Interview: Sound Designer Ning Guo

What do you do when not working with this production for UCI?

Mostly homework or projects from classes. Cooking food for myself has also become a

hobby these days and a great stress reliever. Sometimes I take the time to go for a long run around Mason Park for some fresh air.

How would you describe your design philosophy?

I think my design tends to be an emotional reaction to the text or action onstage. I relate what I want to hear to what I feel after reading or seeing a scene being played out. Nothing is too out of the way and nothing is too much, but it has to serve the STORY. A piece or music or sound has to serve a function, either to create mood, to contradict action, or make commentary. But it must not overtake the story. A stunning display of sound and lights would serve nothing if it becomes a distraction.

What does the role of collaboration play in the design for this show?

Collaboration is a huge part in this production. Melissa is a very open and amiable director. She is very receptive to new ideas and thoughts, which is a wonderful part of this process. I think especially for a theme that needs to be talked about, and a script that transcends time and space, it helps that we are not bound to stage the play in a traditional or rigid manner. Collaboration builds trust and helps everyone in the team to be free to contribute their best ideas.

You’ve been exploring with atmospheric sounds, how has that influenced your process designing this show?

I feel this show has been a test on how can I create new sounds from familiar sounds we already know. The bowing of a string instrument or the room tone of a prison can be transformed into something we don’t recognize anymore. The buzz of a fluorescent light can be transformed to an abstract tone to create tension. These are processes I don’t usually go through, but it has been great fun needing to start from actual recorded sounds.

What excites you about sound and music?

I feel music and sound always helps to create another dimension closer to our emotions compared to the visuals we see from scenic and lighting. We are allowed to comment on the story in a dimension that no other visual aspect can. We can manipulate the audience in more ways than we think.