SKU: 34170939204

Sound Experience @ Templemore Baths Heritage Space - Thursday 17 September 2026 @ 7.30 pm

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Description

Sound Experience @ Templemore Baths Heritage Space - Thursday 17 September 2026 @ 7.30 pmAutumn Sound Experience at Templemore Baths An Immersive Heritage Space Sound Experience A sound experience held within the Heritage Space at Templemore Baths, guided by Tessa Ann. Limited capacity allows for a more spacious and immersive experience within this distinctive architectural environment. As the season begins to shift, this experience offers an opportunity to step away from the pace of everyday life and into a quieter and more reflective

Autumn Sound Experience at Templemore Baths

An Immersive Heritage Space Sound Experience

A sound experience held within the Heritage Space at Templemore Baths, guided by Tessa Ann.

Limited capacity allows for a more spacious and immersive experience within this distinctive architectural environment.

As the season begins to shift, this experience offers an opportunity to step away from the pace of everyday life and into a quieter and more reflective space, where sound, atmosphere and architecture come together within one of Belfast’s most unique heritage settings.

Part of The Place to BE series, this experience explores the relationship between sound, resonance and environment, where the scale, surfaces and acoustics of the building shape how sound is experienced throughout the space.

Taking place as autumn begins to emerge, this experience offers a gentle invitation to pause, settle and experience Templemore Baths in a slower and more atmospheric way.

Booking Information

Location: Templemore Baths Heritage Space, Belfast
Date: Thursday 17 September 2026
Time: 7.30 pm to 9.00 pm
Price: £25 plus booking fee

Tickets are available via the link below:

https://www.eventbrite.com/e/sound-experience-templemore-baths-heritage-space-tickets-1988016805782

A bank transfer option is also available to avoid booking fees. Please contact Tessa directly at:

[email protected]

Event Overview

The Experience

Held within the beautifully restored Heritage Space at Templemore Baths, this immersive sound experience unfolds within a large architectural environment with distinctive acoustics and atmosphere.

Sound is created and delivered live using voice, singing bowls and subtle percussion, responding to the natural resonance of the building.

Unlike smaller or more contained environments, sound here travels across surfaces and open space, creating a layered and spacious listening experience.

With minimal spoken guidance, the focus remains on direct experience. Participants are invited to settle comfortably and engage in their own way, allowing sound and space to unfold together naturally.

As the experience progresses, there is space for stillness, reflection and sensory rest within the atmosphere of the building.

Designed to support calm and spaciousness, this experience offers an opportunity to experience Templemore Baths in a slower and more immersive way.

The Setting

The experience takes place within the Heritage Space at Templemore Baths.

Participants may choose to lie down or remain seated throughout the experience.

A short introduction will take place before the experience begins.

Accessibility

Templemore Baths is a fully accessible venue with accessible toilets and facilities available onsite.

If you have any health conditions, injuries, mobility considerations or accessibility requirements, please get in touch in advance so appropriate support can be offered.

You are welcome to contact Tessa Ann directly at [email protected] with any accessibility questions prior to booking.

What to Bring

To support your comfort during the experience, you may wish to bring:

  • A yoga mat (a limited number are available)
  • A pillow and blanket
  • Comfortable clothing
  • A bottle of water

Seating options are available if preferred.

Event Information

Duration: Approximately 90 minutes
Suitability: Ages 16+. Under 18s must be accompanied by an adult.

Sound levels and acoustic conditions may vary within the space due to the natural resonance of the building.

This experience may not be suitable during the first trimester of pregnancy.

Sustainability

This experience supports the ongoing use of heritage and cultural spaces for immersive arts and wellbeing experiences.

By working in harmony with the architecture and existing environment of Templemore Baths, the experience encourages mindful engagement with place, atmosphere and listening.

About Tessa Ann

Tessa Ann is a sound artist and immersive experience creator based in Northern Ireland.

She is the founder of The Sound Healing Spa, creator of The Place to BE series, and developer of Sound Space Connect®, a framework exploring the relationship between sound, space, environment and human experience.

Through place-based experiences in environments including heritage spaces, caves, woodlands and planetariums, Tessa explores how sound, listening and atmosphere can shape the way people feel, perceive and connect within a space.

Her work brings together sound, environment and sensory awareness to create immersive experiences that are both accessible and deeply experiential.

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SKU: 34170939204

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4.3 ★★★★★
Based on 27 reviews
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Product Reviews
J
Verified Purchase
jk Smiles
Lexington, US
★★★★★ 5
A book on dialogue should be experienced first as a book on tape
Format: Audio CD
I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on August 30, 2018
L
Verified Purchase
Lori T. Sly
Waukegan, US
★★★★★ 4
Helpful, but not as good as "Story" by same author, and it disses certain genres
Format: Hardcover
This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful. McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do. However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies! If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why. McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism. Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging. With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else. In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree. But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on December 12, 2019
R
Verified Purchase
Ray Pryor
Pawtucket, US
★★★★★ 5
Amazing.
Format: Kindle
Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 18, 2017
K
Verified Purchase
Kindle Customer
Fort Morgan, US
★★★★★ 5
So to speak
Format: Kindle
Previews did not show the Table of Contents, but it is worth searching the web for. The coverage includes practical techniques as well as case studies. Notes cover titles on topics over several decades. This book has four parts about what dialogue is, how it can mended, and how it can be created and designed. Trialogue, the third thing through which a pair of characters channel conflict in conversation, is an interesting concept because it overlaps social networks or media and comms devices; it is also looked at historically. Dialogue is reportedly the quickest way to fix a narrative text since it appeals to intuition. Those levels of depth are what the book is about. They can be found in first person voice. The approach could easily fill a site on the order of tropes for favorite titles, but for deconstruction and revision, which are also relevant to works in progress. It talks about finding characters in the dark, though not necessarily from the milieu, unless it were compressed and made to transfer meaning like in poetry, but reflexive so that it is symmetrical to the characters or human nature. If there is a boundary to be found, then this method is going to hit the lines to find out what happens then. The impact on the rest of the narrative elements is discussed. This extends back through the early philosophers, through tragedy, the merging of European roots into English, and the study of personalities to contemporary customs. Voice is plot.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on June 12, 2017
C
Verified Purchase
cf otto
Pawtucket, US
★★★★★ 5
ONE OF THE TWO BEST BOOKS ON SCREENWRITING
Format: Hardcover
Probably the best book on screenwriting ever (besides Egri), though there is also much here for the novelist and playwright. I am a professional TV writer, of long-standing (35 years), and I can tell you I used this book to figure out how to fix the problems of a complex pilot I'm writing; the author truly " guided me home." And lest you think I'm a McKee sycophant, I am not. I found little in STORY for me. The only thing I disagree with in DIALOGUE is that the author sells his own work short: it isn't just for those who are "lost" in their writing, like me, and the student, it's for anyone who writes fiction for a living, in any form, no matter how much experience they have. It's that good.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on October 14, 2016

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