USE OF MUSIC in theatre
UNDERSTAND CHARACTER MOTIVES/ INTENTIONS “If ever I would leave you, it wouldn’t be in summer….” Camelot HEAR THEM THINK “I’m in love with a wonderful guy.” South Pacific CHARACTER DEFINITION “you’ve got to pick a pocket or two” Oliver “The pajama Game is the game I’m in…” Pajama Game FEELINGS, AS OPPOSED TO THINKING! “I Just met a girl named Maria.” West Side Story SET SCENE/ LOCATION “The hills are alive with the sound of music.” Sound of Music. PLOT ADVANCEMENT
PLOT BACKGROUND INFORMATION
A song is often the stoppage of time. The character says something (or some other cue) and time is suspended while we listen to the thoughts of the actor. We hear what they think, what they feel … we are treated to the same device a novelist uses as we learn of the motives (et. al) of the character.
The songs are usually the emotional highlights of the play. You should know where they are as you write. Or…after they are written, the composer must see the placement.
A musical is seldom book then composer; or composer, then book. It is usually a dynamic collaboration which implies an on-going negotiation. NEW NOTES USE OF MUSIC in theatre
UNDERSTAND CHARACTER MOTIVES/ INTENTIONS “If ever I would leave you, it wouldn’t be in summer….” Camelot HEAR THEM THINK “I’m in love with a wonderful guy.” South Pacific CHARACTER DEFINITION “you’ve got to pick a pocket or two” Oliver “The pajama Game is the game I’m in…” Pajama Game FEELINGS, AS OPPOSED TO THINKING! “I Just met a girl named Maria.” West Side Story SET SCENE/ LOCATION “The hills are alive with the sound of music.” Sound of Music. PLOT ADVANCEMENT
PLOT BACKGROUND INFORMATION
A song is often the stoppage of time. The character says something (or some other cue) and time is suspended while we listen to the thoughts of the actor. We hear what they think, what they feel … we are treated to the same device a novelist uses as we learn of the motives (et. al) of the character.
The songs are usually the emotional highlights of the play. You should know where they are as you write. Or…after they are written, the composer must see the placement.
A musical is seldom book then composer; or composer, then book. It is usually a dynamic collaboration which implies an on-going negotiation.