This thesis uses the joint approaches of theatre research and musicology to reveal the overlooked soundscape of productions of Shakespeare’s Henry V. The starting point is the earliest surviving score (1859), and it concludes with the fragmentary remains of war-time performances (1916), that were on the cusp of change. The evidence, analysed alongside prompt books and other materials, establishes new insights into theatre practices. It problematises scholarly readings that suggest that productions of Henry V were invariably a response to English foreign policy, and challenges the common perception that pictorial realism was the key defining aspect of performance. I argue it is necessary to understand how the play was shaped aurally, physically and emotionally by music; the influence of church, melodrama, militia, musical-comedy, ballet, and opera are located and explored. Ensemble-workshop sessions and keyboard realisation have been central to a developed understanding of the genre. Where the world outside invaded the theatre - especially royal events and war - these are surveyed to understand their impact on the soundscape. This study rebalances the historiography of the play, it reveals the importance of seeking out a forgotten aesthetic, and it demonstrates the need for further scholarly theatre-music studies.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:577869 |
| Date | January 2013 |
| Creators | Brodie, Val |
| Publisher | University of Birmingham |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Source | http://etheses.bham.ac.uk//id/eprint/4476/ |
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