Gestures of Music Theater: The Performativity of Song and Dance

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Introduction: Singing the Dance, Dancing the Song
Chapter 1: The Song's the Thing: Capturing the Sung to Make it Song
Chapter 2: The (Un)Pleasure of Song: On the Enjoyment of Listening to Opera
Performativity as Dramaturgy
Chapter 3: Relocating the Song: Julie Taymor's Jukebox Musical Across the Universe (2007)
Chapter 4: Dynamic shape: the Dramaturgy of Song and Dance in Lloyd Webber's Cats (1981)
Performativity as Transition
Chapter 5: Dance Breaks and Dream Ballets: Transitional Moments in Musical Theater
Chapter 6: Love Let Me Sing you: The Liminality of Song and Dance in La Chiusa's Bernarda Alba (2006)
Performativity as Identity
Chapter 7: Tapping the Ivories: Jazz and Tap Dance in Jelly's Last Jam (1992).
Chapter 8: Everything's Coming up Kurt: the Broadway Song in Glee
Chapter 9: Angry Dance: Postmodern Innovation, Masculinities and Gender Subversion
Performativity as Context
Chapter 10: Deconstructing the Singer: the Concerts of Laurie Anderson
Chapter 11: Singing and a Song: The Intimate Difference in Susan Philipsz's Lowlands (2010)
Chapter 12: Acting Operatically: Body, Voice and the Actress in Beckett's Theater
Performativity as Practice
Chapter 13: Vox Elettronica: Song, Dance and Live Electronics in the Practice of Sound Theater
Chapter 14: From Ear to Foot: How Choreographers Interpret Music
Chapter 15: Singing from Stones: Physiovocality and Gardzienice's Theater of Musicality
Performativity as Community
Chapter 16: Singing the Community: the Musical Theater Chorus as Character
Chapter 17: Singing and Dancing Ourselves: The Politics of the Ensemble in A Chorus Line (1975)
Performativity as Writing
Bibliography
Index
Bibliography

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Gestures of Music Theater: The Performativity of Song and Dance offers new cutting edge essays focusing on Song and Dance as performative gestures that not only entertain but also act on audiences and performers. The chapters range across musical theatre, opera, theatre and other artistic practices, from Glee to Gardzienice, Beckett to Disney, Broadway to Turner Prize winning sound installation. The chapters draw together these diverse examples of vocality and physicality by exploring their affect rather than through considering them as texts. This book considers performativity in relation to Dramaturgy, Transition, Identity, Context, Practice, Community and finally, Writing. The book reveals how the texture of music theatre, containing as it does the gestures of song and dance, is performative in dense, interwoven, dialogical and paradoxical ways, partly caused by the intertextual and interdisciplinary energies of its make-up, partly by its active dynamism in performance. The book's contributors derive methodologies from many disciplines, seeking in many ways to resist and explode discrete discipline-based enquiry. They share methodologies and performance repertoires with discipline-based scholarship from theatre studies, musicology and cultural studies, but there are many other approaches and case studies which we also embrace. Together, they view these as neighboring voices whose dialogue enriches the study of contemporary music theatre.

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