Sound and Music for the Theatre, Third Edition: The Art & by Deena C. Kaye

By Deena C. Kaye

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J. Lawrence, Pre-Restoration Stage Studies (Cambridge: Harvard University Press, 1927), p. 200. 2. Francis Ann Shirley, Shakespeare’s Use of Off-Stage Sound (Lincoln: University of Nebraska Press, 1963), p. 17. 3. Jacob Isaacs, Production and Stage-Management at the Blackfriars Theatre (London: Oxford University Press, 1933), p. 6. 4. Raymond Williams, Drama in Performance (New York: Basic Books, 1968), p. 2. 11 THE EVOLUTION OF SOUND DESIGN 2 The Foundation of Sound Design 12 One summer I visited the Civil War battleground at Gettysburg.

If the scene that holds the storm runs fourteen minutes, you should determine exactly where in the script you first start a distant rumble and how quickly it grows to its peak. You can create a realistic build, whether or not it is an authentic timeframe for a storm. After all, the timeframe is dictated by the theatrical clock of the scene, not real time. As with any sound design, there are no rules to this. Sometimes 29 THE FOUNDATION OF SOUND DESIGN you want to create a progression, and sometimes having the thunder as a surprise is appropriate.

It’s too simplistic to say that establishing focus is as easy as raising the volume. Levels that are inappropriately high become annoying; sounds played so softly that the audience cannot recognize them become distracting. ) they’re hearing, then their focus on the show is lost. If you feel that the cues must be played so softly that they are inaudible, then they probably have no place in the design. 31 RATE OF EXECUTING THE CUES While placement of a cue is crucial to giving the cue its proper focus, equally important is the rate at which the cue is executed.

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