Millie Taylor – författare
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This lively textbook provides a comprehensive overview of the history, theory and practice of this popular theatre form. Bringing critical theory and musical theatre together, Millie Taylor and Dominic Symonds explore the musical stage from a broad range of theoretical perspectives. Part 1 focuses on the way we understand musicals as texts and Part 2 then looks at how musical theatre negotiates its position in the wider world. Part 3 recognises the affiliations of various communities with the musical stage, and finally part 4 unravels the musical’s relationship with time, space, intertextuality and entertainment. Written by leading experts in Musical Theatre and Drama, Taylor and Symonds utilise their wealth of knowledge to engage and educate the reader on this diverse subject.
With its accessible and extensive content, this text is the ideal accompaniment to any study of musical theatre internationally: an essential tool for students of all levels, lecturers, practitioners and enthusiasts alike.
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This original analysis of contemporary British pantomime addresses the question of how pantomime creates a unique interactive relationship with, and potentially transformative experience for, its audiences.British This is an accessible and valuable text that encourages readers to review their assumptions about pantomime and reconsider its importance as a popular theatre form. Pantomime draws audiences into the story, an engagement with the hero, and an empathetic attachment to the success of the quest. Attention is held by the familiarity of the event, and the comedians draw the audience into a relationship of complicity as they unite to create the unique experience of the live interactive performance. At other times the audience is diverted by the artifice of dance, the illusion of transformation and the surreal playfulness of physical and verbal comedy. The trick of pantomime is to maintain an effective balance between the intellectual appreciation of artifice, the chaotic complicity of interactivity, and the emotional engagement of story-telling.
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This book discusses an exciting laboratory that has been developing the practice of theatre music composition and sound design since 1961: the Royal Shakespeare Company. Musical practices have evolved as composers and musical directors inherited from the past and innovated with new technology; different interpretations of single plays in multiple iterations have provided a picture of developing styles, genres, working practices, technologies and contexts; actor musicianship has been practiced quietly and without fuss; and the role of the sound designer has appeared and transformed the theatrical soundscape. This book moves to musical theatre to evidence a continuum between its rich interdisciplinary textures and the musicodramatic world of Shakespeare’s plays, positioning the RSC as an innovative company that continually expands the creative and collaborative possibilities of the theatre.