Falsetto

However, many female singers, such as Mariah Carey, do employ falsetto to extend their range. Whistle: The physiology of the whistle register is the most poorly understood of the vocal registers. It is known that when producing pitches in this register vibration occurs only in some anterior portion of the vocal folds

Falsettos, a musical written by William Finn in the 1980’s, is the story an unorthodox and highly dysfunctional Jewish family living in New York at the end of the 1970’s. At the center of the show is a confused middle aged man named Marvin, who introduced us to his ex-wife Trina and current lover Whizzer along with his precocious 10-year-old son Jason. Throughout the course of the show many different issues plague the family like the new family format, gay rights and the AIDS crisis that when the

Falsettos, written by William Finn and James Lapine. The time period is present in late 1970’s-1981. Under the Dramaturgical Statement, it said “Falsettos was first produced as two separate one act musicals, March of the Falsettos and Falsettoland. It opened before the first report of the HIV/AIDS outbreak was published.” The play remembrance to LGBT movements and all men in America that were afflicted by HIV/AIDS. Director, David Charles Goyette from Truman State University brought Falsettos to

I attended the Temple College Vocal Point concert on November 1, 2016 at 12:30 pm in the Jackson-Graeter Backstage Theatre. The Theatre, located in the Mary Alice Marshal Performing Arts Center, at Temple College is small, seating approximately 100 people. Since the setting is quaint, it makes for a personal experience, allowing the audience to truly see and hear the entertainers character. The stage size also has a downside, at times the actors would trip over each other while dancing. The Vocal

traditionally uncomfortable for an audience. Characters lash out and they say the wrong things; generally, they begin to make the situation worse. In Falsettos by William Finn, we get the opposite effect. Here, tension is immediately followed with a false sense of tranquility. Barthes definition of myth entails the naturalization of an ideology. Falsettos is showing its audience the myth of family through its various scenes and interactions between characters. The myth of family plays a significant role

“What More Can I Say” from the 1991 musical Falsettos is a song which expresses one man’s love for his partner in a heartfelt way. The song is written from the point of view of Marvin, a father who has rediscovered love for his boyfriend, Whizzer. Throughout the song, the authors, James Lapine and William Finn, use common metaphors about love to display Marvin’s emotions and confusion. In stanza one, for example, lines four and five, Marvin states “...but when he sparkles, the earth begins to sway…”

Falsettos was one of the first shows that led the change in talking about death. “In particular, the AIDS epidemic elicited many theatrical and musical responses, the most important for the purposes of this discussion being Rent and Falsettos” (Death Comes to the Broadway Musical). Before the 20th century, pain and suffering was rarely addressed in the theatre. Originally premiering in 1993, Falsettos is about Marvin, a gay man, struggling to balance his ex-wife, 12 year old son, and his new boyfriend

Stripping the Emperor: The Africanist Presence in American Concert Dance “Stripping the Emperor: The Africanist Presence in American Concert Dance”, and excerpt from Moving History/Dancing Cultures: A Dance History Reader, was written by Brenda Dixon Gottschild. Gottschild is a well-known author, dance historian, performer, and choreographer as well as a professor of dance studies at Temple University. She has also written multiple books including The Black Dancer Body, Waltzing in the Dark, and

“Stripping the Emperor: The Africanist Presence in American Concert Dance”, an excerpt from Moving History/Dancing Cultures: A Dance History Reader, was written by Brenda Dixon Gottschild. Gottschild is a well-known author, dance historian, performer, and choreographer as well as a professor of dance studies at Temple University. She has also written multiple books including The Black Dancer Body, Waltzing in the Dark, and Digging. In her article “Stripping the Emperor: The Africanist Presence in

terms (Falsetto, 115). 2001’s presentation of details from the “Dawn of Man” sequence, to later space travel scenes are shot with complete conviction and impeccable detail. The viewer believes that the world might have actually looked like what Kubrick presented it as, several million years ago, and the depiction of space travel is just as convincing. The use of models, front projection, the slow editing techniques and camera work all help to create a more complete illusion (Falsetto, 141).