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CRITICAL STAGES SOUND CHECK
Published online by Cambridge University Press: 23 October 2008
Extract
Imagine an E♭+5 chord opening this meditation, played on a late-1940s Gibson hollow-body ES-125 electric guitar, the instrument held high on a woman's chest so she can play and narrate at the same time. Not just what I need to tell, not just what I need to sing, but how I need to tell, how the lyrics will make this collection of notes into an essay. Close your eyes. Wouldn't you rather listen to this discourse on the field? Walking with your earphones, washing the dishes with an ear cocked for the important bits, lying on the floor after hours at the computer—you could just listen.…
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- Critical Stages: Edited By Mike Sell
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- Copyright © American Society for Theatre Research 2008
References
Endnotes
1. In lyrical answer to my query about this chord in Gershwin's ‘But Not for Me’ Stuart Sherman wrote: “I'm tempted to try explaining the beauty of it in words and the fact that when it goes to where it wants most to go—Ab—the going involves one note that stays the same (Eb), while the other two (G and B natural) move up only ‘one’ half step each—so that the effect is of absolutely minimal motion producing a crossover into what feels like another world; perfect, in fact, for the melancholy double-world-view (lucky them, exile me) of ‘But Not for Me’”.
2. Elsewhere I have suggested modes of intervention for the contemporary practitioner/scholar. See “A Good Catch: Practicing Generosity,” in Performance Research 12.2 (June 2007): 138–44.
3. Bruce R. Smith, The Acoustic World of Early Modern England (Chicago: University of Chicago Press, 1999).
4. Hear the critique here as one of system rather than of those who must mark territory long before they know or can delineate the territory they want to explore. Indeed, the interdisciplinary work that inspires me tends to come from scholars who have had the time and years—often granted by tenure—to roam, something we might think of as an inheritance we need to make available to young scholars by giving them time and by resisting the siren call of more publishing means more prestige means more power.
5. Joseph Roach, It (Ann Arbor: University of Michigan, 2007).
6. Ibid., 43.
7. Ibid., 221.
8. Joe Kelleher and Nicholas Ridout, “Introduction,” in Contemporary Theatres in Europe, ed. Kelleher and Ridout (London: Routledge, 2006), 1–20, at 1.
9. Ibid.
10. Michael Taussig, Walter Benjamin's Grave (Chicago: University of Chicago, 2006), vii.
11. Ibid.
12. Ibid., 30, 98.
13. I would suggest some of the great appeal of Steven Colbert in the United States is the desire for the serious and the relief that its presentation serves a critique of the sheer stupidity of loud and continually vapid news in the United States.
14. Gina Bloom, Voice in Motion: Staging Gender, Shaping Sound in Early Modern England (Philadelphia: University of Pennsylvania Press, 2007).
15. Fred Moten, In the Break: The Aesthetics of the Black Radical Tradition (Minneapolis: University of Minnesota, 2003).
16. Ibid., 39.
17. Ibid., 42.
18. Actions that are heroic, often those of heroines, can happen in both arenas, the public and the domestic, but my use of the comparison here has to do with flamboyance and risk in contrast to private desperation.
19. Manifestos exist in the tradition of the “shout out,” so I assume you are shouting out the names of those women who have “gone long” like the exemplary B, Becca Schneider—that's fine, we still need more of them, just look at the numbers.