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Sounding Modernities: Transnational Theatre Histories through Sonic Performances

Elias Mitchell

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Published in Theatre And Music In Manila And The Asia Pacific 1869 1946: Sounding Modernities (Transnational Theatre Histories)

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The sonic dimension of theatre performance has emerged as a significant area of research in recent years, offering fresh insights into the cultural, social, and political dynamics that shape theatre practices and reception. This essay delves into the concept of "sounding modernities" as a lens through which to explore the transnational histories of theatre. By examining the sonic dimensions of theatre productions, we gain a deeper understanding of how sound shapes the construction of identity, community, and power relations in the modern era.

The concept of modernity is intrinsically linked to the idea of change, progress, and the emergence of new social and technological practices. Sound plays a crucial role in shaping and reflecting these changes. As cities industrialized, new soundscapes emerged, characterized by the cacophony of machinery, transportation, and the bustle of urban life. These sonic environments became a defining feature of modern experience, shaping the sensory perceptions of individuals and the collective consciousness of society.

Theatre, as a reflection of society, has always been attuned to the sonic landscape of its time. From the use of live music in traditional theatre forms to the incorporation of sound effects in modern plays, the sonic dimension has been an integral aspect of theatrical storytelling. However, in the late 19th and early 20th centuries, a new focus on "sound design" emerged in theatre, with practitioners recognizing the powerful potential of sound to enhance the dramatic experience.

Theatre and Music in Manila and the Asia Pacific, 1869-1946: Sounding Modernities (Transnational Theatre Histories)

by Dennis A. Rasbach

5 out of 5

Language	:	English
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The rise of transnational theatre companies and the exchange of ideas between different theatrical traditions across the globe led to a cross-pollination of sonic practices. As theatrical practitioners traveled and collaborated, they brought with them their own sonic influences, which in turn shaped the sound of plays in other cultures. This intercambio of sonic ideas contributed to the emergence of new theatrical forms that transcended national boundaries.

By examining the sonic dimensions of theatre productions from different cultural contexts, we can trace the transnational histories of theatre. For example, the use of traditional music and instruments in plays from Asia and Africa reveals the deep connection between theatre and the cultural heritage of the performers and audience. Similarly, the incorporation of popular music genres in Western theatre reflects the influence of mass media and the blurring of boundaries between high and low culture.

Several case studies illustrate the concept of sounding modernities in transnational theatre history:

"The Yellow Jacket" (1912): This American play by George C. Hazelton and J. Harry Benrimo incorporated a groundbreaking soundscape that included amplified voices, Native American music, and a complex orchestration of sound effects, creating a multi-sensory experience for the audience.
"The Berliner Ensemble" (1949-1960): Founded by Bertolt Brecht and Helene Weigel, this German theatre company revolutionized theatre sound design by using music and sound effects to alienate the audience and emphasize the political and social messages of the plays.
"Noh Theatre" (Traditional Japanese): Noh theatre, a classical form of Japanese drama, relies heavily on the sounds of drums, flutes, and the human voice to convey the emotions and narrative of the play. Its sonic elements are deeply rooted in Japanese cultural traditions.

The study of "sounding modernities" in transnational theatre histories provides a rich and nuanced understanding of the ways in which sound shapes theatrical performances and their reception. By examining the sonic dimensions of plays from different cultural contexts, we gain insights into the construction of identity, community, and power relations in the modern era. As theatre continues to evolve and interact with new technologies and cultural influences, the sonic landscape of performance promises to remain an essential aspect of its transnational history and its capacity to reflect the complexities of the modern world.

Theatre and Music in Manila and the Asia Pacific, 1869-1946: Sounding Modernities (Transnational Theatre Histories)

by Dennis A. Rasbach

5 out of 5