Placing the musical theatre in the context of its most recent developments, between 1957 and 1989, the study begins by aiming to define the term, 'musical theatre',and notes the lack of serious critical attention paid to it. In the succeeding four chapters, the author constructs a basic model for critical analysis of musicals, rooted firmly in dramatic principles, not musical ones. He also examines: a) the inherent expressive qualities of its four basic media and their dramatic functions; b) the traditions and conventions which have developed to give theatrical life and dramatic significance to the form; c) questions of style as related to the musical,and, most importantly; d) the principles and process of synthesis,which, he argues, creates a new language of the musical and gives it its place as art. In the second part of the thesis, the author examines shows from the set period in relation to the four variables of his analytical model: i) the ideas artists want to express ii) the discovered devices of creation iii) the mechanics of presentation iv) public and critical response. By this means he explores the expressive range of the musical's recent history and its potential which continues to attract artists and audiences alike.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:533432 |
| Date | January 1990 |
| Creators | Phillips, Nicholas Lloyd |
| Contributors | Walton, J. Michael |
| Publisher | University of Hull |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Source | http://hydra.hull.ac.uk/resources/hull:3906 |
Page generated in 0.0012 seconds