標題: Titlebook: British and American Musical Theatre Exchangesin the West End (1924-1970); The “Americanization Arianne Johnson Quinn Book 2024 The Editor( [打印本頁] 作者: FARCE 時間: 2025-3-21 17:12
書目名稱British and American Musical Theatre Exchangesin the West End (1924-1970)影響因子(影響力)
書目名稱British and American Musical Theatre Exchangesin the West End (1924-1970)影響因子(影響力)學科排名
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書目名稱British and American Musical Theatre Exchangesin the West End (1924-1970)網(wǎng)絡公開度學科排名
書目名稱British and American Musical Theatre Exchangesin the West End (1924-1970)被引頻次
書目名稱British and American Musical Theatre Exchangesin the West End (1924-1970)被引頻次學科排名
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書目名稱British and American Musical Theatre Exchangesin the West End (1924-1970)讀者反饋
書目名稱British and American Musical Theatre Exchangesin the West End (1924-1970)讀者反饋學科排名
作者: 大雨 時間: 2025-3-21 23:33
978-3-031-14665-7The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl作者: 無法取消 時間: 2025-3-22 03:36 作者: 館長 時間: 2025-3-22 06:47 作者: 遷移 時間: 2025-3-22 12:42 作者: harmony 時間: 2025-3-22 13:11
https://doi.org/10.1007/978-3-8349-6389-5reputation as a production house. It considers Drury Lane theatre during wartime through an exploration of reception history and critical response to the ENSA, speculating as to the importance of theatre as a symbol of nation during wartime. Charged by the British government with the task of providi作者: circuit 時間: 2025-3-22 17:43 作者: 配偶 時間: 2025-3-22 21:59 作者: enmesh 時間: 2025-3-23 01:35 作者: 大溝 時間: 2025-3-23 08:59 作者: START 時間: 2025-3-23 13:36 作者: dandruff 時間: 2025-3-23 16:54
British and American Musical Theatre Exchangesin the West End (1924-1970)978-3-031-14663-3Series ISSN 2946-4137 Series E-ISSN 2946-4145 作者: 矛盾心理 時間: 2025-3-23 20:58
Arianne Johnson QuinnProvides an in-depth history of American and British musical theatre at one of the UK‘s most significant theatres.Allows the reader to gain a more complete portrait of the musical’s cultural significa作者: alcoholism 時間: 2025-3-24 01:02 作者: BLANK 時間: 2025-3-24 04:43
Introduction,ents on Drury Lane’s place as a national theatre, and his desire to see it officially established as such, speak to the significant role that the Lane played in the eye of the British public. With a rich history dating from 1663, Drury Lane has long been revered as one of the most significant nation作者: NUL 時間: 2025-3-24 07:40
,The Arrival of Musical Theatre at the Lane (1924–1934),he United States and Britain dramatically reshaped the identity of British musical theatre in post-World War I London. The works explored in this chapter, created by American librettist Oscar Hammerstein II and his collaborators, each highlight a different aspect of musical theatre at the Lane. The 作者: 無可非議 時間: 2025-3-24 11:30 作者: ironic 時間: 2025-3-24 16:43
The Lane and ENSA Headquarters (1939),reputation as a production house. It considers Drury Lane theatre during wartime through an exploration of reception history and critical response to the ENSA, speculating as to the importance of theatre as a symbol of nation during wartime. Charged by the British government with the task of providi作者: indubitable 時間: 2025-3-24 21:30 作者: Sleep-Paralysis 時間: 2025-3-25 00:42
,Rodger’s and Hammerstein’s , and ,: Imported Americana,included their first three London productions: . (1947), . (1949), and . (1951). The critical reception of these productions illustrates the ways in which their work shaped the tastes of postwar theatregoers in significant ways. The high profile of Rodgers and Hammerstein in the press was a direct r作者: Allege 時間: 2025-3-25 06:59 作者: 能得到 時間: 2025-3-25 09:55
Lerner and Loewe: British Imitations and Fading Empire,g . (1958) and . (1964). After a brief comparison to the reception of . (1949) to establish the context of Lerner and Loewe’s reception in Britain, it then turns to the production history of . and . The arrival of Lerner and Loewe at Drury Lane demonstrated a new complexity in terms of the cultural 作者: 轉(zhuǎn)折點 時間: 2025-3-25 12:43
, and the Resurgence of the British Musical, of influence intersected with the creation and marketing of the British musical in the 1960s, particularly Lionel Bart’s . (1960), which will be explored here as contextual evidence that allows us to understand the changing strategies of the Lane. These influences include the reverse “invasion” of 作者: eucalyptus 時間: 2025-3-25 19:24
British and American Musical Theatre Exchangesin the West End (1924-1970)The “Americanization作者: accrete 時間: 2025-3-25 20:23 作者: 堅毅 時間: 2025-3-26 01:06 作者: 使乳化 時間: 2025-3-26 06:08
Book 2024ne, which housed many prominent American productions from 1924-1970. It argues that during this period Drury Lane was the site of cultural exchanges between Britain and the United States that were a direct result of global engagement in two world wars and the evolution of both countries as imperial 作者: 虛弱 時間: 2025-3-26 11:08 作者: instructive 時間: 2025-3-26 15:43 作者: fabricate 時間: 2025-3-26 20:35
,Rodgers and Hammerstein’s ,: Ruritanian Imperialism at the Lane,ship records and public dialogue. The British storyline presented through American eyes raised questions about the role of American theatre at the Lane and in London as a whole. As we will see, the “safe” commercial choice of an American musical import proved to be a liability for Lane management and their shareholders.作者: 重疊 時間: 2025-3-26 21:25 作者: jarring 時間: 2025-3-27 05:04 作者: 圍裙 時間: 2025-3-27 06:40
,Marktforschung für Praxen und ?rzte, Old Vic or the many Music Halls in London, the Lane became synonymous with musical theatre in the twentieth century. It staged spectacle productions and operettas beginning in the 1924, in part because of its large size and audience capacity, bolstered by its long tradition as a place of cultural significance.作者: 馬具 時間: 2025-3-27 10:18
https://doi.org/10.1007/978-3-658-06641-3ces and employed the large stage and theatrical mechanics of Drury Lane in such a way that they mimicked Hollywood films of the 1920s and 1930s, enhancing the Lane’s reputation for contemporary entertainment.作者: Contend 時間: 2025-3-27 15:09 作者: Thyroxine 時間: 2025-3-27 18:25
,Vorsicht, Fettn?pfchen! — Der Erstkontakt,stablished their reputation in London through their skilful navigation of both the pre- and post-World War II social world and political climate, allowing them to establish what one critic called their “dynasty” at Drury Lane.作者: mosque 時間: 2025-3-27 22:16
Introduction, Old Vic or the many Music Halls in London, the Lane became synonymous with musical theatre in the twentieth century. It staged spectacle productions and operettas beginning in the 1924, in part because of its large size and audience capacity, bolstered by its long tradition as a place of cultural significance.作者: endoscopy 時間: 2025-3-28 04:46 作者: 星球的光亮度 時間: 2025-3-28 08:18 作者: impaction 時間: 2025-3-28 11:36
,Rodger’s and Hammerstein’s , and ,: Imported Americana,stablished their reputation in London through their skilful navigation of both the pre- and post-World War II social world and political climate, allowing them to establish what one critic called their “dynasty” at Drury Lane.作者: Commonplace 時間: 2025-3-28 15:31
,Aber bitte mit Sahne – der Bonus,reception history of each of these works demonstrates the complexity of London theatre in the first half of the twentieth century and its increasing reliance upon large-scale American popular works?challenging the commercial success of British musical theatre.作者: Glycogen 時間: 2025-3-28 22:27 作者: 發(fā)酵 時間: 2025-3-29 02:04
https://doi.org/10.1007/978-3-322-91457-6ship records and public dialogue. The British storyline presented through American eyes raised questions about the role of American theatre at the Lane and in London as a whole. As we will see, the “safe” commercial choice of an American musical import proved to be a liability for Lane management and their shareholders.作者: Ligament 時間: 2025-3-29 04:14
,Marketing: Der K?nigsweg zu mehr Umsatz,assimilation of the American musical into British culture. The British theme and the star-studded cast of Lerner and Loewe’s reworking of George Bernard Shaw’s . (1913) brought in audiences in droves, even sparking a black market for tickets.作者: 有說服力 時間: 2025-3-29 09:20
,Operatives Marketing für Profis,American theatre, the end of British theatrical censorship in 1968, and the formation of the National Theatre. As we will see, the once singular Drury Lane hit that provided programming and financial gain for the Lane and its shareholders was now a global icon that benefited from American imports.
