![]() ![]() The wealth of resulting information may be used to guide the development of policies and strategies to further develop Asia engagement and capability of the next five years. What would opera look and feel like if it were invented today is a question re:Naissance Operas founder asks anyone who wants to be a part of this real time. The objective was to gather data, evidence of best practice strategies and identify the needs of key stakeholders, artists and arts organisations. To redress this ‘data deficit’, Asialink Arts, with the support of Arts Victoria, developed The Victoria-Asia Cultural Engagement Research Report. This is available for many industries, but lacking in the cultural sector. To do this effectively requires good quality information and data. In order to embrace the exciting possibilities of the rapidly developing region, Asialink has identified the need for Australia to develop deeper and more sustained modes of engagement, and enhance the Asia-capability of people and organisations across all sectors. It is an approach that attempts to balance text and context(s) by acknowledging the hierarchies of genre within the musical and theatrical worlds and highbrow/lowbrow considerations within the canon of musical theatre.įor over 20 years Asialink has been at the forefront of leadership, research, advocacy and program delivery in Australia-Asia engagement. Studying the economic/commercial, aesthetic, entertainment value and socio-political factors present in musicals allows for a well-rounded analysis of the musicals and the many roles they fulfill at Stratford. Musicals should also be assessed aesthetically, and that allows for the values-the tastes-of the critics to be heard. ![]() ![]() Assessing the entertainment value of musicals means analyzing and valuing the pleasures that audience members derive from theatre that entertains them, even when its aesthetic value might be questionable. I contend that their role cannot be fully understood by examining their economic value alone, but must be understood by analyzing their aesthetic value and entertainment value. I unpack the history of the way musicals have been trivialized as middlebrow entertainment within theatre communities and academia. I problematize the role of musicals at Stratford, arguing that reducing the value of musicals to economic value alone is rooted in a historical construction of highbrow/lowbrow taste hierarchies that align musicals to bourgeois aesthetics and commercial theatre. The economic value of musicals is undoubtedly important, and I examine it in detail, but it is only one facet of their purpose at Stratford. Theatre critics commonly view musicals as money makers for the Festival to finance its real goal of producing Shakespeare and the classics. I also give a more nuanced reading of the place of musicals at the Stratford Festival in analyzing the physical places where they are produced, and how they are valued within the company. I trace the history of music theatre at the Festival, including opera and operetta, and argue that the Festival’s commitment to music in its early history led to the organic inclusion of musicals in its seasons. In addition, Monteverdi utilized many musical techniques that would be enormously important for the future development of Baroque opera.This dissertation explores the place of musicals at the Stratford Festival of Canada-with specific attention focused on the function, and the value of an American art form in a classical theatre company devoted to the works of Shakespeare. Unlike Peri's operas, which were relatively small-scale performances with only a handful of accompanying instruments, L'Orfeo was intended to be performed by nearly 40 musicians accompanying the vocalists, with particular groups of instruments designated for different characters and scenes. As was typical for Italian music of the Renaissance era in which Monteverdi's career had begun, the instrumental parts of the music were partly improvised by the musicians for each performance rather than fully scored in advance, which distinguishes Monteverdi from later Baroque operas. The first composer of Baroque opera whose work is still commonly performed today was Claudio Monteverdi, who composed his first opera, L'Orfeo, in 1607. The first composition generally agreed to be an opera, entitled Dafne, was composed by Jacopo Peri in 1597, on the cusp of the Baroque era. Baroque opera is derived from various musical and cultural influences. ![]()
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