| Contents | |
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| Foreword by Peter Sellars . . . . . . . . . . . . . . . . . . . . | viii |
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| Preface to the First Edition . . . . . . . . . . . . . . . . . . . | x |
| Preface to the Second Edition . . . . . . . . . . . . . . . . . . | xii |
| Preface to the Third Edition . . . . . . . . . . . . . . . . . . . | xiii |
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| Introduction to the Third Edition by Mark Lamos . . . . . . . . . | xv |
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| Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . | xix |
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| The Art of Looking with the Ear by Tazewell Thompson . . . . . . . | xxi |
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| 1. The Evolution of Sound Design . . . . . . . . . . . . . . . . . | 1 |
| 2. The Foundation of Sound Design . . . . . . . . . . . . . . . . | 12 |
| 3. Developing the Concept and Design . . . . . . . . . . . . . . . | 40 |
| 4. Research, Resources, and Selection . . . . . . . . . . . . . . | 51 |
| 5. The Sound Plot . . . . . . . . . . . . . . . . . . . . . . . . | 65 |
| 6. Working with the Theatre Company . . . . . . . . . . . . . . . | 80 |
| 7. Preparing to Build the Cues . . . . . . . . . . . . . . . . . . | 95 |
| 8. Recording, Editing, and Refining Cues . . . . . . . . . . . . . | 110 |
| 9. Rehearsals . . . . . . . . . . . . . . . . . . . . . . . . . . | 118 |
| 10. Running the Show . . . . . . . . . . . . . . . . . . . . . . . | 141 |
| 11. Approaches and Techniques . . . . . . . . . . . . . . . . . . | 167 |
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| Feedback: A Director's and Playwrights' Forum . . . . . . . . . . | 186 |
| More Feedback: A Sound Designers' and Composers' Forum . . . . . . | 223 |
| No More Feedback: A Sound Reinforcement Forum . . . . . . . . . . | 289 |
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| Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 307 |
| Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 313 |