Robert Gordon – författare

Orchestration in Musical Theatre offers an analytic and critical overview of the practice, execution, and effects of orchestration in musical theatre since the time that rock music became significant in the genre. Broadly described as the art of arranging a piece of music for a particular musical ensemble, orchestration is a specific skill that few composers or songwriters possess. This volume helps the reader understand and appreciate the art of orchestration and traces how the incorporation of rock and other types of popular music into scores for musical theatre on Broadway and in the West End fundamentally changed the genre’s sound. From discussions of specific instrumentation through to a brief history of the art, this book demystifies how different instrumentation contributes to a show’s soundscape.Featuring case studies from shows such as Hair, The Phantom of the Opera, The Lion King, Wicked, and Hamilton, this accessible and engaging volume in the Topics in Musical Theatre series gives students the tools to identify and discuss how orchestration contributes to the drama, characterization and dramaturgy of the modern musical.

The Oxford Handbook of Sondheim Studies offers a series of cutting-edge essays on the most important and compelling topics in the growing field of Sondheim Studies. Focusing on broad groups of issues relating to the music and the production of Sondheim works, rather than on biographical questions about the composer himself, the handbook represents a cross-disciplinary introduction to comprehending Sondheim in musicological, theatrical, and socio-cultural terms.This collection of never-before published essays addresses issues of artistic method and musico-dramaturgical form, while at the same time offering close readings of individual shows from a variety of analytical perspectives. The handbook is arranged into six broad sections: issues of intertextuality and authorship; Sondheim's pioneering work in developing the non-linear form of the concept musical; the production history of Sondheim's work; his writing for film and television; his exploitation and deployment of a wide range of musical genres; and how interpretation through key critical lenses (including sociology, history, and feminist and queer theory) establishes his position in a broader cultural context.

The stage musical constitutes a major industry not only in the US and the UK, but in many regions of the world. Over the last four decades many countries have developed their own musical theatre industries, not only by importing hit shows from Broadway and London but also by establishing or reviving local traditions of musical theatre. In response to the rapid growth of musical theatre as a global phenomenon, The Oxford Handbook of the Global Stage Musical presents new scholarly approaches to issues arising from these new international markets.The volume examines the stage musical from theoretical and empirical perspectives including concepts of globalization and consumer culture, performance and musicological analysis, historical and cultural studies, media studies, notions of interculturalism and hybridity, gender studies, and international politics. The thirty-three essays investigate major aspects of the global musical, such as the dominance of Western colonialism in its early production and dissemination, racism and sexism--both in representation and in the industry itself--as well as current conflicts between global and local interests in postmodern cultures.Featuring contributors from seventeen countries, the essays offer informed insider perspectives that reflect the diversity of the subject and offer in-depth examinations of specific cultural and economic systems. Together, they conduct penetrating comparative analysis of musical theatre in different contexts as well as a survey of the transcultural spread of musicals.

The stage musical constitutes a major industry not only in the US and the UK, but in many regions of the world. Over the last four decades many countries have developed their own musical theatre industries, not only by importing hit shows from Broadway and London but also by establishing or reviving local traditions of musical theatre. In response to the rapid growth of musical theatre as a global phenomenon, The Oxford Handbook of the Global Stage Musical presents new scholarly approaches to issues arising from these new international markets.The volume examines the stage musical from theoretical and empirical perspectives including concepts of globalization and consumer culture, performance and musicological analysis, historical and cultural studies, media studies, notions of interculturalism and hybridity, gender studies, and international politics. The thirty-three essays investigate major aspects of the global musical, such as the dominance of Western colonialism in its early production and dissemination, racism and sexism--both in representation and in the industry itself--as well as current conflicts between global and local interests in postmodern cultures.Featuring contributors from seventeen countries, the essays offer informed insider perspectives that reflect the diversity of the subject and offer in-depth examinations of specific cultural and economic systems. Together, they conduct penetrating comparative analysis of musical theatre in different contexts as well as a survey of the transcultural spread of musicals.

The stage musical constitutes a major industry not only in the US and the UK, but in many regions of the world. Over the last four decades many countries have developed their own musical theatre industries, not only by importing hit shows from Broadway and London but also by establishing or reviving local traditions of musical theatre. In response to the rapid growth of musical theatre as a global phenomenon, The Oxford Handbook of the Global Stage Musical presents new scholarly approaches to issues arising from these new international markets.The volume examines the stage musical from theoretical and empirical perspectives including concepts of globalization and consumer culture, performance and musicological analysis, historical and cultural studies, media studies, notions of interculturalism and hybridity, gender studies, and international politics. The thirty-three essays investigate major aspects of the global musical, such as the dominance of Western colonialism in its early production and dissemination, racism and sexism--both in representation and in the industry itself--as well as current conflicts between global and local interests in postmodern cultures.Featuring contributors from seventeen countries, the essays offer informed insider perspectives that reflect the diversity of the subject and offer in-depth examinations of specific cultural and economic systems. Together, they conduct penetrating comparative analysis of musical theatre in different contexts as well as a survey of the transcultural spread of musicals.

The Oxford Handbook of the British Musical provides a comprehensive academic survey of British musical theatre offering both a historical account of the musical's development from 1728 and a range of in-depth critical analyses of the unique forms and features of British musicals, which explore the aesthetic values and sociocultural meanings of a tradition that initially gave rise to the American musical and later challenged its modern pre-eminence. After a consideration of how John Gay's The Beggar's Opera (1728) created a prototype for eighteenth-century ballad opera, the book focuses on the use of song in early nineteenth century theatre, followed by a sociocultural analysis of the comic operas of Gilbert and Sullivan; it then examines Edwardian and interwar musical comedies and revues as well as the impact of Rodgers and Hammerstein on the West End, before analysing the new forms of the postwar British musical from The Boy Friend (1953) to Oliver! (1960). One section of the book examines the contributions of key twentieth century figures including Noel Coward, Ivor Novello, Tim Rice, Andrew Lloyd Webber, director Joan Littlewood and producer Cameron Macintosh, while a number of essays discuss both mainstream and alternative musicals of the 1960s and 1970s and the influence of the pop industry on the creation of concept recordings such as Jesus Christ Superstar (1970) and Les Misérables (1980). There is a consideration of "jukebox" musicals such as Mamma Mia! (1999), while essays on overtly political shows such as Billy Elliot (2005) are complemented by those on experimental musicals like Jerry Springer: the Opera (2003) and London Road (2011) and on the burgeoning of Black and Asian British musicals in both the West End and subsidized venues. The Oxford Handbook of the British Musical demonstrates not only the unique qualities of British musical theatre but also the vitality and variety of British musicals today.

The Oxford Handbook of Sondheim Studies offers a series of cutting-edge essays on the most important and compelling topics in the growing field of Sondheim Studies. Focusing on broad groups of issues relating to the music and the production of Sondheim works, rather than on biographical questions about the composer himself, the handbook represents a cross-disciplinary introduction to comprehending Sondheim in musicological, theatrical, and socio-cultural terms. This collection of never-before published essays addresses issues of artistic method and musico-dramaturgical form, while at the same time offering close readings of individual shows from a variety of analytical perspectives. The handbook is arranged into six broad sections: issues of intertextuality and authorship; Sondheim''s pioneering work in developing the non-linear form of the concept musical; the production history of Sondheim''s work; his writing for film and television; his exploitation and deployment of a wide range of musical genres; and how interpretation through key critical lenses (including sociology, history, and feminist and queer theory) establishes his position in a broader cultural context.

The Oxford Handbook of the British Musical provides a comprehensive academic survey of British musical theatre offering both a historical account of the musical's development from 1728 and a range of in-depth critical analyses of the unique forms and features of British musicals, which explore the aesthetic values and sociocultural meanings of a tradition that initially gave rise to the American musical and later challenged its modern pre-eminence. After a consideration of how John Gay's The Beggar's Opera (1728) created a prototype for eighteenth-century ballad opera, the book focuses on the use of song in early nineteenth century theatre, followed by a sociocultural analysis of the comic operas of Gilbert and Sullivan; it then examines Edwardian and interwar musical comedies and revues as well as the impact of Rodgers and Hammerstein on the West End, before analysing the new forms of the postwar British musical from The Boy Friend (1953) to Oliver! (1960). One section of the book examines the contributions of key twentieth century figures including Noel Coward, Ivor Novello, Tim Rice, Andrew Lloyd Webber, director Joan Littlewood and producer Cameron Macintosh, while a number of essays discuss both mainstream and alternative musicals of the 1960s and 1970s and the influence of the pop industry on the creation of concept recordings such as Jesus Christ Superstar (1970) and Les Misérables (1980). There is a consideration of "jukebox" musicals such as Mamma Mia! (1999), while essays on overtly political shows such as Billy Elliot (2005) are complemented by those on experimental musicals like Jerry Springer: the Opera (2003) and London Road (2011) and on the burgeoning of Black and Asian British musicals in both the West End and subsidized venues. The Oxford Handbook of the British Musical demonstrates not only the unique qualities of British musical theatre but also the vitality and variety of British musicals today.

The Oxford Handbook of the British Musical provides a comprehensive academic survey of British musical theatre offering both a historical account of the musical''s development from 1728 and a range of in-depth critical analyses of the unique forms and features of British musicals, which explore the aesthetic values and sociocultural meanings of a tradition that initially gave rise to the American musical and later challenged its modern pre-eminence. After a consideration of how John Gay''s The Beggar''s Opera (1728) created a prototype for eighteenth-century ballad opera, the book focuses on the use of song in early nineteenth century theatre, followed by a sociocultural analysis of the comic operas of Gilbert and Sullivan; it then examines Edwardian and interwar musical comedies and revues as well as the impact of Rodgers and Hammerstein on the West End, before analysing the new forms of the postwar British musical from The Boy Friend (1953) to Oliver! (1960). One section of the book examines the contributions of key twentieth century figures including Noel Coward, Ivor Novello, Tim Rice, Andrew Lloyd Webber, director Joan Littlewood and producer Cameron Macintosh, while a number of essays discuss both mainstream and alternative musicals of the 1960s and 1970s and the influence of the pop industry on the creation of concept recordings such as Jesus Christ Superstar (1970) and Les Misérables (1980). There is a consideration of "jukebox" musicals such as Mamma Mia! (1999), while essays on overtly political shows such as Billy Elliot (2005) are complemented by those on experimental musicals like Jerry Springer: the Opera (2003) and London Road (2011) and on the burgeoning of Black and Asian British musicals in both the West End and subsidized venues. The Oxford Handbook of the British Musical demonstrates not only the unique qualities of British musical theatre but also the vitality and variety of British musicals today.

The Oxford Handbook of the British Musical provides a comprehensive academic survey of British musical theatre offering both a historical account of the musical''s development from 1728 and a range of in-depth critical analyses of the unique forms and features of British musicals, which explore the aesthetic values and sociocultural meanings of a tradition that initially gave rise to the American musical and later challenged its modern pre-eminence. After a consideration of how John Gay''s The Beggar''s Opera (1728) created a prototype for eighteenth-century ballad opera, the book focuses on the use of song in early nineteenth century theatre, followed by a sociocultural analysis of the comic operas of Gilbert and Sullivan; it then examines Edwardian and interwar musical comedies and revues as well as the impact of Rodgers and Hammerstein on the West End, before analysing the new forms of the postwar British musical from The Boy Friend (1953) to Oliver! (1960). One section of the book examines the contributions of key twentieth century figures including Noel Coward, Ivor Novello, Tim Rice, Andrew Lloyd Webber, director Joan Littlewood and producer Cameron Macintosh, while a number of essays discuss both mainstream and alternative musicals of the 1960s and 1970s and the influence of the pop industry on the creation of concept recordings such as Jesus Christ Superstar (1970) and Les Misérables (1980). There is a consideration of "jukebox" musicals such as Mamma Mia! (1999), while essays on overtly political shows such as Billy Elliot (2005) are complemented by those on experimental musicals like Jerry Springer: the Opera (2003) and London Road (2011) and on the burgeoning of Black and Asian British musicals in both the West End and subsidized venues. The Oxford Handbook of the British Musical demonstrates not only the unique qualities of British musical theatre but also the vitality and variety of British musicals today.

The revised, updated version of this book includes an analysis of the sweeping political changes in South Africa since its original publcation in 1992. Other new material covers more theoretical issues and contemporary developments in scholarship, including a reconsideration of the film ?The Gods Must Be Crazy?; a discussion of ?expos thnography? and its attendant political/moral positioning; and an examination of the political situation in Namibia, with a close study of the near collapse of the Nyae Nyae Development Foundation.

Fifty Key Anthropologists surveys the life and work of some of the most influential figures in anthropology. The entries, written by an international range of expert contributors, represent the diversity of thought within the subject, incorporating both classic theorists and more recent anthropological thinkers. Names discussed include: Clifford GeertzBronislaw Malinowski Zora Neale Hurston Sherry B. OrtnerClaude Lévi-StraussRodney NeedhamMary DouglasMarcel Mauss This accessible A-Z guide contains helpful cross-referencing, a timeline of key dates and schools of thought, and suggestions for further reading. It will be of interest to students of anthropology and related subjects wanting a succinct overview of the ideas and impact of key anthropologists who have helped to shape the discipline.

Fifty Key Anthropologists surveys the life and work of some of the most influential figures in anthropology. The entries, written by an international range of expert contributors, represent the diversity of thought within the subject, incorporating both classic theorists and more recent anthropological thinkers. Names discussed include: Clifford GeertzBronislaw Malinowski Zora Neale Hurston Sherry B. OrtnerClaude Lévi-StraussRodney NeedhamMary DouglasMarcel Mauss This accessible A-Z guide contains helpful cross-referencing, a timeline of key dates and schools of thought, and suggestions for further reading. It will be of interest to students of anthropology and related subjects wanting a succinct overview of the ideas and impact of key anthropologists who have helped to shape the discipline.

The revised, updated version of this book includes an analysis of the sweeping political changes in South Africa since its original publcation in 1992. Other new material covers more theoretical issues and contemporary developments in scholarship, including a reconsideration of the film ?The Gods Must Be Crazy?; a discussion of ?expos thnography? and its attendant political/moral positioning; and an examination of the political situation in Namibia, with a close study of the near collapse of the Nyae Nyae Development Foundation.

The revised, updated version of this book includes an analysis of the sweeping political changes in South Africa since its original publcation in 1992. Other new material covers more theoretical issues and contemporary developments in scholarship, including a reconsideration of the film ?The Gods Must Be Crazy?; a discussion of ?expos thnography? and its attendant political/moral positioning; and an examination of the political situation in Namibia, with a close study of the near collapse of the Nyae Nyae Development Foundation.

The latest volume in the Michigan Modern Dramatists series offers an authoritative but accessible look at Harold Pinter, one of the greatest and most influential postwar British playwrights and author of classic works such as The Birthday Party and The Homecoming. Pinter was awarded the Nobel Prize for Literature in 2005 for his remarkable body of work and plays that "uncover the precipice under everyday prattle and force entry into oppression's closed rooms."Harold Pinter: The Theatre of Power focuses on the playwright's continuously innovative experiments in theatrical form while tracing the recurrence of a consistent set of ethical and epistemological concerns. Exploring important plays from across this prolific writer’s career, author Robert Gordon argues that the motivating force in almost all of Pinter's drama is the ceaseless desire for power, represented in his work as a compulsive drive to achieve or maintain dominance---whether it be the struggle to defend one's own territory from intruders, the father's battle with his sons to assert his patriarchal position in the family, the manipulation of erotic feelings in the gender warfare that motivates sexual relationships, the abuse of brute force by dictatorships and democracies, or simply the masculine obsession to dominate. Gordon demonstrates the adventurousness of Pinter's experimentation with form while at the same time exposing the ethical, epistemological, and aesthetic preoccupations that have persisted with remarkable consistency throughout his career.

The Purpose of Playing providesthe first in-depth introduction to modern critical acting, enabling students, teachers, and professionals to comprehend the different aesthetic possibilities available to today’s actors. The book presents a comparative survey of the major approaches to Western acting since the nineteenth century, their historical evolution, and their relationship to one another. Author Robert Gordon explores six categories of acting: realistic approaches to characterization (Stanislavski, Vakhtangov, Strasberg, Chekhov); the actor as a scenographic instrument (Appia, Craig, Meyerhold); improvisation and games (Copeau, Saint-Denis, Laban, Lecoq); political theater (Brecht, Boal); exploration of the self and other (Artaud, Grotowski); and performance as cultural exchange (Brook, Barba). The synthesis of these principal theories of dramatic performance in a single text offers practitioners the knowledge they need to contextualize their own practice within the wider field of performance, while encouraging theorists and scholars to be more sensitive to the material realities of artistic practice.“This analysis of major movements and figures from the early nineteenth century to the present is clear, thorough, and penetrating, and its scope across periods, countries, and styles is impressive.”--Xerxes Mehta, University of Maryland-Baltimore CountyRobert Gordon is Reader in Drama, Goldsmiths College, University of London.

Short accessible introductions to European literature and culture. Twentieth-century Italy was marked by a profound and often convulsive transformation in both society and culture, accompanied at various stages by war, violence and dictatorship. This was Italy's 'difficult' entry into modernity. The voices of Italian literature responded to this transformation with a bewildering combination of excitement and anxiety, from the loud embrace of the new in Futurism to melancholy laments for tradition. In the process, some of the greatest works of modern literature were created. Robert Gordon offers a vivid overview of the century's literature, charting a series of motifs of Italy's 'difficult modernity' - from war to the city, from language to geography, from marginal groups to avant-garde movements - through a wide array of writers and texts.

African research played a major role in transforming the discipline of anthropology in the twentieth century. Ethnographic studies, in turn, had significant effects on the way imperial powers in Africa approached subject peoples. Ordering Africa provides the first comparative history of these processes. With essays exploring metropolitan research institutes, Africans as ethnographers, the transnational features of knowledge production, and the relationship between anthropology and colonial administration, this volume both consolidates and extends a range of new research questions focusing on the politics of imperial knowledge. Specific chapters examine French West Africa, the Belgian and French Congo, the Anglo-Egyptian Sudan, Italian Northeast Africa, Kenya, and Equatorial Africa (Gabon) as well as developments in Britain, France, Germany, Italy, and Switzerland.A major collection of essays that will be welcomed by scholars interested in imperial history and the history of Africa.

An illustrated history of blues music, featuring blues artists of every era, over 350 stunning photographs and illustrations, and a wealth of rare graphic memorabilia Foreword by Marshall Chess, veteran record producer with legendary Chicago rhythm-and-blues label, Chess Records The deceptively simple, 12-bar musical form of blues has become the common denominator that has driven the popular music of the last hundred years. As John Lee Hooker put it: “The music we play . . . that music is the roots. Rock music, everything else, is like a branch on the same tree. It all comes from the blues.” Charting the history of blues music from its rural roots in the American South, and focusing on the key musicians and singers who brought it recognition worldwide, The Blues: A Visual History is a unique and fully illustrated account of the development of the blues, and features:  350 stunning photographs and illustrationsA wealth of archive photographyRare graphic memorabiliaBlues artists of every era, from pioneers like Ma Rainey and Robert Johnson, through legends such as Muddy Waters and B. B. King, to newer stars like Keb' Mo', Dom Flemons, and Shemekia CopelandForeword by Marshall Chess, veteran record producer with his family’s legendary Chicago rhythm-and-blues label, Chess RecordsAuthor Mike Evans is a musician, editor, and author whose books include the best-selling Elvis: A Celebration, and Ray Charles: The Birth of Soul. Consultant editor Robert Gordon is a Grammy Award–winning writer and filmmaker specializing in the music of the American south, and Scott Barretta is a blues specialist writer, broadcaster, and lecturer.

The Holocaust in Italian Culture, 1944–2010 is the first major study of how postwar Italy confronted, or failed to confront, the Holocaust. Fascist Italy was the model for Nazi Germany, and Mussolini was Hitler's prime ally in the Second World War. But Italy also became a theater of war and a victim of Nazi persecution after 1943, as resistance, collaboration, and civil war raged. Many thousands of Italians—Jews and others—were deported to concentration camps throughout Europe. After the war, Italian culture produced a vast array of stories, images, and debate through which it came to terms with the Holocaust's difficult legacy. Gordon probes a rich range of cultural material as he paints a picture of this shared encounter with the darkest moment of twentieth-century history. His book explores aspects of Italian national identity and memory, offering a new model for analyzing the interactions between national and international images of the Holocaust.

The Holocaust in Italian Culture, 1944–2010 is the first major study of how postwar Italy confronted, or failed to confront, the Holocaust. Fascist Italy was the model for Nazi Germany, and Mussolini was Hitler's prime ally in the Second World War. But Italy also became a theater of war and a victim of Nazi persecution after 1943, as resistance, collaboration, and civil war raged. Many thousands of Italians—Jews and others—were deported to concentration camps throughout Europe. After the war, Italian culture produced a vast array of stories, images, and debate through which it came to terms with the Holocaust's difficult legacy. Gordon probes a rich range of cultural material as he paints a picture of this shared encounter with the darkest moment of twentieth-century history. His book explores aspects of Italian national identity and memory, offering a new model for analyzing the interactions between national and international images of the Holocaust.

The Holocaust in Italian Culture, 1944–2010 is the first major study of how postwar Italy confronted, or failed to confront, the Holocaust. Fascist Italy was the model for Nazi Germany, and Mussolini was Hitler's prime ally in the Second World War. But Italy also became a theater of war and a victim of Nazi persecution after 1943, as resistance, collaboration, and civil war raged. Many thousands of Italians—Jews and others—were deported to concentration camps throughout Europe. After the war, Italian culture produced a vast array of stories, images, and debate through which it came to terms with the Holocaust's difficult legacy. Gordon probes a rich range of cultural material as he paints a picture of this shared encounter with the darkest moment of twentieth-century history. His book explores aspects of Italian national identity and memory, offering a new model for analyzing the interactions between national and international images of the Holocaust.

The revised, updated version of this book includes an analysis of the sweeping political changes in South Africa since its original publcation in 1992. Other new material covers more theoretical issues and contemporary developments in scholarship, including a reconsideration of the film ?The Gods Must Be Crazy?; a discussion of ?expos thnography? and its attendant political/moral positioning; and an examination of the political situation in Namibia, with a close study of the near collapse of the Nyae Nyae Development Foundation.

This remarkable book recovers three invaluable perspectives, long thought to have been lost, on the culture and music of the Mississippi Delta. In 1941 and '42 African American scholars from Fisk University - among them the noted composer and musicologist John Wesley Work, sociologist Lewis Wade Jones, and graduate student Samuel C. Adams - joined folklorist Alan Lomax of the Library of Congress on research trips to Coahoma County, Mississippi. Their mission was to explore the musical habits and history of the black community there and ""to document adequately the cultural and social backgrounds for music in the community."" Among the fruits of the project were the earliest recordings by the legendary blues singer and guitarist Muddy Waters. The hallmark of the study was to have been a joint publication of its findings by Fisk and the Library of Congress. However, the field notes and manuscripts by the Fisk researchers became lost in Washington. Lomax's own book drawing on the project's findings, The Land Where the Blue Began, did not appear until 1993, and although it won a National Book Critic's Award, it was flawed by a number of historical inaccuracies. Recently uncovered by author and filmmaker Robert Gordon, the writings, interviews, notes, and musical transcriptions produced by Work, Jones, and Adams in the Coahoma County study now appear in print for the first time. Their work captures, with compelling immediacy, a place, a people, a way of life, and a set of rich musical traditions as they existed sixty years ago. Until the surfacing of these documents, Lomax's perspective was all that was known of the Coahoma County project and its research. Now, at last, the voices of the other contributors can be heard. Including essays by Bruce Nemerov and Gordon on the careers and contributions of Work, Jones, and Adams, Lost Delta Found will become an indispensable historical resource, as marvelously readable as it is enlightening.