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LEADER 04099cam a22004094a 4500

001 ocm62782236;

003 OCoLC;

005 20141211192209.0;

008 060103s2006 njuag b 001 0 eng ;

010 a| 2005038029;

020 a| 0691125244 (hardcover : alk. paper);

020 a| 9780691125244;

035 a| (Sirsi) o62782236;

035 a| (OCoLC)62782236;

042 a| pcc;

049 a| EREM;

050 00 a| ML2054b| .K6 2006;

082 00 a| 782.1/409732| 22;

100 1 a| Knapp, Raymond.=| ^A388412;

245 14 a| The American musical and the performance of personal identity /c| Raymond Knapp.;

300 a| xv, 470 pages :b| illustrations, music ;c| 25 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 433-447) and index.;

520 a| The American musical has long provided an important vehicle through which writers, performers, and audiences reimagine who they are and how they might best interact with the world around them. Musicals are especially good at this because they provide not only an opportunity for us to enact dramatic versions of alternative identities, but also the material for performing such alternatives in the real world, through songs and the characters and attitudes those songs project. This book addresses a variety of specific themes in musicals that serve this general function: fairy tale and fantasy, idealism and inspiration, gender and sexuality, and relationships, among others. It also considers three overlapping genres that are central, in quite different ways, to the projection of personal identity: operetta, movie musicals, and operatic musicals. Among the musicals discussed are Camelot, Candide; Chicago; Company; Evita; Gypsy; Into the Woods; Kiss Me, Kate; A Little Night Music; Man of La Mancha; Meet Me in St. Louis; The Merry Widow; Moulin Rouge; My Fair Lady; Passion; The Rocky Horror Picture Show; Singin' in the Rain; Stormy Weather; Sweeney Todd; and The Wizard of Oz. Complementing the author's earlier work, The American Musical and the Formation of National Identity, this book completes a two-volume thematic history of the genre, designed for general audiences and specialists alike.;

650 0 a| Musicalsz| United Statesx| History and criticism.=| ^A234771;

650 0 a| Musicalsx| Social aspectsz| United States.=| ^A91881;

650 0 a| Personality and culture.=| ^A3771;

650 0 a| Motion picturesz| United Statesx| History.=| ^A24227;

994 a| C0b| ERE;

596 a| 3;

998 a| 1058086;

999 a| ML2054 .K6 2006w| LCc| 1i| 30372014222407d| 7/16/2014e| 3/31/2014f| 4/9/2024g| 4l| MSTm| JMUSICn| 4p| $33.18r| Ys| Yt| MGESBKu| 10/23/2006x| BOOKz| MCIRCo| .STAFF. enhanced 1/26/23 -jjab;

The American musical and the performance of personal identity / Raymond Knapp.

Author/creator	Knapp, Raymond
Format	Book
Publication Info	Princeton, NJ : Princeton University Press, ©2006.
Description	xv, 470 pages : illustrations, music ; 25 cm
Subjects	Musicals--United States. --History and criticism. Musicals--Social aspects. --United States. Personality and culture. Motion pictures--United States. --History.

Contents	Personal genres. The Viennese connection: Franz Lehár and American operetta. The Merry Widow (1907) ; Naughty Marietta (1910) ; Little Mary Sunshine (1959) ; A Little Night Music (1973) -- The movie musical. Singin' in the Rain (film, 1952) ; Stormy Weather (film, 1943) and Bamboozled (film, 2000) ; Meet Me in St. Louis (film, 1944) ; Moulin Rouge (film, 2001) and Chicago (film, 2002)) -- Personal themes. Fairy tales and fantasy. Snow White and the Seven Dwarfs (animated film, 1937) ; The Wizard of Oz (film, 1939) ; Mary Poppins (film, 1964) ; Into the Woods (1987)) -- Idealism and inspiration. Camelot (1960) ; Man of La Mancha (1965) ; The Scarlet Pimpernel (1997) ; Once More, With Feeling (television, 2001)) -- Gender and sexuality. Annie Get Your Gun (1946) ; Gypsy (1959) ; Sweet Charity (1966) ; The Rocky Horror Picture Show (film, 1975) ; Hedwig and the Angry Inch (1998; film, 2001)) -- Relationships. Lady in the Dark (1941) ; Kiss me, Kate (1948) ; My Fair Lady (1956) ; Company (1970) ; Passion (1994) -- Epilogue. Operatic ambitions and beyond. Candide (1956) ; Sweeney Todd (1979) ; Evita (1979).
Abstract	The American musical has long provided an important vehicle through which writers, performers, and audiences reimagine who they are and how they might best interact with the world around them. Musicals are especially good at this because they provide not only an opportunity for us to enact dramatic versions of alternative identities, but also the material for performing such alternatives in the real world, through songs and the characters and attitudes those songs project. This book addresses a variety of specific themes in musicals that serve this general function: fairy tale and fantasy, idealism and inspiration, gender and sexuality, and relationships, among others. It also considers three overlapping genres that are central, in quite different ways, to the projection of personal identity: operetta, movie musicals, and operatic musicals. Among the musicals discussed are Camelot, Candide; Chicago; Company; Evita; Gypsy; Into the Woods; Kiss Me, Kate; A Little Night Music; Man of La Mancha; Meet Me in St. Louis; The Merry Widow; Moulin Rouge; My Fair Lady; Passion; The Rocky Horror Picture Show; Singin' in the Rain; Stormy Weather; Sweeney Todd; and The Wizard of Oz. Complementing the author's earlier work, The American Musical and the Formation of National Identity, this book completes a two-volume thematic history of the genre, designed for general audiences and specialists alike.
Bibliography note	Includes bibliographical references (pages 433-447) and index.
LCCN	2005038029
ISBN	0691125244 (hardcover : alk. paper)
ISBN	9780691125244

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Music	Music Stacks	ML2054 .K6 2006	✔ Available	Place Hold

The American musical and the performance of personal identity / Raymond Knapp.

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