Pop with Gods, Shakespeare, and AI:

Popular Film, (Musical) Theatre, and TV

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Pop with Gods,
Shakespeare, and AI
Popular Film, (Musical) Theatre,
and TV Drama

Iris H. Tuan
 Pop with Gods, Shakespeare, and AI

“Iris Tuan’s book is wide ranging in scope and diversity, examining theatre, music,
film and television productions from both Western and Asian countries. Tuan also
surveys an extensive range of critical and theoretical perspectives, especially from
performance studies and popular cultural studies, to offer context for her descrip-
tions of the many different works. Some of her examples are well-known
(Shakespeare’s Romeo & Juliet, Disney’s The Lion King) while others little known
outside their place of origin (such as the Hakka Theatre of Taiwan)—all are
approached by the author with enthusiasm.”
—Susan Bennett, Professor of English, University of Calgary, Canada

“Tuan takes us through multiple examples of contemporary popular performance

in theatre/film/TV ranging from “high” art sources (Shakespeare or Journey to the
West in films, Hirata’s robotic theatre experiments) to “low” (Taiwanese TV soap
operas Hakka Theatre: Roseki and Story of Yangxi Palace, Korean film Along with
the Gods: The Two Worlds). The reader moves at a speed-dating pace through con-
temporary culture production and interpretive theories, encountering significant
works, controversies (i.e., yellow face), and conundrums selected from China,
Korea, Japan and the U.S. and filtered through a Taiwanese female gaze.”
—Kathy Foley, Professor of Theatre Arts, University of California Santa
Cruz, USA
 Iris H. Tuan

Pop with Gods,

Shakespeare, and AI
Popular Film, (Musical) Theatre, and TV Drama​
Iris H. Tuan
National Chiao Tung University
Jhubei, Taiwan

ISBN 978-981-15-7296-8    ISBN 978-981-15-7297-5 (eBook)

https://doi.org/10.1007/978-981-15-7297-5

© The Author(s) 2020

This work is subject to copyright. All rights are solely and exclusively licensed by the
Publisher, whether the whole or part of the material is concerned, specifically the rights of
translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on
microfilms or in any other physical way, and transmission or information storage and retrieval,
electronic adaptation, computer software, or by similar or dissimilar methodology now
known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are
exempt from the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and information
in this book are believed to be true and accurate at the date of publication. Neither the
publisher nor the authors or the editors give a warranty, expressed or implied, with respect to
the material contained herein or for any errors or omissions that may have been made. The
publisher remains neutral with regard to jurisdictional claims in published maps and
institutional affiliations.

Cover illustration: Donald Iain Smith

This Palgrave Macmillan imprint is published by the registered company Springer Nature
Singapore Pte Ltd.
The registered company address is: 152 Beach Road, #21-­01/04 Gateway East, Singapore
189721, Singapore
This monograph is dedicated to my parents
Father Tuan Shi-Ge (1924–2004)
Mother Yang Shu-Yu (1938–2002)
 Acknowledgements

Due to COVID-19, on my Sabbatical, I cannot travel but stay indoors to

do research and write this monograph. As the lyrics in the song You Raise
Me Up: “When I am down and, oh my soul, so weary,” I have been
oppressed 8 years in pain and suffering from 2012 to 2020 by those col-
leagues who have plagiarism evidences but wrongly sued me with no mer-
its and blocked my way for promotion. Their jealousy and pettiness block
my way for awarding as Distinguished Professor or Chair Professor. Their
evilness and infringement of my image and reputation caused me to lose a
lot of money, time, and priceless damage. Thanks God, I have legally won
the lawsuits. “I am still and wait here in the silence,” keeping working
hard alone in solitude. Fortunately, in the very last minute, just 6 weeks
before the deadline of submitting this monography manuscript, until a
little yellow golden bird from heaven, a friend in need is a friend indeed,
came and gave me a valuable advice.
I feel deeply gratitude toward Distinguished Professor Ta-Sung Lee,
Dean in Office of Research and Development at National Chiao Tung
University. Thanks to NCTU’s policy of encouraging international aca-
demic publication, Dean Lee on behalf of National Chiao Tung University
provides me with the research subsidies for international publication of
this monograph published by the branch Springer in Singapore. Springer
Nature, headquarter of Springer in Singapore, combining Palgrave
Macmillan, Macmillan Education and Springer Science+Business Media,
and Nature Publishing Group, is the leading global research, an outstand-
ing educational and professional publisher which also publishes the presti-
gious journals, such as Nature and Science. Special thanks go to Sara

vii
viii ACKNOWLEDGEMENTS

Crowley-Vigneau, Editor, Connie Li, Editorial Assistant Palgrave

Macmillan, Ruby Panigrahi, Coral Zhou, Hua Bai, and Leana Li, the
Production Team, Publishing, and everyone else at Springer Nature to
make this monograph possible.
The approval, recommendation, and suggestions made by readers for
Palgrave Macmillan, Springer Nature of the initial proposal were indeed
very helpful. For providing a vital audience for, and first critique of, my
ideas, my thanks to all scholars and experts in the theatre, film, visual cul-
ture international conferences, journal editors and reviewers, as well as my
undergraduate students and my graduate advisee. I appreciate my RA
Edison Li’s efficient and excellent assistance from April 15, 2020 to June
30, 2020 in acquiring the images permission request forms, putting my
manuscript documents in order in the whole compressed file, and applying
for reimbursements.
Special thanks to those who help get and agree to give the image per-
mission. I am deeply grateful to the generosity for their offering the images
for free, including the famous Asian American playwright David Henry
Hwang, Japanese Playwright and Theater Director Oriza Hirata of
SEINENDAN Company, DVD Along with the Gods Well Go USA
Entertainment, and National Theater and Concert Hall. Thanks to those
who kindly allow me to buy the very expensive films and Broadway musi-
cal images at the academic rate (though still expensive to cost a lot of
money). Thanks also to Director & Producer Yu Zheng and CEO Coco
Yang at Huanyu TV Company who agree to give the image permission to
benefit cultural interaction. Thanks to Zhu Xinchen and many people who
helps contact to get the images of Chinese TV Drama “Story of Yanxi
Palace.”
I receive the good news when this monograph manuscript (after numer-
ous revisions, polish, and assessment) is going to be moved to production.
The COVID-19 Center Big Project (which I participate in, working as a
sub-project PI) collaborated by National Chiao Tung University (which is
going to be combined with) National Yang-Ming University, aided by
Taipei Veterans General Hospital, is passed. I appreciate the project funds
sponsored by the Ministry of Science and Technology (MOST) in Taiwan.
The Project number: 109-2321-B-010-007. However, the international
Distinguished Professors and I are still waiting for the positive review of
the Summit Project sponsored by MOST. Hope our Summit Project enti-
tled “Transnational Performance Studies in Theater, Film and Literature”
can be passed as well. So we can do more and better international project
 ACKNOWLEDGEMENTS ix

for several years in the soon future to achieve great research results to
educate, entertain and benefit more people in the world.
Last but not least, the sustainable support and encouragement from my
friends, family and relatives is highly appreciated. Especially, I am grateful
for my daughter Angela who has accompanied me to stay up late doing
research and writing at nights for so many years. Sometimes, I have to
make myself feel better by thinking in an alternative positive way that
maybe those bad people’s oppression and obstruction in the past is another
way to push me to go forward to continue to make significant progress.
Except continuously doing deep research on my fields of theatre perfor-
mance studies, film studies, and cultural creative industry, I have also
learned law, passed, and got the law courses credits certificates. Listening
and singing the song You Raise Me Up, I express my gratitude to thank
God, Buddha, heaven and all of you, for “you raise me up: To more than
I can be.” To be the light of the world!
 Contents

1 Introduction: Popular Visual Culture in Film, Theatre

and TV Drama  1
Introduction   1
Synopsis of Each Chapter   2
Theories and Methodology   2
Theories of Popular Culture and Visual Culture   2
Works Cited   6

Part I Literature, Film, and Theatre   7

2 Shakespeare and Popular Culture: Romeo and Juliet in

Film and Pop Music  9
Shakespeare and Popular Culture   9
Pop Culture and Young Audience   9
Literature Reviews  10
Pop Music  11
Authenticity and Appropriation  12
Shakespeare also as a Methodology  12
Theories of Popular Culture and Cultural Theory  13
Canon, Kitsch, Simulacra, Classics, Representation  13
(1) The Musical Film West Side Story on Race 14

xi
xii Contents

(2) Film Director Franco Zeffirelli’s Romeo & Juliet

(1968) Stars the Teenagers’ Chemistry Cast to Add
Freshness 16
(3) Directed Baz Luhrmann’s Film Romeo + Juliet (1996)
on Postmodern Spectacles and Hyper-Reality 17
(4) Italian Film Director Carlo Carlei’s Romeo & Juliet
(2013), Classical Juxtaposition with La Pietà, the
Sculpture by Michelangelo 23
Comparison and Commentary on Shakespearean Films  26
Shakespeare and Pop Music  26
(5) Taylor Swift’s Pop Music “Love Story” 26
(6) “The Late Late Show with James Corden”: ‘Romeo and
Juliet’ with Emily Blunt 31
Conclusion  32
Works Cited  37

3 Represent Afterlife and Replay Habitus: Performance via

Spectacle in the Korean Film Along with the Gods: The Two
Worlds 41
Introduction: From Hollywood to Korea  41
Background of Korean Films  42
Research Value  42
Cultural Production with Spectacle  43
Adaptation from Webtoon  44
Theoretical Perspective of Pierre Bourdieu’s “Habitus in Every
Day”  45
3D Special Effects Represent Visual Spectacle  46
Theory of Guy Debord’s “Spectacle”  47
Pierre Bourdieu’s Theoretical Notion of “Habitus”  48
Mundane Life  49
Seven Trials Shown by Cinematic Special Effects and
Extraordinary Visual Effects  49
1st Trial: Kill Anyone?  49
2nd Trial: Make Use of Each Day?  51
3rd Trial: White Lie  53
Spectacles from the 4th Trial: Crime of Violence to the Final
Verdict  53
Film Studies: Body in Close Shots  54
 Contents  xiii

Special Effects by 3D and 4D Film Technology  55

Heteroglossia and Spectacles  56
Conclusion: From Aristotle’s Cave Metaphor to Mimicking Real
Life Behaviours via Cinematic Technology  57
Ready Player One  58
Cinematic Effects  58
Audiences’ Response  59
Works Cited  62

4 Myth and Levi-Strauss: Taiwan Musical The Classic of

Mountains and Seas & Chinese Film The Monkey King:
Kingdom of Women 65
Introduction  65
Myth by 3D and CGI  66
Adapt Myth to Retheatricalize Theatre and Film  67
Levi-Strauss’ Myth and Meaning  68
Musical Theater Classic of Mountains and Seas  68
Literature Review  70
Creative Design  71
Film The Monkey King: Kingdom of Women  72
Love Poetry Song with Buddhist Philosophy  74
Film Cinematography  76
Comparison with the Original Novel  77
Theatricalize the Film via Special Effects of Cinematography  78
Conclusion  78
Works Cited  80

Part II Asian American Play, Asian Theatre, and Musical

Theater  83

5 Face, Race, and Performance: Arousal by Face and

Identity Transformation 85
Introduction  85
Identity and Performance  86
Humanity to Animality via Makeup  86
Face, Race, and Performance  87
(1) Miss Saigon Dispute and Yellow Face 88
xiv Contents

(2) The Lion King, Cats, and War Paint 96

(3) Jekyll & Hyde & So On102
Conclusion 108
Works Cited 111

6 Dance Tango and Sing for Revenge in Chicago

and The Visit113
Introduction 113
Chicago: Female Stars Dance and Sing for Revenge 114
The Visit: “Love and Love Alone” 115
Argument and Exploration 116
Chicago: Mocks on Murder 118
The Visit: Grotesque Parable of Revenge 119
Chicago: Vaudeville Show 120
The Visit: A Satire on Justice 122
Literary Reviews and Comments 123
Chicago: From Vaudeville to MTV by Film Editing to Sing
Victory 123
Chicago: Dia-Chronicle Dynastic History 124
The Visit: Can Justice Be Got Without Money? 125
Conclusion 127
Works Cited 130

Part III TV Drama, Robot Theatre and AI Films 131

7 Theatre, Performance, and Popular Story of Yanxi Palace133

Theories of Performance Studies, Feminism, and Popular Culture  133
Synopsis: Speak Out in the Popular TV Drama 133
Popular Culture, History, Self-Referentiality 134
Adaptation, not an Authentic History, but a Hyperreal 136
Comparison with Ruyi’s Royal Love in the Palace 137
Performance of Chinese Beijing Opera and Ritual 138
Practice of Everyday Life in Performance Studies and Cultural
Studies 140
Power and Surveillance 141
Popular Music and Catharsis 142
Feminism Desire and Female Pleasure 143
Post-Dramatic Theatre and Self-Reflexivity 144
 Contents  xv

Post-Feminism and Pop Culture 144

Conclusion: Popularity in Performance and Popular Culture 146
Works Cited 148

8 Hakka Theatre: Roseki Taipei Singer149

Introduction: Hakka Theater Roseki 149
Play-Within-the-Play 149
Lyuu’s Brief Bio 150
Theories & Post-colonialism 150
The Protagonist Lyuu Heh-Ruo 151
One Actor Plays Multiple Roles 151
Lyuu’s Life and His Literature Works Are Inter-twined 152
Lyuu’s Novels and Short Stories 154
Play-Within-the-Play, Multiple Roles 156
The Other and Abjection 157
Postcolonial Feminism 157
Stage Design of Minimalism 158
Worse Exploitation and Oppression 159
Music, Songs, Stage Design 162
Conclusion 163
Works Cited 164

9 Robot Theatre and AI Films167

Introduction 167
Development of Humannoids in Performance 168
AI Trend and AI Policy 169
Robot Theater Performance: Metamorphosis: Android Version 169
Development of the Geminoids 172
The Theory of Uncanny Valley 173
“Robot Actor Project” 174
Android-Human Theatre 174
Some Robot Performances 175
Three Sisters and the Other Robot Theater Performances 175
Robot Theater Performance Sayonara 177
Human Actors Play the Roles of Robots 179
Humans Accept or Reject AI Robots? 179
AI Robots Films 179
Simulacra, Cloning, Film Comments 186
xvi Contents

Simulacra in AI Robot Films 187

Do Androids Dream of Electric Sheep? 190
AI with No Alluring Female Body but Voice 190
Image Synthesis 191
AI Holographic Simulacra 193
Conclusion 194
Works Cited 196

10 Conclusion199
Main Points in Each Chapter 200
Future Research Plan 205
Works Cited 206

Index207
 About the Author

Iris H. Tuan is Professor at National Chiao Tung University, was Visiting

Scholar at Harvard University. Among numerous publications, Tuan is the
author of Translocal Performance in Asian Theatre and Film and co-­editor
of Transnational Performance, Identity, and Mobility in Asia. Tuan was
conferred the Ph.D. in Theater from UCLA.

xvii
 List of Figures

Fig. 2.1 Adapting from Shakespeare’s Romeo and Juliet, West Side Story
(1961) contains the race conflicts. (Photo: Courtesy of Aflo
Co., Ltd.) 14
Fig. 2.2 The musical film West Side Story (1961) was directed by
Robert Wise and Jerome Robbins. Natalie Wood and Richard
Beymer star in this film. The two protagonists sing the theme
song “Tonight.” (Photo: Courtesy of Aflo Co., Ltd.) 15
Fig. 2.3 Romeo and Juliet. Olivia Hussey as Juliet, and Leonard
Whiting as Romeo makes the movie a huge hit and becomes a
classic. (Photo: Courtesy of Aflo Co., Ltd.) 16
Fig. 2.4 Romeo and Juliet (1996) contains with postmodern collage,
spectacles and hyper-reality. (Photo: Courtesy of 20th Century
Fox/Photofest)18
Fig. 2.5 Romeo and Juliet (1996) presents the postmodern spectacles,
full of fetished images, carnival vulgarity, and hyper-reality.
(Photo: Courtesy of 20th Century Fox/Photofest) 19
Fig. 2.6 Director Baz Luhrmann’s Romeo and Juliet (1996) playfully
converts Juliet into Romeo’s “bright white beautiful angel.”
(Photo: Courtesy of 20th Century Fox/Photofest) 20
Fig. 2.7 Romeo and Juliet (1996). Romeo (plays by Leonardo
DiCaprio) loves Juliet at the first sight. (Photo: Courtesy of
20th Century Fox/Photofest) 21
Fig. 2.8 Romeo and Juliet (1996). Juliet (plays by Claire Danes), an
innocent beauty, while she looks, under the male gaze, is also a
pleasure to be looked at. (Photo: Courtesy of 20th Century
Fox/Photofest)22

xix
xx List of Figures

Fig. 2.9 Italian Film Director Carlo Carlei’s Romeo & Juliet (2013)
stars Douglas Booth as Romeo and Hailee Steinfeld as Juliet.
(Photo: Courtesy of Relativity Media/Photofest) 24
Fig. 2.10 Romeo and Juliet (2013) imbues the classical milieu. (Photo:
Courtesy of Relativity Media/Photofest) 25
Fig. 3.1 Along with the Gods: The Two Worlds (starring Ha Jung-woo,
Cha Tae-­hyun, Ju Ji-hoon, and Kim Hyang-gi). In the
beginning of the film, Director Kim Yong-hwa designs the
protagonist as a firefighter who dies for saving a young girl
falling from the high building. His soul is welcomed by the
two messengers/attorneys from Hell to accompany him to
pass through the trials before ascending to Heaven. (Photo:
Courtesy of Aflo Co., Ltd.) 45
Fig. 3.2 The three messengers/attorneys from Hell accompanies the
protagonist to conquer the dangers that they didn’t expect to
encounter for the protagonist’s soul is a rare saint. The
extraordinary spectacle of the seven-layer judgments and
punishments in Hell, such as the big fire everywhere on the
Rocky Mountains, is shown in Along with the Gods: The Two
Worlds. (Photo: Courtesy of Aflo Co., Ltd.) 46
Fig. 3.3 The extraordinary spectacle of the seven-layer judgments and
punishments in Hell is shown in Along with the Gods: The Two
Worlds. (Photo: Courtesy of Well Go USA Entertainment) 50
Fig. 4.1 In the scene of the musical Classic of Mountains and Seas,
Huangdi and Chiyou had war in the battle of Zhuolu. (Photo:
Courtesy of National Taiwan Normal University) 69
Fig. 4.2 The film poster of the Chinese Film The Monkey King: Kingdom
of Women (2018). (Photo: Courtesy of Aflo Co., Ltd.) 73
Fig. 5.1 The makeup, animality, and costumes in the musical stage
performance Cats. (Photo: Courtesy of Joan Marcus
Photography)87
Fig. 5.2 Playwright David Henry Hwang (at left) won his third Obie
Award in Playwriting& Francis Jue (at right), an American
actor and singer, got the acting Obie Award for his role in
Yellow Face at the Public Theater (2008) at the Obie. (Photo:
Courtesy of Playwright David Henry Hwang) 90
Fig. 5.3 The Asian American actor and the white American actress play
to present the issue of race in Yellow Face. (Photo Credit: Joan
Marcus. Courtesy of Playwright David Henry Hwang) 92
Fig. 5.4 In the scene, the trio play to show the complexity of face, race,
and politics in Yellow Face. (Photo Credit: Joan Marcus.
Courtesy of Playwright David Henry Hwang) 95
 List of Figures  xxi

Fig. 5.5 Theater Director & Costume Designer Julie Taymor in The
Lion King in 1997 the premiere performs visual culture about
makeup, masks, and headdresses, combining human acting
and animality theatricality in the musical. (Photo: Courtesy of
Aflo Co., Ltd.) 97
Fig. 5.6 The stage design and costume design of using the pink and
white colors are to show the cosmetics brands of Elizabeth
Arden and the cosmetics products of Helena Rubinstein for
packaging and marketing by the pink and white colors
separately. (Photo: Courtesy of Joan Marcus Photography) 100
Fig. 5.7 The noble woman visits her fiancée, Dr. Jekyll, in his lab. His
assistant stands on the up left stage on the stairs. Stage design
with the stairs to present the two floors and the top roof (with
the two musicians playing the live music) vertically to show
the three performing space. (Rehearsal News Conference.
Photo Credit: Chang, Zhen-Zhou. Courtesy of National
Theater and Concert Hall) 104
Fig. 5.8 Actress Yuka plays the role of Dr. Jekyll’s fiancée and Actor
Takashi Fujii plays the role of Mr. Hyde in Jekyll & Hyde & So
On. (Rehearsal News Conference. Photo Credit: Chang,
Zhen-Zhou. Courtesy of National Theater and Concert Hall) 105
Fig. 5.9 With sexual arousal, the actress uses the special makeup,
including the black dark patches under her eyes, the black
necklace and the costume for performing to show the
exaggerative animal sexual instinct inhibited by the social
morality and the noble aristocracy high-class norm. (Rehearsal
News Conference. Photo Credit: Chang, Zhen-Zhou.
Courtesy of National Theater and Concert Hall) 106
Fig. 5.10 After the arousal of the magic portion and brainwash, the
actress (who sits on the comic actor who plays the role of Mr.
Hyde) transforms from the timid noble lady into the wild girl
taking the active aggression with strong sexual arousal.
(Rehearsal News Conference. Photo Credit: Chang, Zhen-
Zhou. Courtesy of National Theater and Concert Hall) 107
Fig. 5.11 The Japanese director particularly designs to let the actress and
the actor add the dialogue “fried bread stick” (油條) in Chinese
pronunciation customized for the local audience members in
Taiwan. (Rehearsal News Conference. Photo Credit: Chang,
Zhen-Zhou. Courtesy of National Theater and Concert Hall) 109
Fig. 6.1 Chita Rivera, Broadway musical star, in The Visit (2015), plays
the role of Claire Zachanassian, one of the world’s wealthiest
women. Claire, a superrich widow, sings with her Eunuch
xxii List of Figures

servants. Including the song “Eunuch’s Testimony,” she

expresses her purpose of the visit, that is, in exchange for
rescuing the poor town people’s bankruptcy from financial
calamity, she asks for the life of Anton Shell. Because Anton
betrayed her while she was young and pregnant with his child,
but he abandoned her to marry another woman. So she sings
the song “Winter” for revenge. (Photo: Courtesy of Joan
Marcus Photography) 115
Fig. 6.2 In Cabaret, Composer John Kander and Lyrist Fred Ebb by
the metaphor of the nightclub comment on the politics and
also chide the Nazi’s controlling of the legal system, the
media, and entertainment show business in ferocious political
developments in Germany in the late Weimar Republic period.
(Photo: Courtesy of Joan Marcus Photography) 120
Fig. 6.3 DVD cover of Chicago (starring Renee Zelwegger, Cetherine
Zeta-Jones, and Richard Gere). The success of Chicago’s
resurrection of the film Musical also makes a lot of money in
DVD product market. (Photo: Courtesy of Books.com.tw.
Product Info: https://www.books.com.tw/products/
D020038242)123
Fig. 7.1 The main characters in the popular TV drama Story of Yanxi
Palace. (Courtesy of Huanyu TV) 134
Fig. 7.2 Imperial Consort Gao in red costume symbolizes her high
position when she is so adored by the Emperor. (Courtesy of
Huanyu TV) 135
Fig. 7.3 (Left) The protagonist Wei, Yin-Luo’s photo in the TV drama
and the painting of Imperial Honored Consort Ling in the
history (Right). (Courtesy of Huanyu TV) 136
Fig. 7.4 In this TV drama, Imperial Consort Gao performs Chinese
Beijing Opera several times to express the stylization,
performing arts of singing and dancing. (Courtesy of
Huanyu TV) 138
Fig. 7.5 The Shaman’s ritual dance expresses the origin of theater
performance is ritual. (Courtesy of Huanyu TV) 139
Fig. 7.6 Wei uses the traditional myth to let the 1st Empress wear the
costumes she made, in aid to the makeup, and hairdo, and
perform the Goddess of Lou River dance to attract the
Emperor’s attention. (Courtesy of Huanyu TV) 140
Fig. 7.7 Wei, Yin-Luo walks by Fucha Fuhen, the man who breaks her
heart and then she moves on, without looking at the man, to
go toward her future on her own with resolution and
perseverance. (Courtesy of Huanyu TV) 143
 List of Figures  xxiii

Fig. 7.8 The success of Story of Yanxi Palace creates the color fashion.
Wei dresses in pink as a young maid in the palace in the
beginning, which is in comparison with the 2nd Empress’
dressing in dark blue. (Courtesy of Huanyu TV) 145
Fig. 7.9 The female protagonist Wei, Yin-Luo’s different costumes
colors. “This Chinese TV drama Story of Yanxi Palace is
acclaimed for its costumes design in High-End Gray Color”
(莫蘭迪色). (Courtesy of Huanyu TV) 146
Fig. 7.10 Wei has her unique way to get noticed by the Emperor and
quickly climbs up the social class ladder to be promoted higher
first as imperial concubine, and eventually imperial Honored
Consort Ling wearing in the colors symbolizing high position.
(Courtesy of Huanyu TV) 147
Fig. 8.1 The protagonist Lyuu, Heh-Ruo (played by Actress Mo,
Tzu- Yi) performs German and Italian opera singing as a
vocalist Tenor in Zhong Xian Hall in Taipei. (Photo: Courtesy
of Hakka Affairs Council) 152
Fig. 8.2 The protagonist Lyuu, Heh-Ruo and his wife Lin (played by
Supporting Actress Yang, Shiao-Li). (Photo: Courtesy of
Hakka Affairs Council) 153
Fig. 8.3 Lyuu and his mistress Su (played by Lead Actress Huang
Peijia) are on bed. (Photo: Courtesy of Hakka Affairs Council) 156
Fig. 8.4 Due to the shortage of the budget, Director Lo Lou, Yi-An
and Stage Team Crew use simple stage and props to show the
characters’ hard working in the rice field to grow crops on the
stage. (Photo: Courtesy of Hakka Affairs Council) 159
Fig. 8.5 American planes throw bombs on Taiwan under Japanese
colonialization to try to defeat Japan during World War
II. (Photo: Courtesy of Hakka Affairs Council) 160
Fig. 8.6 Episode 10 shows the young Taiwanese doctor’s helplessness
while drinking in the disturb era of turbulent unsettlement
under Japanese colonialization. (Photo: Courtesy of Hakka
Affairs Council) 161
Fig. 8.7 Actor Mo, Tzu- Yi in the role of Lyuu Heh-Ruo plays the
piano. (Photo: Courtesy of Hakka Affairs Council) 162
Fig. 9.1 2015 Taipei Arts Festival. Japan SEINENDAN Company x
Osaka University Robot Theater Project Metamorphosis
Android Version. (Courtesy of SEINENDAN. Photo Credit:
Photographer Madoka Nishiyama) 170
Fig. 9.2 The cast (the European actor and actresses and the Japanese
robot) stands with the stage design added by the lighting
design. Japan SEINENDAN Company x Osaka University
xxiv List of Figures

Robot Theater Project Metamorphosis Android Version.

(Courtesy of SEINENDAN. Photo Credit: Photographer
Madoka Nishiyama) 171
Fig. 9.3 The European actor who plays the role of Gregor’s father)
reads the newspaper to his robot son at the beginning of
finding his son’s strange situation. Japan SEINENDAN
Company x Osaka University Robot Theater Project
Metamorphosis Android Version. (Courtesy of
SEINENDAN. Photo Credit: Photographer
Madoka Nishiyama) 172
Fig. 9.4 The European actress (who plays the sister role)
accompanies her robot brother who is lying on the bed,
unable of moving. Japan SEINENDAN Company x Osaka
University Robot Theater Project Metamorphosis Android
Version. (Courtesy of SEINENDAN. Photo Credit:
Photographer Madoka Nishiyama) 173
Fig. 9.5 The cast actors and the female Geminoids on the wheelchair.
2013 Taipei Arts Festival. Three Sisters (2012, Taipei:
Wellspring Theater) (Courtesy of SEINENDAN. Photo
Credit: Photographer Tsukasa Aoki) 176
Fig. 9.6 Three Sisters, including the youngest one who is replaced by
the female robot Geminoid F sitting on the wheelchair. 2013
Taipei Arts Festival. Three Sisters (2012, Taipei: Wellspring
Theater) (Courtesy of SEINENDAN. Photo Credit:
Photographer Tsukasa Aoki) 177
Fig. 9.7 Not just the nine actors have to match with the Geminoid F to
perform on stage, but also another robot, Wakamaru
Robovie-R3, often move from here to there on the stage to
participate in Three Sisters directed by Oriza Hirada. (Courtesy
of SEINENDAN. Photo Credit: Photographer Tsukasa Aoki) 178
Fig. 9.8 The film poster of Artificial Intelligence. (2001) The AI robot
boy eagers to acquire the adopted human mother’s love, yet in
vain. (Photo: Courtesy of Aflo Co., Ltd.) 180
Fig. 9.9 The film poster of The Terminator (1984). Arnold
Schwarzenegger plays the character of the Terminator, a
cyborg assassin who was sent back from 2029 in the future to
1984 in Los Angeles. (Photo: Courtesy of Aflo Co., Ltd.) 181
Fig. 9.10 In The Terminator 2: Judgement Day (1991), the AI robot
killing machine role (which Schwarzenegger plays) changes to
be a hero from the future to save and protect 10-year-old John
Connor at that time and his mother. (Photo: Courtesy of Aflo
Co., Ltd.) 183
 List of Figures  xxv

Fig. 9.11 Director Tim Miller’s The Terminator 6: Dark Fate (2019), a
direct sequel to be included in the franchise, reunites the
actors after 28 years, including starring Linda Hamilton
returning in the role of Sarah Connor and Arnold
Schwarzenegger reprising the role as a T-800 Terminator yet
now aging. (Photo: Courtesy of Aflo Co., Ltd.) 184
Fig. 9.12 Bicentennial Man (1999) presents the nice AI robot
housekeeper Andrew with creativity and craftsmanship would
rather become a real man than have immortality. (Photo:
Courtesy of Aflo Co., Ltd.) 185
Fig. 9.13 Nicole Kidman stars The Stepford Wives (2004) to expose the
secret of the men’s club in the small town in the film. (Photo:
Courtesy of Aflo Co., Ltd.) 188
Fig. 9.14 In Ex-Machina (2014), Eva, the female advanced humanoid
AI robot, is Turing tested by the program engineer to evaluate
her (its) human qualities. (Photo: Courtesy of Aflo Co., Ltd.) 189
Fig. 9.15 In the film Her (2013), the man can even loves the AI virtual
female voice who does not have a female sexy body. (Photo:
Courtesy of Aflo Co., Ltd.) 191
Fig. 9.16 In the Simone (2002), the fans in the world are infatuated
madly with the charms of the unreal false image synthesis.
(Photo: Courtesy of Aflo Co., Ltd.) 192
Fig. 9.17 The beautiful woman in Simone (2002) actually does not exist,
but is created by the director by the marvelous computer
program to be presented by the holography. (Photo: Courtesy
of Aflo Co., Ltd.) 193
Fig. 9.18 Blade Runner 2049 (2017) is the sequel of Blade Runner
(1982). Blade Runner 2049 (2017) stars Harrison Ford and
Ryan Gosling. The director is Denis Villeneuve, and the
producer is Ridley Scott. The AI replicant blade runner (stars
by Ryan Gosling) loves the fictional holographic simulacra.
(Photo: Courtesy of Aflo Co., Ltd.) 194
 CHAPTER 1

Introduction: Popular Visual Culture in Film,

Theatre and TV Drama

Introduction
Facing the pandemic thread of COVID-19 in 2020, most people in the
world nowadays since March are asked by their governments to stay at
home being locked down. How do people, while trying to survive, keep
healthy and safe, find something meaningful to do, and make progress
without feeling bored to death? Without the burden and pressure of the
sophisticated advanced scholarly complex theories in the higher educa-
tion, more and more people choose to enjoy Shakespeare, history, reli-
gion, literature and philosophy through seeing films, theater performances,
and TV drama. This interdisciplinary monograph, walking out from the
academic Ivory Tower, leads you to the fascinating and intriguing world
of popular film, (musical) theatre, and TV Drama.
This interdisciplinary, well-crafted monograph leads you to the fasci-
nating and intriguing world of popular film, (musical) theatre, and TV
Drama. This monograph is in the international field of Performance
Studies and Film Studies, in arenas ranging from theatre, film, literature,
TV drama, and AI, to theories of culture, humanities and media, inspiring
the readers to know the scholarly exchange between the East and the West
and bring the populace critical thought. Each chapter contains its issues,
and all connects with the common thematic vein of performance practice
in life represented via theatre and films. You’ll find contemporary and clas-
sical literature works, Eastern and Western, adapted, represented and

© The Author(s) 2020 1

I. H. Tuan, Pop with Gods, Shakespeare, and AI,
https://doi.org/10.1007/978-981-15-7297-5_1
2 I. H. TUAN

transformed into interesting artistic media in films, performances, TV dra-

mas, musicals, Robot theatre and AI films.

Synopsis of Each Chapter

Featuring examples as well as the insightful perspectives, you will be enriched
with the useful theoretical knowledge in Chap. 1 of the methodology and
theories of Popular Culture, Visual Culture, Shakespearean research,
Performance Studies, Feminism, and Film Studies. Chapter 2 entices you to
compare the famous films adapted from Shakespeare’s Romeo and Juliet.
Chapter 3 lets you enjoy the spectacles of the Korean film Along with the
Gods. Chapter 4 applies Anthropology (Myth and Levi-­Strauss) within the
mythological structure to interpreting the original musical in Taiwan and
the Chinese film The Monkey King: Kingdom of Women. Chapter 5 explores
the arousal by face and identity transformation in the analysis of Miss Saigon
dispute and the five cases, including Asian American play Yellow Face, the
musicals Cats, The Lion King, War Paint, and the Japanese stage perfor-
mance Jekyll & Hyde & So On (2018) staged in TIFA in Taiwan.
In Chap. 6, let’s see the sexy cast dance Tango and women sing for
revenge in the musical film Chicago and the musical The Visit. Chapter 7
attracts you to watch the popular Chinese TV Drama to understand how
to struggle to fight to win in the end as the heroine Wei, Yin-Lo in Story
of Yanxi Palace (2018). Chapter 8 examines the colonial and postcolonial
history via Taiwan Hakka Theatre: Roseki TV Drama. Chapter 9 com-
ments on Japanese Director Oriza Hirata’s two robot theatre perfor-
mances (produced by Seinendan Theater Company collaborated with
Japanese Professor Hirosi Ishiguro whose expertise in Robotics at Osaka
University) and the eleven popular AI films. Chapter 10 makes a conclu-
sion to illustrate the international appeal of popular visual culture in film,
TV drama, and theatre manifested by human and AI.

Theories and Methodology

Theories of Popular Culture and Visual Culture

For the academia theory lovers, this monograph also provides you with
plentiful theories and criticisms as methodology for you to get addicted to
it. “Performing Shakespeare in Digital Culture” as W. B. Worthen indi-
cates in the chapter of the book Shakespeare and Popular Culture edited by
Robert Shaughnessy:
 1 INTRODUCTION: POPULAR VISUAL CULTURE IN FILM, THEATRE AND TV… 3

“Not only is our access to Shakespearean mediated by digital technology

(even in live performance, where computers operate most theatre systems),
our imagination of Shakespearean drama is shaped by the forms and moods
of digital culture: the “penny dreadfuls” of Julie Taymor’s Titus, Ethan
Hawke’s editing and re-editing of his pixelated experience in Michael
Almereyda’s Hamlet, the animated clouds in the storm scene of Baz
Luhrmann’s William Shakespeare’s Romeo + Juliet, to say nothing of the
thoroughgoing impact of digital editing in all three films” (2007: 228).

Not just Shakespearean drama is mediated by digital technology to be

imagined, but also performing arts knowledge and history can be absorbed
via theater, films and TV drama, especially manifested in popular culture.
This monograph applies the theories of Popular Culture, Performance
Studies, Film Studies, Shakespearean Research, Visual Culture, Modern
Culture, Media Studies as methodologies to exploring Miss Saigon
Disputes and the total 31 cases. There are 10 chapters arranged in the
three parts in this monograph—Part I Literature, Film, and Theatre, Part
II Asian American Play, Asian Theatre, and Musical Theater, and Part III
TV Drama, Robot Theatre and AI Films.
In Chap. 2 Shakespeare and Popular Culture: Romeo and Juliet in
Film and Pop Music
Shakespeare’s drama Romeo and Juliet is represented in the popular
modern and postmodern four films and the adaptation lyrics is heard in
the pop songs two music cases in Chap. 2. In Chap. 2, applying the ideas
of Raymond Williams’ book article “The Analysis of Culture,” Angela
McRobbie’s book Postmodernism and Popular Culture, Marjorie Garber’s
book Shakespeare and Modern Culture, Douglas Lanier’s Shakespeare &
Modern Popular Culture, Julie Sanders’ Shakespeare and Music, etc. to
interpreting Shakespeare’s play Romeo and Juliet in the popular four films,
Taylor Swift’s MV song “Love Story,” and The “Late Show with James
Corden” performing the soundtrack with Emily Blunt.
In Chap. 3 Represent Afterlife and Replay Habitus: Performance
via Spectacle in the Korean Film Along with the Gods: The Two Worlds
Theories of Guy Debord. The Spectacle of the Society, Pierre Bourdieu’s
concept of “habitus” in “Structures and the Habitus” in Outline of a
Theory of Practice, Suk-Young Kim’s Illusive Utopia about public specta-
cle, film, and visual media in the Korean context, Ju Yon Kim’s concept of
“everyday mundane” in The Racial Mundane, etc. are applied to inter-
preting this Korean film on the theme of spectacle and habitus.
In Chap. 4 Myth and Levi-Strauss: Taiwan Musical Classic of
Mountains and Seas & Chinese Film The Monkey King: Kingdom
of Women
Another random document with
no related content on Scribd:
 Italy and the New Order

For many centuries Italy has been known as producing the opera
of the world. Of late years opera has not been considered the highest
form of musical art, so with the coming of the 20th century, a group
of composers has been working in Italy, trying to get away from the
old opera writing and to develop along the line of orchestral and
chamber music.
Alfredo Casella (1883) is perhaps responsible for this movement
for he lived in Paris for many years and came in contact with
Debussy’s music and the modern movement there. One of his earliest
works to attract attention in America was War Films, a series of
orchestral pictures that were very real. He has written piano pieces,
chamber music and orchestral works and one of his latest is a ballet,
in which it looks as though he were leaving his path of dissonance for
in this he has used folk song as a basis for a new and delightful
expression.
G. Francesco Malipiero (1882) has written two string quartets, one
of which received the Coolidge Prize of the Berkshire Chamber Music
Festival; in these he has broken away from the large sonata form. He
has also written lovely songs.
Ildebrando Pizzetti (1880) has written two operas on texts by
Gabrielle d’Annunzio called La Nave (The Ship) and Fedra. His most
recent work, Fra Ghirardo was performed at the Metropolitan in
1929.
Ottorino Respighi (1879) wrote operas in true Italian fashion, but
deserted them for chamber music and orchestral works. Pines of
Rome and Fountains of Rome, we hear often. His Violin Concerto in
Gregorian Mode was played by Albert Spalding. His latest opera, La
Campana Sommersa (The Sunken Bell) was given at the
Metropolitan in 1928.
All these men show the traces of the Italian love of melody, with
the influence of French impressionism, and German romanticism.
Two or three of these modern Italians now live in Paris, among
them Santoliquido and Vincenzo Davico, both song writers.
And now Noah’s Ark has been put to music by a young Italian,
Vittorio Rieti with wit and humor, in a work for orchestra, played in
May, 1925, at the Prague Festival.
 Manuel de Falla

In Spain, one man who has continued along the lines of Albeniz
and Granados is Manuel de Falla (1876). He studied first with Felipe
Pedrell, the father of the modern Spanish school. In 1907 he went to
Paris where he met Debussy and Dukas. He wrote a ballet El Amor
Brujo (Love, the Magician). He combines a picturesque Spanish folk
style with a modern way of writing music. One of his most attractive
works is a scenic arrangement from a chapter in Don Quixote,
Cervantes’ masterpiece, as Spanish as a Spanish fandango. It is a
marionette ballet called El Retablo de Maese Pedro (Master Pedro’s
Puppet Show). It is a charming work and you will like it. His writings
have simplicity, and freshness, which can come only from deep study
and so perfect a mastery of art that there is no self-consciousness. He
is a true nationalist delighting in Spanish color; his music has
nobility and humanness as well as charm.
 The Netherlands

Clarence G. Hamilton says in his Outlines of Music History that

Netherland composers are patriotically laboring for a distinctive
school. Few names are known outside of Holland, with the exception
of Alphonse Diepenbroek (1862–1921), Dirk Schaefer (1874), Sem
Dresden (1881), James Zwart (1892), Julius Roentgen (1855), who
has collected many of the Dutch folk songs, and Dopper, conductor
and composer for orchestra.
In Belgium, Jan Blockx (1851–1912) wrote successful operas and
chamber music; Paul Gilson (1865) has written orchestral and
chamber music works which have won him a foremost place among
modern Flemish composers; both César Franck and Guillaume
Lekeu were Flemish (Belgian); Joseph Jongen, while not writing in
the very modern style, is well known for his symphonic poems,
chamber music, a ballet S’Arka (produced at the Théâtre de la
Monnaie, Brussels), songs, piano pieces and organ works.
 Switzerland

Jaques Dalcroze (1865) is better known as the inventor of

Eurythmics, a system of music study from the standpoint of rhythm,
than as composer, but he has written many charming songs in folk
style. Gustave Doret (1866), has written several operas, cantatas,
oratorios which have been performed in his native land and in Paris.
Hans Huber (1852) has a long list of compositions in all forms.
Ernest Bloch, though born in Switzerland is living in America and is
by far the greatest innovator of these Swiss writers. Emile Blanchet,
is a writer of piano music, rather more poetic than of the very
modern style. Arthur Honegger, the foremost young composer of
France, though born in Havre, is often claimed as a Swiss composer,
because his parents are Swiss. Rudolph Ganz, pianist, composer and
conductor in America was born in Switzerland.
 England

When we come to Frederick Delius (1863) we meet first with a new

feeling in English music. He has written orchestral pieces (Brigg
Fair, concertos, On Hearing the First Cuckoo in Spring), chorals
(Appalachia, The Song of the High Hills and others), chamber music
and songs. He was the first Englishman to write in the
impressionistic way. His opera The Village Romeo and Juliet is very
modern in form, and the music interprets the story and is not built
like the Italian operas.
Delius is of Dutch-French-German stock, but was born in England,
and has lived there and in France. He never tried for music posts or
prizes but has remained apart to compose. Though his work often
sounds like the 18th century virginal music, he is not conscious of it.
He has, in his chorals, done some of the best work since
Beethoven, says one biographer, and in them are strength, power
and beauty, quite different indeed from the sensuous and sweet
smaller works. He is a careful worker, a great idealist, and a truly
great musician.
There are many well-trained musicians like Holbrooke and
Hurlstone who have done much for music in England but this
chapter belongs to those who are carrying on 20th century ideas.
Among them is Vaughan Williams (1872) to whom folk music is as
bread to others. He uses it whenever he can. In his London
Symphony, his most famous work, he has caught the spirit of the city
and it is a milestone of the early 20th century. Isn’t it curious that the
most important work written on the poetry of our American Walt
Whitman is by an Englishman! This is the Sea Symphony for
orchestra and chorus, an impressive work by Vaughan Williams. He
has also written Five Mystical Songs, Willow Wood (cantata), On
Wenlock Edge (six songs), Norfolk Rhapsodies, In the Fen Country.
Granville Bantock (1868) is a musical liberator for he was the first
to free English composers from the old style of Mendelssohn and the
new kind of classicism of Brahms, and release them to write as they
felt. He wrote music on the Rubaiyat of Omar Khayyam (Persian),
Sappho, Pierrot of the Minute, Fifine at the Fair, Hebredean
(Scotch) Symphony, which shows his love of Scotch music, and many
other works. He succeeded Elgar at Birmingham University and has
made valuable studies and collections of Folk Music.
A lover of chamber music, the fantasy and fancy, is Frank Bridge
(1879). He is a thorough musician and has written The Sea, the
Dance Rhapsodies for orchestra, symphonic poem Isabella on Keats’
poem of the same name. Three Idylls for Strings and other works.
Gustave Holst (1874) whose original name was von Holst although
he is not of German descent, was a pupil of Sir Charles V. Stanford
and is now an inspiring teacher and conductor. He has had many
posts and has written many important works: an opera, The Perfect
Fool, the Hymn to Jesus, one of the finest choral works of the
century, The Planets, a very fine orchestral work, military band
music, songs and part songs, some of which are written with violin
accompaniment,—a charming idea!
John Ireland (1879), has written a fine piano sonata and a violin
sonata, Decorations (a collection of small pieces), Chelsea Reach,
Ragamuffin and Soho Forenoons, chamber music and orchestral
pieces.
Cyril Scott (1879) was trained in Germany. He is a mixture of
French impressionistic writing and Oriental mysticism, as you can
see from the titles of his pieces: Lotus Land (Lotus is an Egyptian
flower), The Garden of Soul Sympathy, and Riki Tiki Tavi, a setting
of Kipling’s little chap of the Jungle Book, which is very delightful.
He is one of the first English Impressionists who paved the way for
the young English School. He has made many interesting
experiments in modern harmony and rhythm.
Arnold Bax (1883), of Irish parentage, is a gifted and poetic
composer who has written many things in small and large forms,
chamber music and piano sonatas, The Garden of Fand for
orchestra, Fatherland, a chorus with orchestra and other things, all
of which show him to have a creative imagination and rich musical
personality.
Lord Berners (1883) (Gerald Hugh Tyrwhitt-Wilson), a lover of the
works of Stravinsky and Casella of the modern Russian and Italian
Schools, was trained in an old-fashioned way, and then Stravinsky
and Casella, seeing in his music possibilities for freer writing,
encouraged him to break away from old ways, and he became one of
the most modern of the young English composers. He writes
interestingly in caricature and sarcasm, in fact he is a musical
cartoonist in such pieces as the Funeral March of a Pet Canary,
Funeral March of a Rich Aunt, full of originality and of fun in
choosing subjects. He wrote, too, three pieces, Hatred, Laughter and
A Sigh which are amazing musical studies. His work is interesting
because of its daring in his very correct surroundings.
Eugene Goossens (1893) of Flemish ancestry, understands
dissonance and modern combinations, which he uses with
fascinating charm. His violin sonata and Nature Pieces for piano
show his depth of feeling, his Kaleidescopes (12 children’s pieces)
show his humor, love of the grotesque, and Four Conceits, his power
to be musically sarcastic. His Five Impressions of a Holiday and
Two Sketches for String Quartet are so delightful that modern music
would have lost much without them. He is a gifted conductor and has
directed concerts in London, in Rochester, New York, and is engaged
as guest conductor of the New York Symphony in 1925–26.
Arthur Bliss (1891) like Stravinsky, whom he admires, is the enfant
terrible of English music and is not held down by any rule or fixed
standards except that of good taste. He uses instruments in daring
ways, and shows a natural knowledge of them. One of his pieces is
for an unaccompanied Cor Anglais (English horn). Among his pieces
are The Committee, In the Tube (Subway) at Oxford Circus, At the
Ball. He wrote a Color Symphony, so-called because when
composing it, he experienced a play of color sensation, although he
did not write it to be used with the color organ, as does Scriabin in
Prometheus. He is a most daring experimenter, and altogether an
interesting young musician. In Rout, a gay piece for voice and
chamber orchestra, he used meaningless syllables in place of words.
He spent several years in Los Angeles, but has returned to England.
 America

In America we not only hear the works of all the people of whom
we have spoken in this chapter, but among our composers are a few
who show marked twentieth century ways of composing. Some of
them are American born, some have adopted the country, but all are
working for the advancement of American music: Loeffler, our first
impressionist, Bloch, Carpenter, Gruenberg, Whithorne, Morris,
Jacobi, Marion Bauer, Eichheim, Carl Engel, Ornstein, Varese,
Salzedo, Ruggles, Cowell, Antheil, and Copland.
Several organizations have worked for the cause of modern music
by presenting concerts devoted to works by contemporary Europeans
and Americans. The Pro Musica Society has been responsible for the
visits to this country of Maurice Ravel, Bela Bartok, Darius Milhaud,
Alexandre Tansman and Arthur Honegger.
The League of Composers (founded 1923) has had many notable
“first performances” of compositions by Schoenberg, Bloch, Bartok,
Stravinsky, Gruenberg, Malipiero, Hindemith, Copland, de Falla,
Whithorne, Carrillo, etc.
 Our Good-Bye

This book has been longer than it should have been, yet our sins
have been of omission rather than commission. But if we have only
made you realize that the world cannot stand still, that music is
always growing whether we understand it or not, and the good is
handed on to the next generation even though much “falls by the
wayside,” we will not have written in vain.
 SOME OF THE BOOKS WE CONSULTED

Afro-American Folk Music, H. E. Krehbiel. (Schirmer, 1914.)

The History of American Music, Louis C. Elson. (Macmillan Co.)
Music in America, Dr. Frederick Louis Ritter. (Charles Scribner’s
Sons, 1890.)
My Musical Life, Walter Damrosch. (Charles Scribner’s Sons,
1923.)
Stephen Collins Foster, Harold Vincent Milligan. (G. Schirmer,
1920.)
Francis Hopkinson and James Lyon, Two Studies in Early
American Music, O. G. Sonneck. (Printed by the Author in
Washington, D. C., 1905.)
Early Concert-Life in America (1731–1800), O. G. Sonneck.
(Leipsic, Breitkopf & Haertel, 1907.)
Musicians of Today, Romain Rolland. (Henry Holt, 1917.)
La Musique Française d’aujourd’hui, Jean Aubry. (Perrin & Cie.)
The History of Pianoforte Music, Herbert Westerby. (E. P. Dutton
& Co.)
Gustav Mahler, Paul Stefan. (G. Schirmer.)
The Symphony Since Beethoven, Felix Weingartner. (Oliver Ditson
Co., 1904.)
Voyage Musical au Pays du Passé, Romain Rolland. (Librairie
Hachette & Sons, Ltd., 1909.)
Modern Composers of Europe, Arthur Elson. (Sir Isaac Pitman
Sons, Ltd., 1907.)
The Player-Piano Up-to-Date, William Braid White. (Edward
Lyman Bill.)
Outlines of Music History, Clarence G. Hamilton. (Oliver Ditson
Co.)
The Romantic Composers, Daniel Gregory Mason. (Macmillan Co.)
Contemporary Russian Composers, M. Montagu-Nathan.
(Frederick A. Stokes Co.)
The Story of Music, W. J. Henderson. (Longmans, Green & Co.,
1889.)
Histoire Generale de la Musique, François Joseph Fetis.
Primitive Music, R. Wallaschek.
Grove’s Dictionary of Music and Musicians. (Macmillan & Co.)
Music of the Most Ancient Nations, Carl Engel. (South Kensington
Museum Art Handbooks.)
American Primitive Music, Frederick R. Burton.
The Art of Music: A Narrative History of Music. (D. G. Mason,
Editor-in-Chief.)
Music: Its Laws and Evolution, Jules Combarieu. (Paul, Trench,
Trübner & Co., 1903.)
Histoire de la Musique, Felix Clement.
History of Music, Emil Naumann.
Marcotone, Edward Maryon.
Mythology: Age of Fable, Bulfinch.
History of Music, W. J. Baltzell. (Theo. Presser.)
History of Rome, Dionysius Cassius.
Metropolitan Museum of Art Handbook No. 13.
Catalogue of Musical Instruments of All Nations.
Familiar Talks on the History of Music, A. J. Gantvoort. (G.
Schirmer.)
Analysis of the Evolution of Musical Form, Margaret H. Glyn.
(Longmans & Co.)
La Musique Grégorienne, Dom Augustin Gatard.
The Music of the Bible, Sir John Stainer. (Novello & Co. H. W.
Gray.)
Critical and Historical Essays, Edward MacDowell. (A. P.
Schmidt.)
Histoire de la Musique, H. Lavoix fils. (Concienne Maison
Quantin.)
Early History of Singing, W. J. Henderson.
The History of British Music, Frederick J. Crowest.
Story of the Art of Music, F. J. Crowest. (Appleton’s.)
La Musique des Troubadours, Jean Beck. (Laurens.)
Story of Minstrelsy, Edmundstoune Duncan. (Scribner’s.)
Trouvères et Troubadours, Pierre Aubry. (Alcan.)
Lecture on Trouvères et Troubadours, Raymond Petit. (MS.)
Cours de Composition Musicale, Vincent d’Indy. (Durand et Cie.)
Encyclopédie de la Musique et Dictionaire du Conservatoire,
Albert Lavignac (fondateur). V Vols.
The Threshold of Music, William Wallace. (Macmillan Co.)
Palestrina, Michel Brenet. (Alcan.)
Monteverdi, Henry Prunières. (Alcan.)
Twelve Good Musicians, Frederick Bridge. (Kegan Paul, Trench,
Trübner & Co.)
Les Clavecinistes, André Pirro. (Laurens.)
Lully, Henry Prunières. (Laurens.)
The Earlier French Musicians (1632–1834), Mary Hargrave.
(Kegan Paul, Trench.)
A History of Music, Paul Landormy. (Translated, F. H. Martens.)
(Scribner’s).
Chippewa Music, Frances Densmore. (Smithsonian Institution
Bureau of American Ethnology.) (Bulletin 45.)
Teton Sioux Music, Frances Densmore. (Bureau of American
Ethnology.) (Bulletin 61.)
Alla Breve, Carl Engel. (G. Schirmer.)
Complete Book of the Great Musicians, Percy A. Scholes. (Oxford
University Press.)
Baker’s Biographical Dictionary of Musicians. (3rd. revised
Edition.) (G. Schirmer, 1919.)
Pianoforte and its Music, H. E. Krehbiel.
The Story of Music and Musicians, Lucy C. Lillie. (Harpers.)
Johann Sebastian Bach, Johann Nikolaus Forkel.
Irish Folk Music, Capt. Francis O’Neill. (1910, Regan Printing
House, Lyon & Healy, Chicago.)
Histoire et Theorie de la Musique de L’Antiquité, par Fr. Aug.
Gevaert, 1881.
Grand Opera Singers of Today, Henry C. Lahee. (The Page Co.,
Boston.)
Richard Strauss (Living Masters of Music), Ernest Newman.
(John Lane, The Bodley Head.)
Great Singers—Series 1, 2, George T. Ferris. (T. Appleton Co., N.
Y., 1893.)
Richard Strauss the Man and His Works, Henry T. Finck. (Little
Brown & Co.)
The History of the Art of Music, W. S. B. Mathews. (The Music
Magazine Pub. Co., Chicago, 1891.)
Haydn (The Great Musicians), Pauline D. Townsend. (Samson,
Marston & Rivington, 1884.)
Mozart (The Great Musicians), Dr. F. Gehring. (Scribners, 1883.)
The World of Music, Anna Comtesse de Bremont. (Brentano’s,
1892.)
Contemporary Musicians. Cecil Gray. (Oxford University Press,
1924.)
Music and Its Story, R. T. White. (Cambridge University Press,
1924.)
Evolution of the Art of Music, C. Hubert H. Parry. (Appleton,
1896.)
Modern Composers of Europe, Arthur Elson. (Sir Isaac Pitman &
Son Ltd., London, 1909.)
One Hundred Folk Songs of All Nations, Granville Banstock. (G.
Schirmer.)
Sixty Patriotic Songs of All Nations, Granville Banstock. (G.
Schirmer.)
The Life of Ludwig van Beethoven, Alexander Wheelock Thayer.
Translated by H. E. Krehbiel. (Beethoven Association, 1921.)
Complete Opera Book, Gustave Kobbé. (G. P. Putnam’s Sons,
1924.)
In the Garret, Carl Van Vechten. (Alfred Knopf, 1920.)
The Music and Musical Instruments of the Arab, Francisco
Salvador Daniel.
Songs of the Russian People, Kurt Schindler.
Appreciation of Music, Thomas Whitney Surette and Daniel
Gregory Mason.
My Favorite Folk Songs, Marcella Sembrich. (Oliver Ditson Co.)
One Hundred Folk Songs, Cecil Sharp. (Oliver Ditson Co.)
Sixty Russian Folk Songs, Kurt Schindler and Deems Taylor. (G.
Schirmer Co.)
Russian Folk Songs, M. Balakirev. (M. P. Belaieff, Leipsic.)
Old Irish Folk Music and Song, P. W. Joyce. (Longmans, Green
Co.)
Ancient Irish Music, P. W. Joyce. (Longmans, Green Co.)
English Melodies, Vincent Jackson. (J. M. Dent & Son L’t’d, 1910.)
Songs Every Child Should Know, Dolores M. Bacon. (Doubleday
Page, 1906.)
The Orchestra and Its Instruments, Esther Singleton. (The
Symphony Society of New York, 1917.)
Reminiscences of Morris Steinert, Jane Marlin. (G. P. Putnam’s
Sons, 1900.)
Edward MacDowell, Lawrence Gilman. (John Lane, 1906.)
The Study of Folk-Songs, Countess Martinengo-Cesaresco. (E. P.
Dutton & Co.)
A History of Music, Sir Charles Villiers Stanford-Cecil Forsyth.
(The Macmillan Co., 1924.)
The History of Music, Waldo Selden Pratt. (G. Schirmer, 1907.)
The New Encyclopedia of Music and Musicians, Waldo Selden
Pratt, Editor. (The Macmillan Co., 1924.)
Ancient Art and Ritual, Jane Harrison. (Henry Holt & Co., 1913.)
Der Auftakt (Czecho-Slovakian Magazine). (Festival No., May,
1925).
Musical Quarterly, O. G. Sonneck, Editor. (G. Schirmer, April,
1924.)
German Music of the Last Decade, by Hugo Leichtentritt. League
of Composer Review. (New York.)
Franco-American Musical Society Bulletin. Ely Jade, Editor, (N.
Y.)
Book of American Negro Spirituals. James Weldon Johnson.
(Viking Press, N. Y.)
Miniature Essays. (J. & W. Chester, Ltd.)
Program Notes of the Philharmonic Society of New York.
Lawrence Gilman.
La Revue Musicale. Henry Prunières, Editor. (Paris.)
The Sackbut, Ursula Greville, Editor. (London.)
Musical America. (New York.)
Musical Courier. (New York.)
Musical Leader.
Some Music Writers According to Forms of
Composition
Troubadours and Trouvères
 Troubadours

(12th Century)

Guillaume d’Aquitaine
Bernart de Ventardorn
Bertran de Born
Richard the Lion-Hearted (1169–99)
Peire Vidal
Le Moine de Montaudon (The Monk of)
Guiraut de Borneil (Maestre dels trobadors)
Gaucelm Faidit (Jongleur)

(12th and 13th Centuries)

Peire Cardinal

(13th Century)

Pierre Mauclerc (Duke of Bretagne)

Uc de Saint-Circ
Thibaut de Champagne (King of Navarre)
Jean Bretel
Adam de la Hale
Guillaume de Machaut