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A musical of one's own: American wom...

Stollenwerk, Joseph John.

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A musical of one's own: American women writing musicals 1970 - 1985.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	A musical of one's own: American women writing musicals 1970 - 1985./
作者:	Stollenwerk, Joseph John.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
面頁冊數:	320 p.
附註:	Source: Dissertation Abstracts International, Volume: 78-02(E), Section: A.
Contained By:	Dissertation Abstracts International78-02A(E).
標題:	Theater history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10144781
ISBN:	9781339998992

A musical of one's own: American women writing musicals 1970 - 1985.
Stollenwerk, Joseph John.

A musical of one's own: American women writing musicals 1970 - 1985. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 320 p.

Source: Dissertation Abstracts International, Volume: 78-02(E), Section: A.

Thesis (Ph.D.)--Indiana University, 2016.

In "A Musical of One's Own: American Women Writing Musicals 1970 -- 1985," I use Virginia Woolf's A Room of One's Own as a touchstone for exploring the writing and composing by women in American musical theatre. This is a neglected segment of theatre history: musical theatre has only recently received much scholarly attention, and the vast body of feminist theatre scholarship has largely ignored musical theatre. The few works that examine the intersection of gender and musical theatre focus almost entirely on the representations of gender onstage, which has left a gap in scholarship regarding the many women who create musicals.

ISBN: 9781339998992Subjects--Topical Terms:

2144911
Theater history.

A musical of one's own: American women writing musicals 1970 - 1985.
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520 $a In "A Musical of One's Own: American Women Writing Musicals 1970 -- 1985," I use Virginia Woolf's A Room of One's Own as a touchstone for exploring the writing and composing by women in American musical theatre. This is a neglected segment of theatre history: musical theatre has only recently received much scholarly attention, and the vast body of feminist theatre scholarship has largely ignored musical theatre. The few works that examine the intersection of gender and musical theatre focus almost entirely on the representations of gender onstage, which has left a gap in scholarship regarding the many women who create musicals.
520 $a I first compile and analyze data regarding the number of new musicals produced on and off Broadway in relation to the sex of the authors. This creates a previously unavailable picture of the number of women contributing to musical theatre writing over the last seventy-five years. During the time frame examined in this dissertation, the first all-female-written musicals in New York premiered and the number of musicals co-written by women increased.
520 $a The following three chapters analyze thirteen musicals from this time period. These include mainstream Broadway entertainment and smaller experimental Off-Broadway productions. I use a variety of feminist lenses, including second-wave feminisms, black feminism, queer theory, and the feminist application of Bertolt Brecht's theories of Epic Theatre. I look at these musicals in relationship to the women's movement, anti-feminist backlash, and theories of canonicity.
520 $a I first examine five representative examples from the time period, including all-female, all-male, and mixed-sex writing teams. I examine how these musicals portray ideas of women and work, how they deploy feminism(s), and to what extent the sex of the authors affects the musicals' form and content. The final two chapters are in-depth case studies. First, I examine the musicals of Betty Comden, who wrote the lyrics and/or book for many shows and films with Adolph Green. Next, I examine the individual and collective work of writer/director Vinnette Carroll and composer/lyricist Micki Grant. Thus, this dissertation provides a portrait of the previously neglected work women were creating in American musical theatre.
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