The Sight and Sound of Lincoln

Vivian, Bradford

doi:10.14321/rhetpublaffa.18.1.0117

Cited by 1 publication

(1 citation statement)

References 3 publications

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“…Though many scholars have studied public memory in association with places, such as monuments, battlefields, cemeteries, museums, and memorials (Blair, Dickinson and Ott 2010;Gallagher 1995;Haskins 2011;King 2006;Robinson 2012;Wright, 2003), scholars have also explored how public memory is created by various arts, texts, and technologies, such as film (Benson 2003;Dickinson 2006;Hasian and Shugart 2001;Summerfield 2009;Vivian 2015), television (Huxtable 2017; Soukup 2010), and theatrical performance (Evans 2003;Schrader 2019). Evans (2003) contends that 'as a self-reflective act of creation, theater is that format through which audiences come to understand history as a series of acts and decisions' (189).…”

Section: Public Memorymentioning

confidence: 99%

Examining the ‘histo-remix’: Public memory, Burkean identification and feminism in the musical Six

Schrader

2020

Studies in Musical Theatre

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The musical Six has taken the United Kingdom by storm, earning five Olivier nominations in 2019 and crossing the pond, previewing on Broadway in the spring of 2020. Six tells the story of Henry VIII’s six wives in what the musical portrays as their own words, with a twist ‐ the six wives form a girl group performing a concert for their audience. Through a rhetorical analysis of the musical’s script, cast recording, piano/vocal score, and field notes from two performances, I argue that Six creates public memory of Catherine of Aragon, Anne Boleyn, Jane Seymour, Anna of Cleves, Katherine Howard and Catherine Parr, focusing on their individual personalities and accomplishments, rather than simply on their relationship to Henry VIII, as documented history describes them. I suggest that by doing so, Six minimizes the role of place and time in the creation of public memory. Furthermore, I argue that this creation of public memory is intertwined with Burkean identification, as theatregoers find themselves connecting with one or more of the queens as they are portrayed in Six. By combining twenty-first-century language with the stories of sixteenth-century women, Six builds consubstantiality between its characters and its audiences. This article also explores how the final number, Six, reinvents the women’s stories as they might have been if they had lived in the twenty-first century and the impact that this has on public memory. Finally, I suggest that Six is a feminist text, advocating for solidarity and the individually defined empowerment of all women.

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Section: Public Memorymentioning

confidence: 99%

Examining the ‘histo-remix’: Public memory, Burkean identification and feminism in the musical Six

Schrader

2020

Studies in Musical Theatre

View full text Add to dashboard Cite

show abstract

The Sight and Sound of Lincoln

Cited by 1 publication

References 3 publications

Examining the ‘histo-remix’: Public memory, Burkean identification and feminism in the musical Six

Examining the ‘histo-remix’: Public memory, Burkean identification and feminism in the musical Six

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