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“Ignorance and innocence are not always synonymous” (Ziegler 5) is the moral of Frank Wedekind’s play, Frühlings Erwachen, which was first performed in 1906. Wedekind employs satire to warn against the dangers of lack of education for the youth of the play. Spring Awakening, as it is known to English audiences, tells the story of three teenagers, who are being awakened to their sexual desires. However, they are entirely unprepared to deal with these desires. Thus, “the awakening leads to death” (Boa, Spring Awakening 27) in the case of two of the characters and leads the third character to become “imprisoned as a moral degenerate.” (Ziegler 5) In 2007, Spring Awakening: A New Musical, based on Wedekind’s play, premiered on Broadway. It went on to win eight Tony Awards. This musical took most of the original scenes and interlaced modern, pop musical numbers into it. The songs served as a way to show the modernity of the issues raised in the play and to show the innermost thoughts of the characters.
In the original play, the problem lies with the parents, who have failed to educate their children on matters of sex and their bodies. This leaves their children ill prepared to deal with their sexual urges for one another. The adults attempt to mold their children into their own “ideal self-image” (Boa, Spring Awakening 35-36) They do all of this “in the name of morality, but in reality to satisfy personal desires.” (Boa, Spring Awakening 35-36) One could make the argument that the tragedy of the play occurs because of the adults. Moritz commits suicide only after his father disowns him for failing in school. Wendla dies at the hand of an abortionist only after her mother forces her to get an abortion for fear of what people would th...
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...Inc., 1987. 26-54. Print.
Boa, Elizabeth. "Wedekind and the 'Woman Question'." Boa, Elizabeth. The Sexual Circus: Wedekind's Theatre of Subversion. New York : Basil Blackwell Inc. , 1987. 167-202. Print.
Sater, Steven and Duncan Sheik. Spring Awakening: A New Musical. New York: Theatre Communications Group, Inc. , 2007. Print.
Sater, Steven. "Preface ." Sater, Steven and Duncan Sheik. Spring Awakening: A New Musical. New York: Theatre Communications Group, Inc. , 2007. VII-XV. Print.
Spring Awakening: A New Musical. By Steven Sater and Duncan Sheik. Perf. Lea Michele, Jonathan Groff and John Gallagher Jr. Eugene O'Neil Theatre, New York. 2 February 2007. Video.
Wedekind, Frank. Frühlings Erwachen (Spring Awakening). Start Publishing LLC, 2012. eBook.
Ziegler, Francis J. "A Poem for Prudes." Wedekind, Frank. Spring Awakening . Start Publishing LLC, 2012. 5-15. eBook.
Murphy,Priscilla Coit. What a Book Can Do: The Publication and Reception of Silent Spring, Amherst. University of Massachusetts Press. 2005
Kenrick, John. Musical Theatre A History. New York: The Continuum International Publishing Group, 2008. Print.
Butler, Judith. "Besides Oneself: On the Limits of Sexual Autonomy." Ways Of Readers An Anthology For Writers. Ed. Davis Bartholomae and Anthony Petrosky. 9th ed. Boston: Bedford/St. Martin’s, 2011. 240-257. Print.
New Essays on The Awakening. Ed. Wendy Martin. Cambridge: Cambridge UP, 1988.
Musical theatre has been around for quite a while. But where exactly did it come from? The book Anything Goes, written by Ethan Mordden looks to explore just that. From operas to musical comedies, Mordden covers the basic history of musical theatre and why it’s important for the world to know.
Accordingly, I decided the purposes behind women 's resistance neither renamed sexual introduction parts nor overcame money related dependence. I recalled why their yearning for the trappings of progression could darken into a self-compelling consumerism. I evaluated how a conviction arrangement of feeling could end in sexual danger or a married woman 's troublesome twofold day. None of that, regardless, ought to cloud an era 's legacy. I comprehend prerequisites for a standard of female open work, another style of sexual expressiveness, the area of women into open space and political fights previously cornered by men all these pushed against ordinary restrictions even as they made new susceptibilities.
On a Wednesday night I saw Texas State Theatre and Dance Department's performance of A Chorus Line. The main plot of the musical entails the audition of 17 dancers for several Broadway roles on the chorus line. However, during their auditions the director Zach asks for personal stories of each dancer's life. Though the plot of this musical is seemingly simple in its twist on the traditional audition, it explores themes that reveal the human experience, the search for individuality, and the sense of self.
thesis of how the musical brought our inner child out to realize our true struggles in life.
North Central Texas College performed their version of the rock musical Spring Awakening. Their adaptation was based on the 1891 version of the play by Frank Wedekind. The modern version of the play is written in English is by Anya Reiss. The play basically expresses the challenges, troubles, and misfortune teenagers go through, but also the happiness, joy, and excitement. The play also shows that in the adolescent years, teenagers are still searching and learning about themselves and discover who they really want to be. It also shows teenagers exploring their sexuality. The play was very relatable especially to teens. The play was performed on March 1, 2014 at 7:30PM at the First Bank Center for Performing Arts in Gainesville. This report will concern four elements of the production. I will focus on the acting, scenic design, costume and make design, as well as the sound design.
Ostlere, Hilary. “Taming The Musical.” Dance Magazine 73.12 (1999): 84. Expanded Academic ASAP. Westfield State College Library, MA. 15 April 2005.
Wolff, Cynthia Griffin. "Un-Utterable Longing: The Discourse of Feminine Sexuality in The Awakening." Studies in American Fiction 24.1 (Spring 1996): 3-23. Rpt. in Twentieth-Century Literary Criticism. Ed. Janet Witalec. Vol. 127. Detroit: Gale, 2002. Literature Resource Center. Web. 19 May 2014.
...fferent", Ann Barr Snitow, Powers of Desire, the politics of sexuality, Monthly Review Press 1983, pgs 245-263
For many years, American musical theatre was defined as being mere entertainment for the people. It ranged from operetta, burlesque, vaudeville, and more. If there is one towering figure in the history of American Musical Theater, that person is Oscar Hammerstein II. He was a lyricist-librettist, as well as a distinguished poet and director. For over forty years, as the theatre’s forms of entertainment shifted, he helped merge everything into the art form known today as the musical. Born twenty-three years after Hammerstein, came Alan Jay Lerner. Idolizing Hammerstein’s work, he would grow to become another distinguished lyricist-librettist in musical theatre history. In this paper, we will look deeper at who these lyricists are and their writing style. Then we will examine one of each of their works and factors that fueled their creation.
Wells, E A. (2011) West Side Story Cultural Perspectives on an American musical. Maryland: Scarecrow Press, Inc.
On the other hand Brantenberg’s novel exploits the real worlds views of sexuality and applies them in th...