Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Introduction
- 196 Physical Structures
- 197 Acting Techniques
- 198 Costume
- 199 Scenery
- 200 Lighting
- 201 Sound Design
- 202 Visual Projections
- 203 Original Practices
- Part XXI Audiences
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
201 - Sound Design
from Part XX - Changing Technologies of Stage Performance
Published online by Cambridge University Press: 17 August 2019
By
Edited by
Edited in association with
Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Introduction
- 196 Physical Structures
- 197 Acting Techniques
- 198 Costume
- 199 Scenery
- 200 Lighting
- 201 Sound Design
- 202 Visual Projections
- 203 Original Practices
- Part XXI Audiences
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
Summary
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Keywords
acousmatic relocation of soundacoustic reinforcementamplificationatmosphereauditoriumauditory environmentauralityBanksideBBC Radiophonic WorkshopbelievabilityBlackfriars (playhouse)clichédigital samplingdramaturgyeffectsflourishesGreecehautboysIndiaintermedialityLondonloudspeakermise-en-scènemixing consolesmusical instrument digital interface (MIDI)musical instrumentsnoisemakingnoises-offpanatropePA systemsphonographpicturesque sound“onification”propsprosceniumresonancesamplersequencersoundsound designsound effectssoundscapesound scorespectacular settingsstagecraftstage managertapetape recordingtheatertheater acousticsthunderunderscoringVitruvius
- Type
- Chapter
- Information
- The Cambridge Guide to the Worlds of Shakespeare , pp. 1460 - 1467Publisher: Cambridge University PressPrint publication year: 2016
References
Sources cited
Brown, Ross. Sound: A Reader in Theatre Practice. Basingstoke: Palgrave Macmillan, 2009.Google Scholar
Hardcastle, E. Wine and Walnuts: Or After Dinner Chit-Chat. London: Longman, printed for Hurst, Rees, Orme and Brown, 1823.Google Scholar
Isaacs, Jacob. Production and Stage-Management at the Blackfriars Theatre. London: Oxford UP, 1933.Google Scholar
Kennedy, Dennis. Granville-Barker and the Dream of Theatre. Cambridge: Cambridge University Press, 1985.Google Scholar
Koller, Ann Marie. The Theatre Duke: Georg II of Saxe-Meiningen and the German Stage. Stanford: Stanford UP, 1984.Google Scholar
Lavender, Andy. “The Builders Association – Super-Vision.” Making Contemporary Theatre. Ed. Lavender, Andy and Harvie, Jen. Manchester: Manchester UP, 2010.Google Scholar
Smith, Bruce R. The Acoustic World of Early Modern England – Attending to the O-Factor. Chicago: U of Chicago P, 1999.Google Scholar
Further reading
Bracewell, John. L. Sound Design in the Theatre. Englewood Cliffs: Prentice Hall, 1993.Google Scholar
Burris-Meyer, H., Mallory, V., and Goodfriend, L.. Sound in the Theatre. Mineola: Radio Magazines, Inc., 1959.Google Scholar
Schafer, R. Murray. The Soundscape: Our Sonic Environment and the Tuning of the World. Rochester: Destiny Books, 1994.Google Scholar