000 04040namna2200373 i 4500
005 20240528083216.0
020 _a9781472584366
040 _cAE-ShPAA
050 _aML1731
_bG67 2016
082 0 4 _a782.1/40941
_223
100 1 _aGordon, Robert,
_d1951 November 28-
_eauthor.
_914100
245 1 0 _aBritish musical theatre since 1950 /
_cRobert Gordon, Olaf Jubin and Millie Taylor.
264 1 _aLondon :
_bBloomsbury Methuen Drama, An imprint of Bloomsbury Publishing Plc,
_c2016.
264 4 _c©2016
300 _ax, 274 pages :
_billustrations ;
_c23 cm.
336 _atext
_btxt
_2rdacontent
337 _aunmediated
_bn
_2rdamedia
338 _avolume
_bnc
_2rdacarrier
490 1 _aCritical Companions
501 _aP.B
504 _aIncludes bibliographical references (pages 250-253), discography, (pages 255-257), filmography (pages 259-260) and index.
505 0 _aCover page; Halftitle page; Series page; Title page; Copyright page; CONTENTS; LIST OF ILLUSTRATIONS; INTRODUCTION; PART I MUSICALS AND SOCIAL CHANGE; 1.1 BRITISH THEATRE AND SOCIETY AFTER THE SECOND WORLD WAR; 1.2 INNOVATION AND NOSTALGIA: CAMP IN THE POST-WAR BRITISH MUSICAL; Case Study 1: Salad Days; 1.3 ROCK AND ROLL AND THE THEATRE REVOLUTION; 1.4 THE PLAY WITH MUSIC: POLITICAL THEATRE AND WORKING-CLASS CULTURE; Case Study 2: Blood Brothers; 1.5 THE IMPACT OF OLIVER!; 1.6 AFTER JESUS CHRIST SUPERSTAR : GLOBALIZATION AND CULTURAL SPECIFICITY; Case Study 3: Billy Elliot.
505 8 _a1.7 GLOBAL AND LOCAL: THE FAMILY MUSICALCase Study 4: Matilda -- The Musical; PART II BRITISH POPULAR CULTURE AND MUSICAL THEATRE; 2.1 NOSTALGIA IN CHARACTER AND DRAMATIC FORM; Case Study 5: Oh What a Lovely War!; 2.2 REFLECTING MULTICULTURALISM49; Case Study 6: Bombay Dreams; 2.3 CHANGING SIGNIFICATION IN POPULAR MUSIC; Case Study 7: Oliver!; Case Study 8: The Rocky Horror Show; Conclusion to Part Two; PART III NARRATIVE AND STORY-TELLING IN THE BRITISH MUSICAL SINCE 1970; Preamble; Introduction; 3.1 CONCEPT RECORDINGS: WHEN WHAT YOU SEE ISWHAT YOU HAVE HEARD.
505 8 _aCase Study 9: Jesus Christ Superstar3.2 SUNG-THROUGH SHOWS: WHEN THE SPOKEN WORD IS SHUNNED; 3.3 STAGE ADAPTATIONS OF NOVELS: WHEN THE WRITTEN WORD BECOMES THEATRICAL ACTION; Case Study 10: Les Misérables; Case Study 11: The Phantom of the Opera; 3.4 ORIGINAL STORIES: WHEN THE CONTENTIS UNKNOWN; 3.5 JUKEBOX MUSICALS: WHEN YOU KNOWALL THE SONGS; Case Study 12: Mamma Mia!; 3.6 STAGE ADAPTATION OF FILMS: WHEN THE CINEMATIC BECOMES THE THEATRICAL; CONCLUSION; TIMELINE; NOTES; SELECTIVE BIBLIOGRAPHY; DISCOGRAPHY; FILMOGRAPHY; INDEX.
520 8 _aThis critical introduction to British musical theatre since 1950 is the first book to discuss its post-war developments from the perspective of British - as opposed to American - popular culture. The genre is situated within the historical context of post-war British society in order to explore the range of forms through which significant sociocultural moments are represented. Introductory chapters analyse the way British musicals have responded to social change, the forms of popular theatre and music from which they have developed and their originality in elaborating new narrative strategies since the seventies. A key feature of the book is its close readings of twelve key works, from Salad Days (1954) and Oliver! (1960) to global smash hits such as Les Miserables (1985) and The Phantom of the Opera (1986) and beyond, including the latest critical and box-office success Matilda (2011). Also analysed are British favourites (Blood Brothers, 1983), cult shows (The Rocky Horror Show, 1975) and musicals with a pre-existing fan-base, such as Mamma Mia! (1999).
648 7 _a1900-1999
_2fast
650 0 _aMusical theater
_aMusical
_zGreat Britain
_2gnd
_xHistory
_y20th century.
_914101
651 7 _aGrossbritannien
_2gnd
_96186
700 1 _aJubin, Olaf,
_eauthor.
_914102
700 1 _aTaylor, Millie,
_eauthor.
_914103
830 0 _aCritical companions (Methuen Drama)
_914104
910 _a1099
942 _cBK
999 _c730
_d730