Theatre Design & Technology - Winter 2001 - 29

the tempo of the clock to match the dramatic music implied by the story.
Even if our technical tools allowed us to make such manipulations, our
aesthetic approach would have stymied our ability to make such leaps.
This past July I presented the Poe piece as a dramatic reading with
music at the Festival de Caribe in Santiago de Cuba. This presentation
provided a unique opportunity, because while I was presenting the poem
in English, the audience understood only Spanish. In my introduction, I
advised my audience through an interpreter:
What I hope is to tell my story through the music, the international language. So I hope when you do not understand the
words, you will listen to the music, and follow the story that way.
After my presentation an audience member asked, "what is the
meaning of the bell?" To which I responded, "It's the tolling of a clock,
on one level. But also there's an emotional communication in the tolling
that is really important to the piece." The audience member responded,
"I interpreted the bell as the dying of people." For me, this was clear evidence of my soundscape's ability to communicate, without the intellectual power of words, the most fundamental and musical inner life of the
Masque of the Red Death.
When we focus our attention on the inner life the drama attempts to
communicate, we free ourselves of the literal trappings of clocks and
footsteps. In doing so, we see that a car horn will work as good as a
doorbell if integrated into the musical fabric of the drama properly. We
liberate the drama from the trappings of realism by focusing our designs
on the function of sound to make our audience feel a certain way
about the world they are experiencing.

CONCLUSION

I

t might be true that all theatre "starts with a script." However, within
that script we can choose to start with the music, or to start with
the intellectual content. Appia strongly believed that we should begin by
finding the music that expresses the inner life. I have found in my work
that when we start with the music, the audience no longer cares about
the "realism of the illusion." Instead, they get swept along with the emotions created in them by the soundscape. Once we provide the audience
with a musical experience, the play's intellectual ideas can be associated with
those experiences to complete the dramatic communication. The soundscape, should be thought of as an instigator of the script rather than a derivative of it. This principle probably seems obvious when applied to
opera or musical comedy. However, it is the contention of this paper that
the same principle applies with no less force to spoken text plays.
Appia applied many of the same principles discussed in this paper
to the visual component of scenography. Given this common foundation
that designers share in theatre, future productions might benefit from the
exploration of the design "tools" we share in building this foundation.
These tools might include such common elements as line, color, mass,
rhythm, texture and space. Upon this foundation we could explore the
differences between visual and auditory perception such as the dominance of space in the visual arts and time in the auditory arts. We could
explore how those differences complement and illuminate each other in
a sublime manner. We could investigate the similarities and differences
that occur in the way we use our tools because of the differences of time
and space. We would come to understand the advantages of working together. Hopefully this paper will serve to enlist its readers as partners in a
28

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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
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