‘Hair’ the musical : an investigation of social action in musical theatre

Abstract

The dissertation explores the application of social action within the world of musical theatre using the tribal love rock musical Hair of 1967 as a case study. Possible links between the notion of applied theatre and diverse types of musical theatre will be sought so as to reflect on ethical implications when musical theatre is approached as a form of applied theatre practice. In this regard, the entertainment dimension often associated to musicals will be problematised by referring to Millie Taylor’s perspectives on entertainment when dealing with the genre. The study will also engage with the concept of social action by drawing on the work of various sociologists, including the theories of Max Weber, to articulate social action as practical action. Perspectives linking social action with critical consciousness will be addressed using Paolo Freire’s concept of conscientização. This will be followed by an investigation of the phenomenon of socially engaged art and its impact and dependence on the community as a crucial component of performed activity. The study will, therefore, deal with how individual members of a community can be considered as socially engaged actors who, as active learners rather than passive listeners, can bring about change within their respective communities. The study will conclude with an application of the theoretical reflections above to the musical Hair as performed in its original version of 1968 and later revivals, including its 2010 West End revival and its fiftieth anniversary revival in 2018. This will be conducted via a contextualisation of Hair’s musical and dramatic texts by reflecting on their aesthetics, inspirations, and aspirations. In this respect, musical style, themes addressed in the various songs, and the way characters develop and relate to each other will be addressed to shed light on how messages are performed and adopted to different audiences.