Playing to the Crowd: Musicians, Audiences, and the Intimate Work of Connection: 14 (Postmillennial Pop)

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Theatre is a very archaic and simple form. But that is its strength. It can endlessly renew itself. By understanding how the Globe works, a new theatre can be imagined. It is a Renaissance building; wit, action, argument, comic human warmth: a sense of "all the world" flourishes there. It plays in the light, with everything seen. It may encourage playwrights to turn from the solipsism of individual alienation that has dominated the best new writing of the past decade. If we follow Globe rules in playmaking, we can rediscover public optimism. Out of the old wooden theatre, something new. Nancy K. Bayms Playing to the Crowdis a major advance in our understanding of new media, music and audiences. Through careful ethnographic and historical work, Baym offers a definitive reception history of popular music as it went online. She also offers a transformative theory of music in the age of social media. Methodologically rich, beautifully written, and full of great storytelling, Playing to the Crowdexplains the novel aspects of our emergent online environment, all while linking it to music as a cultural practice that transcends any one context, and insisting that we understand online relationships as fundamentally human relationships. It will change the way you think about music, technology and people." Crucially, Mark Rylance, the first artistic director, and Dominic Dromgoole, who now leads the theatre in his second season, are against trying to stage "authentic" productions of Elizabethan drama. That would be, naturally, an impossibility. The mindsets of our two ages are so different. The Globe's beautifully painted stage, with the twin "pillars of Hercules" holding the heavens above "middle earth", with hell beneath a trap door - from which boomed the voice of the ghost in Hamlet, played by Shakespeare himself - represented the cosmos to the Elizabethan audience. Totus mundus agit histrionem was the Globe's motto, translated in As You Like It as "All the world's a stage". You can speculate on what that meant to audiences in 1599, but you cannot experience it. Our cosmos is different.

Baym’s book sheds light on the previously unexplored territory of musicians’ own management of their social media presence through ethnography, and for this reason many sections of this volume deserve a place in music and media syllabi for undergraduate and graduate studies, particularly to study Western cultural contexts and popular music scenes."

Having my play In Extremis performed at Shakespeare's Globe theatre on London's South Bank was terrifying: this was something like the space for which Shakespeare wrote. The building may be a modern reconstruction, but its stage, its "groundlings" yard, its high, secret galleries, are full of ghosts. Would my play wither by comparison, to hoots of spectral derision from the shades of the first penny-paying "groundlings"? Playing to the crowd NYT Crossword Clue Answers are listed below. Did you came up with a solution that did not solve the clue? No worries the correct answers are below. When you see multiple answers, look for the last one because that’s the most recent.

One of the biggest surprises was how strong "word painting" can be. Tell the audience you are beside Notre Dame in Paris and the cathedral miraculously seems to appear. Why this should be in a theatre with such an overwhelming, colourful presence I don't know, but the effect is very marked. There is a scene in which Heloise is waiting for Abelard on a cliff on the Brittany coast. Somehow the sweep of the dull green fields, the grey sea, seem to appear around the auditorium, just by the actors saying a few words.

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Nancy K. Baym was researching the impact of emerging technologies and music when most of us did not have the foresight to anticipate the changing music landscape. This is not her first pioneering work, and it certainly won't be her last, but it is, as always, fun and intriguing. An innovative wordsmith and an engaging storyteller, Baym explains how musicians transition from technologies designed to render them remote deities to those that invite them to be irrevocably intimate. Her observations carry weight and her interpretations are timely and timeless. She is a sharp researcher with a curious mindthe type that unfailingly seduces, educates and inspires you with their writing." Some societies use Oxford Academic personal accounts to provide access to their members. See below. For librarians and administrators, your personal account also provides access to institutional account management. Here you will find options to view and activate subscriptions, manage institutional settings and access options, access usage statistics, and more.