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Seminario Letteratura & Musica, 1 – 26 novembre 2012

Prof. Enrico Reggiani Università Cattolica del Sacro Cuore. Il s oundscape shakespeariano di Amleto. Seminario Letteratura & Musica, 1 – 26 novembre 2012. Bertolt Brecht, Kleines Organon f ür das Theater (1949) The theatre should always be mindful of the

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Seminario Letteratura & Musica, 1 – 26 novembre 2012

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  1. Prof. Enrico Reggiani Università Cattolica del Sacro Cuore Il soundscape shakespeariano di Amleto Seminario Letteratura & Musica, 1 – 26 novembre 2012

  2. Bertolt Brecht, KleinesOrganonfürdas Theater (1949) The theatreshouldalways be mindful of the needs of its time. Letus take, as an example, the old play of Hamlet. I believethat in the view of thesebloody and gloomytimes. Jan Kott, Shakespeare Our Contemporary (1961) Hamlet is like a sponge. Unless it is produced in a stylized or antiquarian fashion, it immediately absorbs all the problems of our time.

  3. John Henry Newman, Poetry, with reference to Aristotle's Poetics (1829) The philosophy of mind may equally be made subservient to poetry, as the philosophy of nature. It is a common fault to mistake a mere knowledge of the heart for poetical talent. Our greatest masters have known better;—they have subjected metaphysics to their art. In Hamlet, Macbeth, Richard, and Othello, the philosophy of mind is but the material of the poet. These personages are ideal; they are effects of the contact of a given internal character with given outward circumstances, the results of combined conditions determining (so to say) a moral curve of original and inimitable properties.

  4. Alessandro Serpieri (1997) Il linguaggio di questo dramma – spesso catalogato, e non certo a torto, come il dramma del pensiero – è fortemente fisico, nel senso che traspone i complessi strati del senso […] in termini non astratti ma concreti, corposi, tangibili.

  5. The sonicenvironment. Technically, anyportion of the sonicenvironmentregardedas a field for study. The termmayrefer to actualenvironments, or to abstractconstructionssuchas musical compositions and tape montages, particularlywhenconsideredas an environment.

  6. Soundscape≠Landscape Enter B & F, two sentinels (I,1,1-7) BARNARDO Who's there? FRANCISCO Nay, answer me: stand, and unfold yourself. BARNARDO Long live the king! FRANCISCO Bernardo? BARNARDO He. FRANCISCO You come most carefully upon your hour. BARNARDO 'Tis now struck twelve; get thee to bed, Francisco.

  7. BERNARDO (I,1,153-171; S67) It was about to speak, when the cock crew. HORATIO And then it started like a guilty thing Upon a fearful summons. I have heard, The cock, that is the trumpet to the morn, Doth with his lofty and shrill-sounding throat Awake the god of day; and, at his warning, Whether in sea or fire, in earth or air, The extravagant and erring spirit hies To his confine: and of the truth herein This present object made probation. MARCELLUS It faded on the crowing of the cock. Some say that ever 'gainst that season comes Wherein our Saviour's birth is celebrated, The bird of dawning singeth all night long: And then, they say, no spirit dares stir abroad; […] HORATIO So have I heard and do in part believe it. Natural Soundscape HORATIO a Ophelia(III.2,238-239; S189) The croakingravendothbellow for revenge.

  8. Instrumentalsoundscape OFELIA a Amleto (III.1,154-157; S171) And I, of ladies mostdeject and wretched, Thatsuck’d the honey of his music vows, Nowseethatnoble and mostsovereignreason Like sweetbellsjangled out of time and harsh;… • III.2,325-351 (S195) on recorders • HAMLETWhy, look younow, howunworthy a thingyoumakeof me! Youwould play upon me; youwouldseem to knowmystops; youwouldpluck out the heart of my mystery; youwould sound me from mylowest note to the top of mycompass: and thereismuch music, excellentvoice, in thislittleorgan; yetcannotyoumakeitspeak. 'Sblood, do youthink I ameasierto be played on than a pipe? Call me whatinstrumentyouwill, thoughyou can fret me, yetyoucannotplay upon me.

  9. Vocalsoundscape LAERTES to Ophelia (I.3,29-32; S86-89) Then weigh what loss your honour may sustain, If with too credent ear you list his songs, Or lose your heart, or your chaste treasure open To his unmaster'd importunity. QUEEN to Laertes (IV.7,171-178; S263) Her clothes spread wide;And, mermaid-like, awhile they bore her up:Which time she chanted snatches of old tunes;As one incapable of her own distress,Or like a creature native and induedUnto that element: but long it could not beTill that her garments, heavy with their drink,Pull'd the poor wretch from her melodious layTo muddy death.

  10. Grazie della vostra attenzione.

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