This final section thinks about the impact of mobile technologies and how they have created possibilities for performances outside of conventional theatre spaces as well as how they have encouraged a more democratic participation in sound performance. The coda asks us to measure whether theories of sound almost always originating from Western thinkers can be useful in more global contexts.
1. How do you understand the concept of soundscape? What plays or performances would you describe as relying on a soundscape to achieve their dramatic effects?
2. How does interacting as individuals (as in headphone theatre) change the nature of performance production and reception?
3. Which of the theories discussed in this book would you use to explore a performance that originated outside the West and why?
4. What does an intercultural approach bring to the study of sound in contemporary performance?
