Term
| American Selective Realism |
|
Definition
| playwrights like Tennessee Williams (A Streetcar Named Desire, Cat on a Hot Tin Roof), Arthur Miller (Death of a Salesman, A View from the Bridge), and Edward Albee heightened certain details of action, scenery, and dialouge while omitting others; hence SELECTIVE realism. |
|
|
Term
|
Definition
| antiestablishment playwrights who dealt with dissolving British Empire, class conflict, and political disillusionment; slightly modified realism. |
|
|
Term
|
Definition
| German movement in the 1960's that was based on historical documents; their goal being to convince audiences they were watching history unfold. |
|
|
Term
| Antecedents to American Musical |
|
Definition
| vaudeville (variety acts), burlesque (dramatic sketches/songs that satirized other theatrical forms), minstrel shows (variety show were white performers wore blackface), and operettas (romantic musical peice featuring melodic solos, duets, and choruses interspersed with spoken dialouge). |
|
|
Term
|
Definition
| wrote Little Johnny Jones and Forty-Five Minutes From Broadway; his musical shows featured songs w/American flavor and more realistic dialouge, and better plot development. |
|
|
Term
|
Definition
| frivolous, silly songs which emerged from American musicals. |
|
|
Term
|
Definition
| innovative w/carefully integrated songs and no chorus. |
|
|
Term
| Rodgers & Hammerstein: Oklahoma! |
|
Definition
| the duo began the era of the American book musical that seamlessly unifies story, music, lyrics, and dance. Oklahoma was choreographed by Agnes de Mille. |
|
|
Term
|
Definition
| built around an idea rather than a story. |
|
|
