Abstract
The term ‘integration’ and the concept of the ‘integrated musical’ are generally taken to imply that songs, dance and narrative work towards the same dramatic end. This may mean that music, dance and book over-code each other, but it is also possible that they present different aspects of a character, atmosphere or situation such that a complex reading is presented. Is this still integrated? Can there be such a thing as a completely integrated musical made up of media that create meaning in different ways? And if a musical is perceived as ‘integrated’, how do the writers and creative teams deal with the problematic leap from speech to song and its distancing effects?
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
