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Chapter 28

CTVA 309 Chapter Notes - Chapter 28: Oboe, Wind Instrument, Claustrophobia


Department
Cinema and Television Arts
Course Code
CTVA 309
Professor
Hamidou Soumah
Chapter
28

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Chapter 28 notes
Evelyn Tribble:
Shakespeare
Adaptation conversations dominated by opposition between verbal and visual
!Tension between word and image
Throne of Blood:
!Macbeth
!images of claustrophobia and oppression
!Stephen Prince:
!!fatness of violence and evil evident visually in TOB
!Anthony Davies:
!!conflict between cinema and theater differences
Sound is very important in shaping both theater and film uses of space
Bruce Smith: The Acoustic World of Early Modern England
!palette for aural design
!Elizabethan and Jacobian stages - used sound design
!Elizabethan globe extraordinarily efficient for sound
Wes Folkerth: Sound in Shakespeare: study of acoustemologies
!“hearing is the sense eight the greatest and most immediate access to the
!bodys internal spirits
Smith and Folkerth draw on works of R. Murray Schafer and Barry Traux
Blackfriars theater - Shakespeare prob wrote the Tempest to utilize the new
sound space of this theater
Macbeth
!establishing sounds: structuring sounds
!1. Thunder and lighting - supernatural use, godlike, magical
!Smith: plays usually begin with high intensity sounds
!2. alarum: Dessen and Thompson: “a call to arms in the form of sound !
!offstagecreates atmosphere of conict and confusion
!3. Trumpet, oboe/hautboy (wind instrument) : regal, ceremonial space
!when important gures enter or exit
!!hautboy: supernatural, enter nobility, ceremony, or dumb/masque
!!show. “horrid noise
!
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