Reviewed by: The Art of Theatrical Sound Design: A Practical Guide by Victoria Deiorio Jessica Greenberg The Art of Theatrical Sound Design: A Practical Guide. By Victoria Deiorio. London: Bloomsbury Methuen Drama, 2018; pp. 240. Victoria Deiorio's The Art of Theatrical Sound Design: A Practical Guide is a useful and accessible introduction to the theory and craft of theatrical sound design that would be an excellent text in a foundational sound-design course. Educators and designers at the college level, and perhaps the high school level, would find this book appropriate for introductory courses or for mentoring young designers. The core goals are well-stated in the introduction: "You will come to understand how what one hears can play into our emotional state and how the physics of sound plays upon our physical bodies … and more importantly, how sound designers use that knowledge to artistically support the visual expression of theatre art" (1). Deiorio draws on her extensive experience as a designer, composer, and educator to provide a foundation in sound theory, real-world production examples, and classroom exercises in her three-part text. Part 1 focuses on the theoretical foundation of sound and lays the ground work for the creative and collaborative processes discussed later in parts 2 and 3. Deiorio begins with an explanation of how humans experience sound and vibrations in the world, influenced by our physiology and our psychology, and then focuses on how an emotional response is evoked through that experience. Learning this context assists in moving previously subconscious impacts of sound to a conscious level, as Deiorio teaches the reader how to analyze and describe sounds in the world with new specificity and awareness. She discusses the physics of sound waves in architectural space and sound technology tools within the context of the choices that designers must make. This section gives an introduction to the qualities and functions of sound that designers can intentionally manipulate to evoke a specific response in their audiences. Part 2 offers exercises for practical classroom activities to help students build creative design skills. Exercises in this section first strengthen aural techniques and vocabulary, including ways to use ambiance, repetition, droning, and punctuation for dramatic effect. As a case study that she returns to throughout part 2 of the book, Deiorio breaks down her sound design for a professional production of the play Dr. Jekyll and Mr. Hyde and uses it to illustrate the sonic concepts presented both succinctly and effectively. Particularly effective is the section on "Theatrical Application of Themes," in which she discusses analyzing themes in a script and then mapping sonic qualities to those themes. The chapter includes a table of contrasting themes, or "Intellectual Dualities" matched to the "Sonic Dualities" one might choose to convey those themes in a sound design. For example, "good vs. evil" could be explored using "organic vs. inorganic" sounds, or "life vs. death" could be explored using "major key vs. minor key" music. After sharing her own process connecting themes to sonic qualities in Dr. Jekyll and Mr. Hyde, Deoirio leads the reader through the creation of a three-part mini soundscape using this process. With the step-by-step instructions and reflection questions provided, instructors could easily adapt this exercise into an in-class activity or assignment. After the artistic sound-design exercises, a section on sound dramaturgy follows. Deiorio argues that "[a]s artists, sound designers must have an understanding of the other artists' work they will be using or emulating, and the culture that evoked the art" (6), and this chapter offers a broad overview of historical trends in music from the 1600s to the present day. It is not meant to be comprehensive, but rather to offer a summary of form, structure, and sonic "special ingredients" featured in these music periods. Here, Deiorio draws connections between the aural techniques learned in the previous chapters and the qualities found in the musical [End Page 220] genres and historical periods. This section can be a helpful starting point for students before they conduct more specific research on their own. Part 3 explores the collaborative artistic process and also the practical responsibilities of being a theatrical sound designer. The...
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