Background
I composed and recorded the sound design for Cygnets, a new contemporary theatre work presented by the Liminal Space and Theatre Works from the 16th to the 26th of August, 2023. My research sits at the nexus of performance, sound, and contemporary Gothic studies. Here, taking a practice-based approach, I investigated a set of sonic strategies identified in my TROs, asking: How can the embrace of sonic localisation, acousmatic soundscapes and sonic engulfment and the technique of vocal collage, utilising feedback, reverb and granulation help to conjure what sound has been termed the 'acoustic imaginary'?
Contribution
My sound design for Cygnets began development in March 2022. The play's narrative draws on the shared histories of sisters Helen of Troy and Clytemnestra and explores the dramaturgical potential of a foregrounded female gaze in contemporary performance. Responding to my above enquiry, I recorded a combination of composed and improvised female choral arrangements and composed a suite of collaged choral pieces and sound designs using these recordings as source material. I applied the above processes to create a score that supported the narrative and conjured absent scenery and spectral characters, an approach explored and articulated in my theoretical research
Significance
Theatre Works is one of Australia's most highly regarded and longest-running independent theatres. The Theatre Works season of Cygnets was well received critically, with the design consistently praised. Critics noted the 'haunting' quality of my compositions (The Blurb), and a "driving force" of my sound design (What Did She Think). My sound design for Cygnets was a practice-based investigation of my contention and I will analyse this creative research in relation to other works of contemporary Australian sound design in upcoming trad outputs, continuing to build an argument for the significance of the work of Australian theatre sound designers