Susan Bennett

Theory for Theatre Studies: Sound (eBook, PDF)

• Format: PDF

Produktbeschreibung

Sound provides a lively and engaging overview of relevant critical theory for students and researchers in theatre and performance studies. Addressing sound across history and through progressive developments in relevant technologies, the volume opens up the study of theatrical production and live performance to understand conceptual and pragmatic concerns about the sonic. By way of developed case studies (including Aristophanes's The Frogs, Shakespeare's The Tempest, Cocteau's The Human Voice, and Rimini Protokoll's Situation Rooms), readers can explore new methodologies and approaches for their own work on sound as a performance component. In an engagement with the burgeoning interdisciplinary field of sound studies, this book samples exciting new thinking relevant to theatre and performance studies.

Part of the Theory for Theatre Studies series which introduces core theoretical concepts that underpin the discipline, Sound provides a balance of essential background information and new scholarship, and is grounded in detailed examples that illuminate and equip readers for their own sonic explorations. Volumes follow a consistent three-part structure: a historical overview of how the term has been understood within the discipline; more recent developments illustrated by substantive case studies; and emergent trends and interdisciplinary connections. Volumes are supported by further online resources including chapter overviews, illustrative material and guiding questions.

Online resources to accompany this book are available at:
https://bloomsbury.com/uk/theory-for-theatre-studies-sound-9781474246460

Produktdetails

• Verlag: Bloomsbury UK eBooks
• Seitenzahl: 168
• Erscheinungstermin: 16. Mai 2019
• Englisch
• ISBN-13: 9781474246453
• Artikelnr.: 56716457

Autorenporträt

Susan Bennett is University Professor in the Department of English at the University of Calgary, Canada. She is the author of Theatre Audiences: A Theory of Production and Reception (1997, 2nd edition), Performing Nostalgia (1996), and Theatre & Museums (2013). Among her edited volumes are Shakespeare Beyond English (co-edited with Christie Carson, 2013) and Performing Environments: Site-Specificity on the Early Modern Stage (co-edited with Mary Polito, 2014). She was editor of Theatre Journal from 1997-2001 and has also edited or co-edited special issues of other theatre and performance journals.

Inhaltsangabe

Acknowledgements
Series Preface

SOUND: An Introduction

SECTION ONE: Classical Sound

Theatres in Ancient Greece and Aristotle's Poetics

The vocal map of ancient Greek drama
Case study: Aristophanes's The Frogs

Vitruvius on acoustics: De Architectura

Shakespeare's Globe and Francis Bacon's Sylva Sylvarum

Acoustic world-making on the early modern stage
Case study: Shakespeare's The Tempest

A sonic imagination of early modern London

SECTION TWO: Avant-garde Sound

New technologies for sound performance
Case study: Luigi Russolo's intonamuri and 'The Art of Noise'

Hanging on the telephone: Sigmund Freud and Roland Barthes
Case study: Jean Cocteau's The Human Voice

The sounds of silence: John Cage's future of music

Acousmatics and radiophonics: Pierre Schaffer and the BBC

Aura and archive: making sound memories
Case study: Samuel Beckett's Krapp's Last Tape

SECTION THREE: Experiential Sound

Prosthetic performance and deterritorialised listening
Case study: Janet Cardiff's sound walks

Listening to women: Andrea Hornick and Luce Irigaray

Affective theatres of embodied sound

Case study: Shannon Yee's Reassembled, Slightly Askew

Case study: Rimini Protokoll's Situation Rooms

Coda: sound across the world

References

Further Reading

Index

Rezensionen

This book presents an important analysis of the fundamental function of sound in theatre, from the acoustic expanses of Ancient Greek architecture, to the personal-political spaces of contemporary Headphone theatre. The breadth of knowledge and new insights afforded by the book are a breath of fresh air for researchers and students alike in a field which is often treated as a sub-category of other disciplines. Bennett draws on a wide range of theory and philosophy to demonstrate how sound has played a much more significant role in playtexts, production and perception than traditional theatre studies scholarship has hitherto considered, and puts forward a politics of theatre sound and its potential to perform difference through acoustic experience and ethical listening. Lynne Kendrick, The Royal Central School of Speech and Drama, University of London, UK