Index
Index acoustics: Aristotelian theory of, 73-74, 82, 97-98; early modern theories of, 73-77, 82-83, 96-99, 114; experiments in, 76-79, 177-78; in theater, 77· See also sound; voice, transmission of "active audition;' defined, m-14. See also hearing, and agency actors: relationship to audience, 157-58, 237 n.137, 238 n.139; use of voice by, 4, 69. See also boy actors; children's acting companies adolescence and youth, 39-59, 209 n.59 age and aging, boyhood to manhood, 37-48, 63, 206 n.18, 209 nn.s8-S9· See also boy actors , voice changes during puberty agency: feminist theories of, 12-14; linguistic, 1, 13, 142-43; relation to voice, s-6, 14; and subjectivity in Bourdieu, Foucault, and Lacan, 235 n.101. See also hearing, and agency; vocal agency, female Agrippa (von Nettesheim), Heinrich Cornelius, 81 air, 2-4, 7, 30, 66-67, 69, 73-76, 81-85, 97-99, 103-4 Alciati, Andrea, 157-58 All's Well That Ends Well (Shakespeare), 121 Amazons, 51, 56-58 Anatomy ofthe Body ofMan (Vesling, trans. Culpeper), 33,36 Ancient Funeral! Monuments (Weever), 134 Anderson, Judith H., 2-3 anima, 81, 215 n.17 antitheatricality, 152-53 Antonio and Mellida (Marston), 9, 17, 28-29, 211 nn.77-78, 212 nn.81-82; male voices in, so-s9; metatheatricality in, so, s6-s7, 59, 64-65, 67; modern production of, 59-60, 212 n.92 Antonio's Revenge (Marston), 26; male voices in,ss-s6 Antony and Cleopatra (Shakespeare), 39,231 n.54 An Apologyfor Actors (Heywood), 153 Aristotle: and early modern acoustic theory, 73-75, 81-83, 96-98; on voice, 167, 170, 173 The Art ofPronunciation (Robinson), 30, 33, 66,167 The Art ofWell Speaking (Gerbier), 83-84 As You Like It (Shakespeare), 44 atomism, 96-99, 114, 221 n.82, 222 nn. 93, 96, 243 n.3s audience: agency of, 152, 155; correspondence with onstage characters, 152, 154-59, 237 n.147; receptivity of, 153-58; response, 4, 8, 18, 49, 58, 152-58, 227 n.6, 237 n.125, 239 n.146. See also engagement and detachment aural defensiveness, 116; constructive, 127-28, 133-51, 158-59, 234 n.92 aural vulnerability: constructive, 116, 122, 142-51, 157-59; female, 132-42, 153-54, 183; male, n6, 125-32, 140-42; in Shakespeare's late plays, 156-58 Ausonius, 179-80 Austin, J. L., 13, 108 Bach, Rebecca Ann, 24 Bacon, Francis, 7, 66, 73-75, 77-78, 82-83, 89-90, 96-99. See also The Natural! and Experimental History ofWinds; Principles and Origins; De Sapientia Veterum; Sylva Sylvarum Barber, C. L., 129 Barthes, Roland, 3-4 Beaumont, Francis, 87-88 Beaurline, L.A., 95 Bieman, Elizabeth, 156 boast, as type of speech, 70-71, 86, 100, 107 bodies, uncontrollable, 10-11, 24-26, 85. See also humoral physiology The Bond-Man (Massinger), 134-35 The Boring ofthe Bare (Egerton), 118 Bourdieu, Pierre, 143-44, 151, 235 n.101, 236 n.103 268 Index boy actors: and correspondence with dramatic fiction, 18, 69, 85, 105-9, 158, 225 n.111; and performance of masculinity, 16-17, 22, 41-43, 48-so, 56-59; voice changes as problem in children's companies, 6, 37-41, 204 n.4; voice changes during puberty, 6, 21-22, 26, so, 57-58, 63-65, 105, 188. See also children's acting companies Brathwaite, Richard, 127, 133, 145 breath, 3-4, 6, 10-11, 18, 30, 36, 52, 183; in Aristotle, 82; control over, 70-73; correspondence with wind and speech, 85-95, 101-4, 216 n.34; materiality of, 17, 66-110, 218 n.s4; and poetics, 88-89; relation to spirit, 79-80, 85, 106; as transporter of soul, 29, 8o-84. See also exhalation; inspiration ; voice, transmission of Breitenberg, Mark, 56 A Bridle for the Tongue: Or a Treatise ofTen Sins ofthe Tongue (Gearing), 167 A BriefIntroduction to the Skill ofMusick (Playford), 30 Brumwick, Ann, recipe book, 34-36 Bruster, Douglas, 6 Butler, Charles, 3o-31, 33 Butler, Judith, 1, 3, 13-14, 40, 108, 142-43, 236 n.103 Callag!Ian, Dympna, 16, 27, 55, 153-54, 237 n.131 Cary, Elizabeth, 133-34 castration, castrati, and eunuchs, 16, 27, 55, 139 Certain Treatises (Downe), 146-48 The Changeling (Middleton and Rowley), 111-12 Changes: or, Love in a Maze (Shirley), 25 Charleton, Walter, 97-100, 103-4 chastity, 14, 18, 115-16; and aural defense, 133-42,146...
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