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

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Presentation on theme: "Seminario Letteratura & Musica, 1 – 26 novembre 2012 Il soundscape shakespeariano di Amleto Prof. Enrico Reggiani Università Cattolica del Sacro Cuore."— Presentation transcript:

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

2 Date WrittenDate RangeFirst Published Shakespeare’s plays (conjectures of the best editors)(composition / performance) Henry V1599 1600 Julius Caesar15991598 - 15991623 Twelfth Night16001600 - 16021623 Hamlet1601 1599 – 1601 (?) 1603? (Q1) Troilus and Cressida16021601 - 16031609

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6 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. Bertolt Brecht, Kleines Organon für das Theater (1949) The theatre should always be mindful of the needs of its time. Let us take, as an example, the old play of Hamlet. I believe that in the view of these bloody and gloomy times.

7 John Henry Newman, Poetry, with reference to Aristotle's Poetics (1829) Hamlet 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 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.

8 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.

9 The sonic environment. Technically, any portion of the sonic environment regarded as a field for study. The term may refer to actual environments, or to abstract constructions such as musical compositions and tape montages, particularly when considered as an environment.

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

11 BERNARDO BERNARDO (I,1,153-171; S67) when the cock crew 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 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 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 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 HORATIO a Ophelia (III.2,238-239; S189) The croaking raven doth bellow for revenge.

12 OFELIA a Amleto OFELIA a Amleto (III.1,154-157; S171) And I, of ladies most deject and wretched, his music vows That suck’d the honey of his music vows, Now see that noble and most sovereign reason Like sweet bells jangled out of time and harsh;… Instrumental soundscape on recorders III.2,325-351 (S195) on recorders HAMLET Why, look you now, how unworthy a thing you make of me! You would play upon me; you would seem to know my stops; you would pluck out the heart of my mystery; you would sound me from my lowest note to the top of my compass: and there is much music, excellent voice, in this little organ; yet cannot you make it speak. 'Sblood, do you think I am easier to be played on than a pipe? Call me what instrument you will, though you can fret me, yet you cannot play upon me.

13 QUEEN to Laertes 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 indued Unto that element: but long it could not be Till that her garments, heavy with their drink, Pull'd the poor wretch from her melodious lay To muddy death. LAERTES to Ophelia 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. Vocal soundscape

14 Grazie della vostra attenzione.


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