000			02135nam a22003014i 4500
001			991061130770506706
003			ES-BaIT
005			20240523100058.0
008			240517s2017 xxka 001 0 eng c
020			_a9781137452320
040			_aES-BaIT _bcat _erda _cES-BaIT
080			_a792.022.4
100	1		_aKendrick, Lynne _eautor _9163997
245	1	0	_aTheatre aurality / _cLynne Kendrick
264		1	_aLondon : _bPalgrave Macmillan, _c[2017]
300			_axxviii, 164 pàgines : _bil·lustracions ; _c22 cm
336			_atext _btxt _2rdacontent
337			_asense mediació _bn _2rdamedia
338			_avolum _bnc _2rdacarrier
504			_aInclou referències bibliogràfiques i índex
505	8		_aConté: Aurality -- Theatre aurality : beginnings -- Listening: headphone theatre and auditory performance -- Voice: a performance of sound -- Noise: a politics of sound -- Listening: sonority and subjectivity -- Conclusion -- Index
520			_a"This book explores the critical field of theatre sound and the sonic phenomena of theatre. It draws together a wide range of related topics, including sound design and sonic sonographies, voice as a performance of sound, listening as auditory performance, and audience as resonance. It explores radical forms of sonic performance and our engagement in it, from the creation of sonic subjectivities to noise as a politics of sound. The introductory chapters trace the innate aurality of theatre and the history of sound effects and design, while also interrogating why the art of theatre sound was delayed and underrepresented in philosophy as well as theatre and performance theory. Subsequent chapters explore the emergence of aurally engaged theatre practice and focus on examples of contemporary sound in and as theatre, including theatre in the dark, headphone theatre and immersive theatre, amongst others, through theories of perception and philosophies of listening, vocality, sonority and noise" -- Contracoberta
650		7	_aSonorització escènica _957755
650		7	_aTeatres _xEfectes sonors _957951
908			_aCDMAE
940			_aDLC
942			_2udc _c1
999			_c135173 _d135173