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- W4285696085 abstract "John Marston’s tragicomedy <italic>Antonio and Mellida</italic>, written for the St Paul’s boys’ company, is full of music: seven songs; two ballads; dances; dumbshows; sennets, flourishes, sound effects and musical images all underscore and sometimes prompt stage action. The songs, however, appear merely as stage directions – ‘they sing’. Without words or settings, it is impossible to evaluate them adequately. There are a number of songs whose lyrics closely match the dialogue and scene structures surrounding the song spaces in the play. Composed by Robert Jones, they were published shortly after the play appeared. Separately, play and songs can seem incomplete, bizarre, or merely misogynistic. Together, they enhance each other, offering indications of staging and implications for meaning. This analysis offers new understanding of the cultural aesthetic of boys’ company performance, with dramas that exploit the particular sound qualities of their actors’ singing voices and instrumental playing. The extremes of emotion displayed – from sublime to ridiculous – and the integration of words and music suggest an art form that veers towards opera." @default.
- W4285696085 created "2022-07-18" @default.
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- W4285696085 date "2020-04-01" @default.
- W4285696085 modified "2023-09-25" @default.
- W4285696085 title "From Tragicomedy to Opera? John Marston’s A NTONIO AND M ELLIDA" @default.
- W4285696085 doi "https://doi.org/10.3366/edinburgh/9780748693122.003.0023" @default.
- W4285696085 hasPublicationYear "2020" @default.
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