Composing for theatre is the same as composing for games: The Techniques (part 3) – Vertical Layering

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This is part 4 in a five part series on the similarities in challenges faced by composers of both games and theatre, and the similar evolution of their solutions. In the first post I talked about those challenges brought about by the live and interactive nature of theatre and games, respectively: timings change, and are …

Composing for theatre is the same as composing for games: The Techniques (part 2)

sounddesk and QLab
There's a great deal of overlap between the techniques of scoring theatre and games. In the first post of this series, I talked about the practical similarities between these two platforms: of writing music to accompany and synchronise with events that are unlikely to happen at the same time each time they are performed, be …

Composing for theatre is the same as composing for games: The Techniques (part 1)

HF-Cam-IMG-6533
There's a great deal of overlap between the techniques of scoring theatre and games. In my last post, I talked about the practical similarities between these two platforms: of writing music to accompany and synchronise with events that are unlikely to happen at the same time each time they are performed, be that onstage or …

Composing for theatre is the same as composing for games (mostly)

IMG_6327
There's a great deal of overlap between the techniques of scoring theatre and games (I'd argue that there's a blurring of boundaries between the two media that happens when you get into immersive and interactive theatre, but that discussion is for another day). The fluidity of durations in both theatre and games creates the same …