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The article present an interview with Kieran Griffiths, director of "The White Handkerchief", play. It discusses the play depicts the Bloody Sunday massacre in Derry, Northern Ireland; its impact on families affected by the tragedy; the play's approach to reframing grief as a way of honoring lost loved ones; the choice of using musical theater to delve into the chaos of the event; and the spiritual significance of elevating the memory of those who died in the tragedy.

The transnational circulation of persistent racial types that are attached to Asian/American women have shaped Asian-focused narratives and roles on Broadway. The King and I (2015) and KPOP (2022) exemplify Asian/American women's performative labor and the tensions embedded in and disruptive of the contested political arena of Broadway musical theatre. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos.info is the property of Pontificia Universidad Catolica de Chile, Facultad de Comunicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article, I analyze a rhythmic device in musical theater performance that is often used but rarely discussed: The sudden break into halftime. Breaking into halftime—a rhythmic shift that is performed and perceived as occurring at half the tempo (or speed) of the groove in preceding and subsequent sections—has the effect of abruptly stretching out and slowing down musical temporality. With a break into halftime, a song's groove is suddenly broader, more open, and expansive. When accompanied by lyrics, the move suggests deliberateness, calls attention to the lyrical address, and invites a considered response from the listener. It is a musical device akin to drastically slowing down a spoken cadence to ensure that the listener is fully grasping the significance of one's words. With or without lyrics, this temporal disruption has a powerful effect on listeners' bodies as, suddenly, the established timing of one's musical experience is disrupted and immediately set to half the speed of the previous pace. By analyzing the use of halftime in three filmed musicals—Newsies, Rent, and the Rocky Horror Picture Show—I show how the rhythmic device carries with it social coding of solidarity and collective power among queer, marginalized, and/or otherwise outcast individuals and ultimately alters the broader narrative of the shows. Ultimately, I articulate how halftime serves to queer time and forge collective action, allowing us to reimagine what sort of politics, formations, collectives, and futures are possible. [ABSTRACT FROM AUTHOR]

When Pete Townshend decided to call his band's 1969 record Tommy a 'rock opera', he established a phrase equally easy to interrogate and to take for granted. And yet that provocation remains a remarkably fertile framing device that challenges conventional understandings of both 'rock' and 'opera'. This article analyses Tommy as a conscious attempt to engage the conventions of the traditional opera medium and as a postmodern provocation that challenges the limitation for fixed media to inspire active engagement in its audience. As a work explicitly about the framing of entertainment, Tommy engages an ontological contradiction – between performed music and its conventions on the one hand, and the social signification of an ambitious story about liberation on the other – that is reflected in the work's liminal connection to both the commercial and artistic worlds. The article considers the opera from several angles: as a libretto, meaning its structured story; as a score, meaning the recording which any subsequent performance is expected to reference if not reproduce; and as performance. I focus on Tommy's first stagings: The Who's own during their album tour (which included a show at the Metropolitan Opera House), the 1971 Seattle Opera production and Ken Russell's film. I suggest that the gambit of a 'rock opera' allows us to engage the essential question of whether an audience can ever be truly activated in a landscape where the slipperiness of meaning is too often codified into empty signifiers of the very activation it ostensibly wishes to produce. [ABSTRACT FROM AUTHOR]

The article presents an ongoing research project which aims to map the everyday musical life of Pest-Buda and outlines the structure of the public musical events of the city. It offers an explanation of the reunion as a concert genre in a regional context. The paper details the background, operation and structure of the musical life of the city based on the analysis of three daily newspapers, the Budapesti Hírlap, the Hölgyfutár and the Pesth-Ofner Lokalblatt und Landbote. More than 5,000 articles relating to the public musical life of the cities appeared in the pages of these newspapers in the 1857 issues alone. The structure of the public concert life of Pest-Buda, based on this microhistorical research, can be divided into the following categories: concerts, opera and musical theatre performances, church music, promenade concerts and promenade music, music performances in cafés and restaurants, balls and dances. From these categories, special attention has been given to the reunion genre, trying to define it more precisely based on existing re search (Kálmán Isoz) and on new research on the period’s press material as well as archival musical sources (Eins für Alles. Großes Potpourri by Karl Morelli). [ABSTRACT FROM AUTHOR]

Career management is a concept of interest at present for organizations that aim to maintain staff employment in the long term, with the expected performance. This study looks at aspects of artistic career management within a musical theatre. The empirical research approach includes an analysis of how the artistic career is managed, starting with the studies followed by the activities that employees carry out today and projections for the future. The results of the study show that the studies completed by respondents are compatible with the current job, and the general perception of career is related to the exercise of passion. [ABSTRACT FROM AUTHOR]

Copyright of Acotaciones: Investigación y Creación Teatral is the property of Real Escuela Superior de Arte Dramatico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article aims to analyze the rendering of the musical genius, Wolfgang Amadeus Mozart in Peter Shaffer’s dramaturgy (Amadeus) and on the big screen (Milos Forman), with methodological insights into adaptation studies (from the play to the film, from the written text to the performance) also illustrated in the version performed on the stage of the Iași Athenaeum. [ABSTRACT FROM AUTHOR]

The paper examines one of the fragments of the creative heritage of the famous German architect Hans Poelzig: his competition project of the State Ukrainian Theatre of Mass Musical Action for 4000 seats for Kharkiv. The project is viewed through the prism of little-known competitive events of 1930, which makes it possible to decipher its architectural, compositional, urbanistic and functional ideas, to reveal its symbolism. The study is based on the architect's original drawings preserved in the archive, primary sources of the early 1930s, biographical and critical works of other authors dedicated to the nominees of the Kharkiv competition, as well as on a comparative and meaningful analysis of architectural graphics and textual documentation. [ABSTRACT FROM AUTHOR]

In recent years, the longstanding practice of producing and circulating bootleg recordings of Broadway musicals has escalated as have condemnations of this activity as detrimental to the commercial theatre industry. Drawing on work from media industry studies, this article reframes theatre bootlegging not as a detrimental practice, but as one that may have generative contributions to the theatre industry for its promotional effects. Rather than celebrating such efforts as wholly resistant or co-opted, however, we must understand bootlegging as essentially fraught, staging the inherent tension between the Broadway musical as art and commerce and blurring the distinction between producers and consumers. Critical attention to theatrical bootlegging as a social and cultural practice foregrounds the range of stakeholders in theatre culture as well as the myriad ways that they function as market actors. [ABSTRACT FROM AUTHOR]

Copyright of EU-topías: A Journal on Interculturality, Communication & European Studies is the property of Universite de Geneve, Global Studies Intitute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)