My name is Tingying Dong (董汀滢), I'm a sound designer, composer, sound technician, and theatre maker from Beijing and currently based in London. I trained at the BA(Hons) Prodcution and Technical Arts course at LAMDA and graduated in 2019 with 1st Class Honours. I was nominated for Off West End Theatre Awards for Best Sound Design in 2019 (Jerker, King's Head Theatre) and 2021 (The Sun, The Moon, And The Stars, Theatre Royal Stratford East). I'm especially interested in works that have a political/social focus, physical theatre, and a design and process led devising process.
Sound Design / Composing
I explore the physical and psychological worlds in a project with sound. Having practised piano, singing, and ballet, I have a good understanding in music and movement. I compose soundscape and music as part of my design, while on some jobs I solely take on composition. I sense and analyse the emotions, arcs, etc within a story and translate them into sound and music. I like building with textures and creating movement with sound. My work is often fluid and detailed, with electronic and acoustic sounding textures and instruments weaved together.
I'm on a journey of realising my own and some collective artistic visions. I've been collaborating with directors/writers, scenographers, puppeteers, dancers, and have been developing a few different projects. These work tend to land in experimental, multi-disciplinary, and magical realistic forms. The starting point is often my and my collaborators' own lived experience, from where we seek to also find universal connections. I take inspirations from different forms of art work and reflecting on them to build my aesthetics and broaden my views.
I enjoy the feeling of navigating through a busy back stage so I sometimes work as a mic tech. I have depped on large-scale shows including Les Misérables (Sondheim Theatre), 9 to 5 (Savoy Theatre) and Stranger Things (Secret Cinema).
I grew up in Beijing. Before pursuing a career in theatre, I was studying for an MSc in Behavioural Economics in Rotterdam. Intimidated by the thought of living with numbers and equations by an office desk for the rest of my life (now we know it's called 'quarter-life crisis'), I decided to change career and dig into my long-time hobby, theatre-making. I moved to London and trained at the Production and Technical Arts course at LAMDA. There I found my interest in sound, and the rest is history.
On my previous work:
"In tandem with the listener’s experiences at the hands of their creativity, Imaginarium relies heavily on Tingying Dong’s sound design and composition, quintessentially the production’s principal strength outside of Dean’s voice-over. Sharp, Dong’s audio tracks and quirks cause the brain to utilise its keen ability to construct a world around it, particularly whenever the production asks us to close our eyes and embrace our less visual senses. From cafes and rustles to sudden storms and bombastic crescendos, Imaginarium’s audio design complements the minimal composition of music it uses to accentuate the listener’s mood, rather than lead."
“Tingying Dong’s amazing soundscape, electronics effects and natural ambience leads you into new and fantastic possibilities.”
"Tingying Dong’s sound design is extremely detailed and immersive in a wholly naturalistic way. This works well as a crutch in illustrative support of a complex script that takes its listener’s imagination from space battles to gushing rivers and mountain tops."
"... a variety of journeys through time, space and imagination, aided always by confident and apt sound design of Tingying Dong"
"Tingying Dong’s soundscape is laced with the incessant hum of the spacecraft that so annoys its passengers, all of which combines to create the pressure cooker like environment so essential for this production."
"the moments underscored by music (Tingying Dong) are heartfelt and apt"
"medical-drama-meets-Royal-Court sound design by sound designer Tingying Dong"
"the sound design is effective in helping to show the passage of time and feelings of change"
"all set to a pulsating disco beat that adds to the magnificence and urgency of the play"