Ross Brown leads us into his Sound Effect: The Theatre We Hear (London: Bloomsbury, 2020), in which he re-theorises the sonic turn in theatre practice and theory in popular and populist key, subtracting the sceptre of the sonic from the domain of the purely avant-garde to focus on sound as ‘effect’ and not only ‘affect’.
Funding
Aural/Oral Dramaturgies: Post-Verbatim, Amplified Storytelling and Gig Theatre in the Digital Age