Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Musicals and gender representation
Gender in musical theatre
Representation of women in musical theatre
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Musicals and gender representation
For my written analysis of art, I chose the musical RENT. RENT is a rock musical relatively based on Giacomo Puccini's opera La Bohème. It tells the story of a group of friends in the early 1990s who are struggling artists that are struggling to survive in a society that is surrounded by the harsh reality of the AIDS/HIV epidemic and the struggle with the societal belief on sexuality, gender, and power dynamics. In this musical, the main characters Mimi, Rodger, Mark, Maureen, Angel Dumott Schunard, Tom Collins, Joanne, and Benny each come from a different lifestyle but all embody the struggles of sexuality, gender and power dynamics in some way or form. Thus, documenting the fear that people in this era lived in. This musical highlights …show more content…
the issue of the lack of humanity and kindness in the human search for meaning. Throughout the musical, the main characters Mimi, Rodger, Mark, Maureen, Angel, Tom, and Joanne are each treated as outcasts and insignificants in a society based on their sexuality, poverty, power status, and surviving the AIDS/HIV epidemic. Whereas, in society, the character Benny is deemed societally acceptable for being greedy and powerful. Benny is also treated with the upmost respect with powerful figures such as the police, executives and people of wealth. In the musical, there is a song called Will I? In the song it asks the repeated unspoken questions “Will I lose my dignity, Will someone care, Will I wake tomorrow from this nightmare?” is considered a metaphor that shows how helpless, unloved and alone the people who are deemed outcasts feel. Thus, creating the assumption of the lack of humanity and kindness. In addition, the women in this musical are treated as objects to obtain and to own instead of being regarded as free individuals. For example, the character Mimi, who has the profession choice of an exotic dancer, is treated as an object to use by powerful men such as Benny. Thus, creating the assumption that women are deemed lesser objects to males rather than as equals. In the musical, the female characters each have an identification of women-as-object.
Thus, creating an illusion that they as females are subjected to the theory that women are owned rather than they are their own person. An example of this is when the characters Maureen and Joanne sing the song “Take me or Leave me”. The song “Take me or Leave Me” conveys an argument between Maureen and Joanne about the flirty nature of Maureen. The phrase sung by Maureen in this song “Every single day, I walk down the street, I hear people say baby so sweet, Ever since puberty, everybody stares at me, boys, girls, I can’t help baby” can be seen as a metaphor for the general idea of the sexual objectification of women. The character Maureen can be seen as very comfortable with her sexuality. It is my belief that this line shows that she perhaps was not originally comfortable with the stares and catcalls she received but had to grow accustomed to it overtime because it was so frequent and eventually begin to see it as normal. It is my belief that the sexual objectification Maureen has received should never be deemed normal and should not be something that you should grow accustomed to. Alternatively, the character of Joanne, who is the partner of Maureen, disagrees with Maureen’s flirty nature. Joanne is cautious and uncomfortable with the idea of being “flirty”. Joanne’s phrase “I look before I leap, I love margions and discipline, I make lists in my sleep, baby what’s my sin?” in Take Me
or Leave Me is the ideal metaphor for her cautiousness. Even though the female characters have very different personalities and characterisitcs, I maintain my belief that all the female characters in this musical are considered “Women-as-Objects” because society seemingly objectifies them for the simple reason of being a woman but in the case of Maureen & Joanne being a woman and gay.
The musical Rent by lyricist, librettist, and composer Jonathan Larson surprised Broadway in 1996. Rent stormed Broadway at the Nederlander Theatre and became a phenomenon. It won several prestigious awards, including a Pulitzer. Located on the eve of a new century, Rent depicts a year in the life of a group of friends living in the Lower East Side of New York. All in their twenties, they live a bohemian life, guided by principles that tend more towards the achievement of ideals to an agreed social mobility. This life somewhat offset from the rest of society ensures that the characters must face the inevitable gap between their dreams and reality. In their case, the reality is, among others, in the form of a concrete evil in this era: AIDS, which is the major theme of this musical. Indeed, throughout the play, everyone is affected directly or indirectly by the effects of the virus, whether interpersonal or social, and inevitably, medical. Yet despite the potentially disastrous consequences of such a syndrome, a positive momentum bonds the small community. In the end, despite some setbacks, rather than daunted, the eight friends learn to celebrate life and try to enjoy every moment with those they love. Aware of the terrible reputation of the virus, Larson tries to deconstruct the negative image of AIDS, not only insisting to live with it and
Literary theorist, Kenneth Burke, defined dramatistic explaination by the prescence of five key elements. This list of elements, now popularly known as Burke’s Pentad, can be used to asses human behavior as well as dicipher literary themes and motives. The five elements; agent, purpose, scene, act, and agency, have been found highly useful by performance study practitioners in translating texts into aesthetics. When systematically applying Burke’s Pentad to “Burn Your Maps,” a short story by Robyn Joy Leff published January 2002 of the Atlantic Monthly, the analyzer can realistically grasp the emotional and logical motivations and tones of the text. By doing so, the performer becomes an enlightened vessel for the message Leff wants to communicate. The Pentad can be described with simple questions like: Who? What? When? Where? How?, but asking the small questions should always lead to more in depth analysis of the element, and it should overall, explain the deeper question: Why?
admission. The work I have chosen to compare this novel to is the classic play
Horowitz, Mark Eden. "The Craft Of Making Art: The Creative Processes Of Eight Musical Theatre Songwriters." Studies In Musical Theatre 7.2 (2013): 261-283.Humanities Full Text (H.W. Wilson). Web. 23 Mar. 2014.
Lin-Manuel Miranda summed up his feelings about art in an interview: "The ultimate way art can be political is that I think it engenders empathy which is the thing politicians can't seem to do" (Watson). Throughout history, many forms of art have created new ideas in our society and will continue to challenge new ways of thinking and how we communicate with one another. In the last fifteen years, artist Lin-Manuel Miranda has written two Broadway Musicals that have had a major impact on how we historically view our country. By writing stories based on the traditional ideas of the "American Dream" and contemporizing the history of our nation's birth, he has captivated a broad and diverse audience. Lin-Manuel's genius, coupled with his passion for the arts, plays an integral role on how we should view our nation's history, to uphold American values for all of us, not just some of us.
My article of choice is “On pins and needles defending artistic expression” this article was posted on boston.com on April 8, 2010, written by Carol Rose. Carol Rose is a really busy woman, graduating from Stanford University and Harvard Law school, Carol is the executive director of the ACLU of Massachusetts, starting in January 2003, an attorney specializing in First Amendment and media law, intellectual property, civil rights, and international human rights law , and a journalist. “Carol has spent her career advocating for human rights and civil liberties both in the United States and abroad, including Afghanistan, Pakistan, Nepal, Japan, Sri Lanka, Israel, the West Bank and Gaza, Northern Ireland, and Vietnam”. (https://aclum.org/about/staff-advocates/carol-rose/).
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.
Firstly I would set this play in the 21st century so that a modern audience could relate to it. Algernon, one of the main characters in the play, would live in a luxury apartment in the centre of London, over looking the River Thames. His apartment would have a minimalist theme to it and would be influenced by aesthetic; for example he would have a piece of abstract art on the wall for no reason other than that he thinks it looks nice.
Rent. To most people it is associated with an apartment, house, or another object. This word rarely conjures pleasant memories, but more often annoyance and stress. However, when someone mentions rent to me, my mind races to some of the most memorable experiences in my life.
Urinetown: The Musical was held at a quaint theatre in Austin by the name The City Theatre. It is in production August 15 through September 7th at 7:30 pm. Greg Kotis originally wrote this play, with music written by Mark Hollman; both wrote the lyrics. The Production Director for this rendition was Marco Bazan; Cathie Sheridan was the Music Director. Both did a spectacular job of conducting production’s comedic intensity. Urinetown was originally written in the 1990s when Kotis was traveling Europe and failed to have the correct amount of change in order to pay for the pay-toilets. As it says in the program, this theatre musical pays homage to other great musicals such as West Side Story, Les Miserables, Chicago, Evita, and Fiddler on the Roof.
Since the beginning of the semester, the main idea of the class has been to demonstrate how “life imitates art more than art imitates life” (Wilde 10). To shaping this idea, the first work read in class was the play, The Shape of Things, by Neil LaBute. From reading this play, the class was able to dive into the rest of our literary works having a clear understanding of how art can change us. From the idea presented, each student was able to come to a conclusion about how influential art was to our lives. Personally, before starting the class I did not believe art could influence life more than life could influence art, but after starting the class and almost completing it, I now have a different viewpoint on how influential art is to our daily lives. When deciding upon which two primary sources to use, I wanted to demonstrate how powerful art was in shaping who we could become. The Shape of Things and My Fair Lady seemed to be able to demonstrate my point the clearest. In both works, the main character changes identities due to the events that take place. While the outcomes can be established as either being positive or negative, the transformation of the characters is clear: both characters are largely impacted by the artful events happening surrounding them.
Marguerite Gautier was chaste of heart. She was also a courtesan. She was diseased yet desirable. As Alexandre Dumas, fils’ consumptive heroine in his 1852 play, La Dame aux caméllias, Marguerite Gautier comes to represent “Everywoman, required to be both virtuous and alluring, and compelled to find identity in worldly suffering and the promise of otherworldly redemption”. Romanticized visions of ideal femininity like those found in Dumas, fils’ female protagonist swept through the literature and performing arts of the nineteenth century. Identification of this ideal femininity rested on the double myth of the sinner/saint, as well as feminine disease being inexorably linked to desire. From Marguerite’s diseased and dichotomal womb springs forth other notable nineteenth century tubercular women, including Mimi the seamstress, from Giacomo Puccini’s La Bohème. Puccini’s famous 1896 Italian opera serves as source material for Jonathan Larson’s 1996 Broadway musical Rent, which also features a diseased heroine, Mimi Marquez, but her illness is AIDS. A closer look at the female leads in La Bohème and Rent shows that Dumas, fils’ Marguerite served as an ancestral ideal of femininity for her descendants in these works. Examining the texts of both La Bohème and Rent reveal separate but similar gazes backwards to Camille. Although removed from Camille by forty-six and two hundred and forty-six years respectively, La Bohème and Rent anxiously repeat the conventions of Dumas, fils in the construction of the ideal heroine and the treatment of disease in the feminine.
Humanities 1301 (Introduction to Humanities) is a literature course which links student between their lives and the works of human creativity and ideas. This is done through participation in art work, research, reading literature, providing peer review and summary of the selected books, watching cultivating video, visiting museum, monuments, and architectural building. Students are also exposed to several cultures around the world to which they are asked to comment. Their work are expressed through presentations, exposé, written memos, peer review, book summary, oral presentation, and journal articles. The purpose of this writing prompt is to review all portions of course number CRN 92776, Spring 2016, delivered by Dr. Laurel Lacroix, PhD, in Houston Community College, Stafford Campus, on Wednesdays from 14:00 to 15:30.
These shows can deal with heavy social issues in a light fashion (Jacobs). For example, Hairspray is a musical about racially segregated life in Baltimore during the early 1960s. This was a time when African Americans were given the freedom to vote and legally voice their opinions in society. Hairspray was produced on a Broadway stage in the late 1990s and early 2000s during a time when racism was prevalent through many racist occurrences and social disturbances. The musical ends with the African American teenagers being allowed to perform on the Corny Collin’s show everyday with the white teenagers. The messages sent from this musical can resonate with the people of the 1960s and the people of today because both have and are still having experiences dealing with racism. The “happy ending” that Hairspray presents the audience with, takes the audience away from this crazy, hectic, racist world for about three hours and has to power to change someone’s views for the
What literary or historical influences helped to shape the form and content of the work?