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• W45759152 abstract "Traditionally, musical theatre has been accepted more as a practical field than anacademic one, as demonstrated by the relative scarcity of lengthy theory‐basedpublications addressing musicals as study topics. However, with increasing scholarlyapplication of cognitive theories to such fields as theatre and music theory, musical theatrenow has the potential to become the topic of scholarly analysis based on empirical data andscientific discussion. This dissertation seeks to contribute such an analysis, focusing on theimplied gestural lives of the characters in three musicals by Stephen Sondheim, as theselives exemplify the composer’s tendency to challenge traditional audience expectations interms of genre through his music and lyrics.Based on the research of David McNeill and others, scholars have argued that thesynchronization of speech and gesture support their conflation into a single language forthe purposes of audience understanding and response to theatre and film. Meanwhile,research relating to cognition and music has indicated that music and gesture are similarlyconnected, supporting the relevance of gestural interpretation to the communication ofmusical notation as well. With regard to musical theatre in particular, the work ofcomposer Stephen Sondheim lends itself to studies related to the relevance of gesture tovaudience affective response, given Sondheim’s tendencies to write with an actor’s physicalinterpretation in mind.My three main chapters, therefore, address the language of music, lyrics, andgesture in three musicals that both support and challenge traditional audience response interms of the genres within which they are most easily categorized. The first addresses AFunny Thing Happened on the Way to the Forum as farce, analyzing implied physicaltendencies related to base aggression and laughter most often associated with farce. Thesecond addresses Sweeney Todd as melodrama, examining the ways in which Sondheim’smusic and lyrics imply an onstage gestural life that both supports and pushes beyondtraditional audience expectations for engagement in the fear and delight related tomelodrama. Finally, I address Into the Woods as romance, analyzing this musical’s relativeexploration of concerns based in romantic heroism through the communicative value of itsmusic/lyric/gesture language." @default.
• W45759152 created "2016-06-24" @default.
• W45759152 creator A5090164677 @default.
• W45759152 date "2013-01-25" @default.
• W45759152 modified "2023-09-27" @default.
• W45759152 title "My Arm Is Complete: A Cognitive Approach to Gestural Life in Stephen Sondheim's Musical Genres" @default.
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