吳國鈞. / "2010年2月". / "2010 nian 2 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leaves 199-209). / Abstracts in Chinese and English. / Wu Guojun. / Chapter 第一章 --- 導言 --- p.1 / Chapter 第二章 --- 電影中心的電影放映活動景觀 / Chapter 2.1 --- 前言 --- p.24 / Chapter 2.2 --- 香港「非主流」電影放映的脈絡 --- p.26 / Chapter 2.3 --- 院線主導的「非主流」電影放映景觀 --- p.46 / Chapter 2.4 --- 院線主導的「非主流」電影活動景觀 --- p.63 / Chapter 2.5 --- 作爲本地「非主流」電影活動的核心場地 --- p.83 / Chapter 2.6 --- 小結 --- p.98 / Chapter 第三章 --- 「非主流」電影與文化產業項目的結合 / Chapter 3.1 --- 前言 --- p.100 / Chapter 3.2 --- 「非主流」電影作爲本地文化項目接合點的歷史脈絡 --- p.103 / Chapter 3.3 --- 「kubrick」作爲本地文化產業的平台 --- p.118 / Chapter 3.4 --- 「kubrick」文化形象的前線構建 --- p.132 / Chapter 3.5 --- 小結 --- p.144 / Chapter 第四章 --- 社區空間與電影中心的公共性質 / Chapter 4.1 --- 前言 --- p.145 / Chapter 4.2 --- 電影院於本地社區角色的歷史脈絡 --- p.147 / Chapter 4.3 --- 油麻地社區與百老匯電影中心 --- p.161 / Chapter 4.4 --- 電影閱覽室的公共角色 --- p.175 / Chapter 4.5 --- 小結 --- p.188 / Chapter 第五章 --- 總結 --- p.189 / 參考書目及資料 --- p.199

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 This and other sketches in the unpublished manuscript deserve to be studied alongside Welty’s other work.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.

A disproportionate amount of research into musical theatre focuses on the positive and accessible nature of the books and librettos. Very little, if any, research into musical theatre explores its darker side, specifically the considerable amount of villainy (i.e., traditionally immoral and/or criminal behavior) practiced by some of its protagonists. Moreover, it is important to note that several of the most popular musicals contain villainous characters, and that many of these characters are highly popular and even sympathetic (i.e., understandable, pitiable, and deserving of compassion) to audiences. Therefore, this thesis explores sympathetic villainous personalities in popular American musicals, focusing on the defining characteristics of the sympathetic villainy presented within specific musical works. Specifically, this thesis examines a variety of American musical theatre pieces, chronologically, from Show Boat (1927) to Wicked: The Untold Story of the Witches of Oz (2003) which have strong sympathetic villainous characters. This thesis primarily addresses musical theatre villainy primarily from a critical literary analysis standpoint.

Thesis (M.A.)--Cincinnati Bible College & Seminary, 1992. / Abstract. Includes bibliographical references (leaves [149]-151).

abstract: This dissertation considers how adolescent identity is constructed and represented in commercial musical theatre for youth (e.g. Broadway and Disney Theatrical Group) by examining two commercial productions with adolescents in lead roles--Spring Awakening and Disney's High School Musical. My theoretical framework is intersectionality which creates a foundation for my research within the field of childhood studies, gender studies, and performance studies to illuminate current US American trends in youth oriented art and research. My framework extends into a case study methodology exploring the world of childhood and youth sexuality through a close read of the popular Broadway musical adaptation, Spring Awakening. In addition, a second investigation chronicles the world of Disney's High School Musical through my own intersectional tool, the Disney Industrial Complex. I claim that adolescence, as a constructed identity, exists as a multi-faceted intersectional category composed of multiple and conflicting intersections such as gender, race, sex, ethnicity, and so on. These intersections develop over the course of the period known as "adolescence" and "youth." The goal of this dissertation is to serve as a reference for other theatre educators and their work with young people creating art. / Dissertation/Thesis / Ph.D. Theatre 2012

The range and use of the tenor voice in classical music has long been established since the late 19th century. It is widely accepted among pedagogues that the range is C3-C5 (with obvious exceptions depending on the fach). However, with the advent and development of the American Musical as a genre since the early 20th century, the ‘tenor’ has taken on an entirely new direction and range altogether. Several well-known sources have stated that the ‘Broadway tenor’ has a range of A2-A4. This is (as it widely accepted in the classical profession) the range of a baritone. The catalyst of these changes include vaudeville, composers, social trends, and probably most important, the invention and proliferation of the microphone. This study will analyze a cross section of repertoire in order to demonstrate this downward shift of vocal range, and demonstrate some of the main reasons why this shift occurred.

Responding to and provoked by an America colored by stark political division, tense racial conflict, and the powerful urban narrative of hip hop culture, Hamilton: An American Musical, created by composer/lyricist Lin-Manuel Miranda, became the subject of a cultural focus unprecedented in the reception history of an American work of art. Hamilton premièred at a critical time during the Obama presidency, and it squarely confronts the issues lying at the heart of our democracy. Hamilton caught the attention of millions of Americans with little prior interest in Broadway musicals, hip hop, or the performing arts in general, and it stimulated important and timely conversations about race, representation, and American identity. Hamilton asks pressing questions: Who speaks for America? How does the character and biographical narrative of this founding father suggest a new, updated conversation about American history? How do the political sensitivities of audiences determine the commercial and artistic success of a stage work? How does the rap genre operate in conveying Hamilton’s historical content in dramatic terms? How do representations of minorities in popular culture affect the wider perception of the sociopolitical order? To what degree is it possible for the historically-rooted genre of musical theater – often viewed as benign musical pablum for middle-class whites – to advance a public conversation about race and representation in the twenty-first-century? This dissertation first considers these questions through the historical lens of racial depiction in American musical theater, situating Hamilton within a lineage of commercially successful musicals that have used the Broadway stage subversively as a place to challenge the social and racial order. It documents Hamilton’s genesis and the collaborative process of adapting Ron Chernow’s acclaimed biography, then examines Hamilton’s music, its relationship to text and musico-historical resonances, and constructs a theory of Lin-Manuel Miranda’s hip hop-infused compositional style. Finally, it examines Hamilton’s reception, contemporary political dimensions, and essential ties to the administrations of Barack Obama and Donald Trump, exploring what are often contentious criticisms of the work within the academic and online worlds.

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