My name is Tingying Dong (Ting for short), I'm a sound designer/composer and sound technician. I've been nominated for Off West End Theatre Award for Best Sound Design (Jerker, King's Head Theatre, 2019). I'm also a theatre maker and co-founded Out of the Blue Theatre Company. I'm especially interested in works that have a focus on political and societal issues, sound-led work, physical theatre, and a devising process of theatre making.

Sound Design / Composing

Having been drawn to arts and performance since an early age, I like to learn from different forms of art work and channeling and reflecting on them to build my aesthetics. Having practised piano, singing, and ballet, I have a good understanding in music and movement. I love exploring to build, connect, and express the physical and psychological worlds with sound, and enjoy composing soundscape and music as part of my design.

Technical Work

Having had placements with Lyric Hammersmith and Autograph during training, I stayed and work for them on a casual basis. I also work as a mic tech and have depped on 9 to 5 (Savoy Theatre) and Stranger Things (Secret Cinema). I love working as a mic tech because I enjoy the feeling of navigating through a busy back stage.

Theatre-Making & Out of the Blue Theatre

During the Covid-19 pandemic I'm practising new ways of making and presenting theatre. I co-founded Out of the Blue Theatre Company from an international online collaboration, in the aim of creating vibrant, bold, and accessible performance art that meets the challenges of the information age. I sound designed our debut production IMAGINARIUM, an experimental immersive audio show created for the audience to experience in their own bedrooms. It premiered in October 2020 at Dazed New World Festival, and has now been adapted into Mandarin Chinese, French, and German. 


My Background

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 equations by an office desk for the rest of my life (now we know it's called 'quarter-life crisis'), I decided to go professional with 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."

- The Reviews Hub on Imaginarium

“Tingying Dong’s amazing soundscape, electronics effects and natural ambience leads you into new and fantastic possibilities.”

- ArtsCulture on Imaginarium

"it is Tingying Dong’s beautifully complex sound design which completely elevates this production."

- RAZZ Magazine on Imaginarium

"We create a new world from our everyday to the deft musical accompaniment of sound-designer Tingying Dong."

- Londongrip on Imaginarium

"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 Younger Theatre on Imaginarium

"... a variety of journeys through time, space and imagination, aided always by confident and apt sound design of Tingying Dong"

- Thespyinthestalls on Imaginarium

"the piece is supported wonderfully by Tingying Dong’s sound design, adding to the enclosed, aquatic feel"

Within Her Words on Kraken 

"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."

Theatre Weekly on The First

"the claustrophobic interior of the spacecraft is embodied on stage ... with effective sound design by Tingying Dong"

- British Theatre on The First

"the moments underscored by music (Tingying Dong) are heartfelt and apt"

- Within Her Word on The First

"... and sound design from Tingying Dong transform a small room under the railway arches at Waterloo Station"

- Westend Wilma on The First

"...wafting along the slim stage to a soundtrack of spacey beeps and boops from Tingying Dong"

- The London Theatre Marathon on The First

"Throughout the piece ... sound (Tingying Dong) prove highly effective. Everything from sounds of the hustle and bustle of a busy Oxford Circus to ... means we can engage well with the story."

- Thespyinthestalls on Blood Orange

"medical-drama-meets-Royal-Court sound design by sound designer Tingying Dong"

- Within Her Words on Blood Orange

"an immaculate ... sound – by Tingying Dong, design"

- London Pub Theatres Magazine on Blood Orange

"the sound design is effective in helping to show the passage of time and feelings of change"

- London Pub Theatres Magazine on Jerker

"all set to a pulsating disco beat that adds to the magnificence and urgency of the play"

- Boyz on Jerker

"As for the accompanying soundtrack, compiled by Tingying Dong, it will want you to get up and dance the night away."

- Close-Up Culture on Jerker

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