Theatre Design & Technology - Winter 2001 - 28

I would present these sounds to the director, and
the director would then choose the best one to serve as a
"cue" in the show. We might try to alter the sound from
there to influence the emotional state of the actors and
audience. However, we would always be stuck with the
quality of the sound dictated by our starting point: a
script said we needed a real clock.
Instead, the director, Joel Fink, and I focused our
early discussions on a search for the musical essences of
the piece. We never talked about the reality of the clock
and looked instead within the musicality of Poe's language and his story to uncover the "inner life" that would
make the audience feel a certain way. We chose a musical
style that seemed appropriate to the piece, and I began
composing within the limits of that style. We introduced
the story with a sound that we would eventually associate
with the clock-not to tell the audience about a clock. It
was immaterial what the audience thought the sound represented in the beginning. How they felt going into the
piece was critical, however. So we established an emotional context of an impending doom from the very beginning centered on this sound, whatever it was.
Later we learn that this sound is associated with a
mammoth clock, and that the hourly chiming of the clock
causes the nightly reveling to cease. However, since we
have focused on the music, and not on the reality, our audience does not concern itself with whether a real clock

of any sort could sound like this. Instead, they are engrossed in an eerie and ominous air that looms as the
clock chimes its foreboding tone.
The ticking of this clock of course bears no resemblance to the time with which a clock really ticks, but
marks a musical time, because, as Appia said,
From the point of view of theatrical production music not only regulates the time, is not
merely a length of time, but is the time
itself...(Appia 1962, 15)
If we are creating properly, our audience is never
aware that the clock is faulty, that its tempo varies with
the emotional state of the moment. They become internally caught up in that moment, so that later, when the
clock ticks impossibly fast, the audience gets so caught
up in the frenzy, they do not notice the misbehaving
clock.
At the climactic moment of the piece, the ticking of
the pendulum turns into the footsteps of the masked figure bringing death to Prince Prospero.
One wonders how the soundscape would have developed had we started by focusing on the literal script.
Certainly, we would not have been able to associate the
figure with the clock by using the same sound for the
ticking and the footsteps. We would not be able to vary

TD & T

W I N T E R

2 0 0 1

27



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2001

Contents
Theatre Design & Technology - Winter 2001 - 1
Theatre Design & Technology - Winter 2001 - 2
Theatre Design & Technology - Winter 2001 - 3
Theatre Design & Technology - Winter 2001 - Contents
Theatre Design & Technology - Winter 2001 - 5
Theatre Design & Technology - Winter 2001 - 6
Theatre Design & Technology - Winter 2001 - 7
Theatre Design & Technology - Winter 2001 - 8
Theatre Design & Technology - Winter 2001 - 9
Theatre Design & Technology - Winter 2001 - 10
Theatre Design & Technology - Winter 2001 - 11
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Theatre Design & Technology - Winter 2001 - 13
Theatre Design & Technology - Winter 2001 - 14
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Theatre Design & Technology - Winter 2001 - 28
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