Presentation Title

UNO Theatre Presents: 'Dracula' by Steven Dietz (Sound Design)

Advisor Information

D. Scott Glasser

Location

Dr. C.C. and Mabel L. Criss Library

Presentation Type

Poster

Start Date

4-3-2016 2:30 PM

End Date

4-3-2016 4:00 PM

Abstract

Theatrical production teams are always keen to consider the visual aspects of developing work. Set, properties, lights, costumes, make-up and hair – all visible supports to the dramatic text. While these design areas engage the optic nerve, audio design serves to satisfy a separate, but equally important, human sense – hearing. My sound design for Dracula by Steven Dietz was conceived with the intention of becoming a new major “player” within the production. Before the house lights would dim, audiences could understand that the journey ahead would be expressly affected by auditory perception. The story takes place in several locations over a period of many days. Since the scenic design decisions were markedly minimal in order efficiently move between scenes, we decided that the soundscape for this production would require particular care to ensure that the audio elements heightened the performance at all times. Sonic choices in this production of Dracula were meticulously regarded. Original piano music underscores a complex spectrum of sounds, and every audible element serves to support the story. My design focuses intently upon substantial aural communication.

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COinS
 
Mar 4th, 2:30 PM Mar 4th, 4:00 PM

UNO Theatre Presents: 'Dracula' by Steven Dietz (Sound Design)

Dr. C.C. and Mabel L. Criss Library

Theatrical production teams are always keen to consider the visual aspects of developing work. Set, properties, lights, costumes, make-up and hair – all visible supports to the dramatic text. While these design areas engage the optic nerve, audio design serves to satisfy a separate, but equally important, human sense – hearing. My sound design for Dracula by Steven Dietz was conceived with the intention of becoming a new major “player” within the production. Before the house lights would dim, audiences could understand that the journey ahead would be expressly affected by auditory perception. The story takes place in several locations over a period of many days. Since the scenic design decisions were markedly minimal in order efficiently move between scenes, we decided that the soundscape for this production would require particular care to ensure that the audio elements heightened the performance at all times. Sonic choices in this production of Dracula were meticulously regarded. Original piano music underscores a complex spectrum of sounds, and every audible element serves to support the story. My design focuses intently upon substantial aural communication.