{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/wm13n2281b/manifest","type":"Manifest","label":{"en":["The Sound and Sight of Shakespeare"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Robert J. O'Brien (Presenter)","Gary Galo (Chair)"]}},{"label":{"en":["Date"]},"value":{"en":["2010-05-20 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Audio"]}},{"label":{"en":["Description"]},"value":{"en":["Dr. O'Brien has long been devoted to literature, ranging from presidential speeches, Supreme Court arguments, short stories, to novels and plays. Here he argues the importance of Shakespeare recordings. Early recorded books have been produced for the blind and, recently, for truck drivers, commuters, and long trip drivers, and there now are cassettes and CD recordings of Shakespeare plays. These recorded plays have importance because of the impact on how the stage actor said and should say the lines of the Shakespeare play. As far back as Aristotle, writing about 400 B.C.E., writers stressed the importance of poetry, the prosody of the lines, in ancient Greek plays. Writers preceding Shakespeare in England stressed the importance of the poetry, following the rules of the prosody, but the prosody emphasizes the sound of the line even in a Shakespeare play. Over three  centuries,  actors  became  familiar  with  Shakespeare  plays  of  the  text, of the eyes used together with the text of the play. What recordings provide is emphasis on not just the sight of the page but the sound of the line, so we can compare what the actor saw on the page for his role of the play with the sound and rhythm of the line. We can now compare one actor's performance to another; hear how they hit and missed the rhythm of Shakespeare's lines. Examples range from the first recording of Shakespeare's Edwin Booth to Paul Robeson and others. Julia Marlowe's first recording as Juliet becomes a significant passage. Using text and sound recordings, the listener can criticize performances."]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["Copyright Association for Recorded Sound Collections"]}}],"summary":{"en":["Dr. O'Brien has long been devoted to literature, ranging from presidential speeches, Supreme Court arguments, short stories, to novels and plays. Here he argues the importance of Shakespeare recordings. Early recorded books have been produced for the blind and, recently, for truck drivers, commuters, and long trip drivers, and there now are cassettes and CD recordings of Shakespeare plays. These recorded plays have importance because of the impact on how the stage actor said and should say the lines of the Shakespeare play. As far back as Aristotle, writing about 400 B.C.E., writers stressed the importance of poetry, the prosody of the lines, in ancient Greek plays. Writers preceding Shakespeare in England stressed the importance of the poetry, following the rules of the prosody, but the prosody emphasizes the sound of the line even in a Shakespeare play. Over three  centuries,  actors  became  familiar  with  Shakespeare  plays  of  the  text, of the eyes used together with the text of the play. What recordings provide is emphasis on not just the sight of the page but the sound of the line, so we can compare what the actor saw on the page for his role of the play with the sound and rhythm of the line. We can now compare one actor's performance to another; hear how they hit and missed the rhythm of Shakespeare's lines. Examples range from the first recording of Shakespeare's Edwin Booth to Paul Robeson and others. Julia Marlowe's first recording as Juliet becomes a significant passage. Using text and sound recordings, the listener can criticize performances."]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["Copyright Association for Recorded Sound Collections"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128092/file/239775","type":"Canvas","label":{"en":["Media File 1 of 1 - ARSC_conf_2010_OBrien_audio.mp3"]},"duration":2281.75163,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128092/file/239775/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128092/file/239775/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/239/775/original/ARSC_conf_2010_OBrien_audio.mp3?1714146622","type":"Audio","format":"audio/mpeg","duration":2281.75163,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128092/file/239775","metadata":[]}]}],"annotations":[]}]}