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After the megamusical : exploring the intimate form

dc.contributor.advisorDu Preez, Petrusen_ZA
dc.contributor.authorGerber, Andre Krugeren_ZA
dc.contributor.otherStellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.en_ZA
dc.date.accessioned2017-01-16T13:15:10Z
dc.date.accessioned2017-03-29T11:33:42Z
dc.date.available2017-01-16T13:15:10Z
dc.date.available2017-03-29T11:33:42Z
dc.date.issued2017-03
dc.identifier.urihttp://hdl.handle.net/10019.1/100810
dc.descriptionThesis (PhD)--Stellenbosch University, 2017.en_ZA
dc.description.abstractENGLISH ABSTRACT: The megamusical has become one of the most popular performance forms, with productions such as The Phantom of the Opera (1986) and The Lion King (1997) running profitably for decades. In South Africa, where productions of megamusicals are tremendously popular, the form itself is increasingly unsustainable within an economic framework where ticket prices and production costs are often at odds. This dissertation investigates another form of musical theatre – the intimate musical – as a more sustainable model for creating musical theatre in South Africa. The study defines the intimate musical within certain limited fiscal, performative and aesthetic (visual and aural) frameworks, noting the use of a limited cast and orchestra size, imaginative staging techniques and focused narrative qualities as distinguishing features. This dissertation assesses and outlines the aesthetic principles of both the megamusical and the intimate musical and subsequently proposes that the intimate musical is a more sustainable model in which to resourcefully present imaginative productions with an alternative thematic and aesthetic scope. The study concludes with the creation and discussion of a new Afrikaans intimate musical, Fees, (Festival) that incorporates the aesthetic features of the intimate musical.en_ZA
dc.description.abstractAFRIKAANSE OPSOMMING: Die megamusical het een van die mees gewilde performance vorme geword, met produksies soos The Phantom of the Opera (1986) en The Lion King (1997) wat vir jare winsgewend speel. In Suid-Afrika, waar produksies van megamusicals uiters gewild is, is die vorm self toenemend onvolhoubaar binne ʼn ekonomiese raamwerk waarin kaartjiepryse en produksiekoste dikwels in stryd is. Hierdie dissertasie ondersoek ʼn ander vorm van musiekteater – die intieme musical – as ʼn meer volhoubare model vir musiekteaterskepping in Suid-Afrika. Die studie definieer die intieme musical binne sekere beperkte fisieke, performative en estetiese (visuele en ouditiewe) raamwerke en let op, onder andere, die gebruik van ʼn beperkte akteur- en orkesgetal, verbeeldingryke aanbiedingstegnieke en gefokuste narratiewe kwaliteite as onderskeidende kenmerke. Die studie bepaal en omskryf die estetiese beginsels van beide die megamusical en die intieme musical en stel daarna voor dat die intieme musical ʼn meer volhoubare model kan wees om verbeeldingryke produksies met ʼn alternatiewe tematiese en estetiese omvang te skep. Die studie sluit af met die skepping van 'n nuwe Afrikaanse intieme musical, Fees, wat die verskeie estetiese eienskappe van die intieme musical inkorporeer.af_ZA
dc.format.extent341 pages : illustrations, musicen_ZA
dc.language.isoen_ZAen_ZA
dc.publisherStellenbosch : Stellenbosch Universityen_ZA
dc.subjectIntimate musicalen_ZA
dc.subjectMegamusicalen_ZA
dc.subjectMusical theatreen_ZA
dc.subjectContemporary South African musical theatreen_ZA
dc.subjectGerber, Andre Kruger -- Feesaf_ZA
dc.subjectUCTDen_ZA
dc.titleAfter the megamusical : exploring the intimate formen_ZA
dc.typeThesisen_ZA
dc.rights.holderStellenbosch Universityen_ZA


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