Amanda Eubanks Winkler

In the 17th century, harmonious sounds were thought to represent the well-ordered body of the obedient subject, and, by extension, the well-ordered state, conversely, discordant, unpleasant music represented both those who caused disorder (murderers, drunkards, witches, traitors) and those who suffered from bodily disorders (melancholics, madmen, and madwomen). While these theoretical correspondences seem straightforward, in theatrical practice the...