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269 - Shakespeare and Audio Recording

from Part XXVIII - Shakespeare and Media History

Published online by Cambridge University Press:  17 August 2019

By
Wes Folkerth
Edited by
Bruce R. Smith
Edited in association with
Katherine Rowe
With
Ton Hoenselaars ,
Akiko Kusunoki ,
Andrew Murphy  and
Aimara da Cunha Resende
Bruce R. Smith
Affiliation:
University of Southern California
Katherine Rowe
Affiliation:
Smith College, Massachusetts
Ton Hoenselaars
Affiliation:
Universiteit Utrecht, The Netherlands
Akiko Kusunoki
Affiliation:
Tokyo Woman’s Christian University, Japan
Andrew Murphy
Affiliation:
Trinity College Dublin
Aimara da Cunha Resende
Affiliation:
Universidade Federal de Minas Gerais, Brazil
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Keywords

audio recordingBooth, Edwincompact disc (CD)complete worksGielgud, Sir JohnIrving, Sir HenryMarlowe SocietyphonographphonographyradioRehan, AdaTerry, EllenTree, Herbert BeerbohmWelles, Orson
Type
Chapter
Information
The Cambridge Guide to the Worlds of Shakespeare , pp. 1926 - 1930
Publisher: Cambridge University Press
Print publication year: 2016

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References

Sources cited

Bebb, Richard. “The Voice of Henry Irving: An Investigation.” Recorded Sound: The Journal of the British Institute of Recorded Sound 68 (1977): 727–32.Google Scholar
dir.Brill, Clive The Arkangel Complete Shakespeare. Arkangel. Audio cassette, 1998; compact disc, 2003.Google Scholar
Cartelli, Thomas, and Rowe, Katherine. “Media Vernaculars: Listening to Scotland, PA.” New Wave Shakespeare on Screen. Cambridge: Polity, 2007. 105–19.Google Scholar
Donaldson, Peter. “Bottom and the Gramophone: Media, Class and Comedy in Michael Hoffman’s A Midsummer Night’s Dream.” Shakespeare Survey 61 (2008): 23–35.Google Scholar
Great Historical Shakespeare Recordings. Naxos Audiobooks, 2000. Compact disc.Google Scholar
O’Brien, Robert J. “Literary Recordings.” The Enyclopedia of Recorded Sound. Vol. 1. 2nd ed. Ed. Hoffmann, Frank W. and Ferstler, Howard. New York: Routldge, 2005. 618–21.Google Scholar
Tribble, Evelyn. “Listening to Prospero’s Books.” Shakespeare Survey 61 (2008): 161–69.Google Scholar

Further reading

Gitelman, Lisa. “How Users Define New Media: A History of the Amusement Phonograph.” MIT Communications Forum. Dir. Thorburn, David. 20 June 2001. http://web.mit.edu/m-i-t/articles/index_gitelman.html.Google Scholar
King Lear. Paul Scofield, with Alec McCowen, Kenneth Branagh, and full cast. Dir. Tydeman, John. Naxos Audiobooks, 2002. Compact disc.Google Scholar
Lanier, Douglas. “Shakespeare on the Record.” A Companion to Shakespeare and Performance. Ed. Hodgdon, Barbara and Worthen, W. B.. Oxford: Blackwell, 2005. 415–36.Google Scholar
Read, Oliver, and Welch, Walter L.. From Tin Foil to Stereo: Evolution of the Phonograph. 2nd ed. Indianapolis: Howard W. Sams, 1976.Google Scholar
Steadman, Marie J. “Audio Shakespeare.” Shakespeare in the Media. Ed. Brusberg-Kiermeier, Stefani and Helbig, Jörg. Britannia: Texts in English 9. Frankfurt am Main: Lang, 2004. 121–35.Google Scholar
Timson, David. “Speak the Speech....” Sunday Times Oxford Literary Festival, 2008. Naxos Audiobooks Web site. http://www.naxosaudiobooks.com/NAB_at_the_OLF/Speak_the_Speech.mp3. Accessed 20 June 2011. Audio.CrossRefGoogle Scholar

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