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Who Hears in Shakespeare?
Shakespeare’s Auditory World, Stage and Screen
Editors:
|
Publisher:
2011
Summary
This volume, examining the ways in which Shakespeare’s plays are designed for hearers as well as spectators, has been prompted by recent explorations of the auditory dimension of early modern drama by such scholars as Andrew Gurr, Bruce Smith, and James Hirsh. To look at the dynamics of hearing in Shakespeare’s plays involves a paradigm shift that changes how we understand virtually everything about them, from the architecture of the buildings, to playing spaces, to blocking, and to larger interpretative issues, including our understanding of character based on players’ responses to what they hear, mishear, or refuse to hear. Who Hears in Shakespeare? Auditory Worlds on Stageand Screen is comprised of three sections on Shakespeare’s texts and performance history: “The Poetics of Hearing and the Early Modern Stage”; “Metahearing: Hearing, Knowing, and Audiences, Onstage and Off”; and “Transhearing: Hearing, Whispering, Overhearing, and Eavesdropping in Film and Other Media.”
Chapters by noted scholars explore the complex reactions and interactions of onstage and offstage audiences and show how Shakespearean stagecraft, actualized on stage and adapted on screen, revolves around various situations and conventions of hearing—soliloquies,, asides, avesdropping, overhearing, and stage whispers. In short, Who Hears in Shakespeare? enunciates Shakespeare’s nuanced, powerful stagecraft of hearing. The volume ends with Stephen Booth’s afterword, his inspiring meditation on hearing that considers Shakespearean “audiences” and their responses to what they hear—or don’t hear—in Shakespeare’s plays.
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Bibliographic data
Copyright year
2011
ISBN-Print
978-1-61147-474-9
ISBN-Online
978-1-61147-475-6
Publisher
Lexington, Lanham
Language
English
Pages
250
Product type
Edited Book
Table of contents
ChapterPages
Dedication No access
Contents No access
Acknowledgments No access
Introduction: Shakespeare’s Auditory World No access
Chapter 01. Why Was the Globe Round? No access
Chapter 02. Guarded, Unguarded, and Unguardable Speech in Late Renaissance Drama No access
Chapter 03. Hearing Complexity No access
Chapter 04. “If This Be Worth Your Hearing” No access
Chapter 05. Mimetic Hearing and Meta-Hearing in Hamlet No access
Chapter 06. Hearing and Overhearing in The Tempest No access
Chapter 07. Asides and Multiple Audiences in The Merchant of Venice No access
Chapter 08. Negotiating Audiences No access
Chapter 09. Hearing Power in Measure for Measure No access
Chapter 10. “Hark, a Word in Your Ear” No access
Chapter 11. “Mutes or Audience to This Act” No access
Chapter 12. Overhearing Malvolio for Pleasure or Pity No access
Chapter 13. “But Mark His Gesture” No access
Afterword: Who Doesn’t Listen in Shakespeare? No access Pages 235 - 240
Index No access Pages 241 - 246
Contributor Biographies No access Pages 247 - 250
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