A great deal of care and attention was paid to the construction and performance of these effects, both naturalistic and abstract. Whilst the term "sound designer" was not in use at this time, a number of stage managers specialised as "effects men", creating and performing offstage sound effects using a mix of vocal mimicry, mechanical and electrical contraptions and gramophone records. As cited by Bertolt Brecht, there was a play about Rasputin written in (1927) by Alexej Tolstoi and directed by Erwin Piscator that included a recording of Lenin's voice. The article states: “these sounds are all realistically reproduced by the gramophone”. The event is marked in the Theatre Magazine (1906) with two photographs one showing a musician blowing a bugle into a large horn attached to a disc recorder, the other with an actor recording the agonizing shrieks and groans of the tortured martyrs. Sixteen years later, Herbert Beerbohm Tree used recordings in his London production of Stephen Phillips’ tragedy NERO. Possibly the first use of recorded sound in the theatre was a phonograph playing a baby's cry in a London theatre in 1890. After his death, his intonarumori' were used in more conventional theatre performances to create realistic sound effects. Russolo's treatise, The Art of Noises, is one of the earliest written documents on the use of abstract noise in the theatre. These devices were meant to simulate natural and man-made sounds, such as trains and bombs. Italian composer Luigi Russolo built mechanical sound-making devices, called " intonarumori," for futurist theatrical and music performances starting around 1913. Cues would be written in the script for music and sound effects to be played at the appropriate time. The use of music and sound in the Elizabethan Theatre followed, in which music and sound effects were produced off stage using devices such as bells, whistles, and horns. Plays were performed in medieval times in a form of theatre called Commedia dell'arte, which used music and sound effects to enhance performances. In ancient Japan, theatrical events called kagura were performed in Shinto shrines with music and dance. At its earliest, it was used in religious practices for healing or recreation. The use of sound to evoke emotion, reflect mood and underscore actions in plays and dances began in prehistoric times. A sound designer is one who practices sound design. foley) and editing of previously composed or recorded audio, such as sound effects and dialogue for the purposes of the medium, but it can also involve creating sounds from scratch through synthesizers. Sound design commonly involves performing (see e.g. It is employed in a variety of disciplines including filmmaking, television production, video game development, theatre, sound recording and reproduction, live performance, sound art, post-production, radio, new media and musical instrument development. It involves specifying, acquiring or creating auditory elements using audio production techniques and tools. Sound design is the art and practice of creating sound tracks for a variety of needs. ( May 2008) ( Learn how and when to remove this template message) Statements consisting only of original research should be removed. Please improve it by verifying the claims made and adding inline citations. This article possibly contains original research.
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