Missed cues: music in the American spoken theater c. 1935-1960

The period from the end of World War I through the 1950s has been called “the Golden Age of Drama on Broadway.” Subsumed within this period is another sort of golden age, of music in the American spoken theater, Broadway and beyond, c. 1935-60. Unlike more familiar, and better-studied, genres of dramatic music such as opera, ballet, and the Broadway-style musical, music composed for spoken dramas is neither a definitive part of the dramatic form nor integral to the work’s original conception. Rather, it is added in production, like sets, costumes, and lighting. This study traces the roots of this rich period of spoken-dramatic music to the collaboration of producer John Houseman, director Orson Welles, and composer Virgil Thomson on the Federal Theatre Project, beginning in 1936. The musical ramifications of that collaboration eventually extended to include composers Paul Bowles and Marc Blitzstein, influential theater companies such as the Theatre Guild and Group Theatre, innovative directors such as Elia Kazan and Margo Jones, and major playwrights such as Lillian Hellman and Tennessee Williams. Following a consideration of the forces that gave rise to this musically rich nexus and the people, materials, and practices involved, three high-profile theatrical collaborations are examined, along with three scores that resulted from them: Thomson’s score for Houseman’s 1957 “Wild West” Much Ado About Nothing; Blitzstein’s score for Welles and the Mercury Theatre’s 1937-38 “anti-Fascist” Julius Caesar; and Bowles’s score for the original production of Williams’s The Glass Menagerie (1944-45). Each score is located within the musico-dramatic history that produced it, and analyzed within the context of the production for which it was written. This work aims to begin to recover a vast body of forgotten American dramatic music, to limn the role of the spoken theater in the careers of these three noteworthy American musical artists, to probe a busy intersection of high and commercial art forms, and to suggest music’s important role in the development of the American spoken theater

Collecting SubjectsObjects: The Museum and Victorian Literature 1830-1914

This study argues that the museum wielded enough cultural capital to shape not only the content of literature (which picked up themes like collection, hoarding, display, and organization) but also the formal arrangement of such literature into catalogues, taxonomies, and the dense material-based descriptions for which the Victorian novel is often criticized. The museum, it is shown, is far more central to Victorian thought than has been recognized, and its presence in literature has been misread or overlooked in contemporary criticism. This study also provides a narrative of the Victorian preoccupation with the museual, especially as regards the natural history movement and the natural history museum. While there have been studies of the nineteenth-century museum and its appearance in literary texts, there has until now been no sustained account of the reach of its influence, nor has there been an attempt to represent Victorian views on the museual and its reach into everyday life. This study draws on the criticism of museum scholars such as Sharon Macdonald and Tony Bennett to examine the influence of the museum on key works of Victorian literature such as Charles Dickens\u27s The Old Curiosity Shop and Our Mutual Friend, Henry Mayhew\u27s 1851 and London Labour and the London Poor, and Wilkie Collins\u27s The Woman in White.

Privacy and Consumer Agency in the Information Age: Between Prying Profilers and Preening Webcams

This article is about the ability of the consumer to control his or her destiny in the new electronic marketspace. Two seemingly opposite phenomena – the need for privacy and the desire for exhibitionism and voyeurism – are vying for attention on the media landscape. We believe the simultaneous occurrence of privacy concerns and ultraexhibitionism is not coincidental. Indeed, exhibitionism and voyeurism seem to offer new tools for consumer resistance against the electronic surveillance systems in networked markets and are inextricably linked to consumers’ desire for control over their intimate personal information

Equipment preferences of men and women employed in early childhood education

During the last four decades early childhood educators have stressed the importance of male workers entering the occupation. Claims have been made that both children and programs benefit from the presence of male caregivers. However, the actual percentage of men working with young children is very small and has not increased. While professionals have accepted, as a matter of faith, that the presence of male workers is beneficial, no empirical data support this claim. Research efforts have failed to document unique male contributions to the early childhood environment. The current study suggests that previous studies may have been measuring the wrong variables. The current study measured the different equipment and supply preferences of men and women working in the field of early childhood education. Participants were each given a booklet with 50 pictures of daycare equipment and supplies and requested to choose 15 items that they would like to use to supplement an already equipped classroom. A panel had previously rated these items on a 5 point scale from very feminine to very masculine. Participants were also requested to complete an education and experience survey as well as a Sex Role Preference scale

The Independent, No. 24, March 26, 1981

The Independent was a student run newspaper created in 1960 at Newark State College, now Kean University. The proceeding title was The Reflector. The editor of this issue was Bruce Alan Sidwell.https://digitalcommons.kean.edu/independent_1980-1984/1011/thumbnail.jp

REMAKING THE ICONIC LULU: TRANSFORMATIONS OF CHARACTER, CONTEXT, AND MUSIC

Using Alban Berg’s opera Lulu as a case study, this dissertation explores the fluid nature of cultural artifacts as they are reborn within new socio-cultural contexts. By examining several Lulu productions, this inquiry seeks to understand the changes of meaning that have occurred through the transformation of canonic works in the twentieth- and twenty-first centuries. Central to this project is the shifting nature of the character of Lulu, not only in Berg’s opera, but also in various artistic genres that preceded and affected his own conceptions, as well as her appearances in selected productions. This study contrasts modern Lulu productions with the composer’s intentions for the opera, using Berg’s operatic text as a basis for comparison. These assessments will be made through a semiotic analysis of various staging elements, musical and textual analysis of archival materials, and consideration of past Lulu scholarship. Relevant features of the political, cultural, and social climate of each production are also be investigated. Two Werktreue productions are examined: the Austrian première of Lulu at the Theatre an der Wien (1962) and the Metropolitan Opera staging by John Dexter (1977). Several Regietheater productions are also studied, including the three-act 1979 première at the Paris Opera—complete with Friedrich Cerha’s third act—as well as stagings at the Glyndebourne Festival, Opernhaus Zürich, the Royal Opera House, the Theater Basel, and the Gran Teatre del Liceu. Although much scholarship has been written on Lulu, directors have implemented some of the most radical changes to the opera. Building on Lydia Goehr’s definition of the work-concept in The Imaginary Museum of Historical Works, this project examines the role of these radically altered stagings as challenges to the work-concept of Lulu. In order to assess the portrayal of Lulu in the above-listed productions, this dissertation investigates the origins of her character, tracing the genesis of Lulu and the numerous artists who molded her, including Félicien Champsaur, Frank Wedekind, Leopold Jessner, and G. W. Pabst. Finally, this dissertation considers a work that goes beyond modifications of orchestration, setting, and staging in Regietheater productions. Olga Neuwirth’s opera, American Lulu, represents the ultimate authorial challenge, functioning as both an adaptation of Berg’s text and as a newly composed work. This inquiry explores the transformed mise en scène and re-imagined characters of American Lulu, investigating Neuwirth’s politicized changes and the effect that these alterations have on the story of Lulu. In addition to analyzing her score and libretto, this study examines the performance and depiction of race and sexuality in two American Lulu productions, at the Komische Oper Berlin and the Young Vic in London. Several Lulu performances discussed in this study explore an area which, even as recently as the publication of Roger Parker’s Remaking the Song, was called “untouched”: the alteration of the operatic text itself. Whether these updated works and radical stagings are considered a passing trend or true innovations, the effect of staging on operagoers is undeniable. Like the shifting interpretations of the iconic character herself, the complex history of Lulu reflects the development of canonic works over time, as they are altered, transformed, and reborn in new environments

Attention Must Be Paid: A Critical Study Of The Non-traditional Leading Man In Twentieth Century Drama

The role of the non-traditional leading man has painted a strong image which mirrors the cultural development of our identities; we turn to these men/characters to understand who, or why, we are. Their contributions require acknowledgement. This thesis is a study of the vital role the non-traditional leading man has played in the evolution of twentieth-century theatre. It will examine, through the use of ten plays, one from every decade of the twentieth century, and twelve male roles, the theory that some of the greatest leading male characters in modern theatre are not epitomized by the qualities identified with the stereotypical, romantic leading man, but instead by characters who serve as a representative of the evolution of man, and his everchanging role in history

Outlook Magazine, Fall 2004

https://digitalcommons.wustl.edu/outlook/1156/thumbnail.jp