La voix et le son
Abstracts
Although Hamlet, in his advice to the players, inveighs against bombast and artificiality, people on stage do not speak in the same way as in real life. The literary nature of the text, particularly in its versified form, together with the necessity of projecting the voice into a more or less extensive space, induces a certain amount of stylization and a physical effort which, when well under control, contribute to the aesthetic pleasure of the performance. In film-making, the chain of instruments, from microphone to loudspeakers, brings a technical solution to some of the usual problems. But the electroacoustic swelling of voices, especially when supported by a process of reverberation, implies a type of elocution which does not always harmonize with Shakespeare’s rhetoric. Effort and projection being made unnecessary, there is a risk of losing a part of what constitutes theatrical eloquence.
Index terms
Top of pageReferences
Bibliographical reference
Henri Suhamy, “La voix et le son”, Actes des congrès de la Société française Shakespeare, 16 | 1998, 159-170.
Electronic reference
Henri Suhamy, “La voix et le son”, Actes des congrès de la Société française Shakespeare [Online], 16 | 1998, Online since 01 November 2007, connection on 18 January 2025. URL: http://0-journals-openedition-org.catalogue.libraries.london.ac.uk/shakespeare/279; DOI: https://0-doi-org.catalogue.libraries.london.ac.uk/10.4000/shakespeare.279
Top of pageCopyright
The text only may be used under licence CC BY-NC-ND 4.0. All other elements (illustrations, imported files) are “All rights reserved”, unless otherwise stated.
Top of page
RSS feed
