Download The Theater Will Rock: A History of the Rock Musical, from by Elizabeth Lara Wollman PDF

By Elizabeth Lara Wollman

"A much-needed examine of the influence of rock song at the musical theater and its ensuing demanding situations, complexities, mess ups, and successes. someone attracted to Broadway will research very much from this book."
---William Everett, writer of The Musical: A study advisor to Musical Theatre

"As Wollman weaves her old narrative, she compellingly returns to . . . the clash among the aesthetics and ideologies of rock tune and the disciplined and advertisement practices of the musical stage."
---Theatre study International

"This well-written account places the highs and lows of manufacturing staged rock musicals in big apple urban into standpoint and is easily worthy interpreting for the intensity of perception it provides."
---Studies in Musical Theatre

The tumultuous decade of the Nineteen Sixties in the US gave beginning to many new rules and varieties of expression, between them the rock musical. An not likely offspring of the acting arts, the rock musical seemed whilst hugely designated and American artwork types joined onstage in manhattan urban. The Theater Will Rock explores the historical past of the rock musical, which has on the grounds that developed to develop into the most very important cultural affects on American musical theater, and a tremendous cultural export.
Despite the genre’s impression and popularity, there are nonetheless a few critics who declare that the time period “rock musical” is an oxymoron. the connection among rock and the musical theater has been stormy from the beginning, or even the relatively fresh luck of Rent has performed little to persuade theater manufacturers that rock musicals are whatever yet hugely dicy ventures. Elizabeth L. Wollman explores the explanations in the back of those challenging connections and appears on the socioeconomic forces that underlie aesthetic judgements. She weighs the impact at the rock musical by way of mass media, sound, and recording expertise, and the industrial pressures that experience affected manhattan theater normally over the last 3 many years. ultimately, Wollman bargains a meditation at the kingdom of the musical, its relation to rock, and, eventually, its future.
Packed with candid statement through individuals of recent York's shiny theater neighborhood, The Theater Will Rock strains the rock musical’s evolution over approximately fifty years, in well known productions comparable to Hair, The who is Tommy, Jesus Christ Superstar, The Rocky Horror photo Show, Little store of Horrors, Rent, and Mamma Mia!—and in remarkable flops similar to The Capeman.
Elizabeth L. Wollman is Assistant Professor of track at Baruch collage of the City collage of recent York.

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Additional resources for The Theater Will Rock: A History of the Rock Musical, from Hair to Hedwig

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7 Yet associations with authenticity did not wane in the transition from 25 THE THEATER WILL ROCK folk to rock; they merely shifted. ”8 Paradoxically, then, late-1960s rock musicians’ claims to represent a community were reinforced by how aggressively they expressed their individuality. At least in theory, it was a rock musician’s ability to display “real” emotion in composition and in performance that set him or her apart from pop performers. Simon Frith points out that prior to Bob Dylan, popular performers who wrote their own songs were not regarded as possessing “authentic” voices.

Despite its brief run—and the fact that it featured minimal rock ’n’ roll in›uence in its score—A Joyful Noise is noteworthy because it introduced a new approach to adapting popular music for Broadway: rather than hiring an old-school musical theater composer to adapt popular forms for the stage, Padula enlisted an outsider who was not terribly experienced with theater music, but who was very comfortable with folk and country music. The folk musician, satirist, and radio host Oscar Brand teamed with Broadway composer and lyricist Paul Nassau to write an original score for A Joyful Noise.

Everything has to be authentic, even though authenticity can also be constructed. Rock critics have a history of being hung up on the singer-songwriter, and Dylan being the godhead ‹gure. ”20 Not only do individual critics perpetuate such ideology; music periodicals do, too. Rolling Stone, one of the oldest, most widely circulated, and most in›uential American rock music magazines, is regularly criticized as a case in point. As David Sanjek argues, Rolling Stone founder and publisher Jann Wenner clearly “identi‹ed rock’s authenticity with a speci‹c set of ‹gures who formed the publication’s icons of the rock canon,” including Dylan, the Beatles, and the Rolling Stones.

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