{"id":69,"date":"2025-09-28T15:38:29","date_gmt":"2025-09-28T14:38:29","guid":{"rendered":"https:\/\/blogs.napier.ac.uk\/imd\/?p=69"},"modified":"2025-09-28T15:38:29","modified_gmt":"2025-09-28T14:38:29","slug":"reimagining-sound-in-live-theatre-part1","status":"publish","type":"post","link":"https:\/\/blogs.napier.ac.uk\/imd\/2025\/09\/28\/reimagining-sound-in-live-theatre-part1\/","title":{"rendered":"Reimagining Sound in Live Theatre"},"content":{"rendered":"<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_82_2 counter-hierarchy ez-toc-counter ez-toc-grey ez-toc-container-direction\">\n<div class=\"ez-toc-title-container\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<span class=\"ez-toc-title-toggle\"><a href=\"#\" class=\"ez-toc-pull-right ez-toc-btn ez-toc-btn-xs ez-toc-btn-default ez-toc-toggle\" aria-label=\"Toggle Table of Content\"><span class=\"ez-toc-js-icon-con\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #999;color:#999\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #999;color:#999\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/span><\/a><\/span><\/div>\n<nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/blogs.napier.ac.uk\/imd\/2025\/09\/28\/reimagining-sound-in-live-theatre-part1\/#Part_1_Collaborative_Sound_Design_in_Theatre_%E2%80%93_A_Workshop_Approach\" >Part 1: Collaborative Sound Design in Theatre \u2013 A Workshop Approach<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/blogs.napier.ac.uk\/imd\/2025\/09\/28\/reimagining-sound-in-live-theatre-part1\/#Why_Sound_Design_Needs_a_Shake-Up\" >Why Sound Design Needs a Shake-Up<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/blogs.napier.ac.uk\/imd\/2025\/09\/28\/reimagining-sound-in-live-theatre-part1\/#Collaboration_at_the_Core\" >Collaboration at the Core<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/blogs.napier.ac.uk\/imd\/2025\/09\/28\/reimagining-sound-in-live-theatre-part1\/#Enter_the_Internet_of_Sounds\" >Enter the Internet of Sounds<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/blogs.napier.ac.uk\/imd\/2025\/09\/28\/reimagining-sound-in-live-theatre-part1\/#What_Participants_Learned\" >What Participants Learned<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/blogs.napier.ac.uk\/imd\/2025\/09\/28\/reimagining-sound-in-live-theatre-part1\/#Key_Takeaways\" >Key Takeaways<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/blogs.napier.ac.uk\/imd\/2025\/09\/28\/reimagining-sound-in-live-theatre-part1\/#Final_Thought\" >Final Thought<\/a><\/li><\/ul><\/li><\/ul><\/nav><\/div>\n<h2><span class=\"ez-toc-section\" id=\"Part_1_Collaborative_Sound_Design_in_Theatre_%E2%80%93_A_Workshop_Approach\"><\/span>Part 1: Collaborative Sound Design in Theatre \u2013 A Workshop Approach<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p>In an age where immersive experiences are reshaping the boundaries of performance, sound design in theatre is undergoing a quiet revolution. A <a href=\"https:\/\/blogs.napier.ac.uk\/imd\/2025\/04\/19\/theatre-sound-design-workshop\/\">recent workshop held at The Dibble Tree Theatre<\/a> in Carnoustie explored this transformation, bringing together actors, sound designers, and experimental technologies to co-create a new kind of theatrical soundscape.<\/p>\n<figure id=\"attachment_77\" aria-describedby=\"caption-attachment-77\" style=\"width: 1024px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-77 size-large\" src=\"https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/BB_Dame-1024x854.png\" alt=\"Two pantomime characters\" width=\"1024\" height=\"854\" srcset=\"https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/BB_Dame-1024x854.png 1024w, https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/BB_Dame-300x250.png 300w, https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/BB_Dame-768x640.png 768w, https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/BB_Dame-1536x1280.png 1536w, https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/BB_Dame.png 1575w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption id=\"caption-attachment-77\" class=\"wp-caption-text\">The Dame and the Barron, ready to collaborate with our sound designers!<\/figcaption><\/figure>\n<hr \/>\n<h3><span class=\"ez-toc-section\" id=\"Why_Sound_Design_Needs_a_Shake-Up\"><\/span>Why Sound Design Needs a Shake-Up<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>Despite its central role in storytelling, sound design in theatre has lagged behind lighting and projection in terms of innovation. Traditional tools like QLab remain industry staples, but they often limit sound to pre-programmed cues triggered by operators. This workshop challenged that model by asking: <em>What if actors could control their own sound effects live on stage?<\/em><\/p>\n<hr \/>\n<h3><span class=\"ez-toc-section\" id=\"Collaboration_at_the_Core\"><\/span>Collaboration at the Core<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>The workshop was designed as a playful, hands-on experience. Participants\u2014ranging from amateur theatre enthusiasts to experienced backstage crew\u2014worked in small groups to rehearse and perform short pantomime scenes. They used Foley props (slide whistles, rain sticks, thunder tubes), pre-recorded samples, and procedural audio models to sketch out their sound designs.<\/p>\n<p>Importantly, actors and sound designers collaborated from the outset, rehearsing together and experimenting with timing, mood, and interaction. This flattened hierarchy fostered creativity and mutual learning.<\/p>\n<figure id=\"attachment_74\" aria-describedby=\"caption-attachment-74\" style=\"width: 772px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-74 size-full\" src=\"https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/PP_Foley.jpeg\" alt=\"A character and a sound designer\" width=\"772\" height=\"675\" srcset=\"https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/PP_Foley.jpeg 772w, https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/PP_Foley-300x262.jpeg 300w, https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/PP_Foley-768x672.jpeg 768w\" sizes=\"auto, (max-width: 772px) 100vw, 772px\" \/><figcaption id=\"caption-attachment-74\" class=\"wp-caption-text\">Long John Silver performing his actions along with a sound designer on a slide whistle<\/figcaption><\/figure>\n<hr \/>\n<h3><span class=\"ez-toc-section\" id=\"Enter_the_Internet_of_Sounds\"><\/span>Enter the Internet of Sounds<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>A standout feature of the workshop was the use of <strong>networked sound devices<\/strong>\u2014custom-built tools powered by Arduino MKR 1010 boards and Pure Data software. These devices allowed actors to trigger sounds via sensors embedded in props or wearable tech. For example:<\/p>\n<ul>\n<li>A <strong>motion sensor<\/strong> in a prop triggered audience reactions.<\/li>\n<li>A <strong>rotary knob<\/strong> controlled volume and playback of samples.<\/li>\n<li>An <strong>accelerometer<\/strong> and <strong>force-sensitive resistor<\/strong> enabled real-time manipulation of procedural audio.<\/li>\n<\/ul>\n<p>These embodied interfaces blurred the line between performer and sound operator, creating a more organic and responsive soundscape.<\/p>\n<figure id=\"attachment_76\" aria-describedby=\"caption-attachment-76\" style=\"width: 1024px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-76 size-large\" src=\"https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/BB_Ios-1024x779.png\" alt=\"Sound designer studying the script\" width=\"1024\" height=\"779\" srcset=\"https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/BB_Ios-1024x779.png 1024w, https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/BB_Ios-300x228.png 300w, https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/BB_Ios-768x584.png 768w, https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/BB_Ios-1536x1169.png 1536w, https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/BB_Ios-2048x1559.png 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption id=\"caption-attachment-76\" class=\"wp-caption-text\">Sound designer studying the script with the Internet of Sound devices beside him.<\/figcaption><\/figure>\n<figure id=\"attachment_75\" aria-describedby=\"caption-attachment-75\" style=\"width: 996px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-75 size-large\" src=\"https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/PP_IoS-996x1024.png\" alt=\"Sound designer performing \" width=\"996\" height=\"1024\" srcset=\"https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/PP_IoS-996x1024.png 996w, https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/PP_IoS-292x300.png 292w, https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/PP_IoS-768x790.png 768w, https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/PP_IoS-1494x1536.png 1494w, https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/PP_IoS.png 1617w\" sizes=\"auto, (max-width: 996px) 100vw, 996px\" \/><figcaption id=\"caption-attachment-75\" class=\"wp-caption-text\">Sound designer performing the sounds on the Internet of Sound devices, with script on other hand and watching the stage to get her timing right.<\/figcaption><\/figure>\n<hr \/>\n<h3><span class=\"ez-toc-section\" id=\"What_Participants_Learned\"><\/span>What Participants Learned<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>Feedback was overwhelmingly positive. Participants reported:<\/p>\n<ul>\n<li>Greater appreciation for the complexity of sound design.<\/li>\n<li>Enjoyment of the collaborative and playful structure.<\/li>\n<li>Insights into how sound design principles transfer to other media like film and radio.<\/li>\n<\/ul>\n<p>Challenges included cognitive load\u2014especially for actors managing props, cues, and performance simultaneously\u2014and occasional technical glitches with Wi-Fi connectivity.<\/p>\n<hr \/>\n<h3><span class=\"ez-toc-section\" id=\"Key_Takeaways\"><\/span>Key Takeaways<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<ul>\n<li><strong>Actor-led sound triggering<\/strong> offers better timing and authenticity.<\/li>\n<li><strong>Early integration<\/strong> of sound design into rehearsals is crucial.<\/li>\n<li><strong>Embodied interaction<\/strong> (e.g., using props or wearables) enhances engagement.<\/li>\n<li><strong>Collaboration<\/strong> between departments\u2014sound, props, costumes\u2014is essential for success.<\/li>\n<\/ul>\n<hr \/>\n<h3><span class=\"ez-toc-section\" id=\"Final_Thought\"><\/span>Final Thought<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>This workshop offered a fresh perspective on how sound can be more deeply integrated into live theatre. By inviting collaboration between actors and sound designers and experimenting with interactive technologies, it opened up new possibilities for creative expression. While challenges like reliability and cognitive load remain, the enthusiasm and insights from participants suggest that actor-led sound design is a promising direction worth exploring further.<\/p>\n<hr \/>\n<p><em>In Part 2, we explore the technical implementation of actor-controlled sound effects using Internet of Sound (IoS) devices. Stay tuned for a deeper dive into the engineering behind the performance.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Part 1: Collaborative Sound Design in Theatre \u2013 A Workshop Approach In an age where immersive experiences are reshaping the boundaries of performance, sound design in theatre is undergoing a quiet revolution. A recent workshop held at The Dibble Tree Theatre in Carnoustie explored this transformation, bringing together actors, sound designers, and experimental technologies to [&hellip;]<\/p>\n","protected":false},"author":470,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_crdt_document":"","footnotes":""},"categories":[10],"tags":[8,19,11,17,20],"class_list":["post-69","post","type-post","status-publish","format-standard","hentry","category-research-project","tag-edinburgh-napier-university","tag-foley","tag-research","tag-sound-design","tag-theatre-sound"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Reimagining Sound in Live Theatre - Interactive Media Design<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/blogs.napier.ac.uk\/imd\/2025\/09\/28\/reimagining-sound-in-live-theatre-part1\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Reimagining Sound in Live Theatre - Interactive Media Design\" \/>\n<meta property=\"og:description\" content=\"Part 1: Collaborative Sound Design in Theatre \u2013 A Workshop Approach In an age where immersive experiences are reshaping the boundaries of performance, sound design in theatre is undergoing a quiet revolution. 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