Brown explores relationships between sound and theatre, focusing on sound's interdependence and interaction with human performance and drama. Suggesting different ways in which sound may be interpreted to create meaning, it includes key writings on sound design, as well as perspectives from beyond the discipline.
Recenzijos
'Ross Brown approaches 'a reader' in a refreshing and engaging way - he provides a compelling narrative and argument, interspersing and amplifying them with extracts from aa range of key texts.' - Norie Neumark, Senses & Society 'There is no other book that considers equally and inseparably the theory, philosophy and practice of stage sound. A rigorously controlled piece of research of great originality and of terrific significance to the discipline.' - Chris Baugh, Professor of Performance and Technology, University of Leeds, UK 'A valuable assemblage of historical perspectives and current issues in Sound Design and perception...provocative in many ways.' - David Budries, Freelance Sound Designer; Professor of Sound Design, Yale University, USA
Daugiau informacijos
'Ross Brown approaches 'a reader' in a refreshing and engaging way - he provides a compelling narrative and argument, interspersing and amplifying them with extracts from aa range of key texts.' - Norie Neumark, Senses & Society 'There is no other book that considers equally and inseparably the theory, philosophy and practice of stage sound. A rigorously controlled piece of research of great originality and of terrific significance to the discipline.' - Chris Baugh, Professor of Performance and Technology, University of Leeds, UK 'A valuable assemblage of historical perspectives and current issues in Sound Design and perception...provocative in many ways.' - David Budries, Freelance Sound Designer; Professor of Sound Design, Yale University, USA
| Acknowledgements |
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x | |
| Series Editor's Preface |
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xii | |
| Preface |
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xiii | |
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xv | |
| Introduction: The Theatre of Sound I |
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1 | (1) |
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1 | (2) |
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3 | (1) |
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4 | (5) |
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Part I Dramaturgically Organized Noise |
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9 | (116) |
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Defining Theatre Sound Design |
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11 | (5) |
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11 | (2) |
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The Somewhat Reluctant Discourse of Theatre Sound |
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13 | (2) |
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15 | (1) |
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16 | (33) |
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16 | (8) |
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The `Business of Making Noises' |
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24 | (6) |
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The Scope and Limitations of Theatre Sound |
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30 | (4) |
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34 | (5) |
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39 | (3) |
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Art and Craft in Theatre Sound Design |
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42 | (2) |
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Sound versus Music, and Peter Sellers on the Ontological Aurality of Theatre |
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44 | (3) |
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47 | (2) |
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The Pre-History of Sound Design |
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49 | (33) |
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49 | (1) |
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Sound `Within the Wooden O' |
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50 | (10) |
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Music `In Production' at the Blackfriars Theatre |
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60 | (3) |
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63 | (5) |
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68 | (1) |
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69 | (4) |
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The Dramaturgy of Pause, Quietness and Silence |
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73 | (5) |
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Aural Dramaturgy and Symbolism |
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78 | (3) |
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81 | (1) |
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82 | (22) |
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Sound and Ritual Practices |
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82 | (8) |
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Magic through Sound: Illusion, Reception and Agreed Pretence |
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90 | (6) |
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The Dramaturgy of Silence |
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96 | (6) |
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The Relationship between Sound and Theatre |
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102 | (2) |
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Five Sound Designers in Their Own Words |
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104 | (21) |
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104 | (2) |
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Paul Arditti on Theatre Sound Design in the Digital Age |
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106 | (5) |
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Hans Peter Kuhn on Theatre and Sonic Art |
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111 | (6) |
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John Collins on Devising Sound with the Wooster Group and ERS |
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117 | (4) |
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An Interview with Jonathan Deans |
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121 | (4) |
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Part II Theatrically Organized Hearing |
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125 | (81) |
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Problems with Sound as Scenography |
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127 | (11) |
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127 | (2) |
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129 | (3) |
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Outside the Empire of Signs |
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132 | (3) |
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Auditory Engagement/Aural Distraction |
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135 | (3) |
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Live Listening: The Aural Phenomenology of Theatre |
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138 | (11) |
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The Phenomenology of Auditory Experience |
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139 | (4) |
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143 | (2) |
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145 | (4) |
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149 | (14) |
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149 | (5) |
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Vitruvius on Architecture |
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154 | (6) |
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Privileging the Aural: Shakespearian Acoustics |
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160 | (3) |
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163 | (25) |
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163 | (6) |
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169 | (2) |
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Designing Surround Sound at the Manchester Royal Exchange |
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171 | (6) |
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Richard K. Thomas on The Sounds of Time |
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177 | (11) |
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John Levack Drever on Sound Effect - Object - Event |
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188 | (18) |
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188 | (2) |
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The Umbilical Sound Effect |
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190 | (2) |
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Inauguration: The Judge (1890) |
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192 | (1) |
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The Operation of Sound Effects Today |
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193 | (4) |
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Sound Object: A Return to the `Innocent Ear' |
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197 | (3) |
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200 | (1) |
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Sound Event: Contextual Listenings |
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201 | (1) |
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202 | (2) |
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204 | (2) |
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Conclusion: The Theatre of Sound II |
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206 | (16) |
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How to Think about Theatre Sound Design |
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206 | (13) |
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How-to-Do Theatre Sound Design |
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219 | (3) |
| Bibliography |
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222 | (11) |
| Index |
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233 | |
ROSS BROWN is Dean of Studies and Reader in Sound at the Central School of Speech and Drama, University of London, UK. He is Convenor of the International Theatre Sound Colloquium His professional career as a theatre composer, musician and sound designer includes productions for BBC Radio Drama, Shared Experience, RSC, The Almeida, BAC, The Gate, The Royal Court, The Shadow Syndicate, Glasgow Citizens', Lancaster Duke's, Derby Playhouse, Red Shift and many other prestigious companies in the commercial and subsidised sectors.
