Becky Willard It’s “tax return” season in the U.S. Every furniture store and car dealership is begging us to come spend our big cash “bonus” we get from the government on something new and shiny. My favorite ad I see is the tax businesses who say “Let us help you get the biggest refund possible!” Many […]
India Hooi A chance to get out of the studio, have a change of scenery, record in some exciting and different spaces, and explore a new acoustic – there are many reasons why recording music on location can be rewarding and great fun. Whether it’s a live concert or an album recording in a venue […]
When I’m preparing to go into tech for a new show, there’s a lot I have to do to prepare. Some of these things include: Making sure my paperwork is correct and up to date, checking all show hardware (speakers, mics, consoles, computers, etc.), programming consoles and playback systems, and making sure my crew is also prepped and ready to go. I must admit that I used to always prioritize these needs above my own personal needs. I’m a pretty tough person, and I know that I can power through hunger, aches, and pains, and sleep deprivation, but after years of operating in this way (and let’s be real, after getting older) I find that while I CAN still power through, it’s not worth it. My mind, body, and even my work suffer from that kind of self-neglect. In this blog, I’m letting you know about a few things I make sure to take care of when I’m preparing for a new show. These recommendations will keep you on the right track to mindful and healthy work.
Welcome back, TheatrePeople! This week is a special one. I had the opportunity to interview a fantastic, innovative Sound Designer, Jessica Paz. Among many things, Jessica is the Tony Award-winning sound artist behind Anaïs Mitchell’s groundbreaking production, Hadestown. Jessica is incredibly kind and generous, and you’ll feel her deep love of live theatrical performance and the power of storytelling in every line of this. I hope you’re as thrilled by her interview as I am! Enjoy!
Elisabeth Weidner Today is November 7, 2020. I always like to do a “year in review” for my last blog of the year, and I had every intention of starting that blog yesterday, but I couldn’t. Think back to that week, and I’ll bet you can remember why. It’s been a very hard year, friends. […]
Developments in sound design have evolved greatly since innovations in the recording industry brought new technological possibilities. Here we take a look back at the aural journey of the theatre world. Pre-1930 Live musician and sound effect roles were performed in-person until the 1930s – the decade saw the commercial availability of both music and […]
Elisabeth Weidner 2020 is the year of the Stage Manager, so this is the perfect time to talk about how I get the most out of my Sound Designer/Stage Manager relationship! The Stage Manager is the one person that probably knows the most about the show and the actors. They are also the one who […]
Working professionally as a sound designer and composer has a lot of perks. It’s not the kind of job that has you answering phones all day or dealing with a lot of crabby people. This is the work of artists and creators. It’s the kind of job people have when they say, “Love what you do, and you’ll never work a day in your life.”
© 2021 TheatreArtLife. All rights reserved.
Thank you for your interest in the TheatreArtLife Archives, this area is for members only.
Our contributors are currently writing more articles for you to enjoy.
To keep reading, all you have to do is become a subscriber and then you can read unlimited articles anytime.
Your investment will help us continue to ignite connections across the globe in live entertainment and build this community for industry professionals.