Noise design |
Noise design – imitation in the theater of the noises and sounds of the surrounding world or the use of sound effects that do not cause specific life associations. Sh. o. used to enhance art. the impact of the performance, contributes to the creation of the illusion of the reality of what is happening on the stage, increases the emotional tension of the culminations (for example, the Thunderstorm scene in Shakespeare’s King Lear). Depending on the performance, sh. “realistic” and conditional, illustrative and associative-symbolic. Types of “realistic” Sh. o .: sounds of nature (birdsong, the sound of the surf, howling wind, thunder, etc.), traffic noise (the sound of train wheels, etc.), battle noise (shots, explosions), industrial noise (noise of machine tools, motors) , household (phone call, clock strike). Conditional Sh. used in the old East. drama (for example, in the Japanese kabuki theater; see Theatrical music), it is especially widely used in modern. theater. Sh. o. in the best performances it is organically combined with the musical.
The sound-noise design of the performance has long included shots, firecrackers, rumbling, iron sheets, the sound of weapons. In the old theatre. buildings (for example, in the Ostankino T-re of Count Sheremetev), some sound-noise devices have survived to this day. Great importance was attached to Sh. in realism. t-re K. S. Stanislavsky. In the performances of the Moscow Art Theater, various specially designed noise apparatuses were used – drums, background iron, “crack”, “thunder peal”, “wind”, etc.; they were run by brigades of noisemakers. For Sh. o. widely used magnetic recording, radio engineering (including stereo effects); usually the theater has a noise record library. Noise devices are used only to create the most common noises or to simulate noises when recording them on film (in case of difficulty “working on location”). A variety of noises are also obtained using electronic devices.
References: Volynets G. S., Noise effects in the theater, Tb., 1949; Popov V. A., Sound design of the performance, M., 1953, under the title. Sound-noise design of the performance, M., 1961; Parfentiev A. I., Demikhovsky L. A., Matveenko A. S., Sound recording in the design of the performance, M., 1956; Kozyurenko Yu. I., Sound recording in the design of the performance, M., 1973; his, Fundamentals of sound engineering in the theater, M., 1975; Napier F., Noises oft, L., 1962.
T. B. Baranova
