily into English with some sections in Spanish and German. Through comparison of the original and adaptation, this study examines the artistic decisions regarding which materials, both musical and dramatic, were kept, removed, or added, as well as the rationale behind those decisions. The changes reflect differences between an Arizonan audience in 2015 and the European audience of the early 1950s. These differences include ideas of geographical identity from a native versus a foreign perspective; tolerance for nationalistic or racial stereotypes; cultural norms for gender and multiculturalism; and cultural or political agendas. Comparisons are made using the published piano/vocal score for the original version, the unpublished piano/vocal score for the adaptation, archival performance video of the Arizona Opera performance, and the compact disc recording of the 1954 radio broadcast premiere. / Dissertation/Thesis / Doctoral Dissertation Performance 2019