Covering every phase of a theatrical production, this fourth edition of Sound and Music for the Theatre traces the process of sound design from initial concept through implementation in actual performances. The book discusses the early evolution of sound design and how it supports the play, from researching sources for music and effects, to negotiating a contract. It shows you how to organize the construction of the sound design elements, how the designer functions in a rehearsal, and how to set up and train an operator to run sound equipment. This instructive information is interspersed with…mehr
Covering every phase of a theatrical production, this fourth edition of Sound and Music for the Theatre traces the process of sound design from initial concept through implementation in actual performances. The book discusses the early evolution of sound design and how it supports the play, from researching sources for music and effects, to negotiating a contract. It shows you how to organize the construction of the sound design elements, how the designer functions in a rehearsal, and how to set up and train an operator to run sound equipment. This instructive information is interspersed with 'war stores' describing real-life problems with solutions that you can apply in your own work, whether you're a sound designer, composer, or sound operator.
Deena Kaye has composed, designed sound and directed music for more than 200 productions at theatres nationally and internationally, including The Public Theater and the Berkeley Repertory Theatre. She has lectured and been a guest artist at numerous universities around the country and is an audition, vocal and dialect coach in New York City. James LeBrecht is the president of Berkeley Sound Artists and has served as the resident sound designer at the Berkeley Repertory Theatre. His more than 100 sound designs have been heard at dozens of theatres throughout the world.
Inhaltsangabe
Contents Foreword by Peter Sellars Preface to the First Edition Preface to the Second Edition Preface to the Third Edition Preface to the Fourth Edition Introduction to the First and Second Edition by Richard Peaslee Introduction to the Third Edition by Mark Lamos Introduction to the Fourth Edition by Oskar Eustis Acknowledgments The Art of Looking with the Ear by Tazewell Thompson 1. The Evolution of Sound Design 2. The Foundation of Sound Design 3. Developing the Concept and Design 4. Research, Resources, and Selection 5. The Sound Plot Magic Sheets and Other Paperwork 6. Working with the Theatre Company 7. Preparing to Build the Cues 8. Building the Show 9. Rehearsals 10. Running the Show 11. Approaches and Techniques Feedback: A Directors' and Playwrights' Forum More Feedback: A Sound Designers' and Composers' Forum No More Feedback: A Sound Reinforcement Forum Sound Off: A Sound Operators' and Stage Managers' Forum Appendix: Sounds Procedures Checklist Glossary Index Please visit our Facebook Group: Sound and Music for the Theatre
Contents Foreword by Peter Sellars Preface to the First Edition Preface to the Second Edition Preface to the Third Edition Preface to the Fourth Edition Introduction to the First and Second Edition by Richard Peaslee Introduction to the Third Edition by Mark Lamos Introduction to the Fourth Edition by Oskar Eustis Acknowledgments The Art of Looking with the Ear by Tazewell Thompson 1. The Evolution of Sound Design 2. The Foundation of Sound Design 3. Developing the Concept and Design 4. Research, Resources, and Selection 5. The Sound Plot Magic Sheets and Other Paperwork 6. Working with the Theatre Company 7. Preparing to Build the Cues 8. Building the Show 9. Rehearsals 10. Running the Show 11. Approaches and Techniques Feedback: A Directors' and Playwrights' Forum More Feedback: A Sound Designers' and Composers' Forum No More Feedback: A Sound Reinforcement Forum Sound Off: A Sound Operators' and Stage Managers' Forum Appendix: Sounds Procedures Checklist Glossary Index Please visit our Facebook Group: Sound and Music for the Theatre
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