ABSTRACT
This chapter explains the phenomenon of the musicality of sound, voice and noise that is presented by the Antonin Artaud. Artaud plays an important role in the advent of sound and also its poor cousin noise as theatrical elements in their own right. What Artaud promoted, ahead of his time, was sound on stage as an autonomous part of performance, which was not certainly a new mere extension or illustration of a fictional place, time or character. According to Drever, 'sound effect' relates to a predominantly semiotic practice of listening to and producing sound in theatre 'confined to the strictures of a standardized convention based on the supposed cause related to a rigid system of signification. The sound sphere of the Balinese theatre, which so impressed Artaud, registered with him neither as a series of the sound effects nor sound events, but as sound objects.
