The Sound of ShakespeareThe 'Sound of Shakespeare' reveals the surprising extent to which Shakespeare's art is informed by the various attitudes, beliefs, practices and discourses that pertained to sound and hearing in his culture. In this engaging study, Wes Folkerth develops listening as a critical practice, attending to the ways in which Shakespeare's plays express their author's awareness of early modern associations between sound and particular forms of ethical and aesthetic experience. Through readings of the acoustic representation of deep subjectivity in Richard III, of the 'public ear' in Antony and Cleopatra, the receptive ear in Coriolanus, the grotesque ear in A Midsummer Night's Dream, the 'greedy ear' in Othello, and the 'willing ear' in Measure for Measure, Folkerth demonstrates that by listening to Shakespeare himself listening, we derive a fuller understanding of why his works continue to resonate so strongly with is today. |
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Page ii
... Theatre : The Performance of Modernity Edited by Michael Bristol and Kathleen McLuskie Shakespeare and Feminist Performance : Ideology on Stage Sarah Werner Shame in Shakespeare Ewan Fernie The Sound of Shakespeare Wes Folkerth ...
... Theatre : The Performance of Modernity Edited by Michael Bristol and Kathleen McLuskie Shakespeare and Feminist Performance : Ideology on Stage Sarah Werner Shame in Shakespeare Ewan Fernie The Sound of Shakespeare Wes Folkerth ...
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... because he made the earliest sound recording of the play- wright's words , but perhaps more importantly because he altered the way Shakespeare's verse was spoken in the theatre . In 2 Introduction Something of the ripe old sounds.
... because he made the earliest sound recording of the play- wright's words , but perhaps more importantly because he altered the way Shakespeare's verse was spoken in the theatre . In 2 Introduction Something of the ripe old sounds.
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... theatre . His ' naturalistic ' style of speaking the verse would be adopted in the following century by Laurence Olivier , whose own style has commonly been juxtaposed to that of John Gielgud , the latter considered to embody a more ...
... theatre . His ' naturalistic ' style of speaking the verse would be adopted in the following century by Laurence Olivier , whose own style has commonly been juxtaposed to that of John Gielgud , the latter considered to embody a more ...
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... theatre in London : On reading the whole ballad again , this time indoors , I am no longer in Nottinghamshire , I am at the Lyceum Theatre , and I become very aware of Irving , and I hear again as it were the old voice ; and as I listen ...
... theatre in London : On reading the whole ballad again , this time indoors , I am no longer in Nottinghamshire , I am at the Lyceum Theatre , and I become very aware of Irving , and I hear again as it were the old voice ; and as I listen ...
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... theatre hears the bells but Mathias . In the second act , however , the audience begins to hear the bells as well , drawing it deeper into the murderer's consciousness , into that part of himself which he needs most to conceal . It is ...
... theatre hears the bells but Mathias . In the second act , however , the audience begins to hear the bells as well , drawing it deeper into the murderer's consciousness , into that part of himself which he needs most to conceal . It is ...
Contents
1 | |
1 Shakespearience | 12 |
2 The public ear | 34 |
3 Receptivity | 68 |
4 Transformation and continuity | 87 |
5 Shakespearean acoustemologies | 105 |
Notes | 123 |
References | 131 |
Index | 143 |
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Common terms and phrases
acoustic environment actor Antony and Cleopatra ass's ears Asses eares associations attention audience aural Bacon Bakhtin become bodily stratum body Bottom Brathwaite called characters cognitive contemporary context Coriolanus critical Crooke culture describes discourse Duke early modern England example experience expression festive greedy ear grotesque grotesque body Hamlet hath haue hautboys heard Henry Irving Iago idea Irving's Isabella language listening literary London meaning Measure for Measure Menenius metaphor Midas Midsummer Night's Dream narrative noise notes notion obedience Othello pancake bell parable perceptual play's playtexts political public ear radical reading receptivity recording reference Richard Richard Brathwaite Richard III Rome scene sense sermons Shakespeare Shakespeare's plays shawms Shoemaker's Holiday social sound and hearing soundscape sower speak speare's specific speech spirits stage suggests texts theatre Thomas Dekker thou tion transformation Truax understanding visual voice vulnerability Wilkinson William Shakespeare word Wright