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Listening for Theatrical Form in Early Modern England / Allison Deutermann.

By: Material type: TextTextSeries: Edinburgh Critical Studies in Renaissance Culture : ECSRCPublisher: Edinburgh : Edinburgh University Press, [2022]Copyright date: ©2016Description: 1 online resource (208 p.) : 6 B/W illustrationsContent type:
Media type:
Carrier type:
ISBN:
  • 9781474411264
  • 9781474411271
Subject(s): DDC classification:
  • 792.0942
LOC classification:
  • PN2589 .D48 2016
  • PN2589
Other classification:
  • online - DeGruyter
Online resources: Available additional physical forms:
  • Issued also in print.
Contents:
Frontmatter -- Contents -- Acknowledgements -- Series Editor's Preface -- 1. Introduction: 'Audiences to this Act' -- 2. Sound in Mind and Body: Hearing Early Modern Revenge Tragedy -- 3. 'Sprinkled Among your Ears': Ben Jonson, John Marston and the Cultivation of the Listening Connoisseu -- 4. 'Caviare to the General'?: Taste, Hearing and Genre in Hamlet -- 5. Listening for Form at the Cockpit Theatre -- 6. Epilogue -- Bibliography -- Index
Summary: Examines the impact of hearing on the formal and generic development of early modern theatreEarly modern drama was in fundamental ways an aural art form. How plays should sound, and how they should be heard, were vital questions to the formal development of early modern drama. Ultimately, they shaped the two of its most popular genres: revenge tragedy and city comedy. Simply put, theatregoers were taught to hear these plays differently. Revenge tragedies by Shakespeare and Kyd imagine sound stabbing, piercing, and slicing into listeners' bodies on and off the stage; while comedies by Jonson and Marston imagine it being sampled selectively, according to taste. Listening for Theatrical Form in Early Modern England traces the dialectical development of these two genres and auditory modes over six decades of commercial theatre history, combining surveys of the theatrical marketplace with focused attention to specific plays and to the non-dramatic literature that gives this interest in audition texture: anatomy texts, sermons, music treatises, and manuals on rhetoric and poetics.Key Features Invites new attention to the theatre as something heard, rather than as something seen, in performanceProvides a model for understanding aesthetic forms as developing in competitive response to one another in particular historical circumstancesEnriches our sense of early modern playgoers' auditory experience, and of dramatists' attempt to shape it
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781474411271

Frontmatter -- Contents -- Acknowledgements -- Series Editor's Preface -- 1. Introduction: 'Audiences to this Act' -- 2. Sound in Mind and Body: Hearing Early Modern Revenge Tragedy -- 3. 'Sprinkled Among your Ears': Ben Jonson, John Marston and the Cultivation of the Listening Connoisseu -- 4. 'Caviare to the General'?: Taste, Hearing and Genre in Hamlet -- 5. Listening for Form at the Cockpit Theatre -- 6. Epilogue -- Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Examines the impact of hearing on the formal and generic development of early modern theatreEarly modern drama was in fundamental ways an aural art form. How plays should sound, and how they should be heard, were vital questions to the formal development of early modern drama. Ultimately, they shaped the two of its most popular genres: revenge tragedy and city comedy. Simply put, theatregoers were taught to hear these plays differently. Revenge tragedies by Shakespeare and Kyd imagine sound stabbing, piercing, and slicing into listeners' bodies on and off the stage; while comedies by Jonson and Marston imagine it being sampled selectively, according to taste. Listening for Theatrical Form in Early Modern England traces the dialectical development of these two genres and auditory modes over six decades of commercial theatre history, combining surveys of the theatrical marketplace with focused attention to specific plays and to the non-dramatic literature that gives this interest in audition texture: anatomy texts, sermons, music treatises, and manuals on rhetoric and poetics.Key Features Invites new attention to the theatre as something heard, rather than as something seen, in performanceProvides a model for understanding aesthetic forms as developing in competitive response to one another in particular historical circumstancesEnriches our sense of early modern playgoers' auditory experience, and of dramatists' attempt to shape it

Issued also in print.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)