Can Glee be called a musical in the classical sense - Dissertation Example

? Changes and Evolution of the Musical Introduction The changes in musicals and television programs have also led to new spins on some of the formations of programs. An example of a new ideal from the older concepts of musicals is from the television series, “Glee.” This particular musical, comedy and drama re-create the formula of the musical while keeping some of the main elements associated with the classical musicals from films. The differences and similarities show how the idea of the musical has been altered into developing different ways of approaching the audience. While the main formation of the musical is noted in the new television program, “Glee,” there are also alterations to reach the popularity of the audience with the development of music, plot line and concepts which apply to current society. Literature Review The concept of musicals, as well as the formation of different ideals in traditional entertainment was based on drawing the audience through film and performance with a combination of acting and music. The evolution of this from performance and to the stage has marked several components of history and has altered the approach taken for this genre and style of music and acting. The development of musicals show how there is a direct comparison to the TV series “Glee,” specifically because of the defined elements and formulas which have taken place with the classical style of musicals. Definition of the Musical The musical began as early as the 1600s, usually which was referred to as a narrative like opera. The main component was to create a hybrid model of the performances between acting and music. The narrative would depict the main ideals that were being told in the story, while the musical numbers were able to pause to reflect on the emotions and responses from the characters according to what was occurring within the plot. The musical numbers are able to take the viewer outside of the reality of what is occurring and break into the songs to show the other perspectives of what is occurring within the film. This is followed with narrative, performance and the dance gestures which follow each of the musical components as well as the overall structure of the musical. By adding in the hybrid expressions for the musical, there was the ability to have more creative expressions and freedom that allowed the viewer to understand the context of the narrative differently, either for entertainment or to deepen the meaning of the main film (Cohan, pg. 59). The different concepts of the musical move beyond the interchanges of form and medium and into ways in which the musical is able to create a significant change to the overall feel of the performance. In both theater and film musicals, there is the use of music to change the context of the performance and viewpoint of those that are watching the drama. The first component to this is the idea of repetition. The songs that are used in musicals comprise of three verses and choruses that are repeated in between the verses. When this goes outside of the traditional formula, then there is a noticed line which is repeated, known as the hook. The music then changes the context and meaning, specifically because the repetition is able to drive a theme forward which couldn’t be heard or displayed in a regular narrative. The effect of repetition, combined with the several hybrid expressions intertwined with this, such as the gestures and dance, are then able to emphasize parts of the musical and create a different effect when speaking to the audience about the most important factors noted in a specific point of the musical (Kramer, pg. 180). The underlying component that is used with the musical then leads to the conventions of the musicals, specifically which becomes a synthesis of music / dialogue / dance and emotion combined with narrative. Instead of creating a linear form that is often expressed in other types of music, there is a focus on the hybrid definition of interchanging works, some which are used for emphasis, and others which move forward at a different rhythm to show the audience what is occurring. From this definition, are more layers to the musical in all forms, specifically because of the definition of genres which can take place. The idea of drama, for instance, is based on actors, pure music or pure dance. The word creates a specific meaning about what the drama will hold and the main formulation of the performance. The musical is combined with the other genres, such as the musical drama, musical comedy or musical romance. The change in texture of the performance is the main element that doesn’t lead the performance to only being a drama, but instead to adding the layers and emphasis that is seen outside of the pure performance which only consists of one type of expression. The system which is established, specifically when defining the genres of the musical, are then specific to the formulation and emphasis which is created when creating the musical (Stiehl, 33). Conventions of Musicals The general outline of musical theater and the concept which follows this leads to several conventions which are practiced with the different forms of musicals. The first conventions are dependent on the movement into film, which creates specific sceneries and ways of approaching the film. Folk musicals, fairy tale musicals and comedy musicals are the three forms which take place. These developed specifically because of the scenery, as well as the approach toward creating realistic or magical plotlines that could be followed with the musical. The fairy tale musical conventions were able to expand with the music used, specifically because the idea of telling a story was able to expand into different concepts. The folk musicals; however, took a realistic approach of what folk America was like, while adding in dance and music as a more subtle element to the realism of the film. The two divisions are based on the questioning of how much reality should be added into the film as well as how this would combine with the elements of the musical because of the hybrid approach to song and dance within the drama (Altman, 77). Other elements which were described with the conventions of the musical emerged and evolved through time, specifically with the film industry. The music and dance that was incorporated into the earlier pieces blended into the narrative that was used, similar to the theatrical experience which was taken. However, this also led to a division into unrealistic measures. For instance, extras would show up to dance and sing as a chorus when the music began. These extras were often not linked to the film and weren’t seen in other scenes. There were also limitations with the dance used as well as the movement on the screen with earlier pieces, making the musical elements more important than the dances and the other parts incorporated into the musical using innovative measures to change the focus. In later works, these changed, specifically with innovations such as characters blending more into the songs and the music becoming a natural part of the plot line. Trying this realistic approach led to limitations in the plot line, specifically which was associated with music in a specific area of society. However, this balanced the basic conventions and methods used so it could fit in with the screen of the film while allowing the dance and song to match with the flow of the musical film (King, pg. 200). The Performer Biopic A component to keep in mind with the traditional musicals is the performer biopic. This concept is known as creating a narrative, combined with music, based on the popular issues and performers of the day. This creates a social link to the issues at hand while creating a sense of social consciousness that is surrounding a popular issue or performer. The biopic is followed by controversial subjects that are often performed while adding in and reinforcing the emotional and psychological ideologies related to this, specifically with the music working as a way to add in the element of emotional responses. The performer then becomes responsible for creating a narrative that is a representative of the culture. In film representations, it was known that the youth culture was the most represented for hyper – real narrative depictions, specifically with issues and realities that would draw this audience into the film because of popular surroundings of the musical (Shepherd, 321). There are several types of performer biopics that are established in the traditional musical and which are known throughout musical history because of the ideals of growing popularity throughout specific regions. Performer biopics include establishing an identity that is resistant to the establishment in the field, advice from others in the field and dramatic breakthroughs. The biopics within the musical follow this same element, which includes resisting popular ideals, showing advice and advancement of characters and having breakthroughs, usually which occur through the musical numbers toward the end of the musical number or field. The biopics include the relations to other characters involved in the musical and the conflicts which arise because of differences of perspective or opinions. The context and plot line which forms around this then creates the main performance specific through the procedures which are followed (Landy, pg. 89). Analysis of Glee and Musicals When looking at the definition of the classical musicals and the relationship to the contemporary ideals, it can be seen that there are several relationships between the basic definitions and the ideals which are currently used. While there are differences in the TV series, popular approach and contemporary social push, there are also several similarities that are taken from the context of the classical music. Defining each of these elements and creating a deeper understanding of how each works in relation to the other shows deeper insight into how both work to create a similar experience with the form as well as the emphasis of specific points through the music. Similarities between Glee and Musicals There are several similarities that are seen between “Glee” and the traditional musicals that are on film. The first is the formula which each follows. Glee has a narrative format, specifically which is associated with the musical glee class that the teacher has. The teacher moves through several topics, all which lead to complexities and personal changes among the students that are taking from the teacher. This main plot line is emphasized with the music that is either heard through the glee performances or which comes from the practices of the students. This includes a main theme song, and is followed by at least one new song that is introduced during each episode. This basic formula is used in all episodes and provides a different emphasis on what is occurring. It is this same formula that is seen with the musicals presented on film. An example that is seen with this is the classical musical, “Singin’ in the Rain,” first presented in 1952. This particular film is monumental in producing some of the first sounds heard on stage, making the emphasis of the music more important. The context moves beyond this into the realistic concepts of the love relationship which is created, formula of the narrative followed by the several songs and each of these representing a conflict that was a part of the main film. The formula which is followed is similar to “Glee,” specifically because of the movement between narrative and music, with the music expressing the main emotions and psychological relationship that is built throughout the musical (Cohan, 158). Another similarity that is seen between “Glee” and the other musicals is through the content and the approach to the popularity that is taken between the two. When looking at the content of “Glee,” it directly relates to the high school, popular culture. The teacher as Gwyneth Paltrow, the extra mimics of Lady Gaga and Brittany Spears and the relationship to relationships and conflicts that are common in high school are some of the themes which are used with the TV series. This shows the link to the biopic that is related to the older individuals guiding the students, relationship to the popular themes and the ability to identify with the growing culture that is a part of the current society, especially among youth. The main component that is created shows a direct ideal which is able to attract youth that are interested in the popularity of the time, both in forms of music as well as through the content and thematic material that is presented among the musical. By doing this, there is the ability to create a different approach to those that are interested in the musical. This is also a similar approach to what was done with the Hollywood musical. The fairy tale and the folk musicals are the two representations of this that related to the movement of youth during the 1950s. For instance, Bye, Bye Birdie and other musicals of the 1950s show the movement of youth from the rural areas of America and into the movement into modernism. The musicals also related the ideals of relationships that were common among youth. Another concept of this is The Music Man, in which the big city man comes and transforms a small rural town as well as changes the outlook of the librarian of the city. The music works as a way to compliment the changing emotions and psychology of the youth, while allowing the popular concepts of the time to be the main component that is provided to those who are interested in the musical. From this respect, there are similar concepts in both the musical and “Glee” (Dunne, 212). A similar type of content that is seen in “Glee” is one which directly relates to the theater and film concept of “The Chorus Line.” This particular musical is based off of a group of youth who are auditioning for a musical. The different pieces of music which are displayed throughout the musical relate directly to the emotions and psychology which occurs as the auditions take place, specifically which shows the different elements to character development which are a part of the film. “Glee” is similar to this by showing the main content of the classroom and the lives of those that are involved in the glee club. The different components of the music takes place directly from the happenings which occur in this one area, allowing the expansion to occur from one setting and to build the content from the different emotional and psychological responses which occur in this given area. This is a way to match the understanding of those in the situation and creates a direct link between the classical musical styles to the present ideas in terms of content and presentation. Differences between Glee and Musicals Even though there are several similarities between “Glee” and musicals, there are also a variety of differences. The first is the representation of “Glee” as a television series, as opposed to a film. The musical films typically last between 1 – 2 hours with one plot line that doesn’t have a sequence. An average of 10 – 30 songs could be heard in the musical sequence, depending on the time frame which it was written as well as the genre that it is written in. These different expectations and conventions allowed the classical musical form to carry a specific style and format, specifically which worked in conveying a specific message on film (Dunne, 201). The format of “Glee,” while keeping the style of moving between the music and the narration differs because it is a television series. This changes the format into one which is concerned with the continuation and sequels which occur. Instead of showing several events in a shorter period of time, one major event or conflict occurs in each episode. There is also not as much music, but instead one or two songs within the span of time which highlights the main theme or conflict. Typically, this is heard around the climax of the episode, specifically because it shows a sense of resolution. While this is able to provide a specific style of communication with the audience, there are also aspects of changing the formation of the narrative and the musical series, specifically to highlight the musical piece instead of making it the main part of the musical. The other differences that is associated with ‘Glee” and the other musicals are based on the use of the popular forms. The context in both has changed, specifically because of the interests of the time and the development of society. The musicals, as well as “Glee” are both based on drawing the youth culture to the different placements of entertainment. Both have a direct affiliation with the entertainment and the ability to create an interest from the popular song forms and the interest in the different pieces of content in the music. However, there are general differences that are represented within the musical and “Glee,” specifically because of the changing interests between those that are within society. The interests which draw those toward the TV and which create the main differences between both also alter the approach which is taken toward putting together the content. Everything from costumes to scenery, content and the formation of events changes between the classical musicals and “Glee,” specifically because the interests of the spectators also differ. Innovation of Musicals Even though there are differences between the two genres, it can also be noted that “Glee” is an innovation from the classical musicals and is leading to changes which are occurring with the representation of the musical as well as the way in which this is able to provide new insights into entertainment. The musical is one which began to die out in the 1990s, with some of the transformations occurring with musicals which were developed slowly over time. There were different aspects related to this, such as the belief that the musical and the classics would not be able to create a reality for the musicals. There were also aspects that the musical would need to be reinvented in order to provide the right aspects to those that were interested in the film. The debates which occurred created questions on how to re-create the musical and transform the way in which it appeared on screen (Kenneth, 20). The introduction of “Glee” is a way of recreating the musical and bringing back the form that is now of interest to those who are trying to transform and renew the musical. The ideologies which were a part of the traditional musical, including the form and expressions of hybrid mediums to create an expression are still kept. More important, there are ideologies in relation to realities and consistencies with the modern musical that are helping with the transformation and evolution of the musical. It can be seen that there is an approach to having a realistic ideology from the musicals which are now being formed, as well as an approach to make the music more complimentary to the issues and conflicts that are a part of the musical. By understanding these components, there is the ability to change the ideologies while keeping the basic formulas of the musical (Laderman, 5). When looking at “Glee” it can be seen that it is an innovation and movement forward for musicals. The changing of the main form from the film and into the TV series is one of the aspects that change this. When this alters, the overall formula of when to provide music as well as how the narrative begins to form follows. There are also alterations and innovations in respect to the main plot line, characters and the production of the musical. The creation is one which expands on the genre of the musical and at the same time presents a new genre that is outside of the traditional concepts of drama, comedy, folk or fairy tale types of musicals. Instead, there is a direct link with the popular culture as well as a combined effort to create a different perspective that is related directly to the understanding of how the musical can work to transform ideals through the use of music, while changing the overall formula of the medium. By approaching this, the musical is one which is still kept in respect to the main ideals of music representing the emotions and psychology. At the same time, there is the ability to use the transformation of the genre to reach the new and more popular culture that is interested in the musical, creating a revitalization of the genre. Works Cited Altman, Rick. The American Film Musical. Indiana University Press: Indiana, 1989. Cohan, Steven. Hollywood Musicals, The Film Reader. Routledge: New York, 2002. Dunne, Michael. American Film Musical Themes and Forms. Routledge: New York, 1989. Kenneth, John. Singing a New Tune; The Rebirth of the Modern Film Musical. University of California Press: California, 2005. King, Geoff. Film Comedy. Routledge: New York, 2002. Kramer, Lawrence. Musical Meaning: Toward a Critical History. University of California Press: California, 2002. Laderman, David. Punk Slash! Musicals: Tracking Slip – Sync on Film. Routledge: New York, 2010. Landy, Marcia. The Historical Film: History and Memory in Media. Continuum International Publishing Group: UK, 2001. Shepherd, John. Continuum Encyclopedia of Popular Music of the World. Continuum International Publishing Group: UK, 2003. Stiehl, Pamyla. The Dansical: American Musical Theatre Reconfigured. University of Boulder: Colorado, 2008. Read More