English actress Sarah Siddons (1755–1831) was an international celebrity widely acclaimed for her performances of tragic heroines.We know what Siddons looked like—an endless number of artists asked her to sit for portraits and sculptures—but what of her famous voice? In lively and engaging prose, Judith Pascoe journeys to discover how the celebrated romantic actor’s voice sounded and to understand its power to move audiences to a state of emotional collapse. The author’s quixotic endeavor leads her to enroll in a “Voice for Actors” class, to collect Lady Macbeth voice prints, and to listen more carefully to the soundscape of her own life.
The Sarah Siddons Audio Files is the first full-scale attempt to address the importance of the voice in romantic culture. Bringing together archival discoveries, sound recording history, and media theory, the book shows how the romantic poets’ preoccupation with voices is linked to a larger cultural anxiety about the voice’s ephemerality. The Sarah Siddons Audio Files contributes to a growing body of work on the fascinating history of sound, and will engage a broad audience interest in how recording technology has altered human experience.
How do we recapture, or hold on to, the live performances we most love, and the talented artists and performers we most revere? Shakespeare and the Legacy of Loss tells the story of how 18th-century actors, novelists, and artists, key among them David Garrick, struggled with these questions through their reenactments of Shakespearean plays. For these artists, the resurgence of Shakespeare, a playwright whose works just decades earlier had nearly been erased, represented their own chance for eternal life. Despite the ephemeral nature of performance, Garrick and company would find a way to make Shakespeare, and through him the actor, rise again.
In chapters featuring Othello, Richard III, Hamlet, The Winter’s Tale, and The Merchant of Venice, Emily Hodgson Anderson illuminates how Garrick’s performances of Shakespeare came to offer his contemporaries an alternative and even an antidote to the commemoration associated with the monument, the portrait, and the printed text. The first account to read 18th-century visual and textual references to Shakespeare alongside the performance history of his plays, this innovative study sheds new light on how we experience performance, and why we gravitate toward an art, and artists, we know will disappear.
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