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This dissertation proposes that we consider Broadway’s history and genre development to be periodic rather than a singular trajectory of growth and inevitable decline. Situating the structural, musical, and aesthetic changes on Broadway within a periodic model, we begin to see phases of aesthetic cohesion and fragmentation emerge within a recurring pattern taking place every fifteen to twenty years. In reframing the evolution of Broadway as a model of continued regeneration, rather than a model of inevitable decay, we can see how various stylistic and structural elements from previous generations of musicals rematerialize in contemporary shows. More importantly, by removing the “Golden Age” as a fixed point of comparison in our analysis, we can come to understand the significance of shows often overlooked in more traditional analyses. Each chapter of this dissertation after the introductory chapter supports this view by offering a case study of a significant trend found on twenty-first century Broadway between 2000-2015 and situating that trend within the proposed periodic model. Chapter Two offers a close analysis of the scenographic practices in the output of the Disney Theatrical Group after 2000. I consider how the use of advanced stage technology in their musicals developed, and differs, from the pure technological spectacle of the megamusical. Chapter Three looks at the intersection between popular culture, camp, and the Broadway musical. The chapter traces the shift in camp sensibilities in self-reflexive musicals specifically developed to appeal to mainstream audiences, from being grounded in theater-related humor to being primarily popular culture-based. Chapters Four and Five explore productions from the post-millennium that more directly complicate the traditional “Golden Age” narrative. In Chapter Four, I provide a scenographic and socio-historical comparison of the concept musical with its post-millennium counterpart that I call the “neo-conceptual musical.” And, in Chapter Five, I compare how differently the work of Rodgers and Hammerstein and the work of Stephen Sondheim are approached and revived in recent years, and offer a reflection on how issues of nostalgia, “Golden Age” preferentialism, and politics of taste play out in the business of reviving (and revising) musicals in the post-millennium.

The article discusses the phenomenon of replica productions of original productions in musical theatre. The author describes the rules operative in licensing musical titles of non-replica type, i.e., most of the productions in Polish musical theatre. The agreements between theatres and agencies managing copyrights for musicals usually require preserving the original text and music, but grant freedom in matters concerned with staging, though in certain cases the agencies also reserve the right to control other aspects of the production and its promotional framework. Then, the author describes the phenomenon of replica productions itself, i.e. their appearance in the world’s greatest musical centers with staging resembling the original productions, most frequently prepared by the same team as responsible for the latter. The final part of the text discusses cases of interference of musical agencies in non-replica staging which reinterpret the message of the original works.

Bu çalışmanın amacı kültür endüstrisinin müzikal tiyatronun evrimine olan etkisini incelemektir. Bu sebeple kültür endüstrisinin bir ürünü olan megamüzikaller benzerlikleri ve ortak özellikleri bakımından incelenip saptanıcaktır. Çalışmada müzikal tiyatronun tanımlanması, yapısı içersindeki disiplinlerin özellikleri, dijitalleşmenin etkisi, megamüzikalleri şekillendiren teknolojik, sosyal ve ekonomik faktörler ve bunların etkileşimleri ile kültür endüstrisi içindeki yerleri ele alınacaktır. Dünya üzerinde en uzun süre sahnelenmiş üç megamüzikalin öykü, prodüksiyon ve sahnelenmelerine ait benzerlikler ve kodlar saptanarak ticari verileri eşliğinde kültür endüstrisiyle olan ilişkileri ve sonuçları irdelenecektir. Anahtar Kelimeler: Kültür Endüstrisi, Müzikal, Megamüzikal, Dijitalleşme This study aims to investigate the effect of culture industry to the evolution of musical theatre. Therefore, the success of megamusicals - as a product of culture industry- in respect to their similarities and common aspects are intended to be investigated and determined. Throughout the study the definition of musical theatre, the features of the disciplines in its structure, the effect of digitalization, the cultural and economical factors that shape megamusicals and their interactions and places in culture industry will be discussed. The resemblence and the codes of the three longest performed megamusicals worldwide will be determined, and by taking the commercial datas into consideration, their connection with the culture industry will be studied.Keywords: Culture Industry, Musical Theatre, Megamusical, Digitalization 106

Bu çalışmada amaçlanan, Broadway `Megamüzikal' fenomeninin ortaya çıkış sebeplerinive 1980'lerden günüze kadar gelişimini araştırmak, müzikal tiyatroda yarattığı işitsel vegörsel açıdan farklı estetik anlayışlarını ortaya koymak, buna bağlı olarak da teatralstilini, teknolojisini ve sosyo-ekonomik güç olarak etkilerini incelemektir. İncelemede,türün yaratıcıları ve eserleri, eleştirmen ve seyirci algısında oluşan zıtlıklar,megamüzikalleri şekillendiren içsel ve dışsal faktörler ve bunların etkileşimleri ilemüzikal tiyatro sektöründe yarattığı sonuçlar ele alınacaktır. This study aims, to investigate the reasons to the formation and development of theBroadway `Megamusical? phenomenon since 1980s, to evaluate the impacts of its audioand visual aesthetics and to examine its theatrical style, tecnology and socio-economicforce. The creators of the genre and their works and the conflict between the reception ofthe audience and the critics will be undertaken and internal-external elements defining themegamusicals, their interactions and the industry-specific results will be discussedthroughout the process. 74

Opera ve Müzikal Tiyatro arasındaki etkileşimlerin incelendiği bu çalışmada, sahne sanat dallarının tarihsel süreçteki gelişimleri incelenmiştir. Bununla birlikte birçok sahne formu incelenmiş ve konuyla ilgisi saptanmıştır. `Operatik müzikaller` bölümünde, bu tanımlamaya giren eserlerin bestecileri hakkında bilgi verilerek, bu örnekler üzerinden opera ve müzikal etkileşimi tartışılmıştır. Tartışılan tüm bu veriler ışığında, sonuç bölümünde, opera - müzikal etkileşimi ayrıntılı olarak ele alınmış ve etkileşimler örneklendirilerek değerlendirilmiştir. In this study, evaluating the interaction between Opera and Musical Theatre, the development of the stage arts in their historical backgrounds are investigated. Nonetheless, many stage forms are taken into consideration and their interests in the interaction of musical theatre and opera are determined. In the section of `Operatic Musicals`, after giving a brief information about the composers of the pieces those can be described under this heading, the interaction between opera and musical theatre is discussed over these examples. With all these discussions, in the conclusion part, the interaction between opera and musical theatre is deeply undertaken and the interaction is evaluated with different examples. 90