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.
Walter W. Cannon is professor emeritus of English at Central College. Laury Magnus is professor of English at the U.S. Merchant Marine Academy.
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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