Select Recordings and Multimedia American Musical <strong>The</strong>ater, vol. 1. Washington, DC: Smithsonian Collection <strong>of</strong> Recordings, 1989. Distributed by CBS Special Products. Disc 1 <strong>of</strong> a 4-compact disc set. Broadway: <strong>The</strong> American Musical. A Film by Michael Kantor. Public Broadcasting Service Home Video, 2004. 3-digital video disc set. Broadway: <strong>The</strong> American Musical PBS website. http://www.pbs.org/wnet/broadway/ index.html (accessed 02 May 2005). 119 Kern, Jerome and Oscar Hammerstein II. Show Boat. Frederica Von Stade, Jerry Hadley, Teresa Stratas, Bruce Hubbard, Karla Burns, David Garrison, Paige O'Hara, Ambrosian Chorus, London Sinfonietta, John McGlinn, conductor. EMI, 1988. 3compact disc set. Complete, original 1927 Broadway version with deleted songs and revival revisions. Kern, Jerome, and Oscar Hammerstein II. Show Boat. Barbara Cook, John Raitt, William Warfield, the Merrill Staton Choir, Franz Allers, conductor. Notes by Stanley Green. Columbia Records CK2220, 1966. Studio recording; compact disc reissue. Show Boat. Directed by James Whale. Irene Dunne, Allan Jones, Charles Winninger, Paul Robeson, Helen Morgan, Helen Westley, and Hattie McDaniel. 115 minutes. Universal Studio Pictures, 1936; Videocassette edition, Turner Entertainment Co., 1990. Show Boat. Directed by George Sidney. Kathryn Grayson, Ava Gardner, Howard Keel, William Warfield, Marge and Gower Champion, and Agnes Moorehead. 115 minutes. Metro Goldwyn Mayer Pictures, 1951. Videocassette. Show Boat. Directed by George Sidney. Kathryn Grayson, Ava Gardner, Howard Keel, William Warfield, Marge and Gower Champion, and Agnes Moorehead. 107 minutes. Metro Goldwyn Mayer Studios, 1951; DVD edition, Turner Entertainment Co., 2000. Includes outtakes <strong>of</strong> Ava Gardner’s original recordings for “Can’t Help Lovin’ ‘dat Man” and “Bill.” Ziegfeld Girl. Directed by Robert Z. Leonard. Choreographed by Busby Berkeley. Judy Garland, Hedy Lamarr, Lana Turner, and James Stewart. 132 minutes. Metro Goldwyn Mayer Studios, 1941; DVD edition, Turner Entertainment Co. and Warner Brothers Entertainment, 2004.
<strong>Song</strong> Title: Show Title: Lyricist: Composer: 1. Who is speaking? APPENDIX <strong>Song</strong> <strong>Character</strong> <strong>Analysis</strong> <strong>Worksheet</strong> Name: (first, middle, last) Age: Height Hair Color Birthplace: Other Places You’ve Lived: Parents’ Names: Sibling Order: Childhood Experiences: Religious Background: Education: Occupation: Distinguishing Physical <strong>Character</strong>istics (5 adjectives): Distinguishing Personality <strong>Character</strong>istics (5 adjectives): 120
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LEWIS, ANNE, D.M.A. An Examination
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APPROVAL PAGE This dissertation has
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TABLE OF CONTENTS iv Page ACKNOWLED
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for research, this paper will explo
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MacDonald, labeled musical theatre
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The musicals that have entered the
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and individually as handwriting.”
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Methodology The base of research fo
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Feminine Character in Selected Libr
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from the 1920s, they are timeless i
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e helpful to recognize the specific
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as a Cinderella-type heiress who ma
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Vereen described the “blackface c
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Casino Theatre in Manhattan. The re
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functional sets, and an eleven-piec
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The History of the Musical, Show Bo
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amount of instrumental music, the d
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Ferber’s novel begins with the na
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Act II begins four years later as G
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CHAPTER III SOCIETAL STEREOTYPES OF
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communion.” 5 This bias continued
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children, however, did allow mother
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unhealthy, sub-human environments.
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dominated by masculine traits in ap
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magazines, including Ladies Home Jo
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Nineteenth Century Stereotypes of W
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usiness. She was responsible for th
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gender) inequality forced them inst
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The 1920s was the Jazz Age, a time
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CHAPTER IV THEATRICAL STEREOTYPES O
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peoples . . . to save us from our o
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separate seating arrangements). The
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Feminine Aesthetic in Theatre Any a
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gossip columns. 17 Exploitation on
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means to economic or career advance
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Florenz Ziegfeld, reportedly, was q
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- Page 117 and 118: BIBLIOGRAPHY General Sources Burkho
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