ABSTRACT |
This paper presents a taxonomic system model to describe dramaturgical elements of sound design in theatre. It was developed in tandem with a prototype virtual theatre environment interface termed ‘The MaxStage’ ; authored in Cycling 74’s Max/MSP software, to demonstrate the efficacy of the model.
The design paradigm of The MaxStage encompasses the ontologies of auditory listening theory, semiotic theories of dramatic interaction and the semantics of human–computer interface design theory. The taxonomy for the system model follows on from work described by, but not limited to, John Bracewell (1992), Brenda Laurel (1993), Denis Smalley (1996), Theo Van Leeuwen (1999), Rick Thomas (2001) and Colin Beardon (2004)
The creative potential of sound design, as opposed to diegetic or non-diegetic sound effects, is gaining increasingly significant critical attention for the ability to inform and elucidate the mimetic process. In this presentation, a potentially more fluid interrelationship between music and sound design is postulated as observed in the work of Sound-Designers for film and next-generation gaming platforms. As an electronic form of non-linear theatre, it is argued that new methodologies in adaptive-audio techniques; increasingly evident in computer gaming design, are relevant in defining an invigorated dramaturgy for sound design within the stage theatrical context.
Workshop Leader: Kevin Purcell
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