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Titel: Shakespeare’s Auditory Worlds
Zustand: New
Subtitle: Hearing and Staging Practices, Then and Now
Autor: Jennifer Linhart Wood
Contributor: Jennifer Linhart Wood (Contributions by), Laury Magnus (Contributions by), Ralph Alan Cohen (Contributions by), Leslie Dunn (Contributions by), David Bevington (Contributions by), Clio Doyle (Contributions by), Walter W. Cannon (Contributions by), Walter W. Cannon (Edited by), Gayle Gaskill (Contributions by), R. W. Jones (Contributions by), Benjamin Curns (Contributions by), John Harrell (Contributions by), Sarah Fallon (Contributions by), Steven Urkowitz (Contributions by), Caroline D. Latta (Contributions by), James Keegan (Contributions by), Allison Glenzer (Contributions by), Patrick Midgley (Contributions by), Laury Magnus (Edited by), Elizabeth Brown (Contributions by)
Produktart: Taschenbuch
ISBN-10: 1683932021
EAN: 9781683932024
ISBN: 9781683932024
Verlag: Fairleigh Dickinson University Press
Genre: Literary Criticism
Thematik: Music Dance & Theatre
Release date: 15/05/2022
Description:

Inspired by the verbal exuberance and richness of all that can be heard by audiences both on and off Shakespeare’s stages, Shakespeare’s 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, Steve Urkowitz, and Leslie Dunn, and, in a concluding “Virtual Roundtable” section, six seasoned repertory actors of the American Shakespeare Center as well, who discuss their nuanced hearing experiences on stage. 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.

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