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Musical - the history of development as a musical genre

Thảo luận trong 'Game Online' bắt đầu bởi alanpoe, 21/8/23.

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  1. alanpoe
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    alanpoe admin

    (Website tài trợ: kiến trúc nhà ở đẹp)
    Today, if you invite a person to go to an opera, operetta or musical, then he will most likely choose the latter. Let's see why, of all the varieties of musical and theatrical genres, it is the musical that has gained such massive popularity ...

    Let's start right away with the main thing. Come from Away Broadway Musical is a musical stage work that combines dramatic, musical, vocal and choreographic arts. Such an extensive set of functions allows it to be more spectacular, colorful, dynamic and therefore more accessible to perception.

    In fact, a musical is a story told through songs, based on a simple plot, active stage action and music. It was preceded by light musical genres such as operetta, burlesque, vaudeville. Many even consider it one of the types of American operetta, but still they differ significantly from each other: the operetta is based on musical symphonism, which retains the consistency of form and libretto, while in the musical the emphasis is on theatrical action with musical accompaniment.

    The ideal embodiment of this genre is the work of the composer J. Kern and libretist O. Hammerstein "The Floating Ship" (1927). At that time, this creation was not yet called a musical, but a musical comedy. However, the stereotype that the musical is only a kind of comedy genre began to quickly disappear with the advent of jazz, which gave unexpected depth to superficial musical and spectacular productions.

    The official date of birth of the musical is considered to be March 1943, when the premiere of the play "Oklahoma" by R. Rogers and O. Hammerstein took place on Broadway. This production was distinguished by its end-to-end dramaturgy, which was developed in symbiosis by all types of creativity: acting, music, vocals, plasticity, etc. It could no longer be called a "light comedy", because it carried such values as love and patriotism. That is why, over time, the music from this musical became the official anthem of Oklahoma.

    After this explosive performance, which won two Oscars and did not leave the Broadway stage for many years, a new era began, first in American, and then in world musical theater, which was headed by such composers as J. Gershwin, L. Bernstein, E. Lloyd Webber, R .Rogers, etc.
    Broadway "parties" became known to the whole world. The musical flourished! Theater repertoires were replenished annually with new works: Rosemary, I Sing About You, The Threepenny Opera, My Fair Lady, The Sound of Music, Fiddler on the Roof, Hello, Dolly! etc.

    But the development of the creative industry cannot be stopped, and in the late 60s, new musical genres, such as rock and disco, turned all the arrows on themselves and the popularity of musicals faded. Fortunately, the musical is a multifunctional genre and was quite ready to support and combine new musical trends. The pioneer in this symbiosis was Galt McDermot with his rock musical Hair. Then came Chicago, Chorus Line, and Andrew Lloyd Webber's super famous rock opera Jesus Christ Superstar.

    In Europe, they also fell in love with the musical, but they turned it red and more conservative for me. It was more like chamber concerts. The reason, of course, is in the methods and forms. On Broadway, an entreprise was preferred: one troupe - one project (musical), European theaters were characterized by a stationary cast of actors and the absence of bright scenery.
     

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