Editing Sound effect (section)

== Sound effects in theater ==
Gao, Jianliang, Zhao, Yuezhe, and Pan, Lili explained how sound absorption in the stage area influences the acoustics within an opera house auditorium.<ref>{{Cite journal |last1=Gao |first1=Jianliang |last2=Zhao |first2=Yuezhe |last3=Pan |first3=Lili |date=March 2024 |title=The Effects of Sound Absorption of Stage House on the Acoustics of Auditorium in an Opera House |journal=Buildings |language=en |volume=14 |issue=3 |pages=718 |doi=10.3390/buildings14030718 |doi-access=free |issn=2075-5309}}</ref> Their research, using computer models and scale experiments, revealed that sound absorption significantly affects sound clarity and the time it takes for sound to fade, but not the volume. More absorption led to clearer sounds but quicker fades, showing the intricate dance between stage and auditorium acoustics.

In his book "Sound: A Reader in Theatre Practice," Brown<ref>{{Cite journal |last=Curtin |first=Adrian |date=2010 |title=Sound: A Reader in Theatre Practice (review) |url=https://muse.jhu.edu/pub/1/article/413949 |journal=Theatre Journal |volume=62 |issue=4 |pages=706–707 |doi=10.1353/tj.2010.a413949 |issn=1086-332X}}</ref> effectively connects the dots between theory and practice in the world of theater sound. He presents an engaging look into how sound design in theater has evolved, blending historical insights with current philosophical thoughts. Brown argues that the immersive nature of theater sound goes beyond traditional analysis, providing fresh perspectives on how sound interacts with societal contexts.<ref>{{Cite journal |last=Curtin |first=Adrian |date=2010 |title=Sound: A Reader in Theatre Practice (review) |url=https://muse.jhu.edu/pub/1/article/413949 |journal=Theatre Journal |volume=62 |issue=4 |pages=706–707 |doi=10.1353/tj.2010.a413949 |issn=1086-332X}}</ref>

Brown<ref>{{Cite journal |last=Brown |first=Ross |date=2014 |title=Dramaturgy of Sound in the Avant-Garde and Postdramatic Theatre by Mladen Ovadija (review) |url=https://muse.jhu.edu/pub/75/article/577318 |journal=Comparative Drama |volume=48 |issue=4 |pages=441–443 |doi=10.1353/cdr.2014.0026 |issn=1936-1637}}</ref> offers a fresh look at Ovadija's exploration of sound in theater, questioning the traditional focus on visuals over audio. He points out the significant, yet often overlooked, role of sound in shaping theater's impact and experience. Brown pushes for a broader appreciation of sound's essence in theater, beyond just supporting visuals, to acknowledge its deep influence on storytelling and audience immersion.

Rost explores the criteria for 'good sound' in theater through handbooks and prioritization as guiding principles. These criteria not only dictate the creation and selection of sounds to complement the narrative and mood but also aim to maintain audience focus. Rost's analysis reveals underlying hierarchies in sound selection and emphasizes the need for further research into the historical and practical aspects of theater sound.<ref>{{Cite journal |last=Rost |first=Katharina |date=October 2016 |title=The shaping of 'good sound' in handbooks for theatre sound creation |url=https://www.tandfonline.com/doi/full/10.1080/23322551.2016.1226073 |journal=Theatre and Performance Design |language=en |volume=2 |issue=3–4 |pages=188–201 |doi=10.1080/23322551.2016.1226073 |issn=2332-2551}}</ref>