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Introduction Notes Introduction 1. Audrey Yoshiko Seo and Stephen Addiss translate Hakuin’s phrase “sekishu no onjo¯” as “the sound of one hand” because the Japanese phrase does not contain a word for “clapping.” Audrey Yoshiko Seo and Stephen Addiss, The Sound of One Hand: Paintings and Calligraphy by Zen Master Hakuin (Boston, Mass.: Shambhala, 2010), xiii. 2. Aoife Monks suggests actors perform “realness” in curtain calls but audiences see a spectral entity, “a composite and ambivalent figure who is neither one thing nor the other, neither character nor real actor, neither costumed nor out of costume.” Aoife Monks, The Actor in Costume (Basingstoke: Palgrave Macmillan, 2010), 136. Monks develops a point made in Bert O. States, Great Reckonings in Little Rooms: On the Phenomenology of Theater (Berkeley: University of California Press, 1985), 200. 3. “In the art of theatre not only do we expect the audience to be silent, we demand it of them, we demand it as the confirmation of our intentions. We concede there are many silences, but we discriminate among the silences.” Howard Barker, Death, the One and the Art of Theatre (London: Routledge, 2005), 17. 4. Marinetti’s 1911 manifesto “The Pleasure of Being Booed” appears in Lawrence S. Rainey, Christine Poggi, and Laura Wittman, Futurism: An Anthology (New Haven, Conn.: Yale University Press, 2009), 96–98. 5. T. J. Pinch and Karin Bijsterveld, The Oxford Handbook of Sound Studies (Oxford: Oxford University Press, 2012), 7. 6. R. Murray Schafer, The Soundscape: Our Sonic Environment and the Tuning of the World (Rochester, Vt.: Destiny Books 1993). 7. Ari Y. Kelman, “Rethinking the Soundscape: A Critical Genealogy of a Key Term in Sound Studies,” The Senses & Society 5, no. 2 (2010): 214. 8. See, for example, Philipp Schweighauser, The Noises of American Literature, 1890–1985: Toward a History of Literary Acoustics (Gainesville: University Press of Florida, 2006). 9. Wes Folkerth, The Sound of Shakespeare (London: Routledge, 2002), 7. 10. Bruce R. Smith, The Acoustic World of Early Modern England: Attending to the O-Factor (Chicago: University of Chicago Press, 1999). 11. Ibid., 208. 206 N OTES 12. Lynne Kendrick and David Roesner, eds., Theatre Noise (Newcastle: Cambridge Scholars, 2011), x. 13. Ross Brown, Sound: A Reader in Theatre Practice (Basingstoke: Palgrave Macmillan, 2010). 14. The title of the conference at the University of Montreal, held in association with the Centre de recherche sur l’intermédialité, was “Le Son du Theatre— Towards a History of Sound in Theatre (from the 19th to the 21st Century): Acoustics and Auralities.” The title of the conference at the University of Bayreuth, held under the auspices of the German Society for Theatre Studies, was “Sound and Performance.” 15. Matthias Rebstock and David Roesner, Composed Theatre: Aesthetics, Prac- tices, Processes (Bristol: Intellect, 2012). 16. Mladen Ovadija, Dramaturgy of Sound in the Avant-Garde and Postdramatic Theatre (Montreal: McGill-Queen’s University Press, 2013). I have not read Ovadija’s book at the time of this writing. 17. Emily Ann Thompson, The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900–1933 (Cambridge, Mass.: MIT Press, 2002), 1–2. 18. Steven Connor, “Rustications: Animals in the Urban Mix,” http://www. stevenconnor.com/rustications/. Accessed 10 August, 2013. 19. Steven Feld, “Waterfalls of Song: An Acoustemology of Place Resounding in Bosavi, Papua New Guinea,” in Senses of Place, ed. Steven Feld and Keith H. Basso, (Santa Fe, N.M.: School of American Research Press, 1996), 91–135. 20. Veit Erlmann, Hearing Cultures: Essays on Sound, Listening, and Modernity (New York, NY: Berg, 2004), 4. 21. James Joyce, Ulysses (New York: Vintage, 1986), 26. 22. See, for example, Alexander G. Weheliye, Phonographies: Grooves in Sonic Afro-Modernity (Durham Duke University Press, 2005); and Juan Antonio Suárez, Pop Modernism: Noise and the Reinvention of the Everyday (Urbana: University of Illinois Press, 2007), 119. 23. Stuart Hall, “Introduction,” in Modernity: An Introduction to Modern Soci- eties, ed. Stuart Hall, et al. (Oxford: Blackwell, 2000), 11, 10. See also Susan Stanford Friedman, “Periodizing Modernism: Postcolonial Boundaries and the Space/Time Boundaries of Modernist Studies,” Modernism/Modernity 13, no. 3 (2006): 425–443; and S. N. Eisenstadt, Multiple Modernities (New Brunswick, N.J.: Transaction Publishers, 2002). 24. Jonathan Sterne, The Audible Past: Cultural Origins of Sound Reproduction (Durham: Duke University Press, 2003), 2. 25. See John M. Picker, Victorian Soundscapes (Oxford: Oxford University Press, 2003). 26. Jessica R. Feldman, Victorian Modernism: Pragmatism and the Varieties of Aesthetic Experience (Cambridge: Cambridge University Press, 2002). 27. Laura Marcus, Steven Connor, Garrett Stewart, and James Donald gave the keynote presentations. The conference program may be accessed here: http:// www.aal.asn.au/conference/2013/program/index.shtml. N OTES 207 28. Sam Halliday, Sonic Modernity: Representing Sound in Literature, Culture and the Arts (Edinburgh: Edinburgh University Press, 2011), 3. 29. Ibid., 13, 15. 30. Anthony Enns and Shelley Trower, eds., Vibratory Modernism (London: Palgrave 2013), 2. 31. See James Harding, Contours of the Theatrical Avant-Garde: Performance and Textuality (Ann Arbor: University of Michigan Press, 2000); and James Harding and John Rouse, Not the Other Avant-Garde: The Transnational Foundations of Avant-Garde Performance (Ann Arbor: University of Michigan Press, 2006). 32. Mike Sell, Avant-Garde Performance and Material Exchange: Vectors of the Radical (New York: Palgrave Macmillan, 2011). 33. Ibid., 219. 34. Frantisek Deak, Symbolist Theater: The Formation of an Avant-Garde,PAJ books (Baltimore: Johns Hopkins University Press, 1993), 132, 136. 35. Douglas Kahn, “Introduction: Histories of Sound Once Removed,” in Wire- less Imagination: Sound, Radio, and the Avant-Garde, ed. Douglas Kahn and Gregory Whitehead, (Massachussetts: MIT Press, 1992), 2. 36. Sterne, The Audible Past:5. 37. I discuss performances by Sophie Täuber and Mary Wigman elsewhere. See Adrian Curtin, “Vibration, Percussion and Primitivism in Avant-Garde Per- formance,” in Vibratory Modernism, ed. Anthony Enns and Shelley Trower, (Basingstoke: Palgrave, 2013), 227–247. 38. Jacky Bratton, New Readings in Theatre History (Cambridge: Cambridge University Press, 2003), 6. 39. Martin Puchner, “From the Editor,” Theatre Survey 48, no. 2 (2007): 227. Chapter 1 1. Kate Covington, “The Mind’s Ear: I Hear Music and No One Is Perform- ing,” The College Music Society 45 (2005): 25–41. Some theorists differ- entiate between recollected sound (anamnesis) and newly imagined sound (phonomnesis). See Jean-François Augoyard and Henry Torgue, Sonic Expe- rience: A Guide to Everyday Sounds (Montreal; London: McGill-Queen’s University Press, 2005), 21–25, 85–86. 2. Ross Brown, Sound: A Reader in Theatre Practice (Basingstoke: Palgrave Macmillan, 2010), 75. 3. See Marie Agnew, “The Auditory Imagery of Great Composers,” Psycholog- ical Monographs 31 (1922): 268–278. 4. Ibid., 285. The speculation about Schumann is reported in George Foy, Zero Decibels: The Quest for Absolute Silence (New York: Scribner, 2010), 166. 5. Jonathan Sterne, The Audible Past: Cultural Origins of Sound Reproduction (Durham: Duke University Press, 2003), 11. 208 N OTES 6. British artist Dot Young has a project entitled The Aurality of Objects that explores “the dynamism between visual and aural outcomes” of object production. http://www.dotyoung.com/fine-art.html. Accessed March 1, 2013. 7. Andrew Sofer, “Spectral Readings,” Theatre Journal 64, no. 3 (2012): 330. 8. Leopold Lewis and David Mayer, Henry Irving and The Bells: Irving’s Per- sonal Script of the Play by Leopold Lewis (Manchester: Manchester University Press, 1980), 55. 9. Ibid., 69. 10. Elinor Fuchs, “Reading for Landscape: The Case of American Drama,” in Land/Scape/Theater, ed. Elinor Fuchs and Una Chaudhuri (Ann Arbor: University of Michigan, 2002), 30. 11. Ibid. 12. Sterne, The Audible Past, 95. 13. Ibid., 24. 14. Ibid., 160. 15. Michael Bull, “Thinking about Sound, Proximity, and Distance in Western Experience: The Case of Odysseus’ Walkman,” in Hearing Cultures: Essays on Sound, Listening, and Modernity, ed. Veit Erlmann (New York, NY: Berg, 2004), 189. I am grateful to Susan Hollis Clayson for bringing Robida’s illustration to my attention and suggesting the phrase “the iPod avant la lettre.” 16. Octave Uzanne, “The End of Books,” Scribner’s Magazine 1894, 227. 17. Gertrude Stein, The Autobiography of Alice B. Toklas (New York: Harcourt, 1933), 1–2. 18. For a discussion of acoustic interiority in the novels of Jean Paul, see Nikolaus Bacht, “Jean Paul’s Listeners,” Eighteenth Century Music 3, no. 2 (2006): 201–212. I developed this term independently of Bacht. 19. Georg Wilhelm Friedrich Hegel, Aesthetics: Lectures on Fine Art, trans. T. M. Knox, vol. 1 (Oxford: Clarendon Press, 1975), 527. 20. Agnew, “The Auditory Imagery of Great Composers,” 281. 21. Daniel Albright, Modernism and Music: An Anthology of Sources (Chicago: University of Chicago Press, 2004), 230. 22. Richard Wagner, Wagner on Music and Drama: A Compendium of Richard Wagner’s Prose Works, ed. Albert Goldman and Evert Sprinchorn (New York: E.P. Dutton, 1964), 181. 23. Ibid., 186. 24. Walter Benjamin, The Arcades Project (Cambridge, MA: Belknap Press, 1999), 19. 25. The point about the heavy, sound-absorbing furniture in Khnopff’s paint- ing is made in
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