Term
|
Definition
male-gendered musical Find the gender of the musical in the music Overture - power of the bass; masculine instruments (English horn) |
|
|
Term
|
Definition
Brass and Percussion (masculine) Flutes and strings (feminine) The lower the voice, the more grounded; higher the voice, the more idealistic |
|
|
Term
|
Definition
a flower, European legends -> a series of novels -> epic musical Strongest stories are based on adaptations
suggests male-gendered |
|
|
Term
|
Definition
Women don’t have names Men only have one name: it is about what he does, not relationships |
|
|
Term
|
Definition
Revolutionary France established by the overture - The musical starts with the lie; it is about discovery; it is about using false identities for armor (Male) |
|
|
Term
Males in male-gendered musicals |
|
Definition
seeking the ideal Deal with the supernatural Men deal with the struggle of the moral structure Have to overcome human nature |
|
|
Term
Females in male-gendered musicals |
|
Definition
the damaged Always either rescued or sacrificed |
|
|
Term
|
Definition
Percy Blakeney
Armand St. Just
Bounders |
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
asks questions, wants to stop the bloodshed Weapon - his mind, his intellect Armor - his disguises; the legend of The Scarlet Pimpernel as in “They Seek Him Here” More idealistic than Chauvelin, as a contrast Starts out feminine - fights his masculinity Flaw: his jealousy Can’t be revealed until his journey is complete |
|
|
Term
|
Definition
Ends in strength; his love for Marguerite is his strength Turning point - acknowledges his flaw and chooses to follow his calling because he loves Marguerite |
|
|
Term
|
Definition
Percy’s calling is not his wife. They can continue on with the call even when they have a loved one in trouble, if they are independent. The damsel in distress is not weak. She is his equal help mate. |
|
|
Term
|
Definition
Don’t have a leader but they each have potential Percy leads them - purged by fire: come out refined if they have heroic traits (and they do - they come out heroic) The legacy (male-gendered) is passed down to them as they repeat Percy’s words |
|
|
Term
Intruder:
Armand St. Just |
|
Definition
The 2nd Percy - he is further along in his journey than Percy |
|
|
Term
|
Definition
Baritone voice - grounded, realistic Has a large army (chorus) on his side Forte - ruthless, no tenderness; won’t be an easy defeat Starts out masculine Flaw: doesn’t know who he’s fighting Shows feminine qualities around Marguerite - his heroic qualities emerge around Marguerite Chauvelin: Sacrifices the damsel to win the war |
|
|
Term
|
Definition
|
|
Term
Battleground: Marguerite St. Just |
|
Definition
Lyrical Soprano - Idealistic She is the battleground the hero is called to fight for; she is the damsel in distress; Marguerite is what is at stake Wants to be won by what is good; should not be clear who she will choose Percy’s equal helpmate |
|
|
Term
|
Definition
Waltz = Dream Sequence Represents the psychological nature of the show |
|
|
Term
|
Definition
Can’t tell whose army is larger Marguerite is going to survive on her own Can’t tell Percy and Chauvelin apart (don’t upstage either) - equal forces |
|
|
Term
|
Definition
The hero’s journey is over but the mission isn’t complete Hero had what it takes from the beginning Man switches from external to internal Male-gendered: give a challenge and calling to the audience |
|
|
Term
|
Definition
Percy does not win the battleground. The battleground chooses Percy. |
|
|