This dissertation presents a notional model, as a taxonomic system, to describe dramaturgical elements of sound design in musicals. Developed in tandem with a prototype virtual environment interface - termed ‘The MaxStage’ - and authored in the Max/MSP software, the thesis uses Rebecca - the musical as a case study to test the efficacy of the model. Rebecca - the musical is in the form of a Broadway-style musical. Consisting of two Acts, the work is an adaptation of Daphne du Maurier’s novel of the same name. Whereas the technical art and practice of sound design for large-scale Musicals is increasingly well documented, the art form of sound design as a dramaturgical element in its own right, has received less attention. Analyses of the rôle of Sound-Designers in the theatre have tended to perpetuate the concept that sound design is commensurate with sound reinforcement. This tendency, however, delimits the creative potential of sound design to inform and elucidate the drama, as an extension of the musical score. A potentially more fluid interrelationship between music and sound design is postulated, as observed in the work of Sound-Designers for interactive computer games. 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.
| Identifer | oai:union.ndltd.org:ADTP/245502 |
| Creators | Purcell, Kevin J. |
| Source Sets | Australiasian Digital Theses Program |
| Language | English |
| Detected Language | English |
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