Teaching Sound Dramaturgy

Stutterheim, Kerstin

Abstract

Sound dramaturgy as part of the aesthetic design of either a film or a Virtual Reality (VR) experience is invisible but most relevant, although often overlooked. As sound person and academic, I have long been interested in the dramaturgical relevance of sound design (Stutterheim 2022) and music used in film (Stutterheim 2018), and more recently in the importance of sound design in VR experiences (Stutterheim 2018). My chapter is structured in four parts, beginning with a short introduction to dramaturgy (Freilich 1964; Lessing 1768/69; Romanska 2016; Stutterheim 2015, 2019; Szatkowski 2019; Turkin 2007) and the importance of sound dramaturgy as such. The second part focusses on sound dramaturgy in film fiction, how sound and a dramaturgically sophisticated approach to using music contributes to the emotional impact of a movie –referring to examples as Shining (Kubrick US/UK 1980), Shutter Island (Scorsese US 2010. The third part will discuss sound dramaturgy for documentary films, as examples. Symphony of the Ursus Factory (Wójcik and Stokfiszewski, PL 2018), Um Dia na Rampa (dos Santos, BR 1960)and The Wale And The Raven (Leuze 2019). In part four, I outline similarities and differences referring to Kobold (2017) from Another World VR.

Citation

Stutterheim, K. (in press). Teaching Sound Dramaturgy. In Teaching Sound for the 21st Century. Sofia: CILECT

• Acceptance Date: Jul 15, 2023
• Online Publication Date: Nov 6, 2023
• Deposit Date: Jul 25, 2023
• Publicly Available Date: Nov 6, 2023
• Book Title: Teaching Sound for the 21st Century