Book contents
- María Irene Fornés in Context
- María Irene Fornés in Context
- Copyright page
- Dedication
- Contents
- Figures
- Notes on Contributors
- Acknowledgements
- A Chronology of María Irene Fornés’s Life and Work
- Introduction
- Part I Places and People
- Part II Theatre
- Chapter 11 Stage Direction and Design
- Chapter 12 Off-Off-Broadway
- Chapter 13 Environmental Theatre
- Chapter 14 Music Theatre
- Chapter 15 Performance Art and the Postdramatic
- Chapter 16 Translation and Adaptation
- Part III Culture, Society, and Politics
- Part IV Legacy
- Further Reading
- Index
Chapter 14 - Music Theatre
from Part II - Theatre
Published online by Cambridge University Press: 27 August 2025
Book contents
- María Irene Fornés in Context
- María Irene Fornés in Context
- Copyright page
- Dedication
- Contents
- Figures
- Notes on Contributors
- Acknowledgements
- A Chronology of María Irene Fornés’s Life and Work
- Introduction
- Part I Places and People
- Part II Theatre
- Chapter 11 Stage Direction and Design
- Chapter 12 Off-Off-Broadway
- Chapter 13 Environmental Theatre
- Chapter 14 Music Theatre
- Chapter 15 Performance Art and the Postdramatic
- Chapter 16 Translation and Adaptation
- Part III Culture, Society, and Politics
- Part IV Legacy
- Further Reading
- Index
Summary
Although music theatre is typically associated with composers, a closer look at the unusually prominent place of music in the Fornésian catalog demonstrates how her work as a lyricist and librettist establishes Fornés as a formidable force within the ever evolving form of music theatre. Trevor Boffone’s essay surveys Fornes’s use of song and dance to punctuate or drive works as as varied as Promenade (1965), Molly’s Dream (1968), The Red Burning Light or Mission XQ3 (1968), Aurora (1972); Cap-a-Pie (1975), Sarita (1984), Lovers and Keepers (1986), Terra Incognita (1992), and Balseros/Rafters (1997). Boffone’s essay also explicates how Fornés’s many works of music theatre open the question of what a Fornésian musical might be, even as her legacy of experimentation continues to prompt innovative new ways of making music theatre.
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- María Irene Fornés In Context , pp. 149 - 159Publisher: Cambridge University PressPrint publication year: 2025
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