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[null,"1.","Record Nr.",null,"UNINA9910453319803321"]
[null,null,"Autore",null,"Symonds Dominic"]
[null,null,"Titolo",null,"Gestures of Music Theatre [[electronic resource] ] : The Performativity of Song and Dance"]
[null,null,"Pubbl/distr/stampa",null,"Oxford, : Oxford University Press, USA, 2013"]
[null,null,"ISBN",null,"0-19-999717-9"]
[null,null,"Descrizione fisica",null,"1 online resource (337 p.)"]
[null,null,"Disciplina",null,"782.14"]
[null,null,"Soggetti",null,"Electronic books."]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Description based upon print version of record."]
[null,null,"Nota di contenuto",null,"Cover; GESTURES OF MUSIC THEATER; Copyright; CONTENTS; PART ONE: Singing the Dance, Dancing the Song; 1. The Song's the Thing: Capturing the \"Sung\"to Make It \"Song\"; 2. The (Un)Pleasure of Song: On the Enjoyment of Listening to Opera; PART TWO: Performativity as Dramaturgy; 3. Relocating the Song: Julie Taymor's Jukebox Musical, A cross the Universe (2007); 4. Dynamic Shape: The Dramaturgy of Song and Dance in Lloyd Webber's Cats; PART THREE: Performativity as Transition; 5. Dance Breaks and Dream Ballets: Transitional Moments in Musical Theater"]
[{"$nulls":4},"6. \"Love, Let Me Sing You\": The Liminality of Song and Dance in LaChiusa's Bernarda Alba (2006)PART FOUR: Performativity as Identity; 7. Tapping the Ivories: Jazz and Tap Dance in Jelly's Last Jam (1992).; 8. \"Everything's Coming up Kurt\": The Broadway Song in Glee; 9. Angry Dance: Postmodern Innovation, Masculinities, and Gender Subversion; PART FIVE: Performativity as Context; 10. Deconstructing the Singer: The Concerts of Laurie Anderson; 11. Singing and a Song: The \"Intimate Diff erence\" in Susan Philipsz's Lowlands (2010)"]
[{"$nulls":4},"12. Acting Operatically: Body, Voice, and the Actress in Beckett's TheaterPART SIX: Performativity as Practice; 13. Vox Elettronica: Song, Dance, and Live Electronics in the Practice of Sound Theater; 14. From Ear to Foot: How Choreographers Interpret Music; 15. Singing from Stones: Physiovocality and Gardzienice's Theater of Musicality Konstantinos Thomaidis; PART SEVEN: Performativity as Community; 16. Singing the Community: The Musical Theater Chorus as Character; 17. Singing and Dancing Ourselves: The Politics of the Ensemble in A Chorus Line (1975); EPILOGUE: Performativity as Writing"]
[{"$nulls":4},"BibliographyIndex"]
[null,null,null,"Sommario/riassunto","Gestures of Music Theater: The Performativity of Song and Dance offers new, cutting-edge essays focusing on song and dance as performative gestures that not only entertain but also act on audiences and performers. The chapters range across musical theater, opera, theater, and other artistic practices, from Glee to Gardzienice, Beckett to Disney, Broadway to Turner-Prize-winning sound installation. The chapters draw together these diverse examples of vocality and physicality by exploring their affect rather than through considering them as texts. The book's contributors derive methodologies fro"]