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Doing the Time Warp
Strange Temporalities and Musical Theatre
Sarah Taylor Ellis
Doing the Time Warp explores how song and dance – sites of aesthetic difference in the musical – can 'warp' time and enable marginalized and semi-marginalized fans to imagine different ways of being in the world.
While the musical is a bastion of mainstream theatrical culture, it also supports a fan culture of outsiders who dream themselves into being in the strange, liminal timespaces of its musical numbers.
Through analysing musicals of stage and screen – ranging from Rent to Ragtime, Glee to Taylor Mac's A 24-Decade History of Popular Music – Sarah Taylor Ellis investigates how alienated subjects find moments of coherence and connection in musical theatre's imaginaries of song and dance.
Exploring an array of archival work and live performance, such as Larry Gelbart's papers in the UCLA Performing Arts Collections and the shadowcast performances of Los Angeles's Sins o' the Flesh, Doing the Time Warp probes the politics of musicals and consider show the genre's 'strange temporalities' can point towards new futurities for identities and communities in difference.
While the musical is a bastion of mainstream theatrical culture, it also supports a fan culture of outsiders who dream themselves into being in the strange, liminal timespaces of its musical numbers.
Through analysing musicals of stage and screen – ranging from Rent to Ragtime, Glee to Taylor Mac's A 24-Decade History of Popular Music – Sarah Taylor Ellis investigates how alienated subjects find moments of coherence and connection in musical theatre's imaginaries of song and dance.
Exploring an array of archival work and live performance, such as Larry Gelbart's papers in the UCLA Performing Arts Collections and the shadowcast performances of Los Angeles's Sins o' the Flesh, Doing the Time Warp probes the politics of musicals and consider show the genre's 'strange temporalities' can point towards new futurities for identities and communities in difference.
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