This thesis explores the use of the Estill Voice Model, in particular six voice qualities (Speech, Twang, Falsetto, Cry/Sob, Belt and Opera) and their permutations, to define character, character traits and emotions. Traits and emotions that specific voice qualities can influence are, but are not limited to, location, age, background, socioeconomic status, genre, intelligence, nationality, class, culture, gender, promiscuity, disposition, pain and revelations. In particular, this thesis explores the use of voice qualities to show specific human qualities of the character "George" from Sondheim and Lapine's "Sunday in the Park with George" and the people he imitates in his painting by letting the characters' given circumstances (textual and subtextual), the way other actors portray the characters and the director's and musical director's input inform the choices in voice quality. By using the specific technical aspects of the Estill Voice Training System and combining them with the limi

For more than fifty years, the Independent (indie) Music Scene has existed as an evolving business model, allowing indie artists to develop a wealth of progressive musical ideas while creating a sustainable audience base. American Musical Theatre has an already-established rich history of adapting styles to fit concurrent trends in popular music while maintaining the story as the core of a show. While some indie artists (The Lisps, The Mountain Goats, Stephin Merritt, and Stew) and some musical theatre composers (David Yazbek, Doug Crossley, and Michael Friedman) have created crossover works, there is currently an overall dearth of musical theatre pieces infused with the indie style and a lack of indie albums with an actable musical theatre storyline. The intent of this thesis is to prove that although American Musical Theatre and the Independent Music Scene are two vastly different art forms, they can be combined to create a viable and unique form that appeals to both audiences. The indie-rock monologue ...and then, Claire was composed, recorded, and performed to test the viability of this thesis. In addition to presenting research on the history of American Musical Theatre and the Independent Music Scene, an analysis of the already-successful artists mentioned above is presented to provide context for ...and then, Claire. This context along with the original indie-rock monologue proves successful combinations of American Musical Theatre and the Independent Music Scene as well as the potential for more attempts in the future.

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Submitted by Márcia de Freitas Duarte (marcia.freitas.duarte@gmail.com) on 2015-06-09T09:18:35Z No. of bitstreams: 1 Tese - Márcia Duarte - Versão Final - Biblioteca.pdf: 21203549 bytes, checksum: 148d1658abe20953b0be2ce861bb3858 (MD5) / Approved for entry into archive by Pamela Beltran Tonsa (pamela.tonsa@fgv.br) on 2015-06-09T13:02:54Z (GMT) No. of bitstreams: 1 Tese - Márcia Duarte - Versão Final - Biblioteca.pdf: 21203549 bytes, checksum: 148d1658abe20953b0be2ce861bb3858 (MD5) / Made available in DSpace on 2015-06-09T13:41:03Z (GMT). No. of bitstreams: 1 Tese - Márcia Duarte - Versão Final - Biblioteca.pdf: 21203549 bytes, checksum: 148d1658abe20953b0be2ce861bb3858 (MD5) Previous issue date: 2015-05-11 / This thesis aims to understand the practices and actions of organising necessary for production /organization of a musical theatre show in São Paulo, in order to explore how materially heterogeneous relations and articulations sustain it and allow their presentations. The focus on practice and organising is aligned to the concern of Organizational Studies (OS) about how 'organizations happen' and in the understanding of the everyday organizational processes and practices, referring to the comprehension of organizations as a process (organizing) in constant state of (re)constitution. The literature in creative industries presents a lack related to the organization of creative goods or services, considering it focuses its attention more in the consumption of these products than in their organization or production. The notion of creativity is also pointed as just a human attribute, a talent or ability without emphasizing some creative or cultural goods or services only can happen or are produced considering the relations and actions between human and non-human elements. In organizational literature, theatre is studied as metaphor or as a sort of intervention/tool in processes of organizational changes or learning and not as a particular form of organization. Musical theatre, a creative industry, seems to be a consolidated activity in Brazil, mainly by the increase of large musical montages from Broadway shows and its increasing professionalization, particularly in the last decade and especially in São Paulo, SP. Its production differs from other theatrical genres by the number of professionals, the amount of investments and presence of technology highlighted in its sound, light and set design and stage management department, making it a fertile field for the exploration about how these actors get together and form the visible show (seen on the stage by the audience) and the invisible one (hidden behind the scenes). About this aspect, Actor-Network Theory (ANT), here used as theoretical and methodological framework , is an approach which provides an analytical repertoire for understanding the organization as the effect of a network of heterogeneous elements, with a stability temporarily achieved. This is a qualitative research and to achieve the aim of exploring the organization of a musical I carried out a fieldwork inspired in ethnographic principles along ten months in one company whose show was being presented in São Paulo between 2013 and 2014. From what was observed in the field, I described the associations and articulations between human and non-human actors, which are permeated by efforts to generate a stabilized order, even if precarious, which is here understood the musical itself (macro-actor or network-of-actors) and its more than three hundred performances during the season, resulting from actions in continuous (re)constitution. Negotiations concerning copyright acquisitions, particular aspects of the Portuguese language, the Brazilian audience, the bodies and voices of the Brazilian cast, the structural constraints of the theater, the production of documents, marking the rehearsing room, the articulation of the show via sound and image systems, the acquisition of specific equipment and the ‘calling system’ which allows to 'call the show' during the presentation are some of the themes I explored. In conclusion, with this research, I attempted to link the growing interest of OS field in relation to organising and some of the possibilities offered by ANT on the understanding of the multiplicity and heterogeneity inherent to organizational practices, in order to enrich the discussion of the organization and production of creative goods and services highlighting how the organization 'musical theatre show' is multiple and materially heterogeneous, and not only an idea related to human agency or creativity as production input, as emphasize the most descriptions related to creative industries. / Esta tese tem por objetivo compreender as práticas e ações de organizar necessárias à produção/organização de um espetáculo de teatro musical em São Paulo, a fim de explorar como as relações e articulações materialmente heterogêneas o sustentam e permitem suas apresentações. O foco nas práticas está alinhado à preocupação dos Estudos Organizacionais (EO) acerca de como ‘as organizações acontecem’, e na compreensão dos processos e práticas de organizar do cotidiano organizacional, remetendo ao entendimento das organizações como processos (organising) em constante estado de (re)constituição. O campo das indústrias criativas apresenta ainda lacunas pouco exploradas, referentes aos bens e serviços criativos. Seu foco de estudos está mais voltado para o consumo de tais bens e poucas pesquisas dedicam-se à sua produção e/ou organização. A própria noção de criatividade é entendida apenas como um atributo humano, talento ou habilidade, sem se enfatizar que alguns bens e serviços criativos e culturais apenas são possíveis a partir das relações e ações entre humanos e não-humanos. Na literatura organizacional, o teatro é amplamente estudado como uma metáfora ou como uma ferramenta de intervenção em processos de mudança ou aprendizado, sendo ainda raros estudos dedicados a explorar um espetáculo teatral como forma particular de organização. O teatro musical, inserido nas indústrias criativas, parece se consolidar no Brasil, principalmente pelo aumento de montagens de grandes musicais oriundos da Broadway, NYC, EUA, e sua crescente profissionalização, sobretudo na última década e, especialmente, na cidade de São Paulo, SP. Sua produção difere de outros gêneros teatrais pelo número de profissionais, investimentos e presença da tecnologia evidenciada em seus projetos de som, luz, cenografia e gestão de palco, tornando-o um campo fértil para a exploração sobre como atores se reúnem e formam o espetáculo visível (visto pelo público no palco) e o invisível (oculto nos bastidores). Sobre tal aspecto, a Teoria Ator-Rede (TAR), aqui utilizada como referencial teórico-metodológico, fornece um repertório analítico para a compreensão da organização como efeito de uma rede heterogênea de elementos, com uma estabilidade temporariamente alcançada. Para concretizar meu objetivo de explorar a organização de um musical, realizei uma pesquisa qualitativa, com inspiração etnográfica, na qual permaneci em campo durante dez meses junto a uma companhia cujo espetáculo esteve em cartaz em São Paulo entre os anos de 2013 e 2014. Descrevo, assim, como ocorreram as associações a articulações entre atores humanos e não-humanos, permeadas por esforços no sentido de gerar uma estabilização, um ordenamento, mesmo que precário, o qual é aqui entendido o musical (macro-ator ou rede-de-atores) em si e suas mais de trezentas apresentações durante a temporada, resultantes de ações em contínua (re)constituição. Negociações referentes a aquisições de direitos autorais, aspectos particulares da língua portuguesa, do público brasileiro, dos corpos e vozes do elenco brasileiro, as restrições estruturais do teatro, a produção de documentos, a marcação na sala de ensaios, a união do espetáculo via sistemas de som e imagem, a aquisição de equipamentos específicos e o sistema que permite ‘chamar o show’ durante a apresentação são alguns dos temas que exploro. Com esta pesquisa, busquei assimilar o crescente interesse dos EO em relação organising e algumas das possibilidades oferecidas pela TAR quanto à multiplicidade e heterogeneidade inerentes às práticas organizativas, com o intuito de enriquecer a discussão acerca da organização e produção de bens e serviços criativos, destacando como a organização ‘espetáculo de teatro musical’ é múltipla e materialmente heterogênea, e não apenas uma ideia exclusiva à ação humana ou criatividade como insumo de produção, tal como apregoa a maior parte das descrições referentes às indústrias criativas.

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Made available in DSpace on 2016-12-08T17:06:52Z (GMT). No. of bitstreams: 1 rodrigo.pdf: 22044308 bytes, checksum: f239f6a8e87c8f74557b261a473ead1b (MD5) Previous issue date: 2011-05-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation investigates samba, as music, in Rio de Janeiro during the initial period in its consolidation as a national symbol the first decades of the 20th century in order to analyze the role of women in this process. There is a gap in the literature concerning the female subject as significant to the constitution of this national cultural expression, which has led researchers to represent samba as an essentially male sphere. The initial focus was on Pequena África do Rio de Janeiro , which was the context considered by most authors as the main scenario where samba could professedly find a fertile ground for its development as a typically Brazilian musical genre and as a symbol for national identity. In that place, I have established the presence of actual musicians such as Ciata, Perciliana, Carmem do Ximbuca, Maria Adamastor, Amélia Aragão, women known as Tias Baianas , who are usually considered to be only protectors and supporters of samba. Secondly, I have examined the role of women in samba in other segments of Rio de Janeiro society, focusing especially on musical theater. For samba to be established as a symbol for national identity, I start from the assumption that various aspects of samba culture had to be reinvented, including gendered ones. This gender reconfiguration is deeply related to the exaltation of the traditionally Brazilian myth of racial democracy and miscegenation, in which the invention of the mulatta has emerged as a key element for strengthening the dialogue between samba and the burgeoning entertainment industry that was forming around musical theater / Esta investigação lança‐se sobre o samba da cidade do Rio de Janeiro no período preliminar à sua consolidação como símbolo nacional primeiras décadas do século XX de modo a analisar a atuação das mulheres neste processo. A literatura apresenta escassas informações que apontem a figura feminina como sujeito importante para a constituição desta manifestação cultural, o que tem conduzido pesquisadores a apresentar o samba como um espaço essencialmente masculino. O foco inicial foi a Pequena África do Rio de Janeiro , contexto tomado pela maioria dos pesquisadores como o principal ambiente onde o samba teria encontrado um terreno propício para seu desenvolvimento enquanto gênero musical característico da cultura brasileira e símbolo da identidade nacional. Identifiquei neste reduto a presença de musicistas como Ciata, Perciliana, Carmem do Ximbuca, Maria Adamastor, Amélia Aragão, mulheres conhecidas como Tias Baianas , comumente apresentadas apenas como protetoras e acolhedoras do samba. Num segundo momento, examinei a participação das mulheres em outros segmentos da sociedade carioca, tendo como recorte principal o samba no teatro musicado. Parto do princípio que para o samba se estabelecer como símbolo da identidade nacional diversos aspectos da cultura do samba foram reinventados, inclusive no campo das relações de gênero. Esta reinvenção nas relações de gênero se efetuou através da celebração do mito da mestiçagem e da democracia racial, onde a invenção da mulata emergiu como elemento essencial para o fortalecimento do diálogo entre o samba e a incipiente indústria do entretenimento que se formava em torno do teatro musicado

Underneath the romance, comedy and exoticism, South Pacific is a story that questioned core American values, exploring issues of race and power at a time when these topics were intensely relevant-the original opened just four years post WWII, on the heels of Roosevelt's aggressive expansionist response to domestic instabilities. Much has been written about the depiction of war and racial prejudice in South Pacific. However, examining such topics in the context of their cultural and political moment (both in 1949 and 2008) and through the lens of Terry Eagleton's unique take on morality, is not only a fascinating study, but an intensely relevant and unchartered endeavor. This work concerns the evolution of an American code of ethics as it has been reflected and constructed in both Broadway productions of Roger and Hammerstein's South Pacific (c.1949, 2008). Specifically, it examines the depiction of WWII, America's imperialistic foreign policy, and the function of American patriotism in light of Terry Eagleton's theories surrounding an evolving code of ethics in 20th/21st century America. By so doing, this thesis uncovers answers to the following questions: What were the cultural and political forces at work at the time South Pacific was created (both in 1949 and 2008), and how did these forces influence the contrasting depictions of war, imperialism and patriotism in each version of the musical? In what ways were these productions reflective of a code of ethics that evolved from what Eagleton would classify as moral realism (prescriptive of behavior) to moral nihilism (reflective of behavior)? How did the use of this increasingly reflexive moral code make this politically controversial musical more palatable, and therefore commercially viable during the contrasting political climates of WWII and the recent war on Iraq? Determining answers to questions such as these enables us as a society to look back on our history-on our mistakes and triumphs-and recognize our tendency to find pragmatic justification for our actions rather than acknowledging the possibility of the existence of objective truth, which remains unchanged through time and circumstance.