Books > Language & Literature > Literature: history & criticism > Plays & playwrights > 16th to 18th centuries > Shakespeare studies & criticism
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Who Hears in Shakespeare? - Shakespeare's Auditory World, Stage and Screen (Hardcover, New)
Loot Price: R2,557
Discovery Miles 25 570
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Who Hears in Shakespeare? - Shakespeare's Auditory World, Stage and Screen (Hardcover, New)
Expected to ship within 12 - 17 working days
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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 Stage and 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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