Sondheim in Our Time and His offers a wide-ranging historical investigation of the landmark musical works and extraordinary career of Stephen Sondheim, a career which has spanned much of the history of American musical theater.
Sondheim in Our Time and His offers a wide-ranging historical investigation of the landmark musical works and extraordinary career of Stephen Sondheim, a career which has spanned much of the history of American musical theater.
W. Anthony Sheppard is Marylin and Arthur Levitt Professor of Music at Williams College. His first book, Revealing Masks: Exotic Influences and Ritualized Performance in Modernist Music Theater received the Kurt Weill Prize, his article on Madama Butterfly and film earned the ASCAP Deems Taylor Award, an article on World War II film music was honored with the Alfred Einstein Award by the American Musicological Society, and "Puccini and the Music Boxes" received the AMS H. Colin Slim Award. His most recent book, Extreme Exoticism: Japan in the American Musical Imagination, received the AMS Music in American Culture Award and the Society for American Music Lowens Award. Sheppard's research has been supported by the NEH, the American Philosophical Society, the ACLS, and the Institute for Advanced Study, Princeton. He has served as Editor-in-Chief of the Journal of the American Musicological Society and is now Series Editor of AMS Studies in Music.
Inhaltsangabe
* Introduction: Our Sondheim * W. ANTHONY SHEPPARD * Part I. Early Stages * 1. Williams College Before, During, and After Sondheim * STEVE SWAYNE * 2. Fragments of Fairyland: Sondheim's Abandoned Adaptation of Mary Poppins * DOMINIC McHUGH * 3. "...nearly everything I wrote": Sondheim and the Actors Studio * JEFFREY MAGEE * 4. Breakout from the Asylum of Conformity: Sondheim, Laurents, and the Dramaturgy of Anyone Can Whistle * JAMES O'LEARY * Part II. Staging Identities * 5. Sondheim's Whiteness * TODD DECKER * 6. Politics, Representation, and Collaboration in Pacific Overtures (1976) * ASHLEY M. PRIBYL * 7. Sexual Identity in Company, 1969-2019 * ANDREW BUCHMAN * 8. Students Performing Gender with Sondheim's Musicals in the Age of #MeToo * STACY WOLF * Part III. Versions, Genres, and Collaborations * 9. Sweeney's Identity Crisis and the Dynamic Potential of Generic Hybridity * KIM H. KOWALKE * 10. "A sad and listless affair": The Unsung Film Adaptation of Sondheim's A Little Night Music * GEOFFREY BLOCK * Part IV. Reconceived Structures and Techniques * 11. Time and Time Again: Temporal Structures in Sondheim's Musicals * JIM LOVENSHEIMER * 12. Sunday in the Park with Sondheim, Lapine, Seurat, and Babbitt * LARA E. HOUSEZ * 13. Sondheim and the 11 O'clock Principle * ELIZABETH A. WELLS * 14. Finishing the Line: Wit, Rhythm, and Rhyme in Sondheim * W. ANTHONY SHEPPARD * Afterword: Moving on with Sondheim * KRISTEN ANDERSON-LOPEZ
* Introduction: Our Sondheim * W. ANTHONY SHEPPARD * Part I. Early Stages * 1. Williams College Before, During, and After Sondheim * STEVE SWAYNE * 2. Fragments of Fairyland: Sondheim's Abandoned Adaptation of Mary Poppins * DOMINIC McHUGH * 3. "...nearly everything I wrote": Sondheim and the Actors Studio * JEFFREY MAGEE * 4. Breakout from the Asylum of Conformity: Sondheim, Laurents, and the Dramaturgy of Anyone Can Whistle * JAMES O'LEARY * Part II. Staging Identities * 5. Sondheim's Whiteness * TODD DECKER * 6. Politics, Representation, and Collaboration in Pacific Overtures (1976) * ASHLEY M. PRIBYL * 7. Sexual Identity in Company, 1969-2019 * ANDREW BUCHMAN * 8. Students Performing Gender with Sondheim's Musicals in the Age of #MeToo * STACY WOLF * Part III. Versions, Genres, and Collaborations * 9. Sweeney's Identity Crisis and the Dynamic Potential of Generic Hybridity * KIM H. KOWALKE * 10. "A sad and listless affair": The Unsung Film Adaptation of Sondheim's A Little Night Music * GEOFFREY BLOCK * Part IV. Reconceived Structures and Techniques * 11. Time and Time Again: Temporal Structures in Sondheim's Musicals * JIM LOVENSHEIMER * 12. Sunday in the Park with Sondheim, Lapine, Seurat, and Babbitt * LARA E. HOUSEZ * 13. Sondheim and the 11 O'clock Principle * ELIZABETH A. WELLS * 14. Finishing the Line: Wit, Rhythm, and Rhyme in Sondheim * W. ANTHONY SHEPPARD * Afterword: Moving on with Sondheim * KRISTEN ANDERSON-LOPEZ
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