This dissertation develops the premise that, whilst conceding the difficulties inherent in the medium, musical theatre should be regarded as an art form, worthy of serious critical evaluation. This view is supported by a detailed examination of four works, chosen from different periods of Sondheim's career: A Funny Thing Happened on the Way to the Forum (1962); Sweeney Todd (1979); Into the Woods (1988) and Assassins (1991). The argument develops through the application of accepted literary critical procedures and systematically examines the thematic and prosodic content of the lyrics, as well as their dramatic potentiality, growing in Sondheim's more mature works, which suggests a seriousness of intent manifest in other forms of the dramatic arts. The emotional and dramatic contribution of the music is examined, in the way it creates mood and atmosphere and modifies or comments on action and character, promoting a musical vocabulary that accommodates a dramatic function. / English Studies / M.A. (English)

This thesis looks to explore the musical Cabaret through a critical, historical and political lens, with particular focus on Sally Bowles, questioning the creation and agency of this character in contrast with the political and societal values of various productions. Using a socio-political analysis, this thesis discusses the important relationship between politics and theater, using the pro-choice abortion movements of the 1960's as a way to understand Sally Bowles as a complex device for political and social commentary.

The aim of this research is to trace how the theatrical translation process, specifically within the genre of musical theatre, can be systematically approached by a director. Through practice-led research, this study documents the directorial process that was followed in order to translate the playtext of Bat Boy – the Musical from the American source context to the South African context. The intent of the process was to ensure that signifiers of the culture – as set out in the playtext – shifted to become indicative of the cultures of the performers who were cast in the production or target text. The first research phase addressed the theoretical framework of the study and the distinctions between theatrical translation, adaptation and variation were contemplated in order to substantiate the use of the term translation in the two-tiered translation approach suggested. In the second research phase, relevant dynamics in theatrical semiotic processes were used to analyse the playtext of Bat Boy – the Musical. In this, the first tier of translation, the dissertation surveyed the signs at work in the playtext taking cognisance of the ideological and aesthetic codes within the source text. Then, the corresponding social and textual codes within the socio-cultural domain to which the playtext was translated were investigated. The third research phase and second tier of translation occurred on the level of the mise-en-scène. Here, the directorial strategy was to engage the performers actively in the translation process, by including their respective artistic and cultural paradigms in the translation of the playtext and the characters contained therein. The translation of the playtext was explored within the cross cultural – and more specifically the intercultural – theatrical framework by allowing the multicultural and multilingual cast to source their diverse, cultural backgrounds and unique social codes as well as South African theatrical codes in order to place the musical in the South African context. The fourth and final research phase reflects upon the intercultural translation of Bat Boy – the Musical and considers, not only the efficacy of the directorial process for the translation of a musical theatre playtext from one cultural context to another, but also how this particular form of American musical theatre resonates within the multicultural and multilingual South African society. / Dissertation (MA)--University of Pretoria 2015. / Drama / Unrestricted

This Diploma Thesis deals with the issue of Prague musicals celebrity marketing, which is a significant characteristics of the contemporary Prague musical scene. The theoretical part of this thesis introduces the basic theories of celebrity studies and the specifics of marketing mix of musicals, in which celebrities play a significant role. On the margine, the thesis is also focused on current overproduction of musicals and related problems in marketing activities of musical productions. The main part of this thesis is the own research, which was realized by analyzing the promotional materials of the greatest musical productions in Prague, as well as questionnaire survey among the visitors of musical shows. The aim of this research was to assess the contemporary celebrities of the Prague musicals and to assess the influence of celebrities on the decision to go to see some musical.

This thesis examines the realisation of archetypes, symbols and mythic processes reflected in the musical discourse of selected 20ftt Century stage musicals with a hero theme, namely The Fantasticks, Camelot, Jesus Christ Superstar and Man of La Mancha. Of these, Camelot and Jesus Christ Superstar are mythically by far the more complex, so these will receive correspondingly far greater attention to background, immediately prior to their musical analyses. Insofar as the mythic language of symbols is heavily invested with description, the text reflects this investment. The purpose of this research has been to examine the way in which composers of the 1960s and '70s have revealed symbolic entities inherent in the dramatic plots of these musicals without necessarily being academically aware of deliberately revealing these entities. This being the case, the symbolic grammar and structural psychic elements evident in the musicals could be said to elicit a symbolically related compositional response conveyed in musical structures. Furthermore, the implications of the mythic choice of the hero theme itself and how this is conveyed both in the drama and in compositional choices are examined and discussed in an attempt to comprehend the Zeitgeist of the era, and how its representation In a popular musico-dramatic genre contributes to our insights into human and societal health. / Thesis (DMus)--University of Pretoria, 2010. / Music / unrestricted

AFRIKAANS: In hierdie studie word 'n voorstel gemaak vir die skep van 'n interdissiplinere musiekblyspel vir die seniorfase (Graad 7-9). Die uitgangspunt vir hierdie musiekblyspel is die dinamiese interaksie wat daar tussen sprokies en musiek bestaan. In voorafgaande navorsing deur die outeur, is hierdie interaksie as die integrasieteorie geformuleer. Die integrasieteorie word in hierdie MMus-verhandeling deur middel van storytelling met die kurrikulum verbind. Die vertel-elemente van filmmusiek word ondersoek. Die werk van die filmprodusent, Walt Disney, as sinoniem vir die kombinasie van musiek, sprokies, film en storytelling, dien as voorbeeld vir die skep van die musiekblyspel. Improvisasie¬materiaal, na aanleiding van die fases en motiewe van 'n gekose sprokie, vorm die basis vir die skep van musiek vir die musiekblyspel. Die wedersydse ondersteuning wat tussen die sprokie en die musiek tot stand kom, verhoog die opvoedkundige waarde van hierdie projek. Die skep van hierdie musiekblyspel bied moontlikhede vir suksesvolle kurrikulum-integrasie. ENGLISH: In this study a proposal is made for the creation of an interdisciplinary musical for the senior phase (Grades 7-9). The point of departure for this musical is the dynamic interaction that exists between fairy tales and music. In preliminary research by the writer, this interaction is formulated as the theory of integration. In This MMus dissertation the theory of integration is linked to the curriculum by means of storytelling. The narrative elements of film music are examined. The work of the film producer, Walt Disney, as synonym for the combination of music, fairy tales, film and storytelling, serves as an example for the creation of the musical. Improvisation material, in terms of the phases and motifs of the chosen fairy tale, forms the basis for the creation of music for the musical. The mutual support that comes about between the fairy tale and the music, enhances the educational value of this project. The creation of this musical presents possibilities for successful curriculum integration. / Dissertation (M Mus (Music Education))--University of Pretoria, 2006. / Music / unrestricted

"The purpose of this study is to determine the extent of interest and activity in musical stage productions in the public schools of America. In addition, there appears to be a need for definite information concerning; (a) the degree of encouragement given to this type of activity by national professional organization, local groups and individuals; (b) the availability of teaching materials relating to music drama, opera and other musical stage works; (c) finally, because music educators are not agreed as to the value of stage productions, it is desirable that an evaluation of these activities be made"--Introduction. / Typescript. / "May, 1955." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Music Education." / Advisor: W. L. Housewright, Professor Directing Study. / Includes bibliographical references (leaves 34-36).

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Mark Catlett will portray the role of Orin Scrivello D.D.S., as well as various other "cameo" roles, at Seaside Music Theater in Daytona Beach, Florida from January 13- February 13 2005. The role of Orin Scrivello will provide me with several acting challenges as well as multiple subjects and themes to research. The most challenging aspect of creating, developing and embodying the character of Orin will be his sadomasochistic nature and his blatant abuse towards Audrey. Sadomasochism is defined as "the deriving of sexual gratification, from being physically or emotionally abused". It is also defined as "a willingness or tendency to subject oneself to unpleasant or trying experiences". The psychology of sadomasochism is completely foreign to my life experience and will have to be deeply explored to fully realize the inner workings of Orin's behavior. To supplement the exploration of the psychology of sadomasochism, research will be completed on the following topics: • Sadomasochism in regards to the lead characters of Little Shop of Horrors. • The history of Little Shop of Horrors from its roots in the cult horror film of 1960, followed by the 1983 Off-Broadway production, segueing into the 1986 re-make film version, and culminating in the 2003 official Broadway production. Portrayal of Orin Scrivello D.D.S. also demands the creation of several other characters in the second act of the show. This will require me to develop several different characters ranging from the sadomasochistic dentist, to an ambitious entrepreneur, to even dressing in drag to portray a female florist customer. This will give me an opportunity to show versatility as well as research several different character personalities and dramatic structures. These characters come in and out of the florist shop very quickly, so the challenge will be to both perform a quick change of costume and also be able to completely switch characterizations within minutes. These characters should be different enough that the audience does not immediately realize it is the same actor playing all of these roles.