Brown explores relationships between sound and theatre, focusing on sound's interdependence and interaction with human performance and drama. Suggesting different ways in which sound may be interpreted to create meaning, it includes key writings on sound design, as well as perspectives from beyond the discipline. 

Series Editor's Preface
Introduction: The Theatre of Sound
PART I: DRAMATURGICALLY ORGANISED NOISE
Defining Theatre Sound Design
What the Textbooks Say
The Pre-History of Sound Design
Alternative Takes
Five Sound Designers in their Own Words
PART II: THEATRICALLY ORGANISED HEARING
Problems with Sound as Scenography
Live Listening: The Aural Phenomenology of Theatre Resounding Theatres
Alternative Realities
John Levack Drever on Sound Effect-Object-Event
Conclusion
Bibliography.

'Ross Brown approaches 'a reader' in a refreshing and engaging way - he provides a compelling narrative and argument, interspersing and amplifying them with extracts from aa range of key texts.' - Norie Neumark, Senses & Society 'There is no other book that considers equally and inseparably the theory, philosophy and practice of stage sound. A rigorously controlled piece of research of great originality and of terrific significance to the discipline.' - Chris Baugh, Professor of Performance and Technology, University of Leeds, UK 'A valuable assemblage of historical perspectives and current issues in Sound Design and perception...provocative in many ways.' - David Budries, Freelance Sound Designer; Professor of Sound Design, Yale University, USA

Contains previously unpublished material by and new interviews with leading contemporary innovators of theatre sound, including John Collins (Wooster Group) and Scott Gibbons (Socìetas Raffaello Sanzio)

This series gathers together both key historical texts and contemporary ways of thinking about the material crafts and practices of theatre – sound, objects, light, paint, fabric and physical bodies. Volume authors reflect on their specialism and its history in order to model concepts and provide the tools not just for the doing but for thinking about theatre practice.