The phantom voice: a critical analysis of Andrew Lloyd Webber’s The Phantom of the Opera in relation to the unconscious and the voice

Williams, Nicola (2008) The phantom voice: a critical analysis of Andrew Lloyd Webber’s The Phantom of the Opera in relation to the unconscious and the voice. BA dissertation, University of Portsmouth.

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    Abstract

    The Phantom Voice aims to explore and discuss the key issues dealing with the unconscious in the realm of the musical theatre. It does this by primarily looking at the role of the voice, and the power struggle that occurs between the unconscious and the conscious. The central object that is being studied is Andrew Lloyd Webber’s 1987 musical, The Phantom of the Opera. Being a musical undoubtedly about love, it is open to exploration of the psyche. This is structured around three chapters each dealing with a different psychological idea on the voice, and a final chapter looking more closely at the music in the show itself. It engages with several important theorists, such as Lacan and Freud. Their theories set up the groundwork of the psychoanalysis in this thesis. Moving on, we look at Carolyn Abbate and her work on the opera singer’s voice. The final academics studied were Zizek and Barthes, who both claim that the voice has moments where it cracks and that it is in these moments the unconscious is exposed. The Phantom Voice concludes on a general statement that the musical is co-dependent on the unconscious, because it is the expulsions that makes the music emotive and thus connects to each and everyone’s psyche.

    Item Type: Dissertation
    Departments/Research Groups: Faculty of Creative and Cultural Industries > School of Media and Performing Arts
    Depositing User: Jane Polwin
    Date Deposited: 20 Jan 2011 12:48
    Last Modified: 28 Jan 2015 11:15
    URI: http://eprints.port.ac.uk/id/eprint/759

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