- Title Pages
- Preface
- Introduction: What Is Music Theater?
-
Chapter 1 The Voice -
Chapter 2 Where the Sound Comes From - entr’acte i: Is there such a thing as progress in opera or music theater?
-
Chapter 3 The Music -
Chapter 4 Cultural Narratives and Performance Institutions - entr’acte ii: A woman’s earring, a diamond necklace, a knee, a yogi in meditation, drawing, a mahout looking after an elephant: the language of Kathakali
-
Chapter 5 Text -
Chapter 6 Visual Strategies -
Chapter 7 Space - entr’ acte iii: A theater of warm bodies?
-
Chapter 8 The American Eccentrics -
Chapter 9 Music Theater as Musiktheater -
Chapter 10 From the Homeland: Teatro Musicale -
Chapter 11 Théâtre Musical -
Chapter 12 Music Theater in Northern Europe - entr’acte iv: The art form that never happened
-
Chapter 13 Downtown -
Chapter 14 Minimalism and Music Theater -
Chapter 15 The Show Must Go On -
Chapter 16 The Art of the In-Between -
Chapter 17 Extended Voice -
Chapter 18 New Media and Music Theater - entr’acte v: “… and how did you like it?”
-
Chapter 19 Toward a Theory of the New Music Theater -
Chapter 20 Notation versus Improvisation? -
Chapter 21 Popular or high art? -
Chapter 22 Is Anyone Listening? -
Appendix I A Quick Summary of the Modern History of Music Theater -
Appendix II Selected Reading -
Appendix III Some Festivals and Performance Institutions - Index
Théâtre Musical
Théâtre Musical
- Chapter:
- (p.202) Chapter 11 Théâtre Musical
- Source:
- The New Music Theater
- Author(s):
Eric Salzman
Thomas Desi
- Publisher:
- Oxford University Press
This chapter discusses the history of the Avignon Festival and its emphasis on a director-driven music theater. Further topics in the evolution of music theater in France include the work of Xenakis, musique concrete, the music theater of Georges Aperghis, the work of Pascal Dusapin and Bernard Cavanna, and the importance of centers outside of Paris including Lyon, Quimper, and Québec.
Keywords: théâtre musical, Avignon Festival, Xenakis, musique concr è te, Georges Aperghis, Pascal Dusapin, Bernard Cavanna, Lyon, Quimper
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- Title Pages
- Preface
- Introduction: What Is Music Theater?
-
Chapter 1 The Voice -
Chapter 2 Where the Sound Comes From - entr’acte i: Is there such a thing as progress in opera or music theater?
-
Chapter 3 The Music -
Chapter 4 Cultural Narratives and Performance Institutions - entr’acte ii: A woman’s earring, a diamond necklace, a knee, a yogi in meditation, drawing, a mahout looking after an elephant: the language of Kathakali
-
Chapter 5 Text -
Chapter 6 Visual Strategies -
Chapter 7 Space - entr’ acte iii: A theater of warm bodies?
-
Chapter 8 The American Eccentrics -
Chapter 9 Music Theater as Musiktheater -
Chapter 10 From the Homeland: Teatro Musicale -
Chapter 11 Théâtre Musical -
Chapter 12 Music Theater in Northern Europe - entr’acte iv: The art form that never happened
-
Chapter 13 Downtown -
Chapter 14 Minimalism and Music Theater -
Chapter 15 The Show Must Go On -
Chapter 16 The Art of the In-Between -
Chapter 17 Extended Voice -
Chapter 18 New Media and Music Theater - entr’acte v: “… and how did you like it?”
-
Chapter 19 Toward a Theory of the New Music Theater -
Chapter 20 Notation versus Improvisation? -
Chapter 21 Popular or high art? -
Chapter 22 Is Anyone Listening? -
Appendix I A Quick Summary of the Modern History of Music Theater -
Appendix II Selected Reading -
Appendix III Some Festivals and Performance Institutions - Index
