Sound Design for Richard III
- Thread startercvhstech
- Start date
pmolsonmus
Active Member
I love the Canadian Brass for pre show with anything Shakespeare. Take a listen!
http://www.amazon.com/gp/dmusic/med...=CD&catalogItemType=track&tag=controlbooth-20
[FONT=.HelveticaNeueUI]http://www.amazon.com/English-Renaissance-Music-Canadian-Brass/dp/B0000026ZD
great stuff[/FONT]
http://www.amazon.com/gp/dmusic/med...=CD&catalogItemType=track&tag=controlbooth-20
[FONT=.HelveticaNeueUI]http://www.amazon.com/English-Renaissance-Music-Canadian-Brass/dp/B0000026ZD
great stuff[/FONT]
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When working with Shakespeare just about everything is up in the air. What is the directors concept on the show? Are you doing it as it was performed at the Globe or are you going the way "on the moon" route? What the audience hears on the way in sets the mood for the night to a degree. Granted, it does not have the same impact as how you decide to score the play itself.
Joshualangman
Active Member
What is your concept?
Talk to your director and dramaturg, if there is one. What are they trying to say with this production? How have the characters changed from the beginning to the end of the play, and when are the key moments that those changes happen?
Then, make design choices that support the concept and story of the production. Sound design, especially with classics, is often more about following and articulating the inner journeys of the characters than providing a realistic atmosphere. So as far as preshow, you have to decide what you want to communicate to the audience as they enter. (Remember, it doesn't have to be music. It can also be sound, or a combination of the two.) But that depends on what your design concept is — in fact, your response to this kind of creative challenge is what makes you unique as a designer, so no one else can solve it for you.
Talk to your director and dramaturg, if there is one. What are they trying to say with this production? How have the characters changed from the beginning to the end of the play, and when are the key moments that those changes happen?
Then, make design choices that support the concept and story of the production. Sound design, especially with classics, is often more about following and articulating the inner journeys of the characters than providing a realistic atmosphere. So as far as preshow, you have to decide what you want to communicate to the audience as they enter. (Remember, it doesn't have to be music. It can also be sound, or a combination of the two.) But that depends on what your design concept is — in fact, your response to this kind of creative challenge is what makes you unique as a designer, so no one else can solve it for you.
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