Audiovisual material available here
You are listening to an extract of the Potters’ play Pentecost, which narrates the descent of the Holy Ghost on Mary and the apostles.
This soundscape explores the impact of the acoustics of sixteenth-century Stonegate on spoken and sung extracts from the play. Stonegate was simulated as having a majority of three-storeyed buildings, with closed windows and shutters. The simulation of Stonegate is based on historical evidence regarding particular buildings as well as the general characteristics of urban secular buildings of the period. This simulation presents one possibility among many as not enough information survives to be able to reconstruct the characteristics of each building on the street and it is not possible to know whether the buildings at the sides of the street had their windows/shutters open or closed. It is possible that people watched the plays from inside the buildings at the sides of the street by opening windows and shutters.
As in the previous soundscape the virtual model of Stonegate is combined with a simulation of a wagon open on all sides, with four columns supporting a pitched roof. The wagon design is based on The Nativity wagon in van Alsloot’s painting The Triumph of Archduchess Isabella (1615). In this soundscape the wagon was simulated as having a fron-on orientation, that is, actors are delivering their lines towards one of the ends of the street.
The sound sources, indicated with grey cubes, represent performers (actors, singers); for this soundscape the source situated atop the wagon deck was used in the auralization process. The use of a front-on wagon means that in this soundscape the performers are directing their performance towards one of the areas simulated as having standing audience members.
The positions of the receivers, indicated with white spheres and representing individual audience members (listeners), change throughout the soundscape in order to reflect on how the auditory experience of different members of the audience may have varied depending on their position.
The soundscape starts with the Veni Creator, the Whitsuntide hymn, performed antiphonally by two angels. This piece is sung by Pierre-Philippe Dechant and Christopher O’Gorman. Kate Thomas performed the lines by the Virgin Mary and Brad Kirkland performed as Peter, the apostle.