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For the past 135 years or so, Gilbert and Sullivan have pervasively influenced popular culture in the English-speaking world.〔See Bradley, Ian (2005), Chapter 1 and (this article at the musicals101 website )〕 Lines and quotations from the Gilbert and Sullivan operas have become part of the English language, such as "short, sharp shock", "What never? Well, hardly ever!", "let the punishment fit the crime", and "A policeman's lot is not a happy one".〔Green, Edward. ("Ballads, songs, and speeches", ) ''BBC News'', 20 September 2004, accessed 30 September 2009.〕〔Lawrence, Arthur H. ("An illustrated interview with Sir Arthur Sullivan" ) Part 3, from ''The Strand Magazine'', Vol. xiv, No.84 (December 1897), accessed 21 May 2007.〕 The Savoy operas heavily influenced the course of the development of modern musical theatre. They have also influenced political style and discourse, literature, film and television and advertising, and have been widely parodied by humorists. Because they are well-known, and convey a distinct sense of Britishness (or even Victorian Britishness), and because they are in the public domain,〔Fishman, Stephen. ''The Public Domain: How to Find Copyright-Free Writings, Music, Art & More'', Ch. 1. Nolo Press. 3rd ed., 2006.〕 songs from the operas appear "in the background" in many movies and television shows. The operas have so pervaded Western culture that events from the "lives" of their characters from the operas are memorialized by major news outlets. For instance, a ''New York Times'' article on 29 February 1940, noted that Frederic, from ''The Pirates of Penzance'', was finally out of his indentures (having reached his 21st birthday, as described in that opera).〔("Frederic Goes Free", ) ''The New York Times'', 29 February 1940, p. 18〕 == Musical theatre and comedy == The American and British musical owes a tremendous debt to Gilbert and Sullivan, who introduced innovations in content and form that directly influenced the development of musical theatre through the 20th century.〔Downs, Peter. "Actors Cast Away Cares". ''Hartford Courant'', 18 October 2006. Available for a fee at (courant.com archives. )〕〔Bargainnier, Earl F. "W. S. Gilbert and American Musical Theatre", pp. 120–33, ''American Popular Music: Readings from the Popular Press'' by Timothy E. Scheurer, Popular Press, 1989 ISBN 978-0-87972-466-5〕 According to theatre writer John Bush Jones, Gilbert and Sullivan were "the primary progenitors of the twentieth century American musical" in which book, music and lyrics combine to form an integrated whole, and they demonstrated "that musicals can address contemporary social and political issues without sacrificing entertainment value".〔Jones, J. Bush. (''Our Musicals, Ourselves'' ), pp. 10–11, 2003, Brandeis University Press: Lebanon, N.H. (2003) ISBN 978-1-58465-311-0〕 Gilbert's complex rhyme schemes and satirical lyrics served as a model for Edwardian musical comedy writers such as Adrian Ross and Owen Hall, and for such 20th century Broadway lyricists as P. G. Wodehouse,〔(PG Wodehouse (1881–1975) ). Guardian.co.uk, accessed 20 May 2011〕 Cole Porter,〔(Lesson 35 – Cole Porter: You're the Top. ) PBS.org, American Masters for Teachers, accessed 21 May 2007.〕 Ira Gershwin,〔Furia, Philip. (Ira Gershwin: The Art of a Lyricist ) Oxford University Press, accessed 21 May 2007.〕 Yip Harburg,〔Meyerson, Harold and Ernest Harburg ''Who Put the Rainbow in the Wizard of Oz?: Yip Harburg, Lyricist'', pp 15-17 (Ann Arbor: University of Michigan Press, 1993, 1st paperback edition 1995)〕 Lorenz Hart,〔Kenrick, John. ("G&S in the USA" at the musicals101 website ) ''The Cyber Encyclopedia of Musical Theatre, TV and Film'' (2008), accessed 4 May 2012.〕 Oscar Hammerstein II〔 and Sheldon Harnick.〔Gordon, David. ("Sheldon Harnick, Mark Lamos, David Loud to Take Part in 2013 ''Lyrics & Lyricists'' Series" ), ''TheaterMania.com'', 3 May 2012〕 Even some of the plot elements from G&S operas entered subsequent musicals; for example, 1937's ''Me and My Girl'' features a portrait gallery of ancestors that, like the portraits in ''Ruddigore'', come alive to remind their descendant of his duty. Johnny Mercer said, "We all come from Gilbert." Alan Jay Lerner wrote that Gilbert "raised lyric writing from a serviceable craft to a legitimate popular art form," and, despite professing not to be a Gilbert fan, Stephen Sondheim wrote "Please Hello" for ''Pacific Overtures'' (1976), a song that has been called "an homage" to Gilbert.〔 Yip Harburg said, "Perhaps my first great literary idol was W. S. Gilbert. ... Gilbert's satirical quality entranced us (and Ira Gershwin ) – his use of rhyme and meter, his light touch, the marvelous way his words blended with Sullivan's music. A revelation!"〔 Sullivan was also admired and copied by early composers such as Ivan Caryll, Lionel Monckton, Victor Herbert, George Gershwin,〔(Noting Gilbert and Sullivan's influence on Wodehouse and the Gershwins )〕 Jerome Kern, Ivor Novello, and Andrew Lloyd Webber.〔〔Bradley (2005), p. 9〕 Noël Coward wrote: According to theatre historian John Kenrick, ''H.M.S. Pinafore'', in particular, "became an international sensation, reshaping the commercial theater in both England and the United States."〔Kenrick, John. ("Gilbert & Sullivan 101: The G&S Canon", ) ''The Cyber Encyclopedia of Musical Theatre, TV and Film'' (2008), accessed 18 July 2008.〕 Adaptations of ''The Mikado'', ''Pinafore'' and ''The Gondoliers'' have played on Broadway or the West End, including ''The Hot Mikado'' (1939; ''Hot Mikado'' played in the West End in 1995), George S. Kaufman's 1945 ''Hollywood Pinafore'', the 1975 animated film ''Dick Deadeye, or Duty Done'' and, more recently,''Gondoliers'' (2001; a Mafia-themed adaptation) and ''Pinafore Swing'' (2004), each of which was first produced at the Watermill Theatre, in which the actors also served as the orchestra, playing the musical instruments.〔The adaptations were by John Doyle and orchestrated and arranged Sarah Travis. ''Gondoliers'' transferred to the Apollo Theatre in the West End in 2001. See (''The Gondoliers'' ). ''Albemarle of London'', 2009, accessed 14 August 2010〕〔Other adaptations and parody versions of G&S shows include ''The Swing Mikado''.〕 Shows that use G&S songs to tell the story of the Gilbert and Sullivan partnership include a 1938 Broadway show, ''Knights of Song'',〔("Knights of Song" ) at the IBDB database〕 and a 1975 West End show called ''Tarantara! Tarantara!''〔Lewis, David. ("Tarantara! Tarantara!" ) at The Guide to Musical Theatre, accessed 20 November 2009〕〔See also ''Sullivan and Gilbert'' and ''Dr Sullivan and Mr Gilbert'' for examples of other stage shows about the Gilbert and Sullivan partnership.〕 Many other musicals parody or pastiche the operas.〔The first parody of a Savoy Opera was ''Ruddy George, or Robin Redbreast'', a burlesque with words by H.G.F. Taylor and music by Percy Reeve; it premeried at Toole's Theatre on 26 March 1887 and ran for about 36 performances. See Moss, Simon. (Other Items ), Gilbert & Sullivan: a selling exhibition of memorabilia, c20th.com, accessed 30 April 2012. The first ''Pinafore'' parody was a short-lived burlesque presented at the Opera Comique in 1882, called ''The Wreck of the Pinafore'' by H. Lingard and Luscombe Searelle; the opera's characters are shipwrecked on a desert island. It was described by ''The Era'' as "chiefly remarkable for its impudence". See"The Opera Comique Theatre" – a valedictory summary in ''The Era'', 15 October 1898, p. 11. Other ''Pinafore'' parodies and pastiches include: (''The Pirates of Pinafore'' ), with book and lyrics by David Eaton; (''The Pinafore Pirates'' ), by Malcolm Sircom; (''Mutiny on the Pinafore'' ), by Fraser Charlton; and (''H.M.S. Dumbledore'' ), by Caius Marcius, accessed 18 July 2008. Gilbert and Sullivan themselves referred to ''Pinafore'' in the "Major-General's Song" (from ''The Pirates of Penzance''), and an older "Captain Corcoran, KCB" appears in ''Utopia, Limited'' (the only recurring character in the G&S canon).〕 However, the influence of Gilbert and Sullivan on goes beyond musical theatre to comedy in general. Professor Carolyn Williams notes: "The influence of Gilbert and Sullivan – their wit and sense of irony, the send ups of politics and contemporary culture – goes beyond musical theater to comedy in general. Allusions to their work have made their way into our own popular culture".〔Schwab, Michael. ("Why Gilbert and Sullivan Still Matter" ), ''Rutgers Today'', 26 March 2012〕 According to Gilbert and Sullivan expert and enthusiast Ian Bradley: 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Cultural influence of Gilbert and Sullivan」の詳細全文を読む スポンサード リンク
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