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201 - Sound Design

from Part XX - Changing Technologies of Stage Performance

Published online by Cambridge University Press:  17 August 2019

By
Ross Brown
Edited by
Bruce R. Smith
Edited in association with
Katherine Rowe
With
Ton Hoenselaars ,
Akiko Kusunoki ,
Andrew Murphy  and
Aimara da Cunha Resende
Bruce R. Smith
Affiliation:
University of Southern California
Katherine Rowe
Affiliation:
Smith College, Massachusetts
Ton Hoenselaars
Affiliation:
Universiteit Utrecht, The Netherlands
Akiko Kusunoki
Affiliation:
Tokyo Woman’s Christian University, Japan
Andrew Murphy
Affiliation:
Trinity College Dublin
Aimara da Cunha Resende
Affiliation:
Universidade Federal de Minas Gerais, Brazil
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Keywords

acousmatic relocation of soundacoustic reinforcementamplificationatmosphereauditoriumauditory environmentauralityBanksideBBC Radiophonic WorkshopbelievabilityBlackfriars (playhouse)clichédigital samplingdramaturgyeffectsflourishesGreecehautboysIndiaintermedialityLondonloudspeakermise-en-scènemixing consolesmusical instrument digital interface (MIDI)musical instrumentsnoisemakingnoises-offpanatropePA systemsphonographpicturesque sound“onification”propsprosceniumresonancesamplersequencersoundsound designsound effectssoundscapesound scorespectacular settingsstagecraftstage managertapetape recordingtheatertheater acousticsthunderunderscoringVitruvius
Type
Chapter
Information
The Cambridge Guide to the Worlds of Shakespeare , pp. 1460 - 1467
Publisher: Cambridge University Press
Print publication year: 2016

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References

Sources cited

Brook, Peter. There Are No Secrets. London: Methuen, 1993.CrossRefGoogle Scholar
Brown, Ross. Sound: A Reader in Theatre Practice. Basingstoke: Palgrave Macmillan, 2009.Google Scholar
Collison, David. The Sound of Theatre. Eastbourne: PLASA, 2008.Google Scholar
Hardcastle, E. Wine and Walnuts: Or After Dinner Chit-Chat. London: Longman, printed for Hurst, Rees, Orme and Brown, 1823.Google Scholar
Isaacs, Jacob. Production and Stage-Management at the Blackfriars Theatre. London: Oxford UP, 1933.Google Scholar
Kennedy, Dennis. Granville-Barker and the Dream of Theatre. Cambridge: Cambridge University Press, 1985.Google Scholar
Koller, Ann Marie. The Theatre Duke: Georg II of Saxe-Meiningen and the German Stage. Stanford: Stanford UP, 1984.Google Scholar
Lavender, Andy. “The Builders Association – Super-Vision.” Making Contemporary Theatre. Ed. Lavender, Andy and Harvie, Jen. Manchester: Manchester UP, 2010.Google Scholar
Napier, Frank. Noises-Off – A Handbook of Sound Effects. London: F. Muller, 1936.Google Scholar
Smith, Bruce R. The Acoustic World of Early Modern England – Attending to the O-Factor. Chicago: U of Chicago P, 1999.Google Scholar
Vincent, Harley. “Stage Sounds.” The Strand Magazine 28 (October 1904): 417–22.Google Scholar
Wardle, Irving. The Theatres of George Devine. London: Cape, 1978.Google Scholar

Further reading

Bracewell, John. L. Sound Design in the Theatre. Englewood Cliffs: Prentice Hall, 1993.Google Scholar
Burris-Meyer, H., Mallory, V., and Goodfriend, L.. Sound in the Theatre. Mineola: Radio Magazines, Inc., 1959.Google Scholar
Folkerth, Wes. The Sound of Shakespeare. London: Routledge, 2002.Google Scholar
Schafer, R. Murray. The Soundscape: Our Sonic Environment and the Tuning of the World. Rochester: Destiny Books, 1994.Google Scholar

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