This volume traces the uses of music in Shakespearean performance from the first Globe and Blackfriars to contemporary, global productions.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Introduction David Lindley and Bill Barclay; 1. Theatre bands and their music in Shakespeare's London William Lyons; 2. The many performance spaces for music at Jacobean indoor playhouses Simon Smith; 3. In practice I. Original practices and historical music in the Globe's London and Broadway productions of Twelfth Night and Richard III Claire van Kampen; 4. Ophelia's songspace: élite female musical performance and propriety on the Elizabethan and Jacobean stage Paul L. Faber; 5. Jangling bells inside and outside the playhouse Katherine Hunt; 6. Music, its histories, and Shakespearean (inter-)theatricality in Beaumont's Knight of the Burning Pestle Linda Phyllis Austern; 7. Changing musical practices in the Shakespearean playhouse, 1620-42 Lucy Munro; 8. In practice II. Adapting a Restoration adaptation: The Tempest, or the Enchanted Island Elizabeth Kenny; 9. The reception and re-use of Thomas Arne's Shakespeare songs of 1740/1 John Cunningham; 10. Processing with Shakespeare on the eighteenth-century London stage Michael Burden; 11. The music for Henry V in Victorian productions by Kean and Calvert Val Brodie; 12. In practice III. Listening to the pictures: an interview with composer Stephen Warbeck Bill Barclay; 13. Film, music and Shakespeare: Walton and Shostakovich Peter Holland; 14. Music in contemporary Shakespearean cinema Ramona Wray; 15. The politics of popular music in contemporary Shakespearean performance Adam Hansen; 16. In practice IV. 'Sounds like': making music on Shakespeare's stage today Jon Trenchard and Carol Chillington Rutter; 17. Music in the 2012 Globe-to-Globe Festival Bill Barclay; Index.
Introduction David Lindley and Bill Barclay; 1. Theatre bands and their music in Shakespeare's London William Lyons; 2. The many performance spaces for music at Jacobean indoor playhouses Simon Smith; 3. In practice I. Original practices and historical music in the Globe's London and Broadway productions of Twelfth Night and Richard III Claire van Kampen; 4. Ophelia's songspace: élite female musical performance and propriety on the Elizabethan and Jacobean stage Paul L. Faber; 5. Jangling bells inside and outside the playhouse Katherine Hunt; 6. Music, its histories, and Shakespearean (inter-)theatricality in Beaumont's Knight of the Burning Pestle Linda Phyllis Austern; 7. Changing musical practices in the Shakespearean playhouse, 1620-42 Lucy Munro; 8. In practice II. Adapting a Restoration adaptation: The Tempest, or the Enchanted Island Elizabeth Kenny; 9. The reception and re-use of Thomas Arne's Shakespeare songs of 1740/1 John Cunningham; 10. Processing with Shakespeare on the eighteenth-century London stage Michael Burden; 11. The music for Henry V in Victorian productions by Kean and Calvert Val Brodie; 12. In practice III. Listening to the pictures: an interview with composer Stephen Warbeck Bill Barclay; 13. Film, music and Shakespeare: Walton and Shostakovich Peter Holland; 14. Music in contemporary Shakespearean cinema Ramona Wray; 15. The politics of popular music in contemporary Shakespearean performance Adam Hansen; 16. In practice IV. 'Sounds like': making music on Shakespeare's stage today Jon Trenchard and Carol Chillington Rutter; 17. Music in the 2012 Globe-to-Globe Festival Bill Barclay; Index.
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