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ISBN: 9781441177049 1441177043 Year: 2010 Publisher: London ; New York Continuum
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Fiction --- History and criticism. --- History and criticism
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ISBN: 9780691121895 Year: 2013 Publisher: Princeton ; Oxford Princeton University Press
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Fiction --- History and criticism. --- History and criticism
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ISBN: 0393021947 Year: 1977 Publisher: New York Norton
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ISBN: 0674002903 Year: 2000 Volume: 1 Publisher: Cambridge, Mass. London Harvard University Press
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ISBN: 3476101010 Year: 1971 Publisher: Stuttgart : Metzler,
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Anecdotes --- History and criticism. --- History and criticism
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ISBN: 0028713184 0500015031 Year: 1991 Publisher: New York (N.Y.) : London : Schirmer books ; Thames and Hudson,
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ISBN: 9004104526 9004102957 9004103872 Year: 1996 Publisher: Leiden Brill
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Qasidas --- History and criticism. --- History and criticism
ISBN: 0816632294 Year: 2001 Publisher: Minneapolis University of Minnesota
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ISBN: 0691164622 1400865409 0691127301 1322239649 9780691127309 9781400865406 9780691164625 9780691164625 9781322239644 Year: 2006 Publisher: Princeton, New Jersey : Princeton University Press,
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Derived from the colorful traditions of vaudeville, burlesque, revue, and operetta, the musical has blossomed into America's most popular form of theater. Scott McMillin has developed a fresh aesthetic theory of this underrated art form, exploring the musical as a type of drama deserving the kind of critical and theoretical regard given to Chekhov or opera. Until recently, the musical has been considered either an "integrated" form of theater or an inferior sibling of opera. McMillin demonstrates that neither of these views is accurate, and that the musical holds true to the disjunctive and irreverent forms of popular entertainment from which it arose a century ago. Critics and composers have long held the musical to the standards applied to opera, asserting that each piece should work together to create a seamless drama. But McMillin argues that the musical is a different form of theater, requiring the suspension of the plot for song. The musical's success lies not in the smoothness of unity, but in the crackle of difference. While disparate, the dancing, music, dialogue, and songs combine to explore different aspects of the action and the characters. Discussing composers and writers such as Rodgers and Hammerstein, Stephen Sondheim, Kander and Ebb, Leonard Bernstein, and Jerome Kern, The Musical as Drama describes the continuity of this distinctively American dramatic genre, from the shows of the 1920's and 1930's to the musicals of today.
Musicals --- History and criticism. --- History and criticism
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Year: 1963 Publisher: Paris : Presses universitaires de France,
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