Who Hears in Shakespeare?
eBook - PDF

Who Hears in Shakespeare?

Shakespeare’s Auditory World, Stage and Screen

  1. 285 pages
  2. English
  3. PDF
  4. Available on iOS & Android
eBook - PDF

Who Hears in Shakespeare?

Shakespeare’s Auditory World, Stage and Screen

About this book

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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Yes, you can access Who Hears in Shakespeare? by Laury Magnus,Walter W. Cannon in PDF and/or ePUB format, as well as other popular books in Literature & English Literary Criticism. We have over one million books available in our catalogue for you to explore.

Table of contents

  1. Dedication
  2. Contents
  3. Acknowledgments
  4. Introduction: Shakespeare’s Auditory World
  5. Part I: The Poetics of Hearing and the Early Modern Stage
  6. Chapter 01. Why Was the Globe Round?
  7. Chapter 02. Guarded, Unguarded, and Unguardable Speech in Late Renaissance Drama
  8. Chapter 03. Hearing Complexity
  9. Chapter 04. “If This Be Worth Your Hearing”
  10. Part II: Metahearing: Hearing, Knowing, and Audiences, Onstage and Off
  11. Chapter 05. Mimetic Hearing and Meta-Hearing in Hamlet
  12. Chapter 06. Hearing and Overhearing in The Tempest
  13. Chapter 07. Asides and Multiple Audiences in The Merchant of Venice
  14. Chapter 08. Negotiating Audiences
  15. Chapter 09. Hearing Power in Measure for Measure
  16. Chapter 10. “Hark, a Word in Your Ear”
  17. Part III: Transhearing: Hearing, Overhearing, Whispering, and Eavesdropping in Film and Other Media
  18. Chapter 11. “Mutes or Audience to This Act”
  19. Chapter 12. Overhearing Malvolio for Pleasure or Pity
  20. Chapter 13. “But Mark His Gesture”
  21. Afterword: Who Doesn’t Listen in Shakespeare?
  22. Index
  23. Contributor Biographies