Le genre opératique a connu une histoire mouvementée depuis la Seconde Guerre mondiale, celle d’une « mort » et d’une « renaissance ». Cette thèse s’attache à déterminer les raisons qui ont conduit compositeurs et spectateurs à délaisser l’opéra après 1945, laissant à penser que le genre allait disparaître, puis celles qui ont amené le retour en faveur de celui-ci à partir du début des années 1980 jusqu’à l’époque présente. À la lumière de ce contexte historique, cette étude propose une poétique du livret moderne et postmoderne, en s’intéressant aussi bien aux conditions concrètes de son élaboration qu’à ses particularités thématiques ou stylistiques. Elle souligne ses spécificités par rapport aux livrets des siècles antérieurs, mais attire également l’attention sur la permanence de certaines caractéristiques. Ce travail contribue ainsi à définir le livret comme un genre littéraire à part entière. / Operatic genre has had a turbulent existence since the end of World War II, going through death and revival. This dissertation tries to determine the motivations of composers and spectators who tended to neglect opera after 1945 – time when the genre seemed bound to disappear – and then, the reasons leading to a new interest in opera from the eighties onwards. In the light of this historical context, the present study proposes a poetics of modern and postmodern libretto, studying the concrete conditions of its conception as well as its thematic or stylistic peculiarities. This essay underlines its specificity in comparison with libretto from past centuries, but also draws attention to the persistence of some characteristics. Therefore, this dissertation contributes to the definition of libretto as a full-fledged literary genre.

Submitted by Candice Aché Montangerand (candice.ache@gmail.com) on 2018-01-08T21:42:36Z No. of bitstreams: 1 A STUDY OF THE MUSICAL THEATRE INDUSTRY AND PRODUCTION IN SÃO PAULO- CHALLENGES AND OPPORTUNITIES .pdf: 2936947 bytes, checksum: 77503ba21b993d3868f25cea14fa7f6c (MD5) / Approved for entry into archive by Vera Lúcia Mourão (vera.mourao@fgv.br) on 2018-01-10T13:14:16Z (GMT) No. of bitstreams: 1 A STUDY OF THE MUSICAL THEATRE INDUSTRY AND PRODUCTION IN SÃO PAULO- CHALLENGES AND OPPORTUNITIES .pdf: 2936947 bytes, checksum: 77503ba21b993d3868f25cea14fa7f6c (MD5) / Made available in DSpace on 2018-01-10T16:30:06Z (GMT). No. of bitstreams: 1 A STUDY OF THE MUSICAL THEATRE INDUSTRY AND PRODUCTION IN SÃO PAULO- CHALLENGES AND OPPORTUNITIES .pdf: 2936947 bytes, checksum: 77503ba21b993d3868f25cea14fa7f6c (MD5) Previous issue date: 2017-12-13 / A presente pesquisa é um estudo da indústria de teatro musical em São Paulo, destacando os principais desafios e oportunidades que a indústria enfrenta. Tal análise permite alcançar o objetivo principal do trabalho, que é contribuir para o desenvolvimento da indústria criativa no Brasil através da proposta de ações concretas. A pesquisa tem uma natureza exploratória com um método misto, uma abordagem de pesquisa que combina formas qualitativas e quantitativas. Este trabalho é composto por uma análise da indústria do teatro musical, através de análise de dados qualitativos secundários e 6 entrevistas, e também mais especificamente a análise de todas as peças de teatro musical produzidas em São Paulo entre 2000 e 2015, através a coleta de dados quantitativos secundários. O estudo mostra que a indústria do teatro musical está crescendo em termos de produção e investimento, mas com uma hegemonia de produções da Broadway. Por outro lado, os musicais brasileiros estão ganhando espaço também, alavancado pelos medleys e biografias. A dependência do setor de teatro musical em leis de incentivo cultural é seu principal facilitador e desafio ao mesmo tempo, uma vez que os musicais da Broadway e biográficos são percebidos como uma aposta mais segura não só para o patrocinador e produtor, mas também para o artista e o público. Isso resulta em falta de dramaturgia original. Assim sendo, as duas oportunidades mapeadas para desenvolver a indústria do teatro musical são o desenvolvimento de um segmento Off-Broadway para reduzir a dependência das leis de incentivo cultural e aumentar a autonomia artística e criar uma quota para produções originais dentro das leis de incentivo cultural. / The present research is a study of the musical theatre industry in São Paulo highlighting the major challenges and opportunities the industry is facing. This analysis enables to achieve the research main objective, which is generate insights and propose actions for the development of musical theatre productions in São Paulo. The research has an exploratory nature with a mixed method research, an approach to inquiry that combines both qualitative and quantitative forms. This paper is composed in one hand by the musical theatre industry analysis, through secondary qualitative data analysis and 6 interviews, and on the other hand a more specifically analysis of all the musical theatre plays produced in São Paulo from 2000 until 2015, through a quantitative data collection. The study shows that the musical theatre industry is growing in terms of both production and investment, but with a hegemony of Broadway productions. On the other hand, Brazilian plays are gaining space as well, leveraged by medleys and biographies plays. The musical theatre industry dependency on the use of cultural incentive laws is its main facilitator and challenge at the same time, since Broadway and biographical plays are perceived as a safer bet not only for the sponsor and producer, but for the artist and public as well. This results into a lack of original dramaturgy. Thus, the two mapped opportunities to develop the industry are to develop an Off-Broadway segment to reduce the cultural incentive laws dependency and raise artistic autonomy and to create a quota for original productions within the cultural incentive laws.

Doctoral thesis deals with the performance management in drama theatre and musical theatre sphere. The dissertation aims to create a model of performance management for the sphere as a problem solving tool related to the performance management during the rehearsal period. The paper is divided into two parts, theoretical and empirical. Theoretical part deals with current trends and methods, problems and challenges of HR Management, evolving role of HR professionals and issue of performance management in general. Furthermore, the part deals with management of the cultural sector, human resources management in a theatre, activities of the rehearsal period and with performance in the drama theatre and musical theatre sphere. Empirical part comprises an analysis of the qualitative research, design of the performance management model and model verification via expert estimates. Important findings (such as activities significant for the performance management in the drama theatre and musical theatre sphere, the most common problems of the performance management in the sphere and their solution proposals etc.) are summarized in the conclusion of the doctoral thesis.

Denna studie behandlar en sångares önskan att belysa och utveckla sina metoder och sin insikt i interpretation och dess betydelse för sång. Det är en självstudie som med hjälp av videoobservation dokumenterat åtta övningstillfällen av en musikallåt. Syftet är att ur ett designteoretiskt perspektiv identifiera vilka resurser som använts vid musikalisk och scenisk gestaltning, hur de används, samt dess inverkan på sången. Genom transkription och analys av det inspelade materialet skapas tre kategorier: materiella, kroppsliga, och språkliga resurser. I resultatet redovisas dessa kategorier och kopplas till sångteknik. Slutligen diskuteras resultatet i förhållande till designteori och relevant forskning.   Nyckelord: musikalisk- och scenisk gestaltning, interpretation, designteori, videodokumentation, självstudie, musikal / This study addresses a singers desire to highlight and expand their methods and insight into interpretation and its importance for singing. It is a self-study that, with the help of video observation has documented eight practice sessions of a musical theatre song. The purpose is to use design theory to identify what resources are used in musical- and theatrical interpretation, how they are used and their impact on the singing. Three categories are created by transcription and analysis of the recorded material: material, physical, and linguistic resources. In the result, these categories are reported and linked to song technique. Finally, the results are discussed in relation to design theory and relevant research.   Keywords: musical- and theatrical interpretation, interpretation, design theory, video documentation, self study, musical theatre

This diploma thesis introduces children's musical as a didactic tool at primary schools. This work maps the influence of creative playwright on the development of musical abilities, skills and creativities. The theoretical part of this diploma thesis defines the term "musical". It briefly describes the origin of the musical as a genre. The practical part brings possibilities of using a musical as a means of an educational process. It provides particular demonstrative situations which lead to development of the crucial competences of the students. The author of the musical is the author of this diploma thesis. She herself translates the music recording, scenario, and methodical material. The method, that has been used for the field research, is a systemic observation which is divided into ten lessons in the form of a project-based learning. This thesis deals with an issue, whether the musical enables an active engagement of the pupils in the musical educational process. The hypotheses, which have been set, are verified by the means of collective reflection from which follows students' higher motivation for musical activity. The realization of the musical positively develops students' attitudes towards music and enables them to react to current trends in the field of musical education. KEYWORDS...

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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.

Not Quite the Ingenue: The Development of the Middle-Aged Female Character in Musical Theatre is an exploration of the influences which have defined the function of middle-aged female characters within the musical theatre genre. This author was cast in the role of Arlene MacNalley, a forty-three year old woman, in the University of Central Florida's fall 2006 production of the musical Baby. Preparation for performance of this thesis role required identification of the traits and factors which would be vital for a realistic and relevant portrayal of Arlene. This document provides the reader with a working definition of middle age. It also furnishes a sampling of types, or stereotypes, of middle age female characters in musicals. The major thrust of the document emphasizes researching and understanding the importance of key socio-economic events' influence on the creation, direction, or depiction of middle-aged female characters. Three distinct characters are used to develop this theory, Aunt Eller in Oklahoma!, Dolly Levi in Hello, Dolly! and Arlene MacNalley in Baby. Further analysis within the thesis details essential differences between the original version of Arlene and the updated 2006 version of Arlene portrayed in the University of Central Florida's production of Baby. Conclusions drawn from the research, performance and writing processes indicate an increasing significance for the middle age female character as the genre of musical theatre continues to develop.