«Детский альбом» в театре «Зазеркалье» - художественный эксперимент режиссёра А. В. Петрова (1989 год)

Musical theatre is a tough and over-crowded industry. Yet, despite the huge competition, many performers find auditioning difficult with little knowledge of what the directors, creative teams and producers are looking for, or how to win the panel over with their unique talent. As a leading international casting director, Neil Rutherford has seen thousands of hopefuls audition over the years. Uniquely, he also understands what it is like to audition from his years as a professional actor in musical theatre. This book provides a unique perspective on the musical theatre audition process and how to improve the chances of landing a role. With wit, humour and insight, Neil Rutherford guides the reader through the crucial elements of musical theatre auditions, opening up the process of casting and auditioning to the thousands of hopefuls trying to secure work in this industry every year, as well as anyone involved in musical theatre. With a foreword by Tony-award-winning director Bartlett Sher, the book also contains contributions from some of the world's leading directors and musical directors, including Sir Richard Eyre and Jerry Mitchell, adding further valuable insight from those at the centre of the musical theatre world. This book is a vital tool for anyone hoping to improve their audition chances and survive in the world of musical theatre.

The chorus has been a foundational element in theatrical tradition since ancient Greece, where it served as a narrative and moral guide. In the context of modern musical theatre, however, the chorus has evolved into a multifaceted performance ensemble that contributes significantly to the narrative, emotional, social, and aesthetic dimensions of a production. This study explores the complex roles played by the chorus in musical theatre through a qualitative analysis of literature and selected case studies, including Les Misérables, West Side Story, Hamilton, Rent, and Hadestown. Using a thematic content analysis approach, the research identifies four primary functions of the chorus: narrative support, emotional amplification, sociopolitical representation, and aesthetic enhancement. The findings reveal that the chorus is not a secondary or decorative element but a central storytelling mechanism that engages audiences and deepens dramatic impact. Furthermore, the paper highlights the chorus’s capacity to embody collective identities, reflect political themes, and enhance performative spectacle. The discussion also emphasizes the need for greater recognition of ensemble labor in both academic and professional contexts. This study contributes to ongoing scholarship in musical theatre by reasserting the importance of the chorus as a dynamic, expressive, and ideologically significant force within the genre.

The article is devoted to the drama of Bertolt Brecht (1898–1956), the peculiarities of its genre palette and analysis of the main factors of the playwright's artistic method. To achieve this goal, the following research methods were used: descriptive; matching method; literary analysis and synthesis. The Brecht Theater is represented by genre varieties of theatrical forms: expressionist drama, musical, opera, operetta, Lehrstück, epic and dialectic theater. The article proves that dialectics is the ideological soil and the conceptual core of the Brecht Theater. The dialectic poetics of a playwright should be understood as the method of analysis and argumentation presented by the Hegelian triad: thesis – antithesis – synthesis. In accordance with the dialectical concept, the Brecht theater puts in the center primarily the principle of contradiction, aimed at a multifaceted understanding of phenomena, overcoming a frozen, ossified way of thinking. The study defines the key concepts and principles of creating the drama of Bertolt Brecht, namely the «alienation effect» (Verfremdungseffekt) and assemblage (composition). The principle of the «alienation effect» is that a familiar phenomenon appears in the theater from an unexpected perspective, and therefore requires awareness of the viewer’s novelty. The means of this is the constant violation of theatrical illusion, the reality of what is happening on stage. The assemblage stipulates that the theatrical action is not a homogeneous system, but is a «made», «constructed» plane of various heterogeneous «materials»: dialogical discourse is interrupted by lyro-epic components (songs); in the musical plan, which is designed in the same style, jazz elements are suddenly «mounted», actors exchange roles during the performance, elements of the cinema «penetrate» the event plane, the causal course of the events depicted is interrupted by the demonstration of banners or posters with provocative appeals. The prospects for further research are the literary analysis of post-Brecht theater, that is, drama, which appeared as an imitation or negation of the dramatic principles of Brecht's theater.

28 Reviews (including clerical) interests,were indeed immensely complex. This realization leads to a number of criticisms. This book is so packed with information and analysis that it has the makings of a standard work that one would want to consult again and again. To achieve that, however, more consideration for the user would have been required: a good index, for example, maybe even a listing, with dates and other pertinent information, of themany scholars, associations and organizations, and periodicals mentioned; better proof-reading (to remove embarrassing mistakes, such as the three different spellings of the name of the author of Imperial Leather. Race, Gender, and Sexuality in theColonial Conquest [ 1994], Anne McClintock) ;and meaningful footnotes on the actual page rather than being referred to one of themore than a thousand endnotes where one then finds a name and date to be checked in the bibliography ? an exhausting wild-goose chase. In parts, especially in thewide-ranging introductory chapter, the author has the tendency to subsume virtually all 'anthropological' thought since the Renaissance (literally from Copernicus to Freud) under one sinister hierarchical (i.e. paternalist and racist) and universalist super-narrative, thus implicitly creating her own post-colonial and feminist counter-narrative. This approach brings with it the distinct danger of practising what it pretends to criticize. But even with these minor objections, overall this book marks an impressive and important achievement. National University of Ireland, Maynooth Florian Krobb The Great Tradition and Its Legacy. The Evolution of Dramatic andMusical Theater in AustHa and Central Europe. Ed. byMichael Cherlin, Halina Filipowicz and Richard L. Rudolph. (Austrian and Habsburg Studies 4). New York and Oxford: Berghahn. 2003. xiii + 274 pp. $75.00; ?55.00 (hardback). isbn 1-57181-173-7. $25.00; ?18.50 (paperback; 2004). isbn 1-57181 4?3-5 The trouble with grandiose titles is that the reader usually expects rather more than can be given within the compass of a relatively slim volume. This title certainly promises much, and what we have are fifteen essays on aspects of drama and musical theatre, ranging over two centuries. The book is divided into two sections: 'dramatic theater' (introduced by Halina Filipowicz) and 'musical theater' (introduced byMichael Cherlin). These introductions repay careful reading (even ifwe may not agree with Filipowicz's suggestion of the sexual excitement created by theatrical performances, p. 6) and provide some coherence to a wide-ranging collection of articles. The theatre section is divided into two parts, of which the first, 'The Enlightenment and the "New Beginning'", contains essays on 'Moral optimism and the fine arts in late-eighteenth-century Austria' (by the historian Ernst Wangermann), on the uses towhich nineteenth-century Polish dramatists put the 'national hero' Tadeusz Kosciuszko (Halina Filipowicz; but we note that none of the four plays mentioned was staged inVienna), on Nestroy, linking him to several 'followers' in the twentieth century (CarlWeber), on pantomime, AUSTRIAN STUDIES, I3, 2OO5 281 dance and physical culture in German and Austrian modernism (Harold B. Segal), and on Max Reinhardts Viennese productions of the 1920s (Michael Patterson). The second part, 4Post-Holocaust and Postmodern Theater', has essays on Jelinek's Nora play (Christina Kiebuzinska) and on George Tabori (Hans-Peter Bayerd?rfer), as well as two on Thomas Bernhard ? on Heldenplatz (Alfred Pfabigan) and Vor demRuhestand (Jeanette R. Malkin). The main focus ison Austrian drama, and readers, depending on their knowledge of the subject matter, will find something of interest inmost of the papers. This reviewer particularly enjoyed four, those by Segal, Kiebuzinscka, Bayerdorfer and Malkin. 'Pantomime, Dance, Sprachskepsis, and Physical Culture inGerman and Austrian Modernism' covers in itsnine pages a broad base and will, hopefully, encourage readers to look out works they haven't yet read and to relate drama to a wider field. Kiebuzinska's 'Elfriede Jelinek's Nora Project; or what happens when Nora meets the capitalists' provides a thorough, ifstraightforward, analysis ofJelinek's satirical 'Nora' play written in 1979, deconstructing Ibsen's A DolVs House and The Pillars of theCommunity.Hans-Peter Bayerd?rfer's 'George Tabori's Return to theDanube, 1987-1999' looks at another of the 'anti-Austrian' dramatists of the late twentieth century, putting Tabori's efforts into the...

It is examined the creative work of French opera composer and critic Ernest Reyer (1823– 1909), who was also the author of opera “Sigurd”.Relevance of the study lies in the attempt to bring in the Ukrainian musicological context the creative work of Ernest Reyer.The main objective of the study is to answer the question of whether the opera of the French composer Ernest Reyer “Sigurd” belongs to the world wagnerian movement.The study was carried out by using comparative method: comparison was made between E. Reyer’s and R. Wagner’s operatic versions of the ancient German legend about Sigurd.It is presented the short biography of the E. Reyer, by underlineding his dimensioned cultural ties with outstanding contemporaries such as H. Berlioz, G. Flaubert, T. Gautier and others. It is presented the general outlook of composer’s creative heritage and short characteristics of Reyer’s main operatic, ballet and symphonic works. It is described the creative work of E. Reyer as French critic. It is raised a question of E. Reyer’s belonging to the world Wagnerism, which is proved by the creation of opera on the plot of “Poetic Edda” and “The Song of the Nibelungs”. It is analyzed the literature sources of libretto of “Sigurd” (its authors – Michel Carré, Camille du Locle and Alfred Blau). It is examined the synthesis of German legendary subject and traditions of French musical theatre. It is proved the fidelity of E. Reyer to the national operatic traditions that is why this opera can’t be regarded as “Wagnerian” opera. It is underlined such urgent tendency in musical dramatic composition of “Sigurd” as using of leitmotivs. It is presented short review of the modern staging and recordings of opera.The conclusion of the study is to determine the historical value of E. Reyer’s opera “Sigurd” as the unique attempt of an alternative French interpretation of the glorious ancient Germanic and Scandinavian epics, which became the source of the tetralogy “The Ring of the Nibelung”. In “Sigurd” E. Reyer’s “Germanic” plot combines the traditions of the French national musical theater and some of the latest techniques of musical drama, making this opera a landmark of European music culture of the nineteenth century.

O'Neill on the Musical Theater Stage

Have you ever sat in a darkened theatre and not been able to take your eyes off one radiant performer as they drew you into their real yet imaginary world? If so, you were experiencing synergy, also known as the 'It' factor; that magical, ephemeral energy that has defied explanation - until now. Find Your 'It' Factoris an informative handbook for anyone seeking to explore their personal light or re-ignite their inner flame, onstage or off. Explored through musical theatre performance, this guide combines original research with practical application which in turn helps you understand the essential elements that make up the 'It' factor, elevating your performance beyond the ordinary. Drawing on years of practical experience within the professional world of musical theatre in the UK and Australia, Jacqui Hall Cuny introduces and unpacks the concept of 'It' in relation to performance. Using theory and primary research, she asks:what does it mean to have 'It'?; can 'It' be learned and commanded at will?; what can advance 'It' and what shuts it down?; andhow can we use 'It' in our everyday lives? Featuring a foreword by Philip Quast and interviews from 42 Australian musical theatre actors and creative directors this is a unique and engaging must-have for those entering the industry. Whether you are a professional performer seeking to grow your existing skill base or a student seeking the confidence to express yourself freely, this book unlocks secrets to ensure you succeed. This book is accompanied by a companion website with videos of techniques and exercises used in the book.

Tell It to the World: The Broadway Musical Abroad studies how the Broadway musical has traveled the world, influencing and transforming local idioms and traditions. It focuses on the ways the musical has been indigenized in South Korea and Germany, two nations occupied by the United States after World War II that have become key commercial centers for Broadway musicals. By the 1990s, Broadway imports were all the rage in both, while home-grown musicals transformed the US prototypes. Part I of the book considers the fundamental questions: What is a musical? Why is it the great success story of US theatre? How has it been assimilated to musical theatre traditions around the world? Part II focuses on musical theatre in South Korea, studying the import/export business in large-scale musicals about Korean history and innovative experiments that mix local performance traditions with the Broadway style. Part III moves to Germany to survey the history of musicals from 1945 until the fall of the Berlin Wall, the reconfiguration of musical theatre conventions by experimental directors, and the groundbreaking German-language productions of Broadway classics by Barrie Kosky and other innovative directors.

Renowned today as a prominent African-American in music theater and the arts community, composer, conductor, and violinist Will Marion Cook was a key figure in the development of American music from the 1890s to the 1920s. This book looks at his life’s story, drawing on his unfinished autobiography and his wife Abbie’s memoir. A violin virtuoso, Cook studied at Oberlin College (his parents’ alma mater), Berlin’s Hochschule für Musik with Joseph Joachim, and New York’s national Conservatory of Music with Antonín Dvořák. Cook wrote music for a now-lost production of Uncle Tom’s Cabin for the Chicago World’s Fair of 1893, and then devoted the majority of his career to black musical comedies due to limited opportunities available to him as a black composer. He was instrumental in showcasing his Southern Syncopated Orchestra in the prominent concert halls of the United States and Europe, even featuring New Orleans clarinetist Sidney Bechet, who later introduced European audiences to authentic blues. Once mentored by Frederick Douglas, Will Marion Cook went on to mentor Duke Ellington, paving the path for orchestral concert jazz. Through interpretive and musical analyses, the book traces Cook’s successful evolution from minstrelsy to musical theater. Written with his collaborator, the distinguished poet Paul Lawrence Dunbar, Cook’s musicals infused American musical theater with African-American music, consequently altering the direction of American popular music. Cook’s In Dahomeym was the first full-length Broadway musical to be written and performed by blacks. Alongside his accomplishments, Cook’s contentious side is revealed—a man known for his aggressiveness, pride, and constant quarrels, he became his own worst enemy in regards to his career. The book also sets Cook’s life against the backdrop of the changing cultural and social milieu: the black theatrical tradition, white audiences’ reaction to black performers, and the growing consciousness and sophistication of blacks in the arts, especially music.

The article highlights the activities of the Children’s Music Studio at the All-Ukrainian Mykola Leontovych Music Society (AMSL), which existed for only six months in 1923. Using archival materials and contemporary periodicals, the chronology of events has been reconstructed, and some of the Studio’s educational disciplines have been outlined. Special attention is given to Savely Futorjansky, who was the key educator and head of the Studio. Among the Studio’s collaborators were Hryhoriy Veryovka, Pavlo Tychyna, and Lydia Paparuk. The Children’s Music Studio was established within the framework of the cultural policy of the time to promote music education, particularly the musical upbringing of children and the training of future music professionals. The Studio’s educational program included two main areas: basic music education (choral singing, music theory, music history, music listening, and rhythmic gymnastics) and children’s creative activities (piano performance, conducting, percussion ensemble, theatrical productions, as well as musical, literary, and plastic arts). The Studio fostered the all-around creative development of children by combining elements of formal music education with artistic practice. The main pedagogical principles of S. Futorjansky were based on a rigorous approach to music education, the use of high-quality musical works that were thematically and musically appropriate for children, and the application of a comprehensive teaching method. Futorjansky personally taught most of the Studio’s subjects, including musical creativity, piano, music listening, music theory, and, together with L. Paparuk, choral singing. He was also the initiator of a children’s music magazine. Pavlo Tychyna was assigned to teach literary creativity, and Lydia Paparuk was to lead musical-theatrical productions. Vacant teaching positions were one of the factors that ultimately contributed to the Studio’s closure. Chronology of the Studio’s activities: On January 20, 1923, S. Futorjansky prepared the “Detailed Report on the Children’s Music Studio,” which was preliminarily approved by the Presidium of the Society on February 11. On February 24, Futorjansky presented the concept of the Studio at the General Assembly of the AMSL, where the Organizational Bureau was also approved. On February 28, he was officially appointed head of the Studio. Classes began in March–April, and on May 1, the Studio held its only concert. Financial difficulties, combined with a shortage of premises, teachers, and students, ultimately led to the cessation of the Studio’s activities on August 29, 1923, by decision of the Presidium of the AMSL. Although short-lived, the Children’s Music Studio at the All-Ukrainian Mykola Leontovych Music Society was a significant attempt to advance children’s music education. Its closure was a notable loss for Ukrainian music pedagogy, particularly regarding experimental approaches to teaching children. This research contributes to a deeper understanding of the development of music education in Ukraine, especially in the 1920s, and opens new avenues for further scholarly study in this field.

The article reveals the role of theatrical-critical thought in the process of constituting the Ukrainian music and drama theatre in the multicultural time space of the Russian and Austro-Hungarian empires in the late XIX – beginning of the XX centuries. The research methodology consists in the application of historical-cultural, analytical, systematic, art-scientific methods, which provide an opportunity to analyze the ideological and aesthetic content of theatrical-critical activity, to explore the genre specifics of its formation in the context of nation-building. The scientific novelty of the work is to reveal the social-communicative, artistic-aesthetic, educational role of national theatrical-critical thought in the process of constituting national and artistic-aesthetic features of Ukrainian music and drama theatre in the sociosphere of the time. Conclusions. The theatrical-critical activity of outstanding theatrical artists, leading theatrical critics was aimed at creating a single national theatrical space, popularization of the cultural and historical heritage of Ukraine. National theatrical-critical thought performing socio-communicative, artistic and aesthetic, educational role formed the ideological and spiritual priorities of the Ukrainian community, promoted ethnocultural authenticity, cultural and historical traditions and had an influence on the process of constituting national and artistic features of Ukrainian music and drama theatre in the sociosphere of the time. Keywords: Ukrainian music and drama theatre, nation-building, sociosphere, traditions, theatrical-critical thought, repertoire.

Introduction Using popular and jazz in formal education is controversial for educators and some extent, the greater popular community. Many musical styles historically categorized as popular, such as jazz, blues, country, musical theater, rhythm and blues, gospel, rock, and hip hop were created in the United States. But American educational institutions have been slow accept these indigenous musical practices as worthy of study in the higher education curriculum. Nonetheless, as the twentieth century progressed, a small number of college programs began add popular the curriculum. In this article, I will present preliminary research on how junior colleges included popular and jazz in their curriculum during the Swing Era, spanning from 1935-1945. American Popular in Higher Education In an address the MENC Society for Research in Education in 2000, Jere Humphreys observed, American educators have been trying bend the American public's musical knowledge, tastes, and practices our collective will since before our nation became a nation. Beginning in colonial days and extending the present day, educators and others have been trying tell Americans what of they should perform, listen to, and even appreciate. (1) kind of music that Humphreys mentions is Western European art music, as it is known in the academy, or classical music, as it is more commonly known by the general public. Although the curriculum began diversify during the second half of the twentieth century, Western European art still provides the foundation for academic musical studies in higher education. In his ethnographic study of Midwestern university schools of music, Heartland Excursions, ethnomusicologist Bruno Nettl concludes, ... the 'music' in schools of always means, exclusively or overwhelmingly, Western classical (also called 'art music,' 'canonic music,' 'cultivated music,' 'serious music,' and even--wryly--'real music' and 'normal music'). (2) Reviewing the course catalogs of college and university programs in 1998, Sammie Ann Wicks arrives at a similar conclusion. She writes, The rigid 'classical-music-only' orientation has dominated American universities' department curricula for so long, in fact, that this cultural style is now considered universal and is assumed be the model for all others. We do not have Theory of in the Elite Western-European Tradition in the curriculum, we have 'Music Theory;' not 'Appreciation ofMusic in the Elite Western-European Tradition, but 'Music Appreciation.' (3) In an address his American colleagues at MENC, British musicologist Christopher Small comments on the lack of value placed on indigenous American musical styles in all areas of education. He writes, to this outsider it seems strange that in the very heartland of this powerful and endlessly varied musical culture he should find that those who are charged with developing the musicality of young people should place so little value on it, and should cling instead, with a tenacity that looks a little like desperation, the great works of the European past. (4) These scholars are informed by the contemporary concepts of multiculturalism, which arose during the Civil Rights Era of the 1950s and 1960s. Its apogee can be seen in the pronouncements of the Tanglewood Declaration in 1968, when a group of educators agreed that Music of all periods, styles, forms, and cultures belongs in the curriculum. musical repertory should be expanded involve of our time in its rich variety, including currently popular teenage and avant-garde music, American folk music, and the of other cultures. (5) It is unclear whether the authors of this statement were addressing the entire spectrum of formal education including college and university programs, but nevertheless these sentiments had a significant effect in the years following the declaration. …

The Melodramatic Nation: Integration and Polarization in the Argentine Cinema of the 1930s

The purpose of the given studies is to find out the origin of the lyrical opera genre in European music theatre. The lyrical opera is connected with academic tradition, and popular sphere that allows us to find the parallels with Chinese national art. The guarantee of it is the performance choice and public confession. Chinese singers love to sing the compositions of the lyrical French opera and audience understands them because there is their own line of the lyrical opera Chinese culture such as the Kunqu old-time opera which is well-known in popular cultural sphere at the beginning of the XXI century. In lyrical opera the lyricism is a factor of the melodious hymn way of expression, which has formed the basis of operatic vocalization. Including in French operatic tradition it appeared as the variety of the genre manifestation of the opera (the lyrical tragedy) where music formed scenic syntheses for actions and ideality of the vocal expression. The French operatic tradition formed the opposite school to Italian one and German operatic symphonic style. It was found in J. Duprez vocal-timbre opening, which had made closer the expressiveness of tenor and baritone-bass by means of character. However, the caution of the using given vocal-timbre innovation in French operatic creative activity later was explained by popular theatre tendencies to of the forms, including spiritual music. The Spiritual value of the French men’s vocal art opposes the dramatization timbre of and post periods. In Italian it is entitled the technology tenors of Verdi and their analogue in baritone quality. The practice of lyricalhymn singing united spiritual and public traditions of the vocal culture which were realized in the first French music theatre in the middle of the XIX century. It is not accidentally that the creator the lyrical opera (1859, Faust) C. Gounod had a spiritual san and wanted to reconstruction of church basis of the expression in opera. There were hymn genre and sublime moral ideas-images. They were personified in music of song-cavatina as corresponding to declarative statement of moral basis strength of being and manifestations nature. The analysis the most significant lyrical points of the opera Faust shows us that C. Gounod tries to make that music genre closer to applied-home melody, with sample high spiritual lyric poets of old fellows, contributing semantic moral depth and artistic value of the manifestation of life feeling in feature of the personages-image. Gounod-preacher, Gounod-teacher’s social program of supporting the people from social bottom, defined the originality of his artistic program. There he exceedingly united the requirements of high and low, heroic and comic genres, brought the generalising lyrics of the number song-аria features of the main heroes on position of the leading expressive typology of operatic compositions. The given tendency to simplicity in operatic drama within serious genre has the analogies with populism in Traviata where the waltz base of music and life realism of the characters vestment in modern cloth (the factor of the comic genre) contributed the relationship with small genre subspecies of the operatic performance. Don’t forget that the French operetta appeared at the same time with Gounod lyrical opera, but in its music-developed number turned out to the reduction. But it seemed only as a parody of the feathered-vоcаl heights of the expression. A. Dargomyzhskij and other Russian composers turned to of speech, and its projections in operatic singing, avoiding wealth of symphonic style and vоcаl of arias. The German music as R. Wagner one became firmly established in redundancy of symphonic style, but in categorical accentuation of declamations and removing ensemblechoral contrast with solo fragment. It simplified the facility of the invoiced decision of the operatic show. So we can make the conclusion about C. Gounod innovation. He worked in resonance with similar other national schools, keeping the national preferences. C. Gounod invented a new genre and named it – a lyrical opera. In French tradition it is connected with Greek-antique stimulus of the artistic process in given national school. Thus, the French lyrical opera formed a new history stage of the finding the opera as music drama where the leading principle is solidarity with folk, national and church origins of this type of art. The lyrical opera finds approximation to of the forms of the folk music tradition what does not form the prerogative French national music scene. In Chinese practice of the music theatre with dramatic Beijing opera, special role has lyrical Kunqu opera. It has become well-known in world popular cultural space at the end of the XX – at the beginning of the XXI centuries, it notes about rapprochement of different national school in the world.

Indonesia has a wide range of theatres, traditional and modern, that incorporate music. How to identify ‘musical theatre’ in such a rich context is a question of working definitions and genealogy. Commercial theatre histories since the early twentieth century offer rough parallels to the Anglo-American musical. In recent years, direct influence from the United States has brought about anglophone productions of Broadway musicals and new, locally created Indonesian theatre work more overtly inspired by the Broadway musical.