What is the meaning of sound design in a live performance, and can it play a central, engaging role in contemporary theatre and dance? In challenging its frequent relegation to a secondary or supporting role, this thesis investigates how sound can transform narrative, aesthetic, and spatial perception. Could this enhancement foster deeper interaction between performers and audiences?
In this thesis, I present a historical overview that traces the evolution of sound design starting with early theatrical sound operators and radio drama to musique concrète, experimental theatre, and the emergence of digital tools, to highlight the ongoing expansion of sonic practices and their development in live performance.
The study combines this contextual analysis with practice-based inquiry, reflecting on the author’s artistic progression. Selected projects before and during the MA Sound Design program
at ZHdK are therefore analysed. The final case study, Hard Boiled Wonderland (2025), created in collaboration with choreographer Dong Manning, exemplifies sound’s potential as both dramaturgical and performative force. Built entirely from recordings of trash and scrap materials, the project employs live performance techniques and collaborative processes to shape choreography, scenography, and audience experience. Sound becomes an interactive presence.
It guides movement, intensifies atmosphere, and enables a real-time dialogue between dancers and sonic space.
The reported findings demonstrate how sound designers can operate as an equitable partner and co-creator. The thesis emphasises rethinking sound design as a creative pillar of live performance. Sound has the capacity to redefine collaborative processes and open new channels for interactive performance workflows.