The Musical as Drama
All complete with slippers and pipe. Take me like I am er leave me be! If you cain’t give me all, give me nuthin’— And nuthin’s ...
the vantage point of number mode, which has the lilt of song and dance. The Case of Henry Higgins Love duets are worth consideri ...
The better book brought on a need to disguise the standard- form love song without giving it up, and the best example of this re ...
to an end on the spoken “In America they haven’t used it for years!” and then starts in again on “Why can’t the English teach th ...
eruption that begins “I can see her now” runs to fifty-four mea- sures. Joseph Swain has observed that the melody resembles Eliz ...
time, and lets them extend their characters musically. Those who do not sing and dance are lesser characters. They stand out bec ...
reverses, and by the end, as Higgins sings some of her motifs, she is creating a new character for him.^7 These are valid points ...
centered approach because there is no way to think that Eliza and Higgins are “like” him or are “learning” from him. But he belo ...
music—these are vastly different songs. Yet the touch of simi- larity in their melodies does mean something. One can say that th ...
account of lost hopefulness, and now Sam is the one character responsive enough to hear her song after her death and express it ...
people sing about depends on the work that goes into the kind the black people sing about. But this point of racial difference i ...
looks like book material. The Egermanns receive an invitation for a weekend in the country. Anne Egermann does not want to accep ...
Figure The original cast of A Little Night Music singing “A Weekend in the Country.” Used by permission of the photographer, M ...
CHARACTER AND VOICE OF THE MUSICAL 75 of plot are all sung to the same tune, a standard AABA struc- ture in fast 6/8, which allo ...
Most American literature, and most American drama, is cast in a realist mode and takes the portrayal of the individual char- act ...
basic questions as the next steps. What does it mean for indi- viduals in a musical to break into song, and how does this con- v ...
Chapter Four THE ENSEMBLE EFFECT Chorus Lines W E HAVE just seen why singing and dancing cho- ruses have been such a long-standi ...
ber softens Voltaire’s original “we must cultivate our garden” ending, but it sets forth the penchant for inclusion that the mus ...
The older musicals normally began with a chorus number in order to establish the ensemble convention from the begin- ning. This ...
Anna’s aria after her death in Street Scene, one could say that Sam is a sensitive character, but that is not the full point. Th ...
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