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| re: and with direction..... | |
| Posted by: Chazwaza 07:08 pm EST 02/22/20 | |
| In reply to: and with direction..... - stevemr 06:24 pm EST 02/22/20 | |
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| I don't understand this idea of characters in musicals KNOWING the lyrics they sing rhyme. She isn't rhyming, the lyrics that express her thoughts when she sings ARE. | |
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| re: and with direction..... | |
| Posted by: Chromolume 07:19 pm EST 02/22/20 | |
| In reply to: re: and with direction..... - Chazwaza 07:08 pm EST 02/22/20 | |
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| I don't understand this idea of characters in musicals KNOWING the lyrics they sing rhyme. Sometimes they actually do. Galinda's "popu-ler/lar" moment, for instance. And I do think a case can sometimes be made for a character seeming smarter for coming up with a rhyme. But in general, we agree. |
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| re: and with direction..... | |
| Posted by: Chazwaza 07:51 pm EST 02/22/20 | |
| In reply to: re: and with direction..... - Chromolume 07:19 pm EST 02/22/20 | |
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| ha, yes. And the talk-song for Anna in The King & I. But yes I'm speaking generally, and I'm glad we agree. I'm starting to feel crazy, ha. (and even when they do do that, even in those songs it's breaking the normal rule of the reality of the musical where they aren't aware they are in a musical, and aren't choosing to sing when they sing rather than speaking, or choosing to rhyme for a specific reason during the song... so those are small small steps away from the rules of/illusion the form, even within those songs or shows - unlike, say, a Urinetown type show where they make it clear they know they're in a musical) |
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| re: and with direction..... | |
| Posted by: Chromolume 08:17 pm EST 02/22/20 | |
| In reply to: re: and with direction..... - Chazwaza 07:51 pm EST 02/22/20 | |
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| You seem to be leaving out diegetic singing, where rhymes can certainly happen in "real time" because the song the character is singing already rhymes. And sometimes with a purpose. The rhyming in "Do Re Mi," for instance, seems designed to help the children remember the solfege. A song like "Tomorrow Belongs To Me" has the feel of a folk song with its simple rhyming, etc. Then there are also songs like "A Little Priest" and "You're The Top" where the one-upsmanship game of rhyming is an integral part. Sondheim, of course, makes that quite clear when Sweeney can't come up with a rhyme for "locksmith." ;-) |
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| re: and with direction..... | |
| Posted by: Chazwaza 07:09 am EST 02/23/20 | |
| In reply to: re: and with direction..... - Chromolume 08:17 pm EST 02/22/20 | |
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| I was leaving it out, yeah. I don't think it fits into the majority of musical theater that I'm making a point about... but yes, for that, they are aware. And songs don't in a style that is performative, like music hall with "A Little Priest", and the "number" that is "You're the Top" does give them a chance to be aware they are rhyming, etc. It's not something that never happens, it's just rarely employed and is the exception to how most musical numbers in context of a book musical are designed. But even their, while Lovett knows she's rhyming in "Priest", she doesn't in "Poor Thing" or "Wait", etc. |
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