Listening to a Pinter double bill
Mitchell's direction ofMountain LanguageandAshes to Ashesat the Royal Court Theatre
Bibliographic Data
| ID | 4981558 |
|---|---|
| Authors | Naoko Yagi (Wolfson Foundation, corresponding author) |
| Year | 2023 |
| Volume | 9 |
| Issue | 1 |
| Pages | 42-63 |
| Publication date | 2023-01-02 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Sound Studies (JOURNAL) |
| Journal identifiers | ISSN: 2055-1940 • E-ISSN: 2055-1959 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/20551940.2022.2147330 |
| OpenAlex | W4321365747 |
| Language | EN |
| References cited | 18 |
The double bill of Harold Pinter’s Mountain Language and Ashes to Ashes at the Royal Court Theatre in June-July 2001 has proven to be a kind of its own in the history of productions of Pinter’s plays for the stage. What I attempt to do in this essay is to recapture the double bill by analysing a monophonic and unedited sound-only recording of the performance of Mountain Language on 2 July 2001 and that of the performance of Ashes to Ashes on the same date, both archived in the British Library. I will show 1) how sounds in the performances of the two plays related to one another; and 2) how significant Katie Mitchell’s direction of both plays and Gareth Fry’s sound design for the double bill were at the crossroads of Pinter, performance, and sound
Active listening · Art · Sociology · Sound (geography · Visual arts · Communication · Diverse Musicological Studies · History · Theatre and Performance Studies · Geology · Oceanography
| Highly cited | No |
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