The Wild Party Essay
DP551AW Modern Musical Acting Styles
Critical Theory in Performance Using feminist theory, semiotics and psychoanalysis, how do the directors’ visions and intentions of The Wild Party compare and contrast with each other to the original poem and how can it be applicable to society today?
The Wild Party is a poem by Joseph Moncure March and was published in 1928. Not only was it published two years after it was written but only 750 copies were available at the time. The content of the poem deemed to be too ‘wild’ in terms of the language and issues involved and therefore, it was banned in Boston. It later became adapted into two musicals around the same time as each other; the Off-Broadway version by Andrew Lippa and the Broadway version …show more content…
by Michael
John LaChiusa - both musicals in which portray different interpretations which will be discussed in further detail. Theories on narratology will also be referenced but will not be a significant part of the essay. The 1920’s gave the legislature the power to ban the importation of alcoholic products, which began the era of Prohibition. Many Americans saw this as an inconvenience to their rights.
Men and women disobeyed the Volstead Act by drinking and serving alcohol at parties, without fear of a police raid. According to arena stage: ‘These parties became the gathering place for a rebellious subculture of flappers and their daddies, who embraced jazz, the Charleston, alcohol, and freedom from social restraints.’ This theme is evident in the show.
In the opening lines of Lippa’s version of The Wild Party, there are directorial notes in the script for Queenie:
‘At rise we see the silhouette of a beautiful woman at her dressing table. She is blond, leggy, sexy, and sitting in her underwear and stockings.’
In terms of the different behavioural stereotypes within feminist theory, it can be suggested that
Queenie is being presented as the ‘whore’. This means that she is being viewed as a sex object
BNU ID: 21316196
A&W ID: 742008
Page 1
DP551AW Modern Musical Acting Styles
Critical Theory in Performance primarily for the sexual fantasy of a male. Research suggests that the reason for this objectification can be due to biological driven reasons, in order to determine the fertility of other humans
(Fredrickson & Roberts, 1997). Laura Mulvey’s theory of the ‘male gaze’ relegates women to be the status of an object and therefore, being admired for physical appearance.
In the opening lines of
Lippa’s The Wild Party it is written out for the directors to portray this image of Queenie. It could be because the audience automatically have their own opinion and make their judgement before the show even begins, thus, creating their own stereotype of a blonde, leggy, and sexy woman.
In the paper ‘The Mirror Stage as Formative of the Function of the I as Revealed in
Psychoanalytic Experience’, Lacan attempts to understand the child’s concept of “self” and their experience of looking into a mirror and looking back at themselves: ‘The event can take place, as we have known since Baldwin, from the age of six months.’ (p.502) In relation to Lippa’s production, the directorial notes shows Queenie holding and looking into a vanity mirror: ‘She sometimes primps in a hand-held mirror, sometimes in the vanity..’ This could be symbolising that
Queenie is still a child as it resembles the mirror stage and gives the audience an insight that her behaviour she will get up to in the show will be very childlike. Lacan implied that when one looks into a mirror, we “assume an image”. Between the age of six to eighteen months, a child has …show more content…
no conception of language or any information on how to take on an image that the rest of society has upon them, therefore in The Wild Party, the audience (namely, the society) are expected to make their judgement.
In Lippa’s version, the opening song begins with:
‘Queenie was a blonde and her age stood still and she danced twice a day in vaudeville.
Queenie was a blonde and if looks could kill
BNU ID: 21316196
A&W ID: 742008
Page 2
DP551AW Modern Musical Acting Styles
Critical Theory in Performance she would kill twice a day in vaudeville’
Queenie is the one singing and narrating her own story but through the perspective of the third person narrative. Just from this line, it automatically sets up the structure that will be used during the rest of his production. The characters will be stepping in and out of the situation and commenting upon. In contrast, Matt Dudley’s production uses the ensemble to narrate the lives of
Queenie, Burrs, Black and Kate using third person, not the characters themselves. This difference between the two narrative choices shows that the intention of each director is different from one another, both serving for a different purpose.
In The Wild Party Queenie is seen as an ‘object of desire’:
‘She had grey eyes
Lips like coals aglow
And her face was a tinted mask of snow.
With those shoulders,
What a back she had.
Her legs were built to drive men mad.
And she did.’
Jacques Lacan developed Freud’s theory of sexuality and claimed that from a very early age, a a child attempts to satisfy their needs. Sigmund Freud says:
‘The child develops a close relationship with those who care for it. This primary object-choice carries with it a sexual component, which of course is not able to fulfil its aims. At puberty, the affectionate current is joined by a powerful sensual current, which reinvests the child’s original objects with an explicitly erotic desire.’ (p.384)
The lyrics also include information about Queenie’s looks. In the 1920s, women’s makeup was very dramatic. It has been suggested that this was because it helped them recover from the horrors of war and also asserts their feminine powers, which Helena Rubinstein gives an opinion on: ‘If you can show me a woman who doesn 't want to look young and beautiful - well, I’m afraid she isn’t in her right mind. Women all want it - and we admit that they do’. Silent-film stars Theda Bara and Clara BNU ID: 21316196
A&W ID: 742008
Page 3
DP551AW Modern Musical Acting Styles
Critical Theory in Performance Bow influenced facial makeup in the 1920s with their snow-white skin, which is resembled in the lyrics of ‘Queenie Was A Blonde’. Flirting with the males on stage, it can be seen as though she is using her sexuality to get what she wants. Sigmund Freud included sex in many of his theories. In his book The Ego and the Id (1923) he raises the importance of the libido (sexual energy) and infantile sexuality. The ‘id’ is driven by “instinctual sexual drives which require satisfaction” (Thornton, 2010) and that as children, the sexual experiences that we encounter affects what our personality is like later on in our adult lives. Queenie seems to be driven based on the psyche of the Id and that every impulse she has should be satisfied immediately, regardless of the consequences it may involve. Her song ‘Out of The Blue’ is a classic example of the use of the Id: ‘I’ll push us to renew it
But tell me, what would do it?
Something grand.
Something humiliating,
Something public?’
She believes that in order to get the passion back into the relationship with Burrs, inviting their friends to a party and humiliating him publicly will successfully achieve this.
In the original poem by March, one of the women Burrs had sexual encounters with had a miscarriage: ‘She had a miscarriage
Two days later. Possibly due
To the fact that Burrs beat her with the heel of a shoe
Till her lips went blue.’
This could suggest that Burrs saw her as capable of being a good woman and mother to the child, supporting the research, however Burrs still continued the violence with her which raises questions as to what his intentions were for doing so. Continuing with this assumption, Heru (2003) implied
BNU ID: 21316196
A&W ID: 742008
Page 4
DP551AW Modern Musical Acting Styles
Critical Theory in Performance that men objectify women ‘to fulfil a desire or longing’. This could be a possible reason as to why
Burrs treats women like he does. This coincides with Lacan’s phantasy theory and the notion of when you eventually get something you have been longing for, you no longer want it.
Continuing with the character of Burrs, in Lippa’s production he is being portrayed as a laughable but sad clown singing about his failure to maintain a loving wife. However, in LaChiusa’s version, Burrs is singing of his inability of his wife to love him for who he is. Using semiotic theory, the imagery of a clown in has changed in different generations. Jon Davison’s book “Clown:
Readings in Theatre Practice,” claims that: ‘everyone has ideas, preconceptions or opinions about clowns.’ In today’s society, a clown is seen to be something creepy rather than lighthearted and fun, which is the preconceptions that Davison implies people have. Furthermore, Freud investigated the subject of aesthetics and he called the aspect of horror that is encountered as the ‘uncanny’. It is where something is familiar enough to recognise it but weird enough to freak someone out and give them the shivers. This is exactly what the character of Burrs is intended to do, as one of his characteristics is violent.
It is seen that from poem that was written 86 years ago about the vaudevillian lifestyles, it parallels certain aspects of twenty-first century society. The song ‘Take A Hit’ shows aspects of drug taking when Kate gives Burrs cocaine, but unfortunately Burrs falls asleep, which is the complete opposite effect to what Kate thought would happen. In ‘Let Me Drown’, there are two meanings for the word ‘drown’. In Matt Dudley’s production, his vision is to allow the ensemble perceive the word ‘drown’ as having a good time and to keep up the fun and games, whereas for
Burrs, his motive is to get drunk to the point where he can drown his sorrows and the lyric ‘let me drown’ symbolises the notion that he wants to commit suicide.
BNU ID: 21316196
A&W ID: 742008
Page 5
DP551AW Modern Musical Acting Styles
Critical Theory in Performance One device that is used in Lippa’s and Matt Dudley’s production is the Brechtian nature of the show. Even in spoken dialogue, the rhyme is still incorporated, relating back to the original poem. The lines do come directly from the source poem and therefore, is a key part into the heightened reality of the morality tale. In Matt Dudley’s production, there are two main different performance routes within The Wild Party. The first one is the Greek chorus which Oxford
Dictionary defines as: “A group of performers who comment together on the main action.” The effect of having this kind of performance style within a musical is that it enables the audience’s ability to follow important information and the story that is being portrayed by the main characters.
This specific performance route has been the main focus in the 2014 production, as the narrative requires it to do so, using third person to comment upon the action. The second performance route is our own character that we are playing, incorporating our acting and singing technique and personal methodology.
The issues and themes within The Wild Party since March wrote the poem are evident. Sex, alcohol and drug abuse are unfortunately, addictions that many youngsters are involved in from an early age. Researchers have discovered that teens start using drugs and alcohol for their own benefits including: 1) to improve their mood, 2) to reduce negative feelings, 3) avoid social rejection and 3) to receive social rewards (Kuntsche, Knibbe, Gmel & Engles, 2005). There is a clear reason as to why the musicals have been produced at the time they have. These issues never have and never will disappear; they are ongoing and getting worse. Raising awareness is very important and for Lippa and LaChiusa to produce the same show, unaware of each others emphasises the turmoil in society.
BNU ID: 21316196
A&W ID: 742008
Page 6
DP551AW Modern Musical Acting Styles
Critical Theory in Performance Bibliography: Barr, Z (2013) Zach Barr Reviews…The Wild Party: LaChuisa vs. Lippa. [online] Available from: http://zachbarrreviews.wordpress.com/2014/02/22/zach-barr-reviews-the-wild-party-lachiusa-vslippa/ [Accessed 17 Nov 2014]
Belsey, C (1993) Desire in Theory: Freud, Lacan, Derrida. Routledge. Benner, L (2004) Women in The 1920s. [online] Available from: http://ncpedia.org/history/20thCentury/1920s-women [Accessed 2 December 2014]
Epps, C., & Wright, E. L. (2012). The genetic basis of addiction. In C. Epps & E. L. Wright,
Perioperative Addiction (pp. 35-50). New York: Springer. Felluga, D (2011) Modules on Lacan: On Desire: Introductory Guide to Critical Theory. [online]
Available from: http://www.cla.purdue.edu/english/theory/psychoanalysis/lacandesire.html
[Accessed 6 Dec 2014] Fink, B (1997) A Clinical Introduction to Lacanian Psychoanalysis: Theory and Technique.
President and Fellows of Harvard College: USA Fredrickson, B., & Roberts, T (1997) Objectification Theory: Toward Understanding Women’s
Lived Experiences and Mental Health Risks. Psychology of Women Quarterly, 21, 173-206. Freud, S (2003) The Uncanny. Penguin Books: London Glamour Daze (2009). The History of 1920s Makeup. [online] Available from: http:// glamourdaze.com/history-of-makeup/1920s. [Accessed 3rd Dec 2014] Heru, Alison M. (2003). Gender and the Gaze: A cultural and psychological review.
International Journal of Psychotherapy, 8(2), 109-116. Kath (2010) Rhyming Speech in Andrew Lippa’s THE WILD PARTY. [online] Available from: http:// mtiblog.mtishows.com/rhyming-speech-in-andrew-lippas-the-wild-party/ [Accessed 13 November
2014]
Kuntsche, E., Knibbe, R., Gmel, G. (2005) Why Do Young People Drink? A Review of Drinking
Motives. Clinical Psychological Review. Lacan, J “The Mirror Stage as Formative of the Function of the I as Revealed in Psychoanalytic
Experience.” in: Leitch, V (2001) The Norton Anthology of Theory Criticism. New York: W.W.
Norton & Company.
Lippa, A (1997) The Wild Party (Music Score). Music Theatre International: USA
BNU ID: 21316196
A&W ID: 742008
Page 7
DP551AW Modern Musical Acting Styles
Critical Theory in Performance March, J, & Spiegelman, A (1999) The Wild Party: the lost classic.
New York: Pantheon Books. Miller, S (2011) Sex, Drugs, Rock & Roll, and Musicals. St Louis: Heinemann Drama. O 'Donnell, K. (n.d.).Women 's flapper makeup in the 1920s. [online] Available from: http:// www.ehow.co.uk/facts_7734080_womens-flapper-makeup-1920s.html. [Accessed 21st Nov 2014]
Rosenberg, J (2014) Flappers in the Roaring Twenties. [online] Available from: http:// history1900s.about.com/od/1920s/a/flappers.htm [Accessed 22 Nov 2014] Sharpe, M (n.d.) The Internet Encyclopaedia of Philosophy: Jacques Lacan [online] Available from: http://www.iep.utm.edu/lacweb/ [Accessed 28th Nov 2014] Smith, M. (2010). Duke Ellington 's sophisticated ladies. [online] Available from: http:// www.arenastage.org/shows-tickets/sub-text/2009-10-season/sophisticated-ladies/the-roaringtwenties.shtml. [Accessed 3rd Dec 2014] Strachey, J (1960) The Ego & The Id: The Standard Edition. W.W. Norton & Company: New York.
Thornton, S (2010) Sigmund Freud. [online] Available from: http://www.iep.utm.edu/freud/
[Accessed 10 Dec
2014] Weaver, T. Jr. (2013) Review: Music theater program invites campus to ‘The Wild Party’. [online]
Available from: http://www.elonpendulum.com/2013/02/review-music-theater-program-invitescampus-to-the-wild-party/ [Accessed 7 Dec 2014]
References: Belsey, C (1993) Desire in Theory: Freud, Lacan, Derrida. Routledge.
Lacan, J “The Mirror Stage as Formative of the Function of the I as Revealed in Psychoanalytic
Experience.” in: Leitch, V (2001) The Norton Anthology of Theory Criticism. New York: W.W.
Norton & Company.
Lippa, A (1997) The Wild Party (Music Score). Music Theatre International: USA Smith, M. (2010). Duke Ellington 's sophisticated ladies. [online] Available from: http:// www.arenastage.org/shows-tickets/sub-text/2009-10-season/sophisticated-ladies/the-roaringtwenties.shtml. [Accessed 3rd Dec 2014]
Thornton, S (2010) Sigmund Freud. [online] Available from: http://www.iep.utm.edu/freud/
[Accessed 10 Dec 2014]
BNU ID: 21316196
A&W ID: 742008
Page 8
DP551AW Modern Musical Acting Styles
Critical Theory in Performance
FDA2 Musical Theatre module: DP531AW Modern Musical Acting Styles
Submitted:
CRITICAL THEORY IN PERFORMANCE
TOTAL WORD COUNT (exc. quotes & references): 2217
BNU ID: 21316196
A&W ID: 742008
Page 9
Critical Theory in Performance Using feminist theory, semiotics and psychoanalysis, how do the directors’ visions and intentions of The Wild Party compare and contrast with each other to the original poem and how can it be applicable to society today?
The Wild Party is a poem by Joseph Moncure March and was published in 1928. Not only was it published two years after it was written but only 750 copies were available at the time. The content of the poem deemed to be too ‘wild’ in terms of the language and issues involved and therefore, it was banned in Boston. It later became adapted into two musicals around the same time as each other; the Off-Broadway version by Andrew Lippa and the Broadway version …show more content…
by Michael
John LaChiusa - both musicals in which portray different interpretations which will be discussed in further detail. Theories on narratology will also be referenced but will not be a significant part of the essay. The 1920’s gave the legislature the power to ban the importation of alcoholic products, which began the era of Prohibition. Many Americans saw this as an inconvenience to their rights.
Men and women disobeyed the Volstead Act by drinking and serving alcohol at parties, without fear of a police raid. According to arena stage: ‘These parties became the gathering place for a rebellious subculture of flappers and their daddies, who embraced jazz, the Charleston, alcohol, and freedom from social restraints.’ This theme is evident in the show.
In the opening lines of Lippa’s version of The Wild Party, there are directorial notes in the script for Queenie:
‘At rise we see the silhouette of a beautiful woman at her dressing table. She is blond, leggy, sexy, and sitting in her underwear and stockings.’
In terms of the different behavioural stereotypes within feminist theory, it can be suggested that
Queenie is being presented as the ‘whore’. This means that she is being viewed as a sex object
BNU ID: 21316196
A&W ID: 742008
Page 1
DP551AW Modern Musical Acting Styles
Critical Theory in Performance primarily for the sexual fantasy of a male. Research suggests that the reason for this objectification can be due to biological driven reasons, in order to determine the fertility of other humans
(Fredrickson & Roberts, 1997). Laura Mulvey’s theory of the ‘male gaze’ relegates women to be the status of an object and therefore, being admired for physical appearance.
In the opening lines of
Lippa’s The Wild Party it is written out for the directors to portray this image of Queenie. It could be because the audience automatically have their own opinion and make their judgement before the show even begins, thus, creating their own stereotype of a blonde, leggy, and sexy woman.
In the paper ‘The Mirror Stage as Formative of the Function of the I as Revealed in
Psychoanalytic Experience’, Lacan attempts to understand the child’s concept of “self” and their experience of looking into a mirror and looking back at themselves: ‘The event can take place, as we have known since Baldwin, from the age of six months.’ (p.502) In relation to Lippa’s production, the directorial notes shows Queenie holding and looking into a vanity mirror: ‘She sometimes primps in a hand-held mirror, sometimes in the vanity..’ This could be symbolising that
Queenie is still a child as it resembles the mirror stage and gives the audience an insight that her behaviour she will get up to in the show will be very childlike. Lacan implied that when one looks into a mirror, we “assume an image”. Between the age of six to eighteen months, a child has …show more content…
no conception of language or any information on how to take on an image that the rest of society has upon them, therefore in The Wild Party, the audience (namely, the society) are expected to make their judgement.
In Lippa’s version, the opening song begins with:
‘Queenie was a blonde and her age stood still and she danced twice a day in vaudeville.
Queenie was a blonde and if looks could kill
BNU ID: 21316196
A&W ID: 742008
Page 2
DP551AW Modern Musical Acting Styles
Critical Theory in Performance she would kill twice a day in vaudeville’
Queenie is the one singing and narrating her own story but through the perspective of the third person narrative. Just from this line, it automatically sets up the structure that will be used during the rest of his production. The characters will be stepping in and out of the situation and commenting upon. In contrast, Matt Dudley’s production uses the ensemble to narrate the lives of
Queenie, Burrs, Black and Kate using third person, not the characters themselves. This difference between the two narrative choices shows that the intention of each director is different from one another, both serving for a different purpose.
In The Wild Party Queenie is seen as an ‘object of desire’:
‘She had grey eyes
Lips like coals aglow
And her face was a tinted mask of snow.
With those shoulders,
What a back she had.
Her legs were built to drive men mad.
And she did.’
Jacques Lacan developed Freud’s theory of sexuality and claimed that from a very early age, a a child attempts to satisfy their needs. Sigmund Freud says:
‘The child develops a close relationship with those who care for it. This primary object-choice carries with it a sexual component, which of course is not able to fulfil its aims. At puberty, the affectionate current is joined by a powerful sensual current, which reinvests the child’s original objects with an explicitly erotic desire.’ (p.384)
The lyrics also include information about Queenie’s looks. In the 1920s, women’s makeup was very dramatic. It has been suggested that this was because it helped them recover from the horrors of war and also asserts their feminine powers, which Helena Rubinstein gives an opinion on: ‘If you can show me a woman who doesn 't want to look young and beautiful - well, I’m afraid she isn’t in her right mind. Women all want it - and we admit that they do’. Silent-film stars Theda Bara and Clara BNU ID: 21316196
A&W ID: 742008
Page 3
DP551AW Modern Musical Acting Styles
Critical Theory in Performance Bow influenced facial makeup in the 1920s with their snow-white skin, which is resembled in the lyrics of ‘Queenie Was A Blonde’. Flirting with the males on stage, it can be seen as though she is using her sexuality to get what she wants. Sigmund Freud included sex in many of his theories. In his book The Ego and the Id (1923) he raises the importance of the libido (sexual energy) and infantile sexuality. The ‘id’ is driven by “instinctual sexual drives which require satisfaction” (Thornton, 2010) and that as children, the sexual experiences that we encounter affects what our personality is like later on in our adult lives. Queenie seems to be driven based on the psyche of the Id and that every impulse she has should be satisfied immediately, regardless of the consequences it may involve. Her song ‘Out of The Blue’ is a classic example of the use of the Id: ‘I’ll push us to renew it
But tell me, what would do it?
Something grand.
Something humiliating,
Something public?’
She believes that in order to get the passion back into the relationship with Burrs, inviting their friends to a party and humiliating him publicly will successfully achieve this.
In the original poem by March, one of the women Burrs had sexual encounters with had a miscarriage: ‘She had a miscarriage
Two days later. Possibly due
To the fact that Burrs beat her with the heel of a shoe
Till her lips went blue.’
This could suggest that Burrs saw her as capable of being a good woman and mother to the child, supporting the research, however Burrs still continued the violence with her which raises questions as to what his intentions were for doing so. Continuing with this assumption, Heru (2003) implied
BNU ID: 21316196
A&W ID: 742008
Page 4
DP551AW Modern Musical Acting Styles
Critical Theory in Performance that men objectify women ‘to fulfil a desire or longing’. This could be a possible reason as to why
Burrs treats women like he does. This coincides with Lacan’s phantasy theory and the notion of when you eventually get something you have been longing for, you no longer want it.
Continuing with the character of Burrs, in Lippa’s production he is being portrayed as a laughable but sad clown singing about his failure to maintain a loving wife. However, in LaChiusa’s version, Burrs is singing of his inability of his wife to love him for who he is. Using semiotic theory, the imagery of a clown in has changed in different generations. Jon Davison’s book “Clown:
Readings in Theatre Practice,” claims that: ‘everyone has ideas, preconceptions or opinions about clowns.’ In today’s society, a clown is seen to be something creepy rather than lighthearted and fun, which is the preconceptions that Davison implies people have. Furthermore, Freud investigated the subject of aesthetics and he called the aspect of horror that is encountered as the ‘uncanny’. It is where something is familiar enough to recognise it but weird enough to freak someone out and give them the shivers. This is exactly what the character of Burrs is intended to do, as one of his characteristics is violent.
It is seen that from poem that was written 86 years ago about the vaudevillian lifestyles, it parallels certain aspects of twenty-first century society. The song ‘Take A Hit’ shows aspects of drug taking when Kate gives Burrs cocaine, but unfortunately Burrs falls asleep, which is the complete opposite effect to what Kate thought would happen. In ‘Let Me Drown’, there are two meanings for the word ‘drown’. In Matt Dudley’s production, his vision is to allow the ensemble perceive the word ‘drown’ as having a good time and to keep up the fun and games, whereas for
Burrs, his motive is to get drunk to the point where he can drown his sorrows and the lyric ‘let me drown’ symbolises the notion that he wants to commit suicide.
BNU ID: 21316196
A&W ID: 742008
Page 5
DP551AW Modern Musical Acting Styles
Critical Theory in Performance One device that is used in Lippa’s and Matt Dudley’s production is the Brechtian nature of the show. Even in spoken dialogue, the rhyme is still incorporated, relating back to the original poem. The lines do come directly from the source poem and therefore, is a key part into the heightened reality of the morality tale. In Matt Dudley’s production, there are two main different performance routes within The Wild Party. The first one is the Greek chorus which Oxford
Dictionary defines as: “A group of performers who comment together on the main action.” The effect of having this kind of performance style within a musical is that it enables the audience’s ability to follow important information and the story that is being portrayed by the main characters.
This specific performance route has been the main focus in the 2014 production, as the narrative requires it to do so, using third person to comment upon the action. The second performance route is our own character that we are playing, incorporating our acting and singing technique and personal methodology.
The issues and themes within The Wild Party since March wrote the poem are evident. Sex, alcohol and drug abuse are unfortunately, addictions that many youngsters are involved in from an early age. Researchers have discovered that teens start using drugs and alcohol for their own benefits including: 1) to improve their mood, 2) to reduce negative feelings, 3) avoid social rejection and 3) to receive social rewards (Kuntsche, Knibbe, Gmel & Engles, 2005). There is a clear reason as to why the musicals have been produced at the time they have. These issues never have and never will disappear; they are ongoing and getting worse. Raising awareness is very important and for Lippa and LaChiusa to produce the same show, unaware of each others emphasises the turmoil in society.
BNU ID: 21316196
A&W ID: 742008
Page 6
DP551AW Modern Musical Acting Styles
Critical Theory in Performance Bibliography: Barr, Z (2013) Zach Barr Reviews…The Wild Party: LaChuisa vs. Lippa. [online] Available from: http://zachbarrreviews.wordpress.com/2014/02/22/zach-barr-reviews-the-wild-party-lachiusa-vslippa/ [Accessed 17 Nov 2014]
Belsey, C (1993) Desire in Theory: Freud, Lacan, Derrida. Routledge. Benner, L (2004) Women in The 1920s. [online] Available from: http://ncpedia.org/history/20thCentury/1920s-women [Accessed 2 December 2014]
Epps, C., & Wright, E. L. (2012). The genetic basis of addiction. In C. Epps & E. L. Wright,
Perioperative Addiction (pp. 35-50). New York: Springer. Felluga, D (2011) Modules on Lacan: On Desire: Introductory Guide to Critical Theory. [online]
Available from: http://www.cla.purdue.edu/english/theory/psychoanalysis/lacandesire.html
[Accessed 6 Dec 2014] Fink, B (1997) A Clinical Introduction to Lacanian Psychoanalysis: Theory and Technique.
President and Fellows of Harvard College: USA Fredrickson, B., & Roberts, T (1997) Objectification Theory: Toward Understanding Women’s
Lived Experiences and Mental Health Risks. Psychology of Women Quarterly, 21, 173-206. Freud, S (2003) The Uncanny. Penguin Books: London Glamour Daze (2009). The History of 1920s Makeup. [online] Available from: http:// glamourdaze.com/history-of-makeup/1920s. [Accessed 3rd Dec 2014] Heru, Alison M. (2003). Gender and the Gaze: A cultural and psychological review.
International Journal of Psychotherapy, 8(2), 109-116. Kath (2010) Rhyming Speech in Andrew Lippa’s THE WILD PARTY. [online] Available from: http:// mtiblog.mtishows.com/rhyming-speech-in-andrew-lippas-the-wild-party/ [Accessed 13 November
2014]
Kuntsche, E., Knibbe, R., Gmel, G. (2005) Why Do Young People Drink? A Review of Drinking
Motives. Clinical Psychological Review. Lacan, J “The Mirror Stage as Formative of the Function of the I as Revealed in Psychoanalytic
Experience.” in: Leitch, V (2001) The Norton Anthology of Theory Criticism. New York: W.W.
Norton & Company.
Lippa, A (1997) The Wild Party (Music Score). Music Theatre International: USA
BNU ID: 21316196
A&W ID: 742008
Page 7
DP551AW Modern Musical Acting Styles
Critical Theory in Performance March, J, & Spiegelman, A (1999) The Wild Party: the lost classic.
New York: Pantheon Books. Miller, S (2011) Sex, Drugs, Rock & Roll, and Musicals. St Louis: Heinemann Drama. O 'Donnell, K. (n.d.).Women 's flapper makeup in the 1920s. [online] Available from: http:// www.ehow.co.uk/facts_7734080_womens-flapper-makeup-1920s.html. [Accessed 21st Nov 2014]
Rosenberg, J (2014) Flappers in the Roaring Twenties. [online] Available from: http:// history1900s.about.com/od/1920s/a/flappers.htm [Accessed 22 Nov 2014] Sharpe, M (n.d.) The Internet Encyclopaedia of Philosophy: Jacques Lacan [online] Available from: http://www.iep.utm.edu/lacweb/ [Accessed 28th Nov 2014] Smith, M. (2010). Duke Ellington 's sophisticated ladies. [online] Available from: http:// www.arenastage.org/shows-tickets/sub-text/2009-10-season/sophisticated-ladies/the-roaringtwenties.shtml. [Accessed 3rd Dec 2014] Strachey, J (1960) The Ego & The Id: The Standard Edition. W.W. Norton & Company: New York.
Thornton, S (2010) Sigmund Freud. [online] Available from: http://www.iep.utm.edu/freud/
[Accessed 10 Dec
2014] Weaver, T. Jr. (2013) Review: Music theater program invites campus to ‘The Wild Party’. [online]
Available from: http://www.elonpendulum.com/2013/02/review-music-theater-program-invitescampus-to-the-wild-party/ [Accessed 7 Dec 2014]
References: Belsey, C (1993) Desire in Theory: Freud, Lacan, Derrida. Routledge.
Lacan, J “The Mirror Stage as Formative of the Function of the I as Revealed in Psychoanalytic
Experience.” in: Leitch, V (2001) The Norton Anthology of Theory Criticism. New York: W.W.
Norton & Company.
Lippa, A (1997) The Wild Party (Music Score). Music Theatre International: USA Smith, M. (2010). Duke Ellington 's sophisticated ladies. [online] Available from: http:// www.arenastage.org/shows-tickets/sub-text/2009-10-season/sophisticated-ladies/the-roaringtwenties.shtml. [Accessed 3rd Dec 2014]
Thornton, S (2010) Sigmund Freud. [online] Available from: http://www.iep.utm.edu/freud/
[Accessed 10 Dec 2014]
BNU ID: 21316196
A&W ID: 742008
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DP551AW Modern Musical Acting Styles
Critical Theory in Performance
FDA2 Musical Theatre module: DP531AW Modern Musical Acting Styles
Submitted:
CRITICAL THEORY IN PERFORMANCE
TOTAL WORD COUNT (exc. quotes & references): 2217
BNU ID: 21316196
A&W ID: 742008
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