{"product_id":"shakespeare-s-auditory-worlds-hearing-and-staging-practices-then-and-now-9781683932024","title":"Shakespeare’s Auditory Worlds: Hearing and","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eInspired 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.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eIntroductionListening to Shakespeare’s Worlds of Sound\u003c\/p\u003e\u003cp\u003eWalter W. Cannon and Laury Magnus\u003c\/p\u003e\u003cp\u003ePart I: Sensory Apprehension: Speaking, Hearing, and Seeing on Shakespeare’s Stages\u003c\/p\u003e\u003col\u003e\u003cli\u003e“Report me and my cause aright”: Hearing the Language of Exhortation in Hamlet and King Lear\u003c\/li\u003e\u003c\/ol\u003e\u003cp\u003eDavid Bevington \u003c\/p\u003e\u003col\u003e\u003cli\u003eSound and Sight, Sound vs. Sight in Hamlet\u003c\/li\u003e\u003c\/ol\u003e\u003cp\u003eLaury Magnus\u003c\/p\u003e\u003col\u003e\u003cli\u003eHearing and Interfering: Solving Puzzles in Theater Productions of Measure for Measure\u003c\/li\u003e\u003c\/ol\u003e\u003cp\u003eGayle Gaskill\u003c\/p\u003e\u003cp\u003ePart II: Hearing Gone Awry: Mishearing, Not Hearing, and Silence\u003c\/p\u003e\u003col\u003e\u003cli\u003eSilence, Mishearing, and Indirection in Much Ado\u003c\/li\u003e\u003c\/ol\u003e\u003cp\u003eCaroline Latta\u003c\/p\u003e\u003col\u003e\u003cli\u003eWriting Letters, Hearing Voices: Epistolary Error in Twelfth Night\u003c\/li\u003e\u003c\/ol\u003e\u003cp\u003eWalter W. Cannon\u003c\/p\u003e\u003col\u003e\u003cli\u003eStaging “Skimble-skamble stuff”: 1 Henry IV and the Welsh Voice\u003c\/li\u003e\u003c\/ol\u003e\u003cp\u003eMegan Lloyd and Elizabeth Brown \u003c\/p\u003e\u003cp\u003ePart III: Hearing Beyond Words: Shakespeare’s Noise, Sounds, and Music\u003c\/p\u003e\u003col\u003e\u003cli\u003eSoundscape for an Offstage Beheading: Shakespeare’s Revision of 2 Henry VI 4.1 \u003c\/li\u003e\u003c\/ol\u003e\u003cp\u003eStephen Urkowitz \u003c\/p\u003e\u003col\u003e\u003cli\u003e“Fearful and confused cries”: Birdsong, Sympathy, and the Fear of Sound in Titus Andronicus\u003c\/li\u003e\u003c\/ol\u003e\u003cp\u003eClio Doyle\u003c\/p\u003e\u003col\u003e\u003cli\u003e“They say it will penetrate”: Music as Aural Violation in The Two Gentlemen of Verona and Cymbeline\u003c\/li\u003e\u003c\/ol\u003e\u003cp\u003eR. W. Jones\u003c\/p\u003e\u003cp\u003e10Hearing Cues in Shakespeare: Instrumental Music and Sound Effects in the Later Plays\u003c\/p\u003e\u003cp\u003eJennifer Linhart Wood\u003c\/p\u003e\u003col\u003e\u003cli\u003eRestructuring Audience at Shakespeare’s Globe\u003c\/li\u003e\u003c\/ol\u003e\u003cp\u003eLeslie C. Dunn\u003c\/p\u003e\u003cp\u003ePart IV: Voices from the Blackfriars Stage\u003c\/p\u003e\u003cp\u003eVoices from the Blackfriars Stage: A Virtual Roundtable Discussion from Actors at the American Shakespeare Center:\u003c\/p\u003e\u003cp\u003eBenjamin Curns, Sarah Fallon, Allison Glenzer, John Harrell, James Keegan, Patrick Midgley\u003c\/p\u003e\u003cp\u003eHearing on the Blackfriars Stage: A Coda\u003c\/p\u003e\u003cp\u003eRalph Alan Cohen\u003c\/p\u003e","brand":"Fairleigh Dickinson University Press","offers":[{"title":"Default Title","offer_id":51042118992215,"sku":"9781683932024","price":31.5,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781683932024.jpg?v=1750953073","url":"https:\/\/bookcurl.com\/products\/shakespeare-s-auditory-worlds-hearing-and-staging-practices-then-and-now-9781683932024","provider":"Book Curl","version":"1.0","type":"link"}