- Title Pages
- 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
- (p.229) Chapter 13 Downtown
- The New Music Theater
- Oxford University Press
This chapter outlines the history of the off-Broadway theater in New York going back to the experimental music theater projects of the 1930s and the extended run of the Blitzstein version of the Weill/Brecht 3-Penny Opera in the '60s, along with the inheritance of the various experimental theater companies such as the Living Theater, the Open Theater, the Performance Group, Quog Music Theater, and the Music Theater Group. Non-traditional theaters and other performance venues have developed new theatrical forms that tend strongly towards the condition of music theater. Other downtown developments include the growth of dance theater and the proliferation of what came to be known as performance art (or just “performance”), in lofts, galleries, church basements, and specialized venues, in Manhattan and, afterwards, in Brooklyn and other parts of the country, notably California.
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