Sound effects in theater
Okumaya devam et...
← Previous revision | Revision as of 19:53, 2 May 2024 |
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| == Sound effects in theater == | == Sound effects in theater == |
| Zhang dives into how the shift from silent to sound films impacts viewer immersion, suggesting that while sound adds to movies, it might also limit imagination due to its structured nature. This idea, termed "imaginability," indicates that synced sounds might restrict how audiences interpret time and space in a film. Zhang also considers how this technological change has influenced both the design of theaters and the way we watch movies, proposing that synchronized sound has notably altered cultural and viewing practices. | Zhang dives into how the shift from silent to sound films impacts viewer immersion, suggesting that while sound adds to movies, it might also limit imagination due to its structured nature.<ref>{{Cite journal |date=2023-03-17 |title=Gone with the sound: critical perspectives on studying imaginability of American cinematic experience in the “sound” era, 1927-1935 |url=https://medcraveonline.com/AHOAJ/AHOAJ-05-00190.pdf |journal=Arts & Humanities Open Access Journal |language=English |volume=Volume 5 |issue=Issue 1 |doi=10.15406/ahoaj.2023.05.00190 |issn=2577-8250}}</ref> This idea, termed "imaginability," indicates that synced sounds might restrict how audiences interpret time and space in a film. Zhang also considers how this technological change has influenced both the design of theaters and the way we watch movies, proposing that synchronized sound has notably altered cultural and viewing practices. |
| Gao, Jianliang, Zhao, Yuezhe, and Pan, Lili explained how sound absorption in the stage area influences the acoustics within an opera house auditorium. Their research, using computer models and scale experiments, revealed that sound absorption significantly affects sound clarity and the time it takes for sound to fade, but not the volume. More absorption led to clearer sounds but quicker fades, showing the intricate dance between stage and auditorium acoustics. | Gao, Jianliang, Zhao, Yuezhe, and Pan, Lili explained how sound absorption in the stage area influences the acoustics within an opera house auditorium.<ref>{{Cite journal |last=Gao |first=Jianliang |last2=Zhao |first2=Yuezhe |last3=Pan |first3=Lili |date=2024-03 |title=The Effects of Sound Absorption of Stage House on the Acoustics of Auditorium in an Opera House |url=https://www.mdpi.com/2075-5309/14/3/718 |journal=Buildings |language=en |volume=14 |issue=3 |pages=718 |doi=10.3390/buildings14030718 |issn=2075-5309}}</ref> Their research, using computer models and scale experiments, revealed that sound absorption significantly affects sound clarity and the time it takes for sound to fade, but not the volume. More absorption led to clearer sounds but quicker fades, showing the intricate dance between stage and auditorium acoustics. |
| In his book "Sound: A Reader in Theatre Practice," Brown effectively connects the dots between theory and practice in the world of theater sound. He presents an engaging look into how sound design in theater has evolved, blending historical insights with current philosophical thoughts. Brown argues that the immersive nature of theater sound goes beyond traditional analysis, providing fresh perspectives on how sound interacts with societal contexts. | In his book "Sound: A Reader in Theatre Practice," Brown<ref>{{Cite journal |last=Curtin |first=Adrian |date=2010 |title=Sound: A Reader in Theatre Practice (review) |url=https://muse.jhu.edu/pub/1/article/413949 |journal=Theatre Journal |volume=62 |issue=4 |pages=706–707 |issn=1086-332X}}</ref> effectively connects the dots between theory and practice in the world of theater sound. He presents an engaging look into how sound design in theater has evolved, blending historical insights with current philosophical thoughts. Brown argues that the immersive nature of theater sound goes beyond traditional analysis, providing fresh perspectives on how sound interacts with societal contexts.<ref>{{Cite journal |last=Curtin |first=Adrian |date=2010 |title=Sound: A Reader in Theatre Practice (review) |url=https://muse.jhu.edu/pub/1/article/413949 |journal=Theatre Journal |volume=62 |issue=4 |pages=706–707 |issn=1086-332X}}</ref> |
| Brown offers a fresh look at Ovadija's exploration of sound in theater, questioning the traditional focus on visuals over audio. He points out the significant, yet often overlooked, role of sound in shaping theater's impact and experience. Brown pushes for a broader appreciation of sound's essence in theater, beyond just supporting visuals, to acknowledge its deep influence on storytelling and audience immersion. | Brown<ref>{{Cite journal |last=Brown |first=Ross |date=2014 |title=Dramaturgy of Sound in the Avant-Garde and Postdramatic Theatre by Mladen Ovadija (review) |url=https://muse.jhu.edu/pub/75/article/577318 |journal=Comparative Drama |volume=48 |issue=4 |pages=441–443 |issn=1936-1637}}</ref> offers a fresh look at Ovadija's exploration of sound in theater, questioning the traditional focus on visuals over audio. He points out the significant, yet often overlooked, role of sound in shaping theater's impact and experience. Brown pushes for a broader appreciation of sound's essence in theater, beyond just supporting visuals, to acknowledge its deep influence on storytelling and audience immersion. |
| Rost explores the criteria for 'good sound' in theater through handbooks and prioritization as guiding principles. These criteria not only dictate the creation and selection of sounds to complement the narrative and mood but also aim to maintain audience focus. Rost's analysis reveals underlying hierarchies in sound selection and emphasizes the need for further research into the historical and practical aspects of theater sound. | Rost<ref>{{Cite journal |last=Rost |first=Katharina |date=2016-10 |title=The shaping of ‘good sound’ in handbooks for theatre sound creation |url=https://www.tandfonline.com/doi/full/10.1080/23322551.2016.1226073 |journal=Theatre and Performance Design |language=en |volume=2 |issue=3-4 |pages=188–201 |doi=10.1080/23322551.2016.1226073 |issn=2332-2551}}</ref> explores the criteria for 'good sound' in theater through handbooks and prioritization as guiding principles. These criteria not only dictate the creation and selection of sounds to complement the narrative and mood but also aim to maintain audience focus. Rost's analysis reveals underlying hierarchies in sound selection and emphasizes the need for further research into the historical and practical aspects of theater sound<ref>{{Cite journal |last=Rost |first=Katharina |date=2016-10 |title=The shaping of ‘good sound’ in handbooks for theatre sound creation |url=https://www.tandfonline.com/doi/full/10.1080/23322551.2016.1226073 |journal=Theatre and Performance Design |language=en |volume=2 |issue=3-4 |pages=188–201 |doi=10.1080/23322551.2016.1226073 |issn=2332-2551}}</ref>. |
| == Recording == | == Recording == |
Okumaya devam et...