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The "Dansical": American musical the...

University of Colorado at Boulder., Theatre and Dance.

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The "Dansical": American musical theatre reconfigured as a choreographer's expression and domain.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The "Dansical": American musical theatre reconfigured as a choreographer's expression and domain./
作者:	Stiehl, Pamyla Alayne.
面頁冊數:	444 p.
附註:	Adviser: Bud Coleman.
Contained By:	Dissertation Abstracts International69-04A.
標題:	Dance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoeng/servlet/advanced?query=3303864
ISBN:	9780549508489

The "Dansical": American musical theatre reconfigured as a choreographer's expression and domain.
Stiehl, Pamyla Alayne.

The "Dansical": American musical theatre reconfigured as a choreographer's expression and domain. - 444 p.

Adviser: Bud Coleman.

Thesis (Ph.D.)--University of Colorado at Boulder, 2008.

Genres are never static; and the American musical theatre is no exception, as it continues to mature and evolve, generating many new forms in the process. One such evolutionary offspring is the all-dance musical, a particular hybrid of concert dance and musical theatre, otherwise termed the "dansical." This dissertation defines, anthologizes, and analyzes the dansical, while correspondingly documenting and dissecting its facilitative choreography/dance paradigm within the Broadway musical arena.

ISBN: 9780549508489Subjects--Topical Terms:

610547
Dance.

The "Dansical": American musical theatre reconfigured as a choreographer's expression and domain.
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245 1 4 $a The "Dansical": American musical theatre reconfigured as a choreographer's expression and domain.
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500 $a Source: Dissertation Abstracts International, Volume: 69-04, Section: A, page: 1222.
502 $a Thesis (Ph.D.)--University of Colorado at Boulder, 2008.
520 $a Genres are never static; and the American musical theatre is no exception, as it continues to mature and evolve, generating many new forms in the process. One such evolutionary offspring is the all-dance musical, a particular hybrid of concert dance and musical theatre, otherwise termed the "dansical." This dissertation defines, anthologizes, and analyzes the dansical, while correspondingly documenting and dissecting its facilitative choreography/dance paradigm within the Broadway musical arena.
520 $a The dansical begs historicization, delineation, and exploration, for its dance-dominant form seemingly negates the traditional song/dance/text model of musical theatre while simultaneously asserting a claim to "musical" status. In order to specifically address and analyze the dansical and its dance/choreographic import and impact on the Broadway stage, this dissertation first defines the form as follows: (1) The dansical is an all-dance production created by an authoritative, authorial Broadway choreographer/director and intended as a musical theatre work for a Broadway audience. (2) The dansical puts choreography and dance at the forefront---at the expense of the components of score and book---while the production's "star" is the choreographer.
520 $a Building upon this definition, the dissertation maps the dansical's lineage, development, and realization. The first chapter defines terms and generally historicizes Broadway dance/choreography, as well as the dansical. The following chapters set forth theoretical precepts which foreground, inform, and contextualize arguments and subsequent findings; these include Richard Wagner's Gesamtkunstwerk as interpreted and applied in musical theatre scholarship, the phenomenological self-expressive mode of performance as it pertains to choreography/dance, and reception theory in regards to theatre venue, criticism, and spectatorship. Lastly, the following musicals/dansicals are fully addressed: (1) Broadway antecedents by choreographer/directors Asadata Dafora, Katherine Dunham, and Hanya Holm; (2) semi-realized dansicals or variants, thereof; (3) fully realized dansicals, i.e., Dancin' (1978), Dangerous games (1989), Chronicle of a death foretold (1995), Fosse (1999), Swing! (1999), Contact (2002), and Moving' Out (2002). As a result of the aforementioned addresses and analyses, this dissertation aims to explore, interrogate, and illuminate the liminal concert dance/musical work that is the dansical, as well as its surrounding paradigms within the musical theatre genre.
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790 1 0 $a Osnes, Beth $e committee member
790 1 0 $a Randall, Erika $e committee member
790 1 0 $a Riis, Thomas L. $e committee member
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