Lance Posted November 10, 2010 Share Posted November 10, 2010 Let me get my master's thesis out of the way first. A completely comprehensive list would qualify you for a PhD for sure. Quote Link to comment Share on other sites More sharing options...
glory Posted November 10, 2010 Share Posted November 10, 2010 I've often maintained that there's a very clear method of distinguishing a show that is overall entertaining with one that is not. In the former, the performers and the audience seem equal parts of the production. In the latter, the audience is simply a group spectators. Seriously? The audience an equal part of the production? I'll tell you a very clear method of distinguishing a show that is overall entertaining. It's one that can be replicated easily. Here it is: Sit next to me at a show. After each performance, I'll tell you what was entertaining and what wasn't. Haven't been wrong yet. Bet you weren't either. HH Quote Link to comment Share on other sites More sharing options...
DrillmanSop06 Posted November 10, 2010 Share Posted November 10, 2010 I've often maintained that there's a very clear method of distinguishing a show that is overall entertaining with one that is not. In the former, the performers and the audience seem equal parts of the production. In the latter, the audience is simply a group spectators.It's also very easy to distinguish music that communicates to the audience well (Madison 1995) and music that doesn't (Cavaliers 2009). Luckily, most of it is based on natural and mathematical properties, and there's even a whole field of study devoted to describing and utilizing them. If you had actually marched in a drum corps, you'd know that the audience isn't "part of the production." That's the illusion we go for. You aren't a part of anything happening on the field. Ars est celare artem. Please. Quote Link to comment Share on other sites More sharing options...
Hrothgar15 Posted November 10, 2010 Share Posted November 10, 2010 A completely comprehensive list would qualify you for a PhD for sure. Maybe not just a list, but a machine learning algorithm that could determine the entertainment value of a show from the structure of its brass book isn't entirely implausible. If I ever need another Ph.D., I'll give it a go. 1 Quote Link to comment Share on other sites More sharing options...
mobrien Posted November 10, 2010 Share Posted November 10, 2010 (edited) I prefer Sondheim to Herman as well, but you're making Herman sound like a hack. He's a superb tunesmith. But I don't know if Sondheim is on another plane. I'm pretty sure I get what you're saying, but their shows don't try to do the same things. Don't fault Herman because Sondheim aims so high. La Cage aux Folles kicks major azz. As does Dolly, The Grand Tour, and Milk and Honey. Herman aims at the middle and usually hits his mark. He'll be revived as long as there's dinner theatre or someone needs a "safe" show, but from an artistic standpoint, there's nothing significant to say about his work. The melodies are unremarkable, and the subject matters that drew his attention was never designed to challenge the audience's perceptions about difficult ideas. There's a market for him, but it's a market that's more comfortable with...well....being comfortable. Edited November 10, 2010 by mobrien Quote Link to comment Share on other sites More sharing options...
Hrothgar15 Posted November 10, 2010 Share Posted November 10, 2010 If you had actually marched in a drum corps, you'd know that the audience isn't "part of the production." Correct...which is why I said "seem." 1 Quote Link to comment Share on other sites More sharing options...
Rifuarian Posted November 10, 2010 Share Posted November 10, 2010 Let me get my master's thesis out of the way first. Could you at least do finals from this past season? Surely that wouldn't be too hard? If not, could we at least hear more about your method? Anyways, there's room enough in drum corps for shows of all types. I don't want everyone to be like BD 2010, but neither do I want twenty PR 2008s. I do feel that the balance should be weighed a little more towards the baby-throwing side of the equation, if only because these shows have a greater chance of success even if they are weighed down by design flaws. Shows that attempt to be edgy, or attempt to maximize the "intellectual" side of GE need to be perfectly designed and performed at a very high level, otherwise they're dull as dishwater. Quote Link to comment Share on other sites More sharing options...
Jeff Ream Posted November 10, 2010 Share Posted November 10, 2010 If you had actually marched in a drum corps, you'd know that the audience isn't "part of the production." That's the illusion we go for. You aren't a part of anything happening on the field. Ars est celare artem. Please. maybe. I also know some shows that would have never risen to the legend they have become without the crowds reaction. Phantom 08 Cadets and SCV 87 Madison 95 Phantom 96 VK 92 Crossmen 92 Quote Link to comment Share on other sites More sharing options...
Lance Posted November 10, 2010 Share Posted November 10, 2010 Maybe not just a list, but a machine learning algorithm that could determine the entertainment value of a show from the structure of its brass book isn't entirely implausible. If I ever need another Ph.D., I'll give it a go. i'd be the first to try to read it from outside academe...though I admittedly wouldn't understand it. Quote Link to comment Share on other sites More sharing options...
N.E. Brigand Posted November 10, 2010 Share Posted November 10, 2010 There's a market for [Jerry Herman], but it's a market that's more comfortable with... well... being comfortable. Yes, he learned his lesson with Mack & Mabel. "I won't send roses, or hold the door / I won't remember which dress you wore... I'd be the first to agree / that I'm preoccupied with me". But, um, what's wrong with comfortable? Quote Link to comment Share on other sites More sharing options...
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