i've been meaning to put up a post for a while on the process of sound design, and now - while i'm in the middle of one, yet stalled - seems as good a time to do it as any (i'm stalled temporarily because the internet is down at the coffeeshop and i need to download files). Designing sound just might be my favorite thing to do for the theater, altho costuming runs a close second. As i tweeted last night, sound design is like DJ-ing - only different.
The process of putting together the soundscape for a play begins at the very first read-through. Listening to the actors go through the script, even at this early stage, can give you some ideas of where emphasis should fall, and what sort. Usually at this point, the only notes i make are emotional states: 'tense', 'mysterious', 'sexy'. However, if a particular song comes to mind, i'll put that down too, tho perhaps not right in the margins (ProTip: make notes in pencil!).
The next step is finding a cornerstone piece. Maybe this is suggested by a particular line that reminds me of a lyric; maybe it will come from a movie i've recently watched, or a CD i've been rocking lately. Quite possibly the director will have some suggestions, for types of tracks if not particular pieces. Whatever the track, it will sum up the overall mood of the play for me. Once i have this defining piece, the rest of the tracks i use will largely be grouped around it. Its not impossible that my cornerstone piece may not even get used in the play itself, altho if not it probably *will* show up in the pre- or post-show music.
For the play i'm working on now, the cornerstone was a piece by Brian Eno (which hm, come to think of it - i haven't found a place for it yet), 'Lantern Marsh'. Brian Eno leads me naturally to Robert Fripp, and i found a CD at the library i hadn't heard before, "That Which Passes". David Bowie associates with both of them, and Phillip Glass created a symphony based on the album "Low", which Bowie and Eno did together. 'Low' was recorded during Bowie's 'Berlin period', and Berlin suggests one of my favorite movies, "Wings of Desire" - and so on.
Now, this particular play revolves around the idea of instant media celebrities, so the director wanted to incorporate some NPR-style soundscapes. So while my overall mood was being created by the Bowie/Fripp/Eno/Berlin axis, a secondary thematic current has to be built around the notion of documentary soundtracks: lots of ambient soundscapes and sound effects. Often a script will call for particular sounds and even songs - i'm less happy when the playwright includes specific songs in the script, because i seldom agree with their tastes and choices, but you work with it. i found a site that offered free themes for use in podcasts, and was able to grab some things from there for the news aspect; other online sites provide canned audience reactions.
As you might expect, an NPR-type jazz intro theme doesn't in the *least* blend with the Teutonic dark ambient soundscape. This is good. Now, we can heighten the contrast between the fakely-cheerful media gloss on a subject, and the bleak discordance the subject is actually experiencing inside - a discordance that will become increasingly apparent as the flow of the narrative reveals itself.
This brings me back to the similarities with DJing. When i did college radio, i always preferred the late night slots, so that i could stretch out and put together hour-long sets if the mood was right. i would program based on my own mood, of course, but my mood was shaped by the group around me (the strange little tribe that called itself Thee Dark Lodge) - and i would begin to discover during those halcyon nights just how much an overall mood might pervade a scene, a town, a region. i would tap into an emotional state and program pieces that matched that state - which, in turn, would further SHAPE that state for anyone who happened to be tuned in to that night's show.
With sound design, i'm still shaping the flow of emotional reaction in my audience, although i only carry part of the responsibility for that influence. The actors themselves have the bulk of it; the lights, costume, set and actions contribute as well. Ideally, my sound design choices will work with the action onstage, serving functionally as an amplifier to what's being presented. Its a well-known cliche that movie music will clue you in to the action: Uh oh, here comes the scary part! Scoring for a play serves exactly the same function. Music and sound can indicate a mood, but they can also indicate a place – which may be somewhere different from where the action is occurring – a time (likewise) – or a particular character. You probably won’t use a character theme for every entrance, but if you use it a couple times, then that music can ‘refer’ to the character even if they’re offstage.
If you’re curious how this all comes together, “Valparaiso” by Don DeLillo opens Friday, March 18th at convergence-continuum. Doors at 7:30, curtain at 8:00 pm. Want to make a night of it? The Tremont TapHouse is just down the street, and a number of other fine restaurants like Properity, Bac, and Grumpy’s are right around the corner. And sadly, i am not getting kickbacks from any of them, i just like to promote good LOCAL entertainment. If i don’t see you there, i’ll catch you back here sometime real soon!
