Sound Effects
Hearing the Early Modern Stage
1st Edition
Published on 27. June 2023
248 pages
978-1-5261-5919-9 (ISBN)
Description
This book shows that the sounds of the early modern stage do not only signify but are also significant. Sounds are weighted with meaning, offering a complex system of allusions. Playwrights such as Jonson and Shakespeare developed increasingly experimental soundscapes, from the storms of King Lear (1605) and Pericles (1607) to the explosive laboratory of The Alchemist (1610). Yet, sound is dependent on the subjectivity of listeners; this book is conscious of the complex relationship between sound as made and sound as heard. Sound effects should not resound from scene to scene without examination, any more than a pun can be reshaped in dialogue without acknowledgement of its shifting connotations. This book listens to sound as a rhetorical device, able to penetrate the ears and persuade the mind, to influence and to affect. -- .
Reviews / Votes
'"Listen. Follow the Noise." So begins Laura Jayne Wright's landmark study of theatrical sound (1). Do so with Wright as your guide, and you will be rewarded with a startlingly fresh perspective on the importance of sound in the early modern playhouse.'Shakespeare Bulletin
'If you have not previously given much thought to sonic effects in early modern plays, reading this book will ensure that you do so in the future; it will open your ears and your imagination to meanings and ambiguities you did not hear before. It will make you a better audience, in the true sense of the word.'
Shakespeare Quarterly -- .
More details
Series
Language
English
Place of publication
Manchester
United Kingdom
Edition type
Digital original
ISBN-13
978-1-5261-5919-9 (9781526159199)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Other editions
Additional editions
Book
06/2023
Manchester University Press
€125.00
Shipment within 15-20 days
Person
Laura Jayne Wright is a Leverhulme Early Career Fellow at Newcastle University -- .
Content
Introduction: Follow the noise
1 Soundgrams on stage: sonic allusions and commonplace sounds
2 Hearing the night: nocturnal scenes and unsound effects
3 The head and the (play)house: bodies and sound in Ben Jonson
4 'Unheard' and 'untold': the promise of sound in Shakespeare
Conclusion
Conclusion -- .
1 Soundgrams on stage: sonic allusions and commonplace sounds
2 Hearing the night: nocturnal scenes and unsound effects
3 The head and the (play)house: bodies and sound in Ben Jonson
4 'Unheard' and 'untold': the promise of sound in Shakespeare
Conclusion
Conclusion -- .
