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04261aam a2200433 i 4500 001 2BA8ECB286E611EB80D4A9DB35ECA4DB 003 SILO 005 20210317010020 008 200207s2020 iaua b 001 0 eng 010 $a 2020006578 020 $a 1609387325 020 $a 9781609387327 035 $a (OCoLC)1150865712 040 $a DLC $b eng $e rda $c DLC $d OCLCO $d BDX $d YDX $d OCLCF $d ERASA $d YDX $d NUI $d SILO 042 $a pcc 043 $a n-us-ny 050 00 $a ML1711.8.N3 $b R64 2020 082 00 $a 782.1/409747 $2 23 100 1 $a Rogers, James Bradley, $d 1982- $e author. 245 14 $a The song is you : $b musical theatre and the politics of bursting into song and dance / $c Bradley Rogers. 264 1 $a Iowa City : $b University of Iowa Press, $c [2020] 300 $a xii, 276 pages : $b illustrations ; $c 23 cm. 490 1 $a Studies in theatre history and culture 520 $a "Musicals, it is often said, burst into song and dance when mere words can no longer convey the emotion. This book argues that musicals burst into song and dance when one body can no longer convey the emotion. Rogers shows how the musical's obsession with burlesque and minstrelsy model the kinds of radical relationships that the genre works to create across the different bodies of its performers, spectators, and creators-every time the musical bursts into song. The musical's preoccupation with these "bad" performances of gender and race is the root of its progressive play with identity, and thus the source of its subcultural power. However, this leads to an ethical dilemma: Is the musical's progressive destabilization of identity thus rooted in its embrace of regressive entertainments like burlesque and minstrelsy? The Song Is You shows how musicals return again and again to this question, and grapple with a guilt that its joyously utopian pleasures are based on exploiting the laboring bodies of its performers. Rogers argues that the discourse of "integration" functioned to deny the radical work that the musical undertook every time it burst into song and dance. As "integration" loses its hold, we are forced to confront the gendered and racial dynamics that have always undergirded the genre. Can removing insensitive material and replacing it with "authentic" content change the underlying dynamic of projection and exploitation? Can through-sung musicals, by avoiding the moment of bursting into song and dance, also avoid this troubling dynamic? Can musicals critique themselves, providing their trademark joys while also reimagining their politics? This book reimagines the history of musical theatre, from The Black Crook (1866) to Soft Power (2019). Along the way, it provides new ways of understanding shows ranging from My Fair Lady, Oklahoma!, Show Boat, South Pacific, A Funny Thing Happened on the Way to the Forum to The Grass Harp, Bells Are Ringing, Two Gentlemen of Verona, and the Princess Theatre Shows"-- $c Provided by publisher. 504 $a Includes bibliographical references and index. 505 0 $a Introduction. Bursting into Song and Dance -- The Dancing Tableau of Oklahoma! -- Bring on the Girls : The Princess Theatre & The (Tired) Businesswoman -- His Innermost Being : Brecht, Musicals, and the Politics of Identification -- The Rhythmic Integration of Blackness : Rouben Mamoulian and Show Boat -- The Exotic and Erotic Economy of Musical Impersonation -- Get Out of That Dress : David Henry Hwang's Flower Drum Song -- The Through-Sung Musical : From Ballet Ballads to Hamilton -- Conclusion. Rethinking the "Delivery System". 650 0 $a Musicals $z New York $z New York $x History and criticism. 650 0 $a Sex role in music. 650 0 $a Music and race. 650 7 $a Music and race. $2 fast $0 (OCoLC)fst01030486 650 7 $a Musicals. $2 fast $0 (OCoLC)fst01030814 650 7 $a Sex role in music. $2 fast $0 (OCoLC)fst01200999 651 7 $a New York (State) $z New York. $2 fast $0 (OCoLC)fst01204333 655 7 $a Criticism, interpretation, etc. $2 fast $0 (OCoLC)fst01411635 710 2 $a University of Iowa Press, $e publisher. 830 0 $a Studies in theatre history and culture. 941 $a 1 952 $l OVUX522 $d 20220317013308.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=2BA8ECB286E611EB80D4A9DB35ECA4DBInitiate Another SILO Locator Search