Shakespeare's Auditory Worlds examines special listening situations like overhearing, eavesdropping, and asides; it explores complex relationships between sound and sight, dialogue and blocking, non-English languages, and non-verbal relationships inherent in noise, sounds, and music, ending with a discussion with ASC Actors.
Shakespeare's Auditory Worlds examines special listening situations like overhearing, eavesdropping, and asides; it explores complex relationships between sound and sight, dialogue and blocking, non-English languages, and non-verbal relationships inherent in noise, sounds, and music, ending with a discussion with ASC Actors.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Edited by Laury Magnus and Walter W. Cannon - Contributions by David Bevington; Elizabeth Brown; Walter W. Cannon; Ralph Alan Cohen; Benjamin Curns; Clio Doyle; Leslie Dunn; Sarah Fallon; Gayle Gaskill; Allison Glenzer; John Harrell; R. W. Jones; James Ke
Inhaltsangabe
IntroductionListening to Shakespeare's Worlds of Sound Walter W. Cannon and Laury Magnus Part I: Sensory Apprehension: Speaking, Hearing, and Seeing on Shakespeare's Stages 1. "Report me and my cause aright": Hearing the Language of Exhortation in Hamlet and King Lear David Bevington 2. Sound and Sight, Sound vs. Sight in Hamlet Laury Magnus 3. Hearing and Interfering: Solving Puzzles in Theater Productions of Measure for Measure Gayle Gaskill Part II: Hearing Gone Awry: Mishearing, Not Hearing, and Silence 4. Silence, Mishearing, and Indirection in Much Ado Caroline Latta 5. Writing Letters, Hearing Voices: Epistolary Error in Twelfth Night Walter W. Cannon 6. Staging "Skimble-skamble stuff": 1 Henry IV and the Welsh Voice Megan Lloyd and Elizabeth Brown Part III: Hearing Beyond Words: Shakespeare's Noise, Sounds, and Music 7. Soundscape for an Offstage Beheading: Shakespeare's Revision of 2 Henry VI 4.1 Stephen Urkowitz 8. "Fearful and confused cries": Birdsong, Sympathy, and the Fear of Sound in Titus Andronicus Clio Doyle 9. "They say it will penetrate": Music as Aural Violation in The Two Gentlemen of Verona and Cymbeline R. W. Jones 10Hearing Cues in Shakespeare: Instrumental Music and Sound Effects in the Later Plays Jennifer Linhart Wood 10. Restructuring Audience at Shakespeare's Globe Leslie C. Dunn 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, Patrick Midgley Hearing on the Blackfriars Stage: A Coda Ralph Alan Cohen
IntroductionListening to Shakespeare's Worlds of Sound Walter W. Cannon and Laury Magnus Part I: Sensory Apprehension: Speaking, Hearing, and Seeing on Shakespeare's Stages 1. "Report me and my cause aright": Hearing the Language of Exhortation in Hamlet and King Lear David Bevington 2. Sound and Sight, Sound vs. Sight in Hamlet Laury Magnus 3. Hearing and Interfering: Solving Puzzles in Theater Productions of Measure for Measure Gayle Gaskill Part II: Hearing Gone Awry: Mishearing, Not Hearing, and Silence 4. Silence, Mishearing, and Indirection in Much Ado Caroline Latta 5. Writing Letters, Hearing Voices: Epistolary Error in Twelfth Night Walter W. Cannon 6. Staging "Skimble-skamble stuff": 1 Henry IV and the Welsh Voice Megan Lloyd and Elizabeth Brown Part III: Hearing Beyond Words: Shakespeare's Noise, Sounds, and Music 7. Soundscape for an Offstage Beheading: Shakespeare's Revision of 2 Henry VI 4.1 Stephen Urkowitz 8. "Fearful and confused cries": Birdsong, Sympathy, and the Fear of Sound in Titus Andronicus Clio Doyle 9. "They say it will penetrate": Music as Aural Violation in The Two Gentlemen of Verona and Cymbeline R. W. Jones 10Hearing Cues in Shakespeare: Instrumental Music and Sound Effects in the Later Plays Jennifer Linhart Wood 10. Restructuring Audience at Shakespeare's Globe Leslie C. Dunn 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, Patrick Midgley Hearing on the Blackfriars Stage: A Coda Ralph Alan Cohen
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