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

• Superior document: Title is part of eBook package: De Gruyter Edinburgh University Press Complete eBook-Package 2016
• VerfasserIn: Deutermann, Allison,
• Place / Publishing House: Edinburgh : : Edinburgh University Press, , [2022]; ©2016
• Year of Publication: 2022
• Language: English
• Series: Edinburgh Critical Studies in Renaissance Culture : ECSRC
• Physical Description: 1 online resource (208 p.) :; 6 B/W illustrations
• Other title: 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
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781474411271; 9783110780444
• DOI: 10.1515/9781474411271?locatt=mode:legacy
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Allison Deutermann.

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