
Contents
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Historical Lens Historical Lens
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Global Transmission of Training: Integration and Collaboration Global Transmission of Training: Integration and Collaboration
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The Global Emergence of the ‘Triple Threat’ and Its Commodification The Global Emergence of the ‘Triple Threat’ and Its Commodification
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Glocalisation of Musical Theatre Writing Glocalisation of Musical Theatre Writing
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A Current Global Snapshot A Current Global Snapshot
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List of University and Conservatoire Training Courses List of University and Conservatoire Training Courses
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Acknowledgments Acknowledgments
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Notes Notes
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Bibliography Bibliography
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3 Training for Writers and Performers
Get accessZachary Dunbar is associate professor of theatre and Performing Arts Research Convenor, Faculty of Fine Arts and Music, University of Melbourne. His research interests include performing arts training, musical theatre, classical reception and Greek tragedy, and practice-as-research methodologies. His most recent publication, co-authored with Stephe Harrop, is Greek Tragedy and the Contemporary Actor (Palgrave-Macmillan, 2018). As a freelance artist, he initially trained as a concert pianist in the United States (Rollins College, Yale University) before completing his studies as a Fulbright scholar at the Royal College of Music, London. Subsequently, he pursued an interdisciplinary career between theatre and music. In the United Kingdom, he created and directed original works across several genres, including radio drama (BBC Radio 4), Greek tragedy, musical theatre, Beijing opera, post-dramatic soundscape theatre, and dance theatre, with productions at the Pleasance Theatre, Bloomsbury Theatre, Brighton Underbelly, Embassy Theatre, Camden People’s Theatre, several Edinburgh-fringe productions (Fringe-First nominated), and the prestigious Jungehunde festival (Denmark). He taught at the Royal Central School of Speech and Drama (London) and has given acting-through-song workshops in Australia, Chile, New York, and London. His recent original theatre works in Melbourne include Florida (La Mama) and AntigoneX (Theatreworks).
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Published:23 October 2023
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Abstract
The widespread growth of Broadway and West End musicals, especially after World War II, has produced a global market in need of industry-ready performers and writers, resulting in a rapid growth in, and demand for, writing and performance training. This chapter offers a global snapshot of the worldwide schooling in the musical craft whose legacy undoubtedly owes much to Broadway and the West End. In writing, the innovations in the musical art form which led to closer-crafted dramaturgies mirror the systematic development of collaborative creativity among the component arts. In performance training, integrative practice which aspires toward a versatile and seamless fusion of singing, acting, and dancing (ubiquitously trademarked as the ‘triple threat’), emerges alongside the rise of the choreographer-director. In both cases, a creative tension exists between global socio-economics and local culture, played out as both an appropriation of and resistance to the transmitted principles of Broadway- or West End-style musicals, inasmuch as foreign markets may develop the next Filipina Kim or Chinese Cats for the ‘megamusical’ trade whilst fostering an indigenous (‘glocal’) talent base for their own burgeoning markets. A summary of the global status quo considers the vexed challenges of vocational training in context of integration, industry-facing aims, and current social issues.
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