Shakespeare's auditory worlds: hearing and staging practices, then and now
Gespeichert in:
| Weitere Verfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Vancouver ; Madison ; Teaneck ; Wroxton
Fairleigh Dickinson University Press
2022
|
| Schriftenreihe: | Shakespeare and the stage
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | xi, 293 Seiten |
| ISBN: | 9781683932024 |
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Datensatz im Suchindex
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| adam_text | Contents Acknowledgments Introduction ix Listening to Shakespeare’s Worlds of Sound Walter W. Cannon and Laury Magnus 1 Part I: Sensory Apprehension: Speaking, Hearing, and Seeing on Shakespeare’s Stages Chapter 1 “Report me and my cause aright”: Hearing the Language of Exhortation in Hamlet and King Lear David Bevington Chapter 2 Sound and Sight, Sound vs. Sight in Hamlet Laury Magnus Chapter 3 Hearing and Interfering: Solving Puzzles in Theater Productions of Measure for Measure Gayle Gaskill 17 35 55 Part П: Hearing Gone Awry: Mishearing, Not Hearing, and Silence Chapter 4 Silence, Mishearing, and Indirection in Much Ado Caroline Latta vii 75
Contents Chapter 5 Chapter 6 Writing Letters, Hearing Voices: Epistolary Error in Twelfth Night Walter W. Cannon 99 Staging “Skimble-skamble Stuff’: I Henry IV and the Welsh Voice Megan Lloyd and Elizabeth Brown 115 Part III: Hearing Beyond Words: Shakespeare’s Noise, Sounds, and Music Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Soundscape for an Offstage Beheading: Shakespeare’s Revision of 2 Henry VI 4-1 Steven Urkowitz 137 “Fearful and confused cries”: Birdsong, Sympathy, and the Fear of Sound in Titus Andronicus Clio Doyle 159 “They say it will penetrate”: Music as Aural Violation in The Two Gentlemen of Verona and Cymbeline R. W. Jones 173 Hearing Cues in Shakespeare: Instrumental Music and Sound Effects in the Later Plays Jennifer Linhart Wood 195 Reconstructing Audience at Shakespeare’s Globe Leslie C. Dunn 215 Part IV: Voices from the Blackfriars Stage Voices from the Blackfriars Stage: A Virtual Roundtable Discussion from Actors at the American Shakespeare Center Benjamin Curns, Sarah Fallon, Allison Glenzer, John Harrell, James Keegan, and Patrick Midgley 237 Hearing on the Blackfriars Stage: A Coda Ralph Alan Cohen 269 Index 275 About the Editors and Contributors 289
Inspired by the verbal exuberance and richness of all that can be heard by audiences both on and off Shakespeare’s stages, Shakespeares Auditory Worlds examines such special listening situations as overhearing, eavesdropping, and asides. It breaks new ground by exploring the complex relationships between sound and sight, dialogue and blocking, dialects and other languages, re-voicings, and, finally, nonverbal or metaverbal relationships inherent in noise, sounds, and music—staging interstices that have been largely overlooked in the critical literature on aurality in Shakespeare. Its contributors include David Bevington, Ralph Alan Cohen, Steven Urkowitz, and Leslie C. Dunn, as well as, in a concluding “Virtual Roundtable Discussion” section, six seasoned repertory actors of the American Shakespeare Center, who discuss their nuanced hearing experiences onstage. Their “hearing” invites us to understand the multiple dimensions of Shakespeare’s auditory world from the vantage point of actors who are listening “in the round” to what they hear from their onstage interlocutors, from offstage and backstage cues, from the musicians’galleries, and often, most interestingly, from their audiences. ■Μ
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| adam_txt |
Contents Acknowledgments Introduction ix Listening to Shakespeare’s Worlds of Sound Walter W. Cannon and Laury Magnus 1 Part I: Sensory Apprehension: Speaking, Hearing, and Seeing on Shakespeare’s Stages Chapter 1 “Report me and my cause aright”: Hearing the Language of Exhortation in Hamlet and King Lear David Bevington Chapter 2 Sound and Sight, Sound vs. Sight in Hamlet Laury Magnus Chapter 3 Hearing and Interfering: Solving Puzzles in Theater Productions of Measure for Measure Gayle Gaskill 17 35 55 Part П: Hearing Gone Awry: Mishearing, Not Hearing, and Silence Chapter 4 Silence, Mishearing, and Indirection in Much Ado Caroline Latta vii 75
Contents Chapter 5 Chapter 6 Writing Letters, Hearing Voices: Epistolary Error in Twelfth Night Walter W. Cannon 99 Staging “Skimble-skamble Stuff’: I Henry IV and the Welsh Voice Megan Lloyd and Elizabeth Brown 115 Part III: Hearing Beyond Words: Shakespeare’s Noise, Sounds, and Music Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Soundscape for an Offstage Beheading: Shakespeare’s Revision of 2 Henry VI 4-1 Steven Urkowitz 137 “Fearful and confused cries”: Birdsong, Sympathy, and the Fear of Sound in Titus Andronicus Clio Doyle 159 “They say it will penetrate”: Music as Aural Violation in The Two Gentlemen of Verona and Cymbeline R. W. Jones 173 Hearing Cues in Shakespeare: Instrumental Music and Sound Effects in the Later Plays Jennifer Linhart Wood 195 Reconstructing Audience at Shakespeare’s Globe Leslie C. Dunn 215 Part IV: Voices from the Blackfriars Stage Voices from the Blackfriars Stage: A Virtual Roundtable Discussion from Actors at the American Shakespeare Center Benjamin Curns, Sarah Fallon, Allison Glenzer, John Harrell, James Keegan, and Patrick Midgley 237 Hearing on the Blackfriars Stage: A Coda Ralph Alan Cohen 269 Index 275 About the Editors and Contributors 289
Inspired by the verbal exuberance and richness of all that can be heard by audiences both on and off Shakespeare’s stages, Shakespeares Auditory Worlds examines such special listening situations as overhearing, eavesdropping, and asides. It breaks new ground by exploring the complex relationships between sound and sight, dialogue and blocking, dialects and other languages, re-voicings, and, finally, nonverbal or metaverbal relationships inherent in noise, sounds, and music—staging interstices that have been largely overlooked in the critical literature on aurality in Shakespeare. Its contributors include David Bevington, Ralph Alan Cohen, Steven Urkowitz, and Leslie C. Dunn, as well as, in a concluding “Virtual Roundtable Discussion” section, six seasoned repertory actors of the American Shakespeare Center, who discuss their nuanced hearing experiences onstage. Their “hearing” invites us to understand the multiple dimensions of Shakespeare’s auditory world from the vantage point of actors who are listening “in the round” to what they hear from their onstage interlocutors, from offstage and backstage cues, from the musicians’galleries, and often, most interestingly, from their audiences. ■Μ |
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| title | Shakespeare's auditory worlds hearing and staging practices, then and now |
| title_auth | Shakespeare's auditory worlds hearing and staging practices, then and now |
| title_exact_search | Shakespeare's auditory worlds hearing and staging practices, then and now |
| title_exact_search_txtP | Shakespeare's auditory worlds hearing and staging practices, then and now |
| title_full | Shakespeare's auditory worlds hearing and staging practices, then and now edited by Laury Magnus and Walter W. Cannon |
| title_fullStr | Shakespeare's auditory worlds hearing and staging practices, then and now edited by Laury Magnus and Walter W. Cannon |
| title_full_unstemmed | Shakespeare's auditory worlds hearing and staging practices, then and now edited by Laury Magnus and Walter W. Cannon |
| title_short | Shakespeare's auditory worlds |
| title_sort | shakespeare s auditory worlds hearing and staging practices then and now |
| title_sub | hearing and staging practices, then and now |
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| topic_facet | Shakespeare, William 1564-1616 Drama Inszenierung Belauschen Motiv Hören Motiv Aufsatzsammlung |
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