"Man lives
in an uneasy ocean of air...continually agitated by the
disturbances known as sound waves." Frederick Vinton Hunt 1959
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Steven Brown
is a sound designer and soundscape
composer. He is best known for his work as a sound designer for
theatre, having worked globally with many leading theatre companies,
directors and also as Head of Sound for The Royal Exchange Theatre
Company, Manchester , UK. Steven recently curated and designed the sound design
section of Collaborators: Design for Performance exhibition at the
Victoria & Albert Museum , London and was also Sound Design
Project Head for Scenofest at the 2007 Prague Quadrennial.
Steven is currently Sound Design Curator for the
Prague
Quadrennial 2011, Head of The Sound Design Working Group for
Organisation Internationale des Scénographes, Techniciens et
Architectes de Théâtre (OISTAT), Head of Sound for The Royal Exchange
Theatre Company and a Committee Member for The Society of British
Theatre Designers (SBTD).
Steven
was recently awarded an Honorary Fellowship from Rose Bruford
College.
Steven
Brown uses
As Listen Hear Sound Projects he explores sound art,
sound design, soundscape composition, phonography and audio ecology
through many commissions and projects whilst working both as a
collaborator and in his own right. He has recently collaborated with
Steam Control ('Why Won't You Tell Me?' - National Film Theatre/ Sassoon
Gallery) and was commissioned by Dody Nash (Listening Shell installation
- Victoria & Albert Museum ).
In recent years he has presented his work and ideas at many
Universities, Institutions and Conferences including, Yale and Purdue
Universities in the USA , the United States Institute of Theatre
Technology at conferences, in Toronto , Louisville and Houston,
Liverpool Institute of Performing Arts, Rose Bruford College ,
Vereniging voor Podiumtechnologie (VPT) in The Netherlands and PLASA UK.
"The first thing you notice about this revival of
Githa Sowerby’s 1912 play is Steve Brown’s superb design. It begins
with an eerie, high-pitched singing, like a wet fingertip run around the
rim of a wineglass, followed by a deep rasping, reminiscent of breath
across the neck of a bottle. Finally, there’s the tinkling shiver of
glass smashed into fragments. It is intriguingly menacing.”
Lost
at Sea All rights reserved. Any unauthorised broadcasting, public
performance, copying or re-recording will constitute an infringement
of copyright.
Commissioned by Dody Nash for The
Listening Shell installation at the V&A