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Media information and literacy
Media information and literacy
Media information and literacy
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When my parents told me that they had bought tickets to see a Broadway show, I expected some family friendly entertainment with some cheery songs thrown in for a feel good effect. Instead, when I went to see Kinky Boots at Miller Auditorium, I got a show that somehow managed to combine a failing shoe factory, a group of seven dancing transvestites in heels, and a compelling plot about living up to a father’s aspirations into an entertaining show that held my attention in a vice-grip for the entire two hour run time. This show is an excellent experience to improve cultural literacy because it’s a prime example of a modern show that highlights the problems faced by a stigmatized group in society while also providing enough plot, humor, and song to maintain a lighthearted sentiment. Kinky Boots was written by award winning writer Harvey Fierstein and scored by pop star Cyndi Lauper, and it originally debuted on Broadway in October of 2013 (Hetrick). In the same year, it went on to win a Tony award for best musical, and it has been widely referred to as the successor to “Hairspray” in both plot and music (Brantley). Compared to musicals I’ve seen in the past, this show is definitely in a league of its …show more content…
One of the main characters named Lola, who is played by a buff black man in six inch heels, delves into his struggle to live up to his father’s aspirations while also dealing with his drag queen personality. Lola’s father wanted Lola to become a championship boxer to fulfill a failed life dream, however he is unable to accept Lola once the cross-dressing became public. These struggles lead Lola to challenge those around him to provide a definition of what truly makes a man. By the end of the show, Lola provides his own definition, specifically, a man is someone who’s strong enough to accept someone for who they really
Tap dancing, an art grounded in African American culture, has moved from an upbeat style with its collection of steps that characterize the Jazz Age, such as the Charleston and the Stomp Time Step, to a style that better mirrors rap’s explosive rhythms and tendency towards synchronization. Much like African American music, tap- dancing’s evolution has been closely aligned with social progress and the slow breaking-down of stereotypes developed in the minstrel shows of the late 1800’s. The direct effects of racist stereotyping on tap-dancing are best observed in pre- 1960’s Hollywood films because these films reached a wide, mostly white, audience and were financed and directed by Whites. Tap legend, Bill ‘Bojangles’ Robinson, the star of Stormy Weather (1943), was forced to funnel his talent through a colander of social prejudices set to White Hollywood’s liking, and these social confines are visible in his dancing in this film. It was not until the 1980’s that modern tap emerged in Hollywood as an energetic battle cry from young African American dancers who demanded respect for their art form by refusing to conform to stereotypes. The film Bamboozled (2000), directed by Spike Lee, contrasts modern-day tap to the old-school style. In it, Savion Glover performs both the funky, urban style in street scenes and the smiley, traditional style in modern-day minstrel shows recreated for the film. In order to demonstrate how early conformity with and later break away from stereotypes have fueled the formation of two different generations of tap dancing, I will discuss historical context, and specifically the influence of minstrel shows on Stormy Weather and the 80’s tap revival on Bamboozled, before isolating and analyzing a scene from each film as representative of the two styles of tap-dancing.
If there is truly tradition to be found among the great theatres both on and off Broadway, then certainly the Sullivan Street Playhouse and its long running production of The Fantasticks rates as one of the most celebrated of New York theatrical traditions. Maintaining its place as the longest running production Off Broadway, The Fantasticks remains an enchanting and insightful tale of both young love and bitter disillusionment. It also reminds one, in this age of spectacle and the mega-musical, how powerful and truly inspiring theatre itself can be. Clearly, one of the great strengths of this production and a large part of its appeal for audiences over the last four decades lies in the fact that both the story and the style of presentation compliment each other so completely. Here we find the non-essentials are stripped away, and we are left to rely simply on the imagination of both the audience and the performers to create a magical evening.
Hairspray, a John Waters’ musical, demonstrates progressive messages about the expansion of race-based civil rights in the 1960s . Although this is typically the lens through which Hairspray is viewed, this is not the only significant societal shift portrayed in the film. The stories of Edna Turnblad and Velma Von Tussle illustrate the progressive shift of women from “old” gender roles such as being excluded from the workplace to “new” gender roles where women begin taking managerial positions.
There is much speculation covering if “Lola” is simply a woman that possesses masculine characteristics, or in fact a transvestite. Back in the 70’s this song had caused some uprising between radio stations. Some radio stations would even fade out the song before Lola’s biological assigned sex could be revealed. Most people favored the idea that Lola was indeed a woman, to justify listening to it without breaking conventional morals that went against dressing as the opposite sex. Although, in the beginning of the song, the speaker uses synesthesia to express that Lola had a “dark brown voice” already implying that she has a hint of an average male characteristic.
Early life and introductions to theater and dance began when Katherine was just a young girl. Katherine’s childhood was neither the easiest nor the best. Grew up as a middle class child, till the loss of her mother whom died and left her brother and herself to their father, later due to financial situations the family had to sell their home (Banes, 1998). With no place to go Katherine’s sibling and her self, went to permanently live with their aunt (O’Connor, 2002). Living with Katherine’s aunt is where she acquired interest in the world of entertainment as she watched her aunt and cousin rehearse for black vaudeville shows. Shortly after that Kather...
In conclusion, this show focuses on many aspects, particularly gender roles and sexism. Although this show could have more diverse characters, it focuses on male and female stereotypes very well. I appreciate that there are several strong female characters who aren’t afraid to stand up for themselves and perform typically masculine
Kislan, Richard. The Musical: A Look at the American Musical Theater. New Jersey: Prentice-Hall, 1980. 84, 110, 116-121, 125-127, 128, 134, 163, 195, 201, 209. Print.
If you don't think this is romantic, consider that Jonathan Larson's sensational musical is inspired by Puccini's opera "La Boheme," in which the lovers Mimi and Rodolfo are tragically separated by her death from tuberculosis. Different age, different plague. Larson has updated Puccini's end-of-19th-century Left Bank bohemians to end-of-20th-century struggling artists in New York's East Village. His rousing, moving, scathingly funny show, performed by a cast of youthful unknowns with explosive talent and staggering energy, has brought a shocking jolt of creative juice to Broadway.
Throughout the years, America has pursued the performing arts in a large variety of ways. Theatre plays a dramatic and major role in the arts of our society today, and it takes great effort in all aspects. Musical Theatre, specifically, involves a concentration and strength in dance, acting, and singing. This is the base that Musical Theatre is built upon. For my Senior Project, I helped choreograph multiple scenes in a community musical “Thoroughly Modern Millie”. Choreography is a way of expressing oneself, but it has not always been thought of for that purpose. Agnes de Mille’s expressive talent has drastically affected how people see choreography today. Agnes de Mille’s influence in the world of dance has left a lasting impact in the Performing Arts Department, and her revolutionary works are still known today for their wit, lyricism, emotion, and charm.
Generation X has finally taken out a lease on the future of theatre, and it looks like it is more than able to pay the "Rent" (Coulbourn 43). "Rent" is a musical for our time, for our generation and for generations to come. It has won numerous Tony Awards including best musical, book, score, lyrics, and ensemble performance. This musical is an excellent representation of cultural religion and it has had a profound impact on society both in the 90's and today. "Rent" is not only a representation of the culture of the new millennium but is an excellent representation of the faith of a new generation.
As in all genres, the musicals have had its share of failures. Some worthy dramas have been pressed into service and musicalized and sometimes butchered in the process, and audiences have had to watch a fine play diluted into a mediocre musical. But the successes have been many and spectacular and they have left a long lasting effect on the American art and culture.
In conclusion, everyone who enjoys the magic of Broadway and the fantasy world of Hollywood must watch Chicago. Although it is at most difficult to translate a stage musical to an Award-winning film, the vision of director was carefully carried making Chicago a very enjoyable film for the whole family.
With the turn of the century, society and technology evolved and so did the minstrel shows. The introduction of the television gave the shows a new platform to broadcast their content to more American audiences. While not as harsh as the shows in the 19th century’s shows, the modern minstrel shows were “vestiges of their racial stereotyping and performance aesthetics that persisted for decades in various performance mediums. ” (7).
Ostlere, Hilary. “Taming The Musical.” Dance Magazine 73.12 (1999): 84. Expanded Academic ASAP. Westfield State College Library, MA. 15 April 2005.
The 2000s/ 2010s brought in a wave of movie musicals- adapted from the stage shows. These brought new audiences into the theatre world, and for the first time in 20 years, brought a love to some of the timeless musicals. With slightly altered songs to appeal to a newer audience, these films brought in much needed money into the industry, with films including: Les Misérables, Phantom of the Opera, Rent, Hairspray, Mamma Mia, Fame- and many more. Together with this, musicals began to push the concept of the songs in them, with a wave of new styles being written. Rap musicals such as ‘Hamilton’ and ‘In The Heights’, Pop musicals including ‘Waitress’ and ‘Dear Evan Hansen’ and Rock musicals of ‘American Idiot’ and ‘Spring Awakening’. Together they pushed boundaries of a ‘traditional’ musical theatre sound, and brought in something never before seen. Due to the influence of ‘Rent’, controversial issues and themes began to be explored more, such as Teen suicide, Murder, Ethnic barriers and everything else, which brought with them, a world of opportunities. It was clear that musical theatre was once again showing for a promising