Tinderbox Theatre Company
![](/research-centres/media/Media,817452,en-750x516.png)
![](/research-centres/media/Media,960993,smxx-750x499.png)
Eoin Bannon discusses the making of his podcast in response to the play.
![](/research-centres/media/Media,960995,smxx-750x499.jpg)
Roan Guiney explains how his sound response took some unexpected turns.
![Ubu the King Image 3](/research-centres/media/Media,960997,smxx-750x499.jpg)
Brian McCarley explains how his sound interpretation piece focused on a quickening pace and rhythm - inspired by militant marching and galloping horses.
![](/research-centres/media/Media,960999,smxx-750x499.jpg)
Caolan discusses the concept of 'setting against' and disassociation applied in her sound interpretation.
![Ubu the King Image 5](/research-centres/media/Media,961001,smxx-750x499.jpg)
Eoghan O’Connor shares his 'sonic response' methodology.
![Ubu the King Image 6](/research-centres/media/Media,961007,smxx-750x499.jpg)
Paul Campbell shares his audio package production
![Ubu the King Image 7](/research-centres/media/Media,961009,smxx-750x499.jpg)
Simon Porter's soundscape production.
![Ubu the King Image 8](/research-centres/media/Media,961013,smxx-750x499.jpg)
How the rallying speech, "I want to be King" morphs into John Thorp's incongruous sound monologue.
![Ubu the King Image 9](/research-centres/media/Media,961016,smxx-750x499.jpg)
Aaron Willoughby shares his sound production
![Ubu the King Image 10](/research-centres/media/Media,961018,smxx-750x499.jpg)
Ovalle Zanker presents his audio workshop production.