Kamarck, Edward (ed.) / Arts in society: tenth anniversary issue
[Toward a total musical theatre], pp. -37 ff. PDF (16.6 MB)
between reality and unreality." ' The 33 ! piece, which lasts 31' 20", has a score | based on time-space coordinates and includes directions for the performers such as, "Pour bag of steel pipes into steel barrel" and "Wade through mud' to| Wd 3 by 7,50" (i.e., to a certain place by a certain elapsed time). The composer states that "Film loops and specially prepared movie sequences may be used." Speech is not excluded: the dancer "may also speak, but with discretion." A multi-media | work, "The Maze" is structured but "open" to the extent that it allows for certain options in performance (e.g., the dancer may either dance or mime, speak or be silent, and his movements are "free"). | This brief review of the musical theatre in the U.S.A. over the past forty years- spotty and incomplete though it be (making no mention, for instance, of the explosive entry of pop-folk-rock idioms into our musical theatre) - indicates that the Y "unfulfilled opportunities" are not in the creative work of our composers, l writers, performers, and directors, but in the conventional criteria and stultifying standards of our so-called "Cultural Centers," which exist primarily to I perpetuate and promote the "consecrated code" of "guaranteed success" - mocking I "the need of modern man for creative fulfillment" by offering packaged culture for passive recipients, and expert "Guidance in the Building-Up of the Personality" I through conditioned responses to the outworn rituals of a routine repertory. It is time to open other doors (fanfare of music by The Doors) in the Magic Theatre of Illusion and Reality. !