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Summary of august rush12/23/2023 It is primarily through embodiment, a hardwired process grounded in our physiology and cognition, that music functions phenomenologically within lm. Current trends of film scoring reflect a fading interest in the associative dimensions of music rather, composers now strive to contribute with a phenomenological score. Music is a multi-parametric construct that operates at an almost subliminal level to support, highlight, complement, or even negate any other aspect of the cinematic experience. I conclude that imagery in August Rush unusually becomes the supporting element and only with music can it be connected, transcending time and space. Then I provide a detailed analysis of “August’s Rhapsody,” particularly on its relation to other scenes to further demonstrate the connections in macroscopic view. In this article, I first illustrate the aforementioned connections in the opening scene, the “City Symphony” scene and the “Louis/Lyla” scenes etc. The music performance of “August Rhapsody” in the final scene recalls previous events, which juxtaposes with the “present” images and hence implies multiple meanings. Last but not least, music connects “past” and “present” imagery. Imagery thus functions to provide additional information or clarification. For instance, the fusion of two musical styles in the “Louis/Lyla” scenes pre-establishes the bonding between the protagonist’s parents, while the image of them cuddling is shown afterwards. Second, music in August Rush tells the narrative before image does. This challenges the audience to constantly relate timbre to its source images, and also induces satisfaction when the unrevealed source is later revealed. First, the soundtrack of August Rush incorporates everyday “noises” as musical elements, with images addressing their sources. While the central message of August Rush is how music connects people, it interestingly reveals several complicated connections between music and images. Where it got far better reviews than the first time around.August Rush (2007), directed by Kirsten Sheridan, tells the story of an orphaned musical prodigy, Evan Taylor, using his gift to find his parents. But the original producer of the material, Scott Sanders, made his way to the Chocolate Factory and was sufficiently enamored of what he saw that he brought the show back to Broadway. For a third, this staging could not have been simpler. For another, Doyle was an older white Brit and hardly the most obvious choice to direct this material, as he freely admits. For one thing, not enough time had passed since the original 2005-08 production, according to the usual Broadway rules. But we all were watching a very different and more powerful show.ĭoyle's staging began at the 180-seat Menier Chocolate Factory in London and it was never supposed to come to Broadway. Fields, who received a Tony nomination for creating the role of Sofia.įields, who still lives and works in Chicago, was at the Auditorium for the opening last week. The national tour of that 2015 Broadway production is here in Chicago, just through the weekend, and I suspect most people think it is just another road engagement of the original staging by Gary Griffin, which played the Cadillac Palace for several months, replete with the great Felicia P.
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