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A concept musical is a musical where the show's metaphor or statement is more important than the actual narrative. Also known as a deconstructed or bookless musical, the concept musical has its roots in the plays with music that Bertolt Brecht wrote with Kurt Weill and other composers. While the genre's exact definition is debated, it is generally agreed that the concept musical's theme often provides social commentary and further room for exploration of form and structure. Characters may be isolated from one another, reflecting and commenting upon themselves through song. There is a strong focus on visual presentation, representation, and imagery when staging a concept musical. Concept musicals were first introduced in the 1940s, though two shows compete for the title of 'first concept musical:' ''Allegro'' and ''Love Life''. The form began to flourish in the late 1960s, with the advent and subsequent popularity of ''Man of La Mancha'', ''Cabaret'', and ''Hair''. Stephen Sondheim, the most prolific author of concept musicals, created ''Company'' in 1970, bringing the genre to the forefront of the commercial realm. Director-choreographer Bob Fosse and producer-director Harold Prince were equally instrumental in making defining contributions to the concept musical. Modern examples of the concept musical include ''Assassins'' and ''Avenue Q''. Shows ranging from ''Fiddler on the Roof'' to ''Sweeney Todd'' have been argued as being concept musicals, though there is little critical agreement. The concept musical has direct ties to the megamusical, which has similar roots in the Andrew Lloyd Webber work ''Cats'', and the similarly plotless revue. Mirroring the social upheaval of the 1960s and beyond, the concept musical as a form provided a means of expression and experimentation for musical theatre writers and audiences alike. ==Definition== “The term 'concept musical' did not appear in theatrical scholarship until after 1970, when the phrase “conceived by” preceded Michael Bennett’s name in the ''A Chorus Line'' billing. Most theater historians agree that the terms 'concept' and 'musical' were not linked until 1968, in a ''New York Times'' review of ''Zorba'' by critic Martin Gottfried. Referring to Harold Prince's direction rather than the show itself, Gottfried wrote: "Conception is the big word here - it is what is coming to replace the idea of a 'book'... there is even less room than in the usual musical (story ) because Prince's concept... apparently won out on every question about cutting." In a later review of Sondheim's ''Follies'', Gottfried defined it as "a show whose music, lyrics, dance, stage movement and dialogue are woven through each other in the creation of a tapestry-like theme (rather than in support of a plot)." Modern critics disagree as to the exact definition of the concept musical. It is generally agreed upon that in a concept musical, emphasis is placed upon style, message, and thematic metaphor rather than on the plot itself. Thus, the show's structure is rarely cohesive or linear. Critics agree that the most defining aspect of a concept musical is its use of theme. This holistic approach to each show, which focuses on the truthful representation of the theme in every aspect of the final production, sets it apart from other musical theatre forms. Young-Gerber states: “In musical comedy there is ''no'' theme. The revue ''uses'' a theme to unify disparate musical numbers and specialty acts. The integrated musical ''contains'' a theme. In contrast, the concept musical ''embodies'' a theme (is ) developed as the musical is written.”〔 Thus, the concept musical can also be defined by its structural characteristics and common staging techniques. Its songs "punctuate rather than flow out from the story," serving as a means of self-reflection for the character and acting as commentary upon the theme.〔 The message of the show often spurs within its director a "renewed emphasis on the visual aspects of the performance... () to a more abstract, unrealistic, non-representational staging, as the director has to free himself/herself from the confines of scenic verisimilitude in order to explore the visual dynamics of the stage." 〔 The attention paid to visual presentation has led many critics to recognize the concept musical as the most expressive and imagistic form of musical theatre. Theatre historian Vagelis Siropoulos writes: "A sense of aesthetic totality is provided not by the linear unfolding of a narrative but by the overarching staging concept, which turns the spectator's attention to the overall principle of organization in the same way that an abstract painting does." 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「concept musical」の詳細全文を読む スポンサード リンク
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