About the Book
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 65. Chapters: A2 (theater), Actor, Artistic director, Art director, Backup dancer, Call boy (theatre), Carpenter (theatre), Charge scenic artist, Choreography, Costume coordination, Costume design, Damian Whitewood, Dramaturge, Dresser (theatre), Electrician (theatre), Fly captain, Fly crew, Front of House, Helena Waldmann, House management, Kuroko, Lighting designer, Light board operator, List of theatre personnel, Make-up artist, Master electrician, Mime artist, Monologist, Movement director, Pit orchestra, Playwright, Production coordinator, Production management (theater), Production team, Projectionist, Prompter, Prompt (theatre), Property designer, Property master, Publicist, Running crew, Scenic design, Scenic painting, Scenographer, Set construction, Shamakhi dancers, Sonoplastia, Sound design, Sound operator, Spotlight operator, Stagehand, Stage management, Technical crew, Technical director, Technical Master, Theatre consultant, Theatre director, Theatre practitioner, Theatrical company management, Theatrical producer, Theatrical technician, Unit production manager, Vedette (entertainer), Video design, Wardrobe supervisor, West End theatre producer. Excerpt: Sound design is the process of specifying, acquiring, manipulating or generating audio elements. It is employed in a variety of disciplines including filmmaking, television production, theatre, sound recording and reproduction, live performance, sound art, post-production and video game software development. Sound design most commonly involves the manipulation of previously composed or recorded audio, such as music and sound effects. In some instances it may also involve the composition or manipulation of audio to create a desired effect or mood. A sound designer is one who practices the art of sound design. Karel Dujardins, commedia dell'arte show, 1657 The use of sound to evoke emotion, reflect mood and underscore actions in plays and dances began in prehistoric times. At its earliest, it was used in religious practices for healing or just for fun. In ancient Japan, theatrical events called kagura were performed in Shinto shrines with music and dance. Plays were performed in medieval times in a form of theatre called Commedia dell'arte, which used music and sound effects to enhance performances. The use of music and sound in the Elizabethan Theatre followed, in which music and sound effects were produced off stage using devices such as bells, whistles, and horns. Cues would be written in the script for music and sound effects to be played at the appropriate time. Italian composer Luigi Russolo built mechanical sound-making devices, called intonarumori, for futurist theatrical and music performances starting around 1913. These devices were meant to simulate natural and man-made sounds, such as trains and bombs. Russolo's treatise, The Art of Noises, is one of the earliest written documents on the use of abstract noise in the theatre. After his death, his intonarumori were used in more conventional theatre performances to create realistic sound effects. Possibly the first use of recorded sound in the theatre was a phonograph playing a baby's cry in a London theatre
