DOCSLIB.ORG

Designing Sound Pdf, Epub, Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Designing Sound Pdf, Epub, Ebook DESIGNING SOUND PDF, EPUB, EBOOK Andy Farnell | 688 pages | 21 Jun 2012 | MIT Press Ltd | 9780262014410 | English | Cambridge, Mass., United States Designing Sound PDF Book So there are different standards. We design graphics and sounds reflecting how we perceive these two distinct sensory worlds. Please help improve it or discuss these issues on the talk page. Field recording is capturing sound from environments outside your studio to bring into your compositions. Lighting design Lighting technician Master electrician. Experiment with mic choices and positioning, signal chains or any other off- the-wall techniques you can think of. Ashanya Indralingam June 18, Algorithm design Behavioural design Boiler design Database design Drug design Electrical system design Experimental design Filter design Geometric design Job design Integrated circuit design Circuit design Physical design Power network design Mechanism design Nuclear weapon design Nucleic acid design Organization design Process design Processor design Protein design Research design Social design Software design Spacecraft design Strategic design Systems design. This allows for a broader expression in sounds, more similar to that in films, because this way the sound designer can e. For example, the most computational resources are usually devoted to graphics, which in turn means that the sound playback is often limited to some upper memory consumption as well as CPU use limits. Grokking Algorithms is a friendly take on this core computer science topic. About this Item: Applied Scientific Press, Just use your mouth to make noises or bang on things with your hands. Italian composer Luigi Russolo built mechanical sound-making devices, called " intonarumori ," for futurist theatrical and music performances starting around Book is in Used-Good condition. Sound design, as a distinct discipline, is one of the youngest fields in stagecraft , second only to the use of projection and other multimedia displays, although the ideas and techniques of sound design have been around almost since theatre started. With an initial sound library for the project, it is finally time to start actually scoring to picture. The sound designer for a play and the production's director work together to decide the themes and emotions to be explored. Sound design for musicals often focuses on the design and implementation of a sound reinforcement system that will fulfil the needs of the production. Hearing is a mechanical stimuli — a visceral sensation that is directly connected to how we feel. Brand new Book. Designing Sound By Andy Farnell A practitioner's guide to the basic principles of creating sound effects using easily accessed free software. Experiment by recording anything and everything—you never know what could come in handy where! Seller Inventory SHX. But sound film and TV sound design often requires creating new sounds. It is basically playing around with your instruments and gear while recording yourself. And it cheapens the experience. Other senses, such as vision and touch may be employed to potentialize this effect, but our hearing is the main trigger for such a visceral reaction. Request Permissions Exam copy. Resample your sounds after tweaking them with effects to form completely new textures. Korey Pereira: Johnnie, thanks for taking the time to talk to me and the designingsound. The most useful resource on Pure Data that I've come across. Traditional Japanese Theater. Rafael De Cardenas, visionary designer, and Sahra Motalebi, sound artist, combined to bring an eerily unsettling, yet super aesthetic environment … [Read More Designing with sound with Aaron Day February 15, Transcript. Add to Basket New Condition: New. There are plenty of ways to get creative during the recording process itself. Backwards audio will never not be trippy! Which I think is a wonderful little phrase. Because animation and computer graphics offer filmmakers the freedom to create whatever world they desire, most things are lightsabers. This is because sometimes there exists a difference in interests between artists calling themselves composers and artists calling themselves electronic musicians or sound designers. News Total immersion has been a keyword for the Battlefield game series. Designing Sound Writer Born and raised in Rio de Janeiro, Pedro now heads up the Amsterdam branch of Antfood and his work has garnered multiple Cannes Lions awards. How does it sound at different pitches? An excellent, practical introduction to sound synthesis methods. Several factors have led to the promotion of audio production to this level, when previously it was considered subordinate to other parts of film:. It is employed in a variety of disciplines including filmmaking , television production , video game development , theatre , sound recording and reproduction , live performance , sound art , post-production , radio and musical instrument development. Typography is often described in musical terms, both are used as a form of communication and blend multiple layers to create an end result. In the application of electroacoustic techniques e. You work with — or research sketching. Continue shopping. Even so, sound design has a few meanings depending on the context and situation. Share Share Share email. Understanding how humans react to sound is the first step in creating a successful interaction between us and the things we create. Sound track creation. That means that each parameter decision is a sound design choice. MIDI and digital audio technology have contributed to the evolution of sound production techniques in the s and s. United Kingdom. So any sort of changes or improvements or features you might have wanted to include that would benefit the audible experience of that product were already set and stone. Audio Engineering Society. Start your free trial. Other senses, such as vision and touch may be employed to potentialize this effect, but our hearing is the main trigger for such a visceral reaction. Deitel, Paul Deitel, Harvey Deitel. Storyboard artist. Grokking Algorithms is a friendly take on this core computer science topic. You already have a very unique perspective on what it means to exist; with practice you should be able to express exactly that, just like in any other language. Noises Off. When it comes to sound design, you are creating a completely novel interaction between an action or object and a sound. Designing Sound Reviews We design graphics and sounds reflecting how we perceive these two distinct sensory worlds. Some productions might use music only during scene changes, whilst others might use sound effects. Our BookSleuth is specially designed for you. More information about this seller Contact this seller 3. Share Share Share email. In theatre sound , features of computerized theatre sound design systems have also been recognized as being essential for live show control systems at Walt Disney World and, as a result, Disney utilized systems of that type to control many facilities at their Disney-MGM Studios theme park, which opened in This article has multiple issues. May Learn how and when to remove this template message. Sound design is so open-ended that almost any process in music production can be used for it. Whether your weapon of choice is synthesis, sampling, effects or otherwise, everyone can benefit from taking a hands-on approach to sound design. In so doing, it allowed those who called themselves sound designers to compete for contract work and to negotiate higher salaries. In the contemporary music business, especially in the production of rock music , ambient music , progressive rock , and similar genres , the record producer and recording engineer play important roles in the creation of the overall sound or soundscape of a recording, and less often, of a live performance. Different synthesis methods are discussed, analyzed, and refined throughout. View basket. After his death, his intonarumori' were used in more conventional theatre performances to create realistic sound effects. Yes, sound shapes how we experience the world in very unique ways. This article possibly contains original research. May The conversations: Walter Murch and the art of editing film. Perfectly balanced between theory and practice, the book will help students and professionals alike to develop and refine the skills and understanding that they require to synthesize the worlds of sounds around them and the sounds in the imagined worlds of advertising, TV, film, computer games, and their own original audio art. Graphic design is generally associated with ergonomics and functionality. So any sort of changes or improvements or features you might have wanted to include that would benefit the audible experience of that product were already set and stone. New copy - Usually dispatched within 4 working days. But how do you follow the intended narrative if you can look anywhere, go anywhere? Add to Basket New Condition: New. On some, particularly more electronic music projects, artists and producers in more conventional genres have sometimes sourced additional help from artists often credited as "sound designers", to contribute specific auditory effects, ambiences etc. Read more stories:. Samplers almost always contain built-in synthesis tools like filters and envelope generators. Views Read Edit View history. Many sound designs for plays also require significant sound reinforcement see Sound Design for Musicals. There are plenty of ways to get creative during the recording process itself. Results
Load more

Recommended publications
  • The Sound Design Guide
    The Sound Design Guide a transparent resource for sound & fire information get your LEED on! Scan this code to access our LEED credit calculator and score points for your project! if your walls could talk they would ask for us Architects and specifi ers face many design challenges, knowing what your walls really want shouldn’t be one of them. Walls and ceilings are not something just to hold up paint, they play a critical role in your building design. As a manufacturer, we have taken great strides in simplifying this part of the building envelope by providing new comprehensive tools and rich online resources to you, the architect and specifi er. Our product specifi cations and sustainability tools, available at www.PABCOgypsum.com and ARCAT, have been paired with new continuing education courses that cover everything from sound and acoustic challenges to discussions related to new 2015 industry standards. Meet your design goals with ease. Be it our trusted FLAME CURB®, light-weight LITECORE®, protective PABCO GLASS® or our award winning QuietRock®; we have what the job demands. what the job demands PABCO® Gypsum technical services: 866.282.9298 www.PABCOgypsum.com QuietRock® acoustical products: 800.797.8159 www.QuietRock.com get your LEED on! Scan this code to access our LEED credit calculator and score points for your project! if your walls could talk they would ask for us Architects and specifi ers face many design challenges, knowing what your walls really want shouldn’t be one of them. Walls and ceilings are not something just to hold up paint, they play a critical role in your building design.
    [Show full text]
  • ENT 4470 - Sound Design 2 Cl Hrs, 2 Lab Hrs, 3 Cr Pre Or Co-Requisite: ENT 2370
    New York City College of Technology, CUNY Entertainment Technology Dept. 186 Jay Street, Room V-203 Brooklyn, NY 11201 (718) 260-5588 http://www.entertainmenttechnology.org/ ENT 4470 - Sound Design 2 cl hrs, 2 lab hrs, 3 cr Pre or Co-requisite: ENT 2370 Course Description: An investigation of the techniques and practices of sound design, emphasizing the use of modern computer-based recording and playback techniques. Sampling, hard-disk playback systems, sequencing, MIDI, systems integration, the use of surround systems, low- frequency elements and specials to achieve a variety of effects will be covered. Sound design practices will include script analysis, sound cue construction, integration with director and communication with other members of the design team. Additional areas of concentration will include development of cues based on functional, transitional, underscoring, surreal and hyper-real techniques; integration of musical and soundscape aesthetics; practice on Macintosh computer platforms using Digital Performer, Pro-Tools and a variety of plug-ins; programming of automation equipment and development of robust redundant systems capable of sustaining a high-use theatrical environment. Course Objectives: Students who successfully complete this course will be able to: • Analyze a proposed project (e.g. a play script) for its technical and storytelling needs. • Collaborate effectively as part of a production team. • Select and create the appropriate sound and music cues based on type and usage. • Determine the proper playback, reinforcement, and/or public address system strategy as applicable to specific projects. • Select and program the appropriate automation system for a specific project. • Design and implement the three systems—show, communications, and monitoring— necessary for all projects.
    [Show full text]
  • A New Paradigm for Sound Design
    Proc. of the 9th Int. Conference on Digital Audio Effects (DAFx-06), Montreal, Canada, September 18-20, 2006 A NEW PARADIGM FOR SOUND DESIGN Ananya Misra, Perry R. Cook†, Ge Wang Department of Computer Science (†also Music) Princeton University, Princeton, USA {amisra|prc|gewang}@cs.princeton.edu ABSTRACT separate a sound scene into the following components: (1) Deter- A sound scene can be defined as any “environmental” sound that ministic events: composed of highly sinusoidal components, of- has a consistent background texture, with one or more potentially ten perceived as pitched events, such as a bird’s chirp or a baby’s recurring foreground events. We describe a data-driven framework cry; (2) Transient events: brief non-sinusoidal events, such as foot- for analyzing, transforming, and synthesizing high-quality sound steps; (3) Stochastic background: the “din” or residue remaining scenes, with flexible control over the components of the synthe- after the removal of deterministic and transient components, such sized sound. Given one or more sound scenes, we provide well- as wind, ocean waves, or street noise. defined means to: (1) identify points of interest in the sound and TAPESTREA analyzes and synthesizes each component sepa- extract them into reusable templates, (2) transform sound compo- rately, using algorithms suitable to the component type. It applies nents independently of the background or other events, (3) contin- spectral modeling [1] to extract deterministic events, and time- ually re-synthesize the background texture in a perceptually con- domain analysis to detect transient events. Each event can then vincing manner, and (4) controllably place event templates over be transformed and synthesized individually.
    [Show full text]
  • Sean Michael Savoie ˘ Lighting Designer 7358 Pershing Ave
    Sean Michael Savoie ˘ Lighting Designer 7358 Pershing Ave. Apt 2W z St. Louis, MO 63130 z 513.319.8407 [email protected] Professional Vita Employment Washington University in St. Louis St. Louis, MO Lighting Designer / Production Manager (Summer 2007 ˘ Present) • Teach all Lighting Design courses and others as assigned • Lead Designer for main stage productions and supervisor of student designs • Production Manager for Performing Arts Department • Design / Technology Coordinator The Muny St. Louis, MO Production Manager ( 2008 ˘ 2011) • Manage build, installation and tech of a very demanding seven show summer season • Coordination between IATSE crew and Broadway designers, directors and stage managers • 11,000 seat performance venue; over $7 million budget; Broadway’s top performers • Oversee design internship company • Nation’s oldest and largest outdoor musical theatre University of Cincinnati, College Conservatory of Music Cincinnati, OH Production Manager / Adjunct Instructor (Autumn 2005 ˘ Summer 2007) • Technical coordinator of all CCM Dance & Preparatory Department concerts • Technical coordinator of all CCM Unsupported (non-mainstage) workshops for Drama, Opera and Musical Theatre • Average academic year will include about 14 productions • Coordinate and manage student crews for any non-university performance group • Instructor of Stage Lighting I in BFA curriculum (full year course) • Instructor of Introduction to Lighting (quarterly) • Numerous lectures on Architectural Lighting Design & Practice Cincinnati Fringe Festival Cincinnati,
    [Show full text]
  • Sara Leino, Iald 1
    FOR IMMEDIATE RELEASE CONTACT JESSICA BRAZAS IALD MARKETING + COMMUNICATIONS MANAGER PHONE +1 312 527 3677 EMAIL [email protected] IALD WELCOMES NEW PROFESSIONAL MEMBERS CHICAGO, ILL. USA (29 April 2015) – The IALD is pleased to welcome the following Professional- level members to the IALD. IALD Professional membership is available to architectural lighting designers who have at least five years of experience in the field in the role of senior designer or above in an independent consulting practice. IALD members worldwide must meet the highest educational and ethical standards in order to belong to this prestigious community, and are accepted as Professional members on the strength of their portfolios and recommendations. The following members were accepted to the IALD between 20 MARCH and 15 APRIL 2015: SARA LEINO, IALD Lighting Designer Granlund Helsinki, Finland www.grandlund.fi Sara Leino is a lighting designer at Granlund, a leading building service company in Helsinki, Finland. Sara studied lighting and sound design at the Theatre Academy of the University Arts in Helsinki, Finland. Following graduation, she worked as a freelance designer at drama theatres, contemporary dance companies and classical music performance centers. Since 2007, Sara has dedicated her time fully to architectural lighting design and has designed a wide range of lighting projects, including interior and outdoor spaces, residential, hotel, office, retail and urban projects. Several of her projects have won lighting design awards, including an Illumination Spot Award in 2011 for the exterior lighting of the Suanalahti Children’s House in Espoo, Finland. Sara is a member of the Illuminating Engineering Society (IES) of Finland and a member of the Association of Lighting and Sound Designers of Finland.
    [Show full text]
  • Oldenburger Beiträge Zur Geschlechterforschung Band 12
    Oldenburger Beiträge zur Geschlechterforschung Band 12 Die Schriftenreihe „Oldenburger Beiträge zur Geschlechterforschung“ wird seit September 2004 vom Zentrum für interdisziplinäre Frauen- und Geschlechterforschung an der Carl von Ossietzky Universität Oldenburg (ZFG) herausgegeben. In variablen Abständen erschei- nen Bände von Wissenschaftlerinnen und Wissenschaftlern aus dem Kreis des ZFG zu aktuellen Fragestellungen, neueren Untersuchungen und innovativen wissenschaftlichen Projekten der Frauen- und Ge- schlechterforschung. Vor allem für Nachwuchswissenschaftlerinnen und -wissenschaftler bietet die Schriftenreihe die Möglichkeit, Projekt- berichte, Diplomarbeiten oder Dissertationen zu veröffentlichen. Herausgegeben vom Zentrum für interdisziplinäre Frauen- und Geschlechterforschung an der Carl von Ossietzky Universität Oldenburg (ZFG) Musik und Emanzipation Festschrift für Freia Hoffmann zum 65. Geburtstag Herausgegeben von Marion Gerards und Rebecca Grotjahn BIS-Verlag der Carl von Ossietzky Universität Oldenburg Gedruckt mit freundlicher Unterstützung der Mariann Steegmann Founda- tion Zürich sowie des Zentrums für interdisziplinäre Frauen- und Ge- schlechterforschung an der Carl von Ossietzky Universität Oldenburg Oldenburg, 2010 Verlag / Druck / Vertrieb BIS-Verlag der Carl von Ossietzky Universität Oldenburg Postfach 2541 26015 Oldenburg E-Mail: [email protected] Internet: www.bis-verlag.de ISBN 978-3-8142-2196-0 Inhalt Grußwort für Freia Hoffmann zum 65. Geburtstag aus dem Zentrum für interdisziplinäre Frauen- und Geschlechterforschung an der Carl von Ossietzky Universität Oldenburg 9 Musik und Emanzipation Freia Hoffmann zum 65. Geburtstag 11 Geschlechterpolaritäten in der Musik Birgit Kiupel Die unbekannte Komponistin 20 Andreas Kisters Singt da ein Mann oder eine Frau? Anmerkungen zur Stimme in der mediterranen Volksmusik 23 Kadja Grönke Über das Werk zur Person. Čajkovskijs Romanzen op. 73 33 Fred Ritzel Über die (vielleicht) populärste Melodie einer Komponistin im 20.
    [Show full text]
  • High Performance Building Guidelines
    Executive Acknowledgements Honorable Rudolph W. Giuliani Mayor City of New York Luis M. Tormenta, P.E. Commissioner New York City Department of Design and Construction Michael Burton, P.E. Deputy Commissioner New York City Department of Design and Construction Hillary Brown, AIA Assistant Commissioner New York City Department of Design and Construction Fredric Bell, AIA Assistant Commissioner New York City Department of Design and Construction Andrea Woodner Founding Director Design Trust for Public Space Commissioner’s Foreword To the Reader: As we enter the new century, the City of New York is in a unique position to improve the overall quality and performance of public buildings that are constructed and renovated by the Department of Design and Construction (DDC). We can do that by increasing our reliance on energy and environmentally efficient construction technologies and practices, by taking advantage of the strides that have been made over the past few years in the field of ‘green buildings.‘ Key to the success of that effort is our ability to make responsible investments to improve the environment without constraining economic activity. We are now in a position to do that, and, under the leadership of Mayor Rudolph W. Giuliani, are moving ahead to make New York City an environmental prototype for the 21st Century. These Guidelines outline strategies and techniques that can move us toward that goal. They set out a range of ’best practices‘ for planning, designing, constructing and operating healthier, more energy – and resource – efficient facilities. Such high performance buildings can earn long term life cycle savings for New York City, and may also help stimulate the markets for environmentally efficient technologies.
    [Show full text]
  • Basics of Sound Design for Video Games Michael Cullen About Me
    Basics of Sound Design for Video Games Michael Cullen About Me - BFA in Film Production (Sound Design emphasis), Minor in Music - Worked for Sony, Avid, NBCUniversal (TV show Grimm) - Worked on over 35 short films/docs - nominated for Student Academy Award - Finalist for Cinema Audio Society’s Recognition Award for best sound mixing - Performed / worked in over 80 live theater musicals/shows - Just finished UCI’s Sankofa video game’s first level! Sound Designer Jobs For our purposes, there are two separate jobs that work with sound while making a video game: - Sound Designer - Sound Implementer The creation and implementation of sounds can be handled by both positions but for our purposes it’s easiest to divide the tasks into two separate jobs. Sound Design What is Sound Design? Instead of defining sound design, it’s best to talk about what it can do: - suggest a mood, evoke a feeling - indicate a geographical locale - define a character - mirror or exaggerate how things sound in real life - clarify the narrative Although we may not think about the sounds we hear everyday, we recognize them readily and have preconceptions about how things should sound. Families ● DX = Dialogue - any verbal speech in the game. ● MX = Music - any non-diegetic music. ● SFX = Sound Effects (Hard Effects) - any sound from an real-life object. ● FOL = Foley - any sound effect that the player makes. ● BG = Backgrounds (ambience) - noise from the environment. Generally every video game should have every type of sound family represented. Some sounds could fit into
    [Show full text]
  • Art - Animation (ARTA) 1
    Art - Animation (ARTA) 1 ARTA 326 Intermediate Filmmaking3 Credits ART - ANIMATION (ARTA) Continuation of ARTA 224. Exploration of intermediate filmmaking techniques and aesthetics. ARTA 123 Lights! Camera! Action3 Credits Prerequisites: ARTA 223 and ARTA 225. Exploration of fundamental components of animation, digital filmmaking, Terms Typically Offered: Fall. and motion design. Students explore character design, styles of ARTA 327 Sound Design and Post-Production3 Credits animation, digital filmmaking, and motion design while focusing on the Exploration of the relationship between sound and image through post- elements of light, sound, and motion as key time-based design factors. production techniques including Editing, Coloring, and Sound Design. Individual and group projects. Create Foley sound effects for short films, podcasts, and video games. Fees: Yes. Prerequisites: ARTA 322, ARTA 324, ARTA 325, and ARTA 326. ARTA 222 Principles of Digital Photography3 Credits Terms Typically Offered: Spring. Exploration of photographic principles through the use of the digital ARTA 396 Topics:1-3 Credits single lens reflex camera. Course may be taken multiple times up to maximum of 15 credit hours. Fees: Yes. ARTA 421 Advanced Filmmaking3 Credits ARTA 223 Image and Motion3 Credits Advanced studies in digital filmmaking focusing on each student's Introduction to tools, techniques, and practices relating to images and individual creative interests such as experimental filmmaking or the time-based media. Integration of images, typography, digital film, and combination of film with additional media. sound. Prerequisites: ARTA 326. Fees: Yes. Terms Typically Offered: Fall, Spring. ARTA 224 Principles of Film and Motion Design3 Credits ARTA 422 Advanced Photography and Studio Lighting3 Credits Exploration of motion design and time-based visual imagery.
    [Show full text]
  • Towards a New Conceptualization of Sound Design for Games
    AmbientSonic Map: Towards a new conceptualization of sound design for games Milena Droumeva Simon Fraser University [email protected] Ron Wakkary Simon Fraser University [email protected] Abstract This paper presents an overview of the main features of sound design for games, and argues for a new conceptualization of it, beginning with a closer look at the role of sound as feedback for gameplay. The paper then proposes and details a new approach for sound feedback in games, which provides ambient, intensity-based sonic display that not only responds to, but also guides the player towards the solution of the game. A pilot study and leading outcomes from it are presented, in the hopes of laying a foundation for future investigations into this type of sonic feedback. Introduction Our soundscape is a vital part of our daily environment, and the act of listening is one of the primary modes of sensory experience in the world. While innovative interface design seeks to emulate the surrounding environment and create a realistic experience for the user, sound most often takes a secondary role to visual presentation. Background music, auditory icons and earcons (representational and abstract short signals, respectively) usually constitute the majority of sound feedback in traditional interfaces. Computer-based games, as a form of highly interactive interface, provide the user with advanced modes of multi-modal interaction. Yet, there is still a preoccupation with visual aspects of game production and development, while far less attention has been given to devising comprehensive and communication-rich systems of game sound. There is growing literature on auditory displays designed for task-oriented, highly computerized environments; virtual audio environments through spatialization; and sonification of information datasets (Walker, 1996).
    [Show full text]
  • SOUNDART SOUND DESIGN for ART and ENTERTAINMENT in the CREATIVE INDUSTRIES First Level Master Course Director: Prof
    ART, DESIGN & NEW TECHNOLOGY POLITECNICO ACCADEMIA DI BELLE ARTI DI MILANO DI BRERA SOUNDART SOUND DESIGN FOR ART AND ENTERTAINMENT IN THE CREATIVE INDUSTRIES FIRST LEVEL MASTER COURSE Director: Prof. Roberto Favaro Framing science. The Sound Design for the arts, performances and entertainment Numerous and varied disciplines of art, communication and entertainment are now demanding a new and in-depth relationship with the sound discipline. The visual and plastic arts, architecture, design, the performing arts and the exhibition practices, the new technologies and audiovision art, fashion and fashion design, or rather the practices of entertainment in their whole, show more and more, in fact, the need to interact with the world of sound and to equip their own operators of technical and aesthetic skills appropriate to a conscious creative involvement of the sound material. By definition, the term “Sound Design” means the creation of sound applied to any environment that requires sound. The Sound Design, therefore, as well as a self-sufficient creative scope and an end in itself, it is now also a subject area (set of artistic practice and theoretical studies) very composite that draws people to itself (or orients to) a variety of art and design contexts in which there is the need of the sound component or where the presence of the acoustic sound requires active intervention of manipulation, control, design. The Sound Design, understood as “sound creation” applied to these multiple and diverse contexts of art, entertainment, design, it is now a trans-disciplinary language whom theoretical and practical skills can be acquired and mastered by the various operators in the various fields of activities through a specific training.
    [Show full text]
  • National Theatre Programme
    19 February 2020 NATIONAL THEATRE PROGRAMME Olivier THE VISIT, OR THE OLD LADY COMES TO CALL Based on the play by Friedrich Dürrenmatt Adapted by Tony Kushner Original English version by Maurice Valency Director: Jeremy Herrin Set Designer: Vicki Mortimer Costume Designer: Moritz Junge Lighting Designer: Paule Constable Movement Director: Aletta Collins Composer: Paul Englishby Sound Designer: Paul Arditti Music Director: Malcolm Edmonstone Playing until May 13 The New American Work Programme is supported by The Harold & Mimi Steinberg Charitable Trust, Lawton W Fitt & James I McLaren Foundation and Kathleen J Yoh Official Hotel Partner: Edwardian Hotels The classic tale of revenge, with a cast including Lesley Manville as Clare Zachanassian, the world’s richest woman, and Hugo Weaving as her former lover. JACK ABSOLUTE FLIES AGAIN By Richard Bean and Oliver Chris Based on Richard Brinsley Sheridan’s The Rivals Director: Thea Sharrock Set and Costume Designer: Mark Thompson Lighting Designer: Bruno Poet Music: Adrian Johnston Sound Designer: Paul Arditti Video Designer: Jeff Sugg Choreographer: Lizzi Gee Physical Comedy Director: Toby Park for Spymonkey From 15 April, press night 28 April, playing until 25 July A riotous new comedy based on Sheridan’s The Rivals and set against the backdrop of the Battle of Britain, with a cast including Caroline Quentin and Richard Fleeshman. 1 PARADISE by Kate Tempest A new version of Philoctetes by Sophocles. Director: Ian Rickson Set and Costume Designer: Rae Smith Lighting Designer: Hugh Vanstone Movement: Coral Messam Sound Designer: Ian Dickinson Fight Director: Terry King From 30 June, press night 7 July, until 1 August with further performances to be announced Production supported by Areté Foundation, Betsy & Ed Cohen Kate Tempest’s powerful new version of the Greek Tragedy Philoctetes with a cast including Lesley Sharp and Lorna Gayle.
    [Show full text]