DRAFT Voice and Sound Design for Theater Ver3

7/27/2019 DRAFT Voice and Sound Design for Theater Ver3

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Hola Samboy!

Hindi ko alam kung tama tong ginawa ko. Also dont know how long this will be.

Nahahabaan ako sa 3 hours, pero I guess kung 8 students nga naman, baka

tumagal doon. So please go oer them and gie "omments

#edyo nahirapan akong ides"ribe yung mga e$er"ises, at yung ilan inimbento ko

lang. I in"luded some links para in "ase malabo yung pinagsasabi ko, may

re%eren"e.

Anyway, Itong mga sinulat ko, inaral ko lang ngayon! &inopya ko lang kung saan

saan. 'ung iba imbento. 'ung iba ague memories o% past workshops. So medyo

nahihiya akong sumingil. %eeling ko kasi nagmamarunong lang ako dito at wala rin

talaga akong & gumawa ng module na ito. So ne$t time mo na lang ako bayaran.

Siguro a%ter I do this 3 to ( more times, saka na kita i"ha)"harge hehehe.

*ayaran mo na lang ako ng iyong pagmamahal at matatamis na halik. At iba pang

raket hahaha

Anyway, tell me what you think.

+ander

S #aybe we should meet ne$t week to dis"uss this some more and so I "an

demonstrate- Hehehe


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oi"e and Sound /esign %or 0heater

Intro

0he most important tool o% the a"tor1a"tress is his1her body. Not only does it a"t out a s"ene, it "reates sound. Not 2ust our mouth. ur

entire body is a tool %or making sound.

Soundis produ"edby the ibrations o% a body and is transmitted through a

medium

ur body is our medium. 4e breathe in and %or"e air out o% our body, letting

it ibrate as it goes out.

I oi"e

5or non)erbal sounds 6grunts, s"reams et"7

4ords 6the s"ript7 Song1hant

How do we deelop the tools %or oi"e-

A *reathing 9 :ets "lear up and rela$ our air pathways so we "an breathe more

easily

Stret"h, 2ump around, loosen the hands, arms, legs %eet.

5rom the pelis, rotate the trunk "lo"kwise and "ounter)"lo"kwise. #ake sure

your arms, legs and ne"k are loose. 5rom the pelis, hun"h down 6yumuko7. /ont lo"k your knees. Ne"k and

arms rela$ed. 0hen breath in and out, %eeling your "hest and stoma"h

e$pand. 0hen sloooowly go up.

:ie on the %loor, your ba"k %lat on the ground. 6usually better i% your knees are

bent up instead o% your legs straight down, so that your spine will be

"ompletely %lat.7

o ;ela$ your entire body.

o #oe your ne"k %rom side to side to rela$ and align it with your spine.

o *reathe in and out slowly. *reathe in, %eel your "hest and stoma"h

e$pand. *reathe out, %eel them "ollapse to the %loor as you releasetension %rom the body. /o this %or 3 to ( minutes

o 0hen make ssssss sound. arang isang balloon na nagdede%late. 0ry to

prolong the ssss sound %or as long as possible, but 4I0HImagine a long, "olored ribbon traeling outside your body and slowly

%iling the room with "olor.?


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o *e aware o% your "hest1ribs and your diaphragm. ut one hand on your

side 6ribs7 and another on your stoma"h right below the rib "age.

*reathe in 3 "ounts and %eel your ribs e$pand. 0hen another 3 "ounts

>trans%er? the breathing in to your diaphragm and %eel it e$pand. 0hen

do the reerse, breathe out, %irst 3 "ounts letting your diaphragm

"ollapse, then ne$t 3 "ount >trans%er? to "hest and %eel it "ollapse.o In su""eeding breaths, in"rease the "ount to @, (, then "ounts ea"hB

inhale "ounts "hest, "ounts diaphragmC e$hale "ounts

diaphragm, then "ounts "hest.

o In same position, using same inhale1e$hale method, say aah ooo eee

on e$hale as long as you "an. 0hen use #aaah moooh meeeh

o ther lines to say while lying down. Say the lines until out o% breath.

*ut e%%ortlessly

#onee monuu #onee monuu #oneee mouuD

Nim nim nim Nam nam nam Nim nim nim Nam nam namD

#oney money moneyD #y oh #y oh #y oh #yD

#y mind is my ownD #y mind is my ownD

#any moaning men #any moaning menD

#alamang malamang malamangD

#ga mga mga mga D

* ;esonan"e 9 :ets e$plore the areas o% the body where the sound "an "ome %rom

4hile humming a low pit"hed sound, pat, rub di%%erent areas o% the body and

try to imagine the sound "oming out %rom there 9 the "hest, the lowerabdomen, the sides o% the "hest 6rib "ages7 the ba"k 6kidney area7.

Shake your limbs and imagine the sound "oming %rom there

on"entrate on the %a"e. #oe the humming sound all oer your %a"e, %rom

the %orehead, to the "heeks, to the mouth. #oe your %a"e around, s"run"h it

up i% it helps.

0hen imagine the high pit"hed hmmming as i% it is "oming out o% the top o%

your head.

Imagine the sound o% your oi"e "oming %rom deep within the abdomen. It is

a deep hmm)ing sound. 0hen gradually it goes up to your "hest, then to your

throat, then to your head, then out o% your head to the "eiling. 0hen do theopposite.

0he preious e$er"ises show that our oi"e "an resonate through di%%erent

parts o% the body. :ets e$plore this some more by pairing up. artner A will

tou"h an area o% artner *s body. * will try to >repel? As hand by making a

sound "oming %rom the body part that was tou"hed. A should not remoe


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his1her hand until he1she %eels that the sound a"tually "ame %rom the area

being tou"hed.

Arti"ulation 9 :ets get our mouth loose and ready so it "an "reate the shapes that

will produ"e the desired sound

'awn and stret"h. :oosen up

;emember preious e$er"ise where the oi"e traels %rom head to abdomen.

Say >Haaaaaa? using the top oi"e and imagine it "oming %rom the top o% the

head then traelling to the abdomen, while pushing the sound to the

audien"e. &eep throat open. 4ag gagasgasin. 4ala rin sanang &anto when

the sound moes %rom top oi"e to abdomen

*owling *allB Imagine that you are throwing a bowling ball, and your oi"e is

the bowling ball. Imitate the moement o% bowling and as you let go, throw

your oi"e to the end o% the room and "ount >one!? "ount to ( or E

Stret"h and open up your %a"e, eyes wide open , mouth wide open. 0hens"run"h it up, eyes tight shut, lips ery pursed.

Imagine "hewing a bubble gum. =$aggerate moement o% 2aw.

Say the %ollowing till out o% breath

o ;apid 0 sound

o ;apid / sound

o ;apid F sound

o ;olling ; sound

o A6pronoun"ed ah7

ah ) Gah ) ah ) Gah ) ah ) Gah ) ah

bah ) yah ) bah ) yah ) bah ) yah ) bah "ah ) $ah ) dah ) $ah ) "ah ) $ah ) "ah dah ) wah ) dah ) dah ) gah ) dah ) gah

o E6pronoun"ed eh7

%eh ) eh ) %eh ) eh ) %eh ) eh ) %eh geh ) teh ) geh ) teh ) geh ) teh ) geh heh ) seh ) heh ) seh ) heh ) seh ) heh 2eh ) reh ) 2eh ) reh ) 2eh ) reh ) 2eh

o I6pronoun"ed ee7

kee ) nee ) kee ) nee ) kee ) nee ) kee lee ) mee ) lee ) mee ) lee ) mee ) lee

mee 9 lee ) mee ) lee ) mee ) lee ) mee nee ) kee ) nee ) kee ) nee ) kee ) nee

o O6pronoun"ed oh7

poh ) 2oh ) poh ) 2oh ) poh ) 2oh ) poh roh ) hoh ) roh ) hoh ) roh ) hoh ) roh soh ) goh ) soh ) goh ) soh ) goh ) soh toh ) %oh ) toh ) %oh ) toh ) %oh ) toh

o U6pronoun"ed oo7


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oo ) doo ) oo ) doo ) oo ) doo ) oo woo ) "oo ) woo ) "oo ) woo ) "oo ) woo yoo ) boo ) yoo ) boo ) yoo ) boo ) yoo Goo ) oo ) Goo ) oo ) Goo ) oo 9 Goo

o 4eee weee weee weeeD 6 5a"e smiling7

o 4ow wow wow wowD 6aw dropping7o 4ee wow wee wowD 6alternate smile and drop 2aw7

Now lets do some tongue twisters. ;emember to enun"iate. =$aggerate the

moement o% the 2aw and the lips to help you. 6see appendi$7

/ utting it All 0ogether

;emember all the e$er"ises we did. 4e "an use all o% those when we say

lines. /epending on the needs o% the s"ript, we "an ary the pit"h, or een

where our oi"e is "oming %rom 6though usually we should use the diapgragm

when speaking para hindi malaspag.


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o 6so%t to loud7 Ang tanong ko ay bakit- *akit bakit *A&I0-!

o 6loud to so%t7 A&IN ANF SA:AI! Akin akin akin.

o 6loud to so%t7 #y answer will always be no. No no no.

0raeling stress 9 depending on how you analyGe your s"ript1lines, youll need

to emphasiGe "ertain words. 5or ea"h senten"e, re"ite while stressing

di%%erent key words.o 0ake the time to do your best.

o Iisa ang aking kamibg sa bahay

o ;ake the leaes and mow the lawn

o all the do"tor and ask %or help

o &ailan aalis ang ating bisita-

o *ibili ang &uya ng bagong bisikleta

o lean the "ar as ui"kly as you "an.

Say any o% the lines while running, walking, or running, pausing and walkingD

et"

ross the room while saying the %ollowing senten"e and gesturing. 0he "ount

is @ sets o% @ beats

o 4hether the weather be "old, whether the weather be hot, well be

together whateer the weather, whether we like it or not

o 6do the aboe senten"e while gesturingB 4hether the weather be "old

Jgesture to the le%tK 4hether the weather be hot Jgesture to the rightK

4ell be together Jboth arms %rom %ront o% "hest to outward hrist)like

positionK 4hateer the weather J raise both arms upK 4hether we like

it or not Jright or le%t hand shakes %inger at audien"eK

Sour"esB

4orkshopB A #anual %or A"tinghttpB11www.uiowa.edu1Lsh"oi"e1auditorium.html

httpB11www.nationaltheatre.org.uk

0ongue twisters %rom the web

InterludeB Sound Sense

er%ormers do not only produ"e sound %rom his1her oi"e. 0hey also produ"e them

%rom their body as well. *y rubbing their hands, "lapping, snapping their %ingers,

whistling, stomping %eet,

;ead e$"erpt o% :ight in the illage, the "reation monologue o% the goddess &ali.

0he play is a"ted by ( storytellers in a southeast asian setting who assume di%%erent

"hara"ters. 0hus, the produ"tion "alls %or lie S5+ and perhaps een musi". Identi%y

the sounds that "an be made by the a"tors themseles through oi"e, through other

body parts with the help o% instruments or props. 4ill re"orded sound and s%$

enhan"e the produ"tion-
http://www.uiowa.edu/~shcvoice/auditorium.htmlhttp://www.nationaltheatre.org.uk/http://www.uiowa.edu/~shcvoice/auditorium.htmlhttp://www.nationaltheatre.org.uk/


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II Sound /esign.

Sound designis the pro"ess o% 6E7 spe"i%ying, 6M7 a"uiring, 637manipulating or 6@7

generating 6(7 audio elements that are reuired %or a parti"ular theatri"al

produ"tion. In some instan"es it may also inole the "omposition or manipulationo% audio to "reate a 67 desired e%%e"t or mood as di"tated by s"ript. All the musi"

and1or e%%e"ts in a play "onsidered as a whole make up the sounds"ape.?

0he sound designerplans and proides the sound e%%e"ts and s"oring needs o% the

play, 6O7 usually the ones that are not generated lie on stage. Sometimes it

inoles sound rein%or"ement through the use o% ele"troni" euipment, e.g.

mi"rophones, speakers, et".

E. Spe"i%ied 9 Asked %or by the s"ript, dire"tor or produ"tion

M. A"uiried 9 =ither %rom 5+ /s or downloaded %rom internet

3. #anipulated 9 Spli"ed or edited %rom e$isting audio %iles

@. Fenerated 9 riginal "omposition or re"ording

(. Audio =lements

o =$pli"itly reuired S5+ as stated in the s"ript

o Impli"itly stated as part o% the setting

o S"ore 6"an be musi" or drone7

=$er"iseB

Fo thru :ight in the illage s"ript and identi%y what S5+ is e$pli"itly

asked %or 6none7 impli"itly needed 6sound o% animals, buGGing noise o% inse"t,

bubble poping, et".7 4hat s"ore is appropriate-

;ead e$"erpt %rom 5luid and identi%y the =$pli"it 6the two "lassi"al

pie"es, "linking o% glasses %or kiss, et".7 Impli"it 6dinner sounds i.e. %orks and

knies, indistin"t "rowd "onersation7. Is a s"ore needed- 6probably

unne"essary sin"e the two "lassi"al musi" will sere as the s"ore.7

. 0he s"ore may either support the mood o% the s"ene, or "ontradi"t it to make

the s"ene ironi"

a. as an e$ample, do a s"ene with %riends laughing. ne may s"ore it

with a happy tune, whi"h supports the s"ene. ;, play a lonely, solo

piano tune. 0he mood o% the s"ene "hanges.

b. &ung may kopya kayo, wat"h the opening s"ene and opening "redits o%0he So"ial Network. 0he original musi" "hoi"e by the dire"tor and

s"reenwriter o% the opening "redits was supposed to be a 2angly 8s

song. 0he "omposer howeer "hose a dissonant droning sound with a

piano sometimes laying )note melody. 0he e%%e"t o% that opening

"redits "hanges be"ause o% that

O. 0he dire"tor may sometimes spe"i%y that S5+ be done lie to make the s"ene

realisti". =.g. a gunshot, or "rowd noise %rom ba"kstage.


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Sound /esigners should be innately musi"al, een i% they do not play a musi"al

instrument. 0hey should hae a loe %or the spoken word, an appre"iation o% all

musi" and sound, and be on their way to deeloping good "riti"al listening skills. A

sound designer must hae a natural sensitiity to the entire aural enironment.

Sample ob /es"riptionB

;=);/


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5rom the %our pie"es 6iisip pa ko kung ano maganda7, "reate a sabayang pagbigkas

per%orman"e pie"e in"orporating all that youe learned about oi"e and sound

design.

from Light in the Village by John Clifford

(translated by Jerry Respeto

Magsis imula ang dula.

ISAB #agsis imula ang kuwento.

/A:A4AB


10/22

AA0B Nakakabato!

: I#AB 4alang mga t indahan, 4alang mga bangko. 4ala.

ISAB *akante at mapanglaw saan man.

/A:A4AB At ganito na i to , noon pa man.

0A0:B *inuksan ni Inang &alikasan ang kanyang mga mata.

Magiging INANG KALI s i APAT.

ISAB Id in i lat n i Inang &al ikasan ang mala lak i n iyang mata.

: I#AB Nakakita . Nagmasid)masid. At nagwikaB

&A:I B Hindi i to puwede.

0a lagang hindi i to puwede.

0A0:B At h indi s iya nagkamal i .

: I#AB 4alang maaasahan!

&A:I B &aya, i to ang ginawa koB

:umikha ako ng sabon at h in ipan ko ang isang bula .

Isang malaking bula . Isang dambuhalang bula .At pumai langlang.

Nagpaikot) i kot sa itaas.

Fusto ko ng mga bula . &aya hinipan ko pa ang isa .

At isa pa. At isa pa.

At s inabi ko sa isang bula bago pumutok )

#aaar i ka. #aaar i kang maging isang mundo.

At nangyar i nga. Isang malaki at b i log na mundo.

#aganda.

&aya, nagpal i i t ako.

Nagpal i i t ako na s ingl i i t ng pulgas &aya ayun ako, s ingl i i t ng isang ga)tuldok na pulgas

:umalakad sa sant inakpan.

atag at malawak ang palibot.

antay at hungkag. 4alang laman. Ang pal ig id, kulay abo.

Nakakabato.

&aya, sa gawi dito , pumadyak)padyak ako


11/22

At doon, nagpata lon)ta lon ) ) ip inagpag ang sar i l i na

parang banig,

parang basahan.

&aya nga, lumitaw ang mga tudl ing at tagaytay.

At ang mga bundok ninyo

Ang mga kapatagan At ang mga buro l , pat i na ang mga lambak.

Na kung tutuusi Ry tama lang ang pagkagawa.

agkatapos, nagutom ako.

:uminga) l inga. At nakita ko i tong isang bagay.

Nakabit in sa himpapawid

:umil ipad sa tabi ko, kumakampay ang marir ik i t na put ing

pakpak.

&aya hinul i ko . /iyos lang ang may kung ano iyon.

* iniyak ko ang ulo .

At in inom ang dugo.

#asarap.

:asang tsokolate. &aya k ina in ko.

/umighay ako. Iyan ang naging hangin ninyo.


12/22

At g inawa nga ninyo! Finawa ninyong lahat!

At dumami kayo.

At s inabi koB

Sa inyong lahat .

Sa mga ibon, sa mga isda, sa mga kul isap, sa mga

balyena Sa mga gor i lya, sa mga uod.

#ga palaka at baboy

#ga langgam at usa

#ga gagamba, tao at ahas na may batik.

S inabi koB

I to ang mundo.

I to ang buong mundo.

Alagaan ninyo i to .

At tandaan. akatandaan kung s ino kayo.

&ung saan kayo nagmula. Saan kayo patutungo.

Huwag ninyong ka l i l imutan. Na tandaan. 0andaan ako!

from !luid by !loy "uintos

(The cyclorama lights up. The music is coming from behind the curtain.

(!imone rushes to the center space. !he is dressed in a "ery smart# pale lilac

coc$tail dress. %n her head# a tal$&bac$ monitor# 'hich she is continually

'hispering into.

(!he also holds a uitton clipboard# to 'hich she continually refers to.


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(Althrough she is hard at 'or$# she has this pasted on smile. And her cool# calm and

collected demeanor is ne"er ruffled.

SI#O$E% Is that the wedding mar"h- Somebody, please %ind out.

I know its musi", ani"eD but it doesnt sound like the wedding mar"hto me.

4hos asking %or their "he"ks- 0he supplier ngideo wall. I 2ust signed

it. 4ho else-

0he %lorists-Ang $apal nila ah!

Aba, mali&mali naman the %lowers. She made tipid the tulips! As i% I

"ouldnt tell no- At ang daming babys breath! )aduy no. 0hank Fod

nalang that #rs. 0renas doesnt know her %lowers. Na$u, I wanted to

tell the %lorist, palitan mo yan right now. *abys breath- Ano ito-

4edding re"eption sa ollibee-

Anyway, too late %or that now. /o I hae a isual on the bride and

groom-

(As is

=ntering the ballroom- 'es, I see them now. Fet the parents readyD

'es, at the presidential tableD now, please. I hae a isual, theyre

here.

*ios $o day, what happened to my wedding mar"h- And what is thisendless dum)de)dum)dum)dum- It is so unromanti"!

ani"eD get me that idiota"oordinator o% the hilharmoni". Now. As

inD

4aity, get the bride and groom to the table %irstD

AndD here they "omeD

0heyre at the table!

Im signaling the head waiter nowD wee made "onta"t! 0he soup

parade is onD

Now! hange o% musi"!

4ait, what happened to my >=ndless :oe? %or the soup parade-!


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0his is ruined! 0his dum)de)dum)dum)dumD isnt working!! ani"e, as

soon as soup is sered, get me that ladyD that #iss ;enata or

whateer.

'es, that old lady who looks like she hasnt had se$ inD

(!he turns and sees renata ne+t to her# smiling "acantly at the proceedings.

(!imone free,es in anger.

(-enata turns to her# smiles in her batty fashion# and s'ays her head to the

habanera.

(!imone grabs renatas arm# and mo"es her off the center space.

SI#O$E% (tal$ing into the head setani"eD take oer!

#iss ;enataD what is going on here-

RE$A&A% #iss Simone, hi/aD what is going on where-

SI#O$E% 4here- Here! Here at the ;omualdeG)0renas nuptials! Here, right now!

4e were supposed to do the wedding mar"h and then segue to

>=ndless :oe? %or the soup! Now, its ruined! 4hat is this dum)de)

dum)dum)dum-

RE$A&A% 4hy, hi/a, thats the >Habanera? %rom armen. *y Feorges *iGet. Isnt

it diine-

SI#O$E% /iine- How "ould you say that-

#iss ;enata, when we hired the hilharmoni", we spe"i%i"ally said that

we wanted you to play the wedding mar"h as the bride and groom

swept into the ballroom. It would hae taken all o% the three minutes

%or the bride and groom to get to their tableD and then, thetriumphant >=ndless :oe? %or the soup parade. And its ruined!

4hat is this-

RE$A&A% I told you. 0he >Habanera? %rom armen.

SI#O$E% *ut why-


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RE$A&A% *e"ause it is so mu"h more apt. Its like a surprise, hi/aD our little

surprise %or the bride and groom. :ook how loely they are!

SI#O$E% #iss ;enata, we agreed.

RE$A&A% 4ait hi/aD stop.

:isten.

How sensual it is, the Habana no- :ike a tango, but not uite as ulgar.

I0 is sung by armen, the gypsy heroine o% *iGets opera in the middle

o% a"t E. It is a song o% sedu"tion, o% temptation, o% longing.

:istenD

(!he recites from the libretto

RE$A&A% Lamour est enfant de boheme

Il na /amais connu de loi

!i tu ne maime pas# /e taime

!i /e taime# prend gard a toi0

Now that, #iss Simone, is a song %or loers! :ike them.

SI#O$E% 0his is a wedding, ;enata, not some gypsy orgy. lease. #ake them

stop. #y soup parade! Set to >=ndless loe?!

RE$A&A% 4e "annot do that.

SI#O$E% 4hy-

RE$A&A% *e"ause we do not play to soup!

SI#O$E% /o something! 'oure the "oordinator o% the hilharmoni"!

RE$A&A% #aestro *arbieri is the "ondu"tor.

SI#O$E% I didnt meet with him. I met with you! And we went through the

repertoire. 5ie times.

RE$A&A% 'es, I remember.

SI#O$E% So why is this happening-


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RE$A&A% *e"ause the >Habanera? works better.

SI#O$E% Says who-

RE$A&A% Says Feorges *iGet himsel%, when he whispered it to me 2ust be%ore wegot here.

SI#O$E% 0his Feorge %ellow is here- 4here is he- I want to talk to him!

RE$A&A% h no, hi/a. Hes uite dead. Has been sin"e E8O(.

(!imone is speechless.

SI#O$E% ;enata, I am not kidding. I "an sue the hilharmoni". I "an sue %or

brea"h o% "ontra"t. I "an "an"el you "he"ks! I "an, and I will sue!

RE$A&A% h no you wont, hi/a.

SI#O$E% h yes I will.

RE$A&A% 0hen we will sue you also. 5or bree"h o% "ontra"t.

SI#O$E% Ang $apal! D How dare you!

RE$A&A% In the meetings and in the "ontra"t, you promised us that the

hilharmoni" would be on iewD on stage, where we belong. Nothidden behind the "urtain.

SI#O$E% *utD butD we had to "hange the plans. 4e needed the giant s"reen

%or the ideo playba"k. Its part o% the design.

RE$A&A% Ah, and you "hose to hide us %rom iew, yes-

SI#O$E% *ut people "an hear you playing! 4hat does it matter i%D

RE$A&A% 1i/a, it matters ery mu"h to my players and to my "ondu"tor, #aestro*arbieri. 'ou do not hide the hilharmoni"!

SI#O$E% *ut we paid you!

I am a "lient ;enata, and I demand that I be treated with de%eren"e!

RE$A&A% 4hat is de%eren"e, #iss Simone- Something you "an demand o% us-


17/22

4e are the hilharmoni". 4e demandD no, we do not demand. 4e

hae earned respe"t. 4e do not demand de%eren"e. 4e do not need it.

4e hae earned respe"t.

SI#O$E% 4hy youreD youre not een a player. 'oure 2ust the "oordinator. 'outalk like you wereD a soloist.

RE$A&A% And you are talking like you were the bride! 1i/a, what does it say

there on your name tag-

(-enata reaches out to read !imones name tag.

Simone aldes, wedding "oordinator. It seems we are on eual ground,

you and I.

And e$"use me, I was a player on"e. A soloist. I played with the se"ond

iolins. 0his hilharmoni" has played at weddings %ar greater than this

and we were neer hidden %rom iewD neerD but waitD

(The 1abanera ends. There is polite applause from the re"elers. Then the tin$ling of

glasses.

(-enata /oins in the applause.

(!imone s'itches on the headset and runs to the center.

SI#O$E% 4as that a kiss- !ayang, I missed it. ani"e, Im haing a bit o% problem

"ueing #iss ;enata and the or"hestra.

4e should be haing some light "lassi"al musi" now, %or the dinner.

lease take "are o% things on the %loorD please. *ahil nalolo$a na a$o

sa matandang ito!

(!imone 'al$s bac$ to -enata# 'ho is once again# sur"eying the scene# 'ith that

"acant smile of hers.

SI#O$E% #iss ;enata, I will %orgie the mistake that the hilharmoni" has made.

;ight now, we need some light "lassi"al musi".

RE$A&A% It is "oming, #iss Simone.

SI#O$E% (sighing0hank youD


18/22

(The opening bars of )eetho"ens 2ifth come crashing out from behind the curtain.

SI#O$E% h Fod, no, please Fod. No please.

RE$A&A% (shouting abo"e the music

:ight "lassi"al musi", as reuested.

SI#O$E% 0hats not light!

RE$A&A% h dear, you should hear 4agner.

(The music thunders.

RE$A&A% A"tually, hi/a, i% you think about itD its ery apt. A%ter the Habanera,

a%ter the honeymoon, here "omesD reality. 0his is what marriage is all

about. 0he thunderD and then the "lash o% wills. 0he battle o%

personalities, the tempests in the teapot, the sturm und drangD

SI#O$E% And I suppose some ghost whispered this sele"tion to you!

RE$A&A% *eethoens a"tually.

SI#O$E% ;enata, please, this will not do. I hae so many "lients who want to

hire you. I hae ba"k)to)ba"k weddings all through une, uly and

AugustD all the way to /e"ember. 'ou "ould lose all that! /o you

realiGe-

RE$A&A% 5irst, remoe this "urtainD

SI#O$E% Its part o% the design!

(A great passion o"ercomes -enata. !he does not loo$ at !imone# she stares ahead#

a force of nature.

RE$A&A% ;emoe the "urtain!

Show the audien"e who is playing. 0hey dont know that it is the

hilharmoni" ba"k here, playing %or them, lie with *arbierri at the

helm, willing *eethoen to li%e!

0o li%e, you hear- :i%e itsel%D


19/22

0elling you to take your %ool "urtains away and show with great pride

the or"hestra that is playing. Now!

(!imone lets out a cry of frustration# then claps her hand o"er her mouth. !he

storms off in anger. 1o'e"er temporarily# she is defeated.

(-enata loo$s after the departing !imone.

(!he sur"eys the scene ahead.

(-enata smiles# and the battiness has turned into magnificence. )ehind her# the

giant cyclorama rolls and hea"es# 'ith the music.

RE$A&A% :i%e, I tell youDli%eD

(!he stand alone# the giant cyclorama# hea"ing and rolling to )eetho"ens 2ifth.

(The lights fade out on -enata.


20/22

0ongue 0wistersB

ugong bukid, pugong gubat

&abilugan ng *uwan, *uwan ng &abilugan

*utiki, bituka, butikaalakang &abkab, kumakalabukab, kaka)kalabukab pa lamang, kumakalabukab na

naman.

Sinusi ni Susan ang sisidlan ng sisiw.

pitumput)pitong puting pating

Notebook at aklat, notebook at aklat, notebook at aklat,

&apapansiteria mo pa lang, magpapansiteria ka na naman.

inaputi ni 0epiterio ang pitong puting putong patong patong.

;ole$ ang relo ni :eroy

*umili ako ng bituka ng butiki sa butika.

#inimikaniko ni #oni"o ang makina ng #ini"a ni #oni"a.

#akati sa #akatiC may pari sa AparriC mahihilo sa IloiloC may bagyo sa *aguio

*etong 0utong alyas ketong ang hari ng mga bulutong

pitongput pitong butong puting patani

Ang bra ni *arbara ay nabara

*uwaya, *ayawak

Sumuso ang sanggol na si Susie sa suso ni Susan na sumuso sa suso.

itong puting tupa

&alabit nang kalabit si Alabit na may bitbit sa balikat ng kanyang kalapit)kabalikat

kapitbahay.

&akakanan lang sa kangkungan sa may kakahuyan si &en &en habang kumakain ng

kakaibang kakanin kahapon.#ayamayaRy mamamanhikan si Aman sa mayamang si #aya malamang sa harap

ng maraming mamamayan.

Ngipin ang nangangailangen ng ngubngob

Usong usong isang isang salu'salong nagsisi'usyosohan ang mga aso sa

asosasyon sa Asu)ena

*ala+ang ,ab+ab- +uma+alabu+ab- +a+a'+alabu+ab pa lamang-+uma+alabu+ab na naman.

Ngumunguya at nangunguyakoy ng paa si &a Ngarding.

Nagprito ng pitumpuRtputong puto ang pumipitong puting pato.

*umilT ako ng bituka ng butikU sa botika.Sumasaway nang pasaway ang nagsasaway na sanay magsaway.asko, aksiw, asko, aksiw, asko, aksiw, ...

*etty *otter bought some butter,*ut, she said, this butterRs bitter.I% I bake this bitter butter,It will make my batter bitter.


21/22

*ut a bit o% better butter )0hat would make my batter better.So she bought a bit o% butter,*etter than her bitter butter,And she baked it in her batter,And the batter was not bitter.

So Rtwas better *etty *otter*ought a bit o% better butter.

How mu"h wood would a wood"hu"k "hu"kI% a wood"hu"k "ould "hu"k wood-He would "hu"k, he would, as mu"h as he "ould,And "hu"k as mu"h wood as a wood"hu"k wouldI% a wood"hu"k "ould "hu"k wood.

eter iper pi"ked a pe"k o% pi"kled peppers./id eter iper pi"k a pe"k o% pi"kled peppers-I% eter iper pi"ked a pe"k o% pi"kled peppers,

4hereRs the pe"k o% pi"kled peppers eter iper pi"ked-

She sells seashells on the seashore.0he shells she sells are seashells, IRm sure.

A big bug bit a bold bald bear and the bold bald bear bled blood badlyan you "an a "anned "an into an un"anned "an like a "anner "an "an a "anned "aninto an un"anned "an-Imagine an imaginary menagerie manager managing an imaginary menagerie*abbling, *en brought *abs to behae badly./aid tried drying tomatoes daily, due to /inaRs tremendous diet.aul pruned enelopeRs pansies leaing enelope perple$ed.#able had a maple tree. #ableRs maple tree didnRt make maple syrup %or #able. Is#ableRs maple unable-

0wenty little leopards laughed at two lo%ty lions.

=at ea"h green pea. Aim straight at the game. =d said get ready.

It is in Italy. I tried my kite. aks grow slowly.

5ather was "alm as he threw the bomb on the do"k.

An awed audien"e applauded laude.

Fo slow oe, youRre stepping on my toe.

Sau"e makes the goose more su""ulent.


22/22

0hereRs your "ue, the "ur%ew is due.

It was the studentRs duty to delier the 0uesday newspaper.

He %eels keen as he s"hemes and dreams.

#u"h o% the %lood "omes under the hut"h.

*oots and shoes lose newness soon.

;uth was rude to the youth%ul re"ruit.iid, liid, ii%ying. iid e$perien"es were lied i"ariously.

ddly, the ominous o"topus remained "alm.

0he pod will rot i% le%t on the ro"k.

:ook, you "ould put your %oot on the hood and push.

Nat nailed the new sign on the door o% the diner.

/aleRs dad died in the stampede %or gold.

0hought%ul thinkers think things through.

=ngineer =thelbert wre"ked the e$press at the end o% =lm Street.

Documents

DRAFT Voice and Sound Design for Theater Ver3