...James Hatch Copyright © by yale/theatre 1976 1976 Speak to Me in Those Old Words, You Know, Those La=LaWords, Those Tung-Tung Sounds (Some African Influences on the Afro American Theatre) James Hatch BZk Love Song #I by Kalmu Ya Salaam begins with a Black woman intoning...

... Copyright © Theater 1994 1994 GARRETT/ w I LLI AM s Howard suggests an answer: we need it Sounding Beckett because the situation is worse now than it was in early modern England. She reads texts with Marshall Williams...

... in which sensuous components—sight, sound, smell, and so on—affect ethical decisions and attitudes in a mediated experience. © 2016 by Yale School of Drama/Yale Repertory Theatre 2016 transmediation trolley problem virtual reality video games Meg Stuart/Damaged Goods’ Built to Last...

... designed by Mary Gould, make-up and wigs designed by Libby Tucker, lighting designed by Thomas Stocker, properties designed by Mary Gould and Rus Quan, sound design by Terry Hunter, special music by James Livingood; the production stage manager was Katharyn Davies, and the stage manager was Patricia Keaney...

... Copyright © Yale/Theatre 1977 1977 Andrei Serban “In our times. . . one approaches a sound experiment knowing that the audience is, in a way, deaf ANDRE1 SERBAN, a native of Rumania, came to the United States in 1970, at the invitation of Ellen Stewart, to work at LaMama...

... States, Europe, and Japan since 1984. Using her voice, live electronic processing, and sampling technology, she combines operatic bel canto and extended-vocal techniques with digital delays, found percussion objects, and sampled sounds. One of her...

... started to dominate text a generation ago is being paralleled by a new dominance of sound. As with theater of images, this is not necessarily a good thing. Sensuousness, emotional and intellectual complexity, social satire: music can add to them all. Unfortu...

...Thomas F. DeFrantz/slippage Thomas F. DeFrantz/slippage s Soundz at the Back of My Head, Gibney Dance, New York, 2020. Photo: Scott Shaw 69 Thomas F. DeFrantz/slippage Soundz at the Back of My Head Text and dance by Thomas F. DeFrantz, with sound design by Quran Karriem, lighting design by Asami...

... destroying communion, concentrating being, yawning like a pit, creating extreme anxiety, and giving the sound that finally breaks it a mythological force. These sounds tend to be one of two kinds. Like the visual image, the sonic image is either assaultive or recessive. Sound is either used in furious...

..., wanted music to be entirely logical, but everything that happened in their music had to satisfy so many preconceived requirements that the details of many pieces sound arbitrary, almost random. Individual sounds begin to be meaningful only as part of a general...

... text of theater directors and actors the country Maybe some accents should have stayed over” for a “standard of excellence [that] unknown. remains as fixed today as anything in our the- 0, the sound of actors talking like actors. atrical cosmos.” They don’t...

...- sion or coordination, in many disciplines and in many parts of the world. Terminological confusion comes with the territory. When the neologism music- theater was proposed in the 1960s, it sounded like a translation from the German— which...

... clucking and cooing noises. Slowly, charly and dario yoel picks up both pencils and puts them in the emerge from behind the bookshelves, each leading cup. tusoyo picks up a pencil of the next pair, another person and still holding their pencils. walking forward. Their coaxing sounds continue...

... is relaxation and awareness and work on the spine combined with voice exercises. Also, when I of the spine), to the awareness of breathing and the freeing of started working on Shakespeare I developed an exercise called Sound breathing, through to the touch of sound (which is the sensation...

...Romeo Castellucci Yale School of Drama/Yale Repertory Theatre 2007 Translated by Joseph P. Cermatori Romeo Castellucci Translated by Joseph P. Cermatori Agamemnon Excerpted from Romeo Castellucci’s Oresteia (una commedia organica?) Darkness. The first sound...

...- Carlos: (Boy continuing) Male voice: -quirer, and dramatised the (Makes a clicking sound in throat) headline story that something. . . . (4 times) Female voice: . . .interesting and. . , (No. 4 goes out...

...! Male voice: -tion- (No.2 goes out.) Female voice: -al En- Carlos: (Boy continuing) Male voice: -quirer, and dramatised the (Makes a clicking sound in throat) headline story that something (4 times...

... be in the actor’s control - that one must of space the need to make space ?speak” through images and reach a completely disciplined state of rebellion. As in a voodoo - sounds...

... on African American imperatives, we have become quite accustomed to its contours. We see it in tap dance and hear it in pop music or jazz. But the break is also an intellectual concept deployed by artists to extend the possibilities of theatrical form. Breaking the Genre: Song and Sound...

... reaction to Garneau’s lan- guage in Macbeth was very reserved. I thought I’d like to do a nice, safe Victor Hugo transla- tion instead. Garneau’s sounds like the lan...