Know-How

Sonya's podcasts are designed as units or series, and are based on the realities that surround us: stories, testimonies, articles, current events are all sources of permanent inspiration. The writing process, whether individual or collective, integrates the sound dimension and part of the production challenge from the outset: listening is thus the premise and the purpose.

The recording time is an immersive challenge: it is essential to capture a climate, an atmosphere. In fact, this rarely takes place in a studio but rather in situ (on the roof of a building, in a dry cleaner's, in a flat) in order to capture a climate, an atmosphere, which will nourish the fiction and the movement of the performers, with the hazards that this entails.
We ask the actors to be really "in play", to improvise and to take hold of the text with their own words, in order to be as close as possible to a form of orality.

The editing phase can sometimes give rise to a work of quasi rewriting in itself; it is here that everything comes together and that the intentions of the sound production crystallize. Particular attention is paid to rhythm and punctuation, whether it is a 5-minute or 45-minute format.
Bringing together experienced musicians, Sonya creates its own music, sound effects and packaging in order to provide a truly original sound signature that is consistent with the project as a whole.

Sonya develops audio formats and devices in the public space, infusing them with fiction and the imaginary, in order to survey and discover our urban, rural and natural territories in a different way, because stories also nourish our links with a given territory. These perennial devices can be fixed or ambulatory.

What is a sound walk?
Headphones on, the sound walk is a sensitive and immersive experience, which invites you to be guided by stories at the crossroads of reality and fiction, history and imagination. Each sound walk is conceived in direct relation with the territory concerned, either in close collaboration with the partners and/or by involving its inhabitants.
Several days of location scouting are necessary to immerse oneself in a space. During these immersion phases, notes, sound recordings, photos and meetings with the people who have used the place alternate, as do dives into archives of all kinds to trace its history.
Then, the imagination unfolds, and Sonya invents a fiction that is naturally anchored in the place. Often, a common thread emerges depending on the memory of the space crossed.
The sound walk is a perennial and autonomous device. The concept is simple: all you have to do is go to a particular place, the starting point of the walk. And to have downloaded the sound file on your phone or tablet. It is also possible to listen to the walk in streaming (online broadcasting), provided you have a good connection on site.
From local residents to tourists from far away, everyone will enjoy discovering and appropriating a territory through stories and sounds.

Beyond the sound walks, Sonya wants to develop formats in relation to given spaces and to imagine how to build bridges between virtual and real. Telling the story of a territory, its history and its actuality is an important issue for us, as shown by the series La Cité parfaite (The Perfect City), inspired by a little-known eugenic city that existed in Strasbourg in the 20th century.
More broadly, it is possible to invent listening devices to enhance a territory, between the audio-guide, the escape game, the sound installation and the fictional podcast.