Advertisement

Collaborative Composition at the RSC

  • Millie Taylor
Chapter
Part of the Palgrave Studies in British Musical Theatre book series (PSBMT)

Abstract

The research enquiry in this chapter explores two central questions: how the process of collaboration that lasts at least a year influences the music heard on the opening night; and how composition changed over time, revealing developments in production practices, stylistic changes in taste and technological innovations. To address the first part of this enquiry I look in detail at notebooks, prompt copies and scores of a number of plays and periods, comparing some of the processes and strategies with those of the early modern period and Roland Settle’s 1957 description of how to compose for theatre. Then to address the second part I consider several treatments of a single text—Macbeth—that were created at intervals during the period from 1961 to 2015. This strategy is designed to highlight some of the key changes that affected the processes of composition and the aesthetics and functions of theatre music at the RSC.

Bibliography

  1. Beauman, Sally. The Royal Shakespeare Company’s Centenary Production of Henry V. Oxford: Pergamom Press, 1976.Google Scholar
  2. Bruce, Michael. Writing Music for the Stage. London: Nick Hern Books, 2016.Google Scholar
  3. Carroll, William C. (ed). The Two Gentlemen of Verona. The Arden Shakespeare, Third Series. London: Thompson Learning, 2004.Google Scholar
  4. Chion, Michel. Audio-Vision. New York: Columbia University Press, 1990.Google Scholar
  5. Lindley, David. Shakespeare and Music. London: Bloomsbury, 2006.Google Scholar
  6. Llano, Samuel. ‘Roberto Gerhard, Shakespeare and the Memorial Theatre’ in Monty Adkins and Michael Russ (eds), The Roberto Gerhard Companion. Farnham: Ashgate, 2013, 107–130.Google Scholar
  7. Manifold, J.S. The Music in English Drama from Shakespeare to Purcell. London: Rockliff, 1956.Google Scholar
  8. Naylor, Edward. Shakespeare and Music. New York: Da Capo Press and Benjamin Blom, Inc. 1965 [1931].Google Scholar
  9. Niebur, Louis. Special Sound. Oxford and New York: Oxford University Press, 2010.CrossRefGoogle Scholar
  10. Sekacz, Ilona. ‘Composing for the Theatre.’ Contemporary Music Review 11(1 & 2), (1994), 261–66.Google Scholar
  11. Settle, Ronald. Music in the Theatre. London: Herbert Jenkins, 1957.Google Scholar
  12. Van Kampen, Claire. ‘Music and Aural Texture at Shakespeare’s Globe’ in Carston, Christie and Karim-Cooper, Farah (eds), Shakespeare’s Globe: A theatrical Experiment. Cambridge: Cambridge University Press, 2008, 79–100.Google Scholar
  13. Warren, Roger, ed. The Two Gentlemen of Verona. The Oxford Shakespeare. Oxford: Oxford University Press, 2008.Google Scholar
  14. Wells, Stanley and Gary Taylor (eds). William Shakespeare: A Textual Companion (Revised ed.). Oxford: Oxford University Press, 1997 [1987].Google Scholar
  15. Wells, Stanley, Taylor, Gary, Jowitt, John and Montgomery, William (eds). The Oxford Shakespeare: The Complete Works (2nd ed.). Oxford: Oxford University Press, 2005 [1986].Google Scholar
  16. Wilson, Christopher R. ‘Shakespeare and Early Modern Music’ in Wray, Ramona et al. (eds), The Edinburgh Companion to Shakespeare and the Arts. Edinburgh: Edinburgh University Press, 2011.Google Scholar
  17. Billington, Michael. ‘Two Gentlemen of Verona/Julius Caesar’. The Guardian, 22 October 2004.Google Scholar
  18. Brown, Richard. Interview, National Theatre Foyer, London, 12 September 2014.Google Scholar
  19. Butler, David G. Email exchange, January 2016.Google Scholar
  20. Jones, James. Telephone interview, 22 January 2016a.Google Scholar
  21. O’Neil, Bruce. Interview, Rehearsal room at The Courtyard Theatre, 12 September 2016.Google Scholar
  22. Sandland, Richard. Email exchange, February/March 2015.Google Scholar
  23. Woolfenden, Guy, Tubbs, Michael, & Woolfenden, Jane. Group Interview at Woolfenden’s home, 21 November 2013.Google Scholar
  24. Yershon, Gary. Backstage at Old Vic Theatre, London, 3 October 2016.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Millie Taylor
    • 1
  1. 1.Department of Performing ArtsUniversity of WinchesterWinchesterUK

Personalised recommendations