Normal view MARC view ISBD view

The making of a musical [Enregistrament de vídeo]

Contributor(s):

Creative Arts Television (Firma)

Material type: Film

FilmPublication details: Australia : Contemporary Arts Media, 1965, [200-?]Description: 1 videodisc (DVD) (27 min) : so, b/nUniform titles:

Camera three (Programa de televisió)

Subject(s):

Production credits:

Guió: Stephen Chodorov ; director: Nick Havinga ; productor: Dan Gallagher

Summary: "It is 1965, and three very creative men discuss their upcoming Broadway musical: "Do I Hear a Waltz?" A fourth man, key to the whole enterprise, composer Richard Rodgers, is unfortunately missing. Nevertheless, author Arthur Laurents, set designer Beni Montresor, and lyricist Stephen Sondheim eagerly analyze how each in own discipline approaches the manifestation of the story of a lonely American woman who finds love with a dashing but inappropriate man in Venice. It is not a new story. "The Time of the Cuckoo" treated it as a straight play (with Shirley Booth in the lead) , and "Summertime" as a movie (with Katharine Hepburn.) In what ways should the musical be different? These men share their concerns here. Where should songs come so as to promote the flow and not interrupt it? How can any stage set can convey a canal in Venice; is it perhaps not so much a place but a state of mind? Should this story seem to be happening now, or perhaps in memory? Just how old should the lady be?" -- Contenidor

Holdings
Item type	Current library	Home library	Call number	Copy number	Status	Date due	Barcode
Vídeo	Biblioteca Barcelona	Biblioteca Barcelona BCN Vídeo	V-TM MAK (Browse shelf(Opens below))	1	Available		1900073559

Produït originalment pel programa de televisió "Camera Three"

Guió: Stephen Chodorov ; director: Nick Havinga ; productor: Dan Gallagher

"It is 1965, and three very creative men discuss their upcoming Broadway musical: "Do I Hear a Waltz?" A fourth man, key to the whole enterprise, composer Richard Rodgers, is unfortunately missing. Nevertheless, author Arthur Laurents, set designer Beni Montresor, and lyricist Stephen Sondheim eagerly analyze how each in own discipline approaches the manifestation of the story of a lonely American woman who finds love with a dashing but inappropriate man in Venice. It is not a new story. "The Time of the Cuckoo" treated it as a straight play (with Shirley Booth in the lead) , and "Summertime" as a movie (with Katharine Hepburn.) In what ways should the musical be different? These men share their concerns here. Where should songs come so as to promote the flow and not interrupt it? How can any stage set can convey a canal in Venice; is it perhaps not so much a place but a state of mind? Should this story seem to be happening now, or perhaps in memory? Just how old should the lady be?" -- Contenidor

There are no comments on this title.

to post a comment.