Sound Effect
Methuen Drama (Verlag)
978-1-350-04590-3 (ISBN)
Sound Effect tells the story of the effect of theatrical aurality on modern culture. Beginning with the emergence of the modern scenic sound effect in the late 18th century, and ending with headphone theatre which brings theatre’s auditorium into an intimate relationship with the audience’s internal sonic space, the book relates contemporary questions of theatre sound design to a 250-year Western cultural history of hearing. It argues that while theatron was an instrument for seeing and theorizing, first a collective hearing, or audience is convened. Theatre begins with people entering an acoustemological apparatus that produces a way of hearing and of knowing. Once, this was a giant marble ear on a hillside, turned up to a cosmos whose inaudible music accounted for all. In modern times, theatre’s auditorium, or instrument for hearing, has turned inwards on the people and their collective conversance in the sonic memes, tropes, clichés and picturesques that constitute a popular, fictional ontology.
This is a study about drama, entertainment, modernity and the theatre of audibility. It addresses the cultural frames of resonance that inform our understanding of SOUND as the rubric of the world we experience through our ears. Ross Brown reveals how mythologies, pop-culture, art, commerce and audio, have shaped the audible world as a form of theatre. Garrick, De Loutherbourg, Brecht, Dracula, Jekyll, Hyde, Spike Milligan, John Lennon, James Bond, Scooby-Do and Edison make cameo appearances as Brown weaves together a history of modern hearing, with an argument that sound is a story, audibility has a dramaturgy, hearing is scenographic, and the auditoria of drama serve modern life as the organon, or definitive frame of reference, on the sonic world.
Ross Brown is Dean of School and Professor of Sound at the Royal Central School of Speech and Drama, UK, where, in 1994, he started and led the UK’s first degree courses in Theatre Sound Design. He made work in the late 1980s and early 90s that is now seen as representing a ‘sonic turn’ in UK theatre practice. In 2009 he published Sound.
Acknowledgements
Now hear this (a preface)
PART ONE Theatrical hearing
1 It’s obviously an effect (An introduction)
Splat
By design
2 Dispositions
The god sound
Auditory space and its dramaturgy
The scenography of sound
3 Auditorium
A space in process
A fictional ontology
PART TWO Reconfigurations
4 Present (A theatre about our person)
Inscape
Personal audio / immersive theatre
The hi-fi
cell
5 A sound from the suburbs (The curious story
of Colonel Gouraud)
An electric house
A baby cries
Anathema maranatha!
6 Picturing the scene
The scenic reconfiguration
The picturesque of sound
The Eidophusikon
PART THREE ‘Our thunder is the best’ (Living in the audio world)
7 Arty, exotic and gothic
Pop, art and the theatre of hearing
The theatre we daydream
Thunder on the ear
8 Inside out (Symbolism, cinema and The Bells)
The soundtrack, its prehistory and audiovisual morphology
My God, it’s coming out of your ears!
The free ear
9 Audio drama
The sound effect in its widest sense (the stuff of radio)
The theatre Corwin heard
Common sound
The Anatomy of Sound, by Norman Corwin
10 Conclusion
Audimus: the theatre we hear
References
Index
| Erscheinungsdatum | 21.02.2020 |
|---|---|
| Reihe/Serie | Performance and Design |
| Mitarbeit |
Herausgeber (Serie): Joslin McKinney, Professor Scott Palmer, Stephen A. Di Benedetto |
| Verlagsort | London |
| Sprache | englisch |
| Maße | 162 x 236 mm |
| Gewicht | 1040 g |
| Themenwelt | Kunst / Musik / Theater ► Theater / Ballett |
| ISBN-10 | 1-350-04590-X / 135004590X |
| ISBN-13 | 978-1-350-04590-3 / 9781350045903 |
| Zustand | Neuware |
| Informationen gemäß Produktsicherheitsverordnung (GPSR) | |
| Haben Sie eine Frage zum Produkt? |
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