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9780226401577

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The affinities that existed in the course of the seventeenth century between the spoken theater of the commedia dell arte and the sung theater of opera have hitherto been studied primarily with an eye to the overlapping story lines, character types, and working models employed by the acting or singing companies. Here, Wilbourne explores such affinities at a level that is both more intimate and more elusive, that of the multifarious auditory dimension of the theatrical experience, where spectators were first and foremost listeners. As a result, this book is simultaneously a brilliant exercise in sound archaeology and one in cultural anthropology. --Lorenzo Bianconi, University of Bologna

The affinities that existed in the course of the seventeenth century between the spoken theater of the commedia dell arte and the sung theater of opera have hitherto been studied primarily with an eye to the overlapping storylines, character types, and working models employed by the acting or singing companies. Here, Wilbourne explores such affinities at a level that is both more intimate and more elusive, that of the multifarious auditory dimension of the theatrical experience, where spectators were first and foremost listeners. As a result, this book is simultaneously a brilliant exercise in sound archaeology and one in cultural anthropology. --Lorenzo Bianconi, University of Bologna

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Emily Wilbourne is assistant professor of musicology at Queens College and the Graduate Center of the City University of New York.

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