The Science, History, and Future of Olfactory Design
For centuries, thousands of theatres around the world have focused on the basic design concepts. These concepts include the design of sets, costumes, lights, and props. These designs are put together in order to bring what is on the script to life on the stage. This required putting together the many artful talents of a large group of people into a single product that draws the eye of the audience, but do productions always have to attract sight as opposed to other four senses? Take for instance, the sense smell? While olfaction design may be invisible to the eye, it can still prove to be as powerful of an element as the rest of the set, sound, and actions.
According to Graham’s laws of gas diffusion, odors travel very slowly in still air, but can travel very fast when they are helped by air movement. The expression of Graham’s law of gas diffusion is as follows:
The concentration U (r, t) is measured in molecules/cm3. r represents distance (cm) from the emission source. t is time in seconds from the start of emission. Q is the emission rate of the gas. D is the diffusion coefficient of the substance within the air. f represents a correction function of error. This equation is serves as the answer of the estimation of the threshold concentration or K (Stoddart 2). This is important to know how big of a space the smell will occupy and how long it is going to take for the smell to reach the audience whether the sent is remaining within the air during the whole of the production or if the smell is needed only for a certain part of the production.
According David Bernstein, “There is something embarrassingly intimate about smell. It allows the external to penetrate our most private associations (Pinhas).” As opposed to sight, smell has more advanced abilities to trigger memories, moods, and affect the overall behavior of an individual human being. This is because smelling something that is familiar to the individual activates the olfactory bulb which is part of the limbic system (Figure 1) located in the central portion of the brain (Dowdey).
(Figure 1, The Limbic System)
The limbic system is solely associated with memory and feeling. The olfactory bulb can immediately access the amygdala, which processes emotion and it accesses the hippocampus, or the enhancer of associative learning (Dowdey).
The issue of olfaction first came to the stage in the early 1600’s during a production of the epilogue of Richard Lovelace’s The Scholars in the form of two low-tech fireworks intended for special effects. These two fireworks were called “rosin-lighting flash” and “squibs”. These fireworks were designed to produce beautiful sound and light effects for the production, but they were known to smell extremely awful, because of them containing a combination foul smelling ingredients, including sulfurous brimstone, coal and saltpeter. Peter Whithorne wrote about the smell of the gunpowder saying that “[the gunpowder] is made of the dunge of beasts,… and aboue all other, of the same that commeth of hogges, the most and best is gotten. (Harris 466)” However, despite the horrid smell that the audience had endured was known to tie in beautifully with many productions of Shakespeare’s Macbeth. Even in the open air of Shakespeare’s Globe, the air quality became poor from the fireworks, which served as a good description for the scene of incantation for the three witches during the beginning of the play; “Hover through the fog and filthy air” (Macbeth 1.1.11). The stink was also known to provide an extra charge to Lady Macbeth’s invocation of the “dunnest smoke of Hell” (Macbeth 1.5.49) (Harris 465-466).
Olfactory components were experienced by many exhibitors and producers including Walt Disney. One of their tactics was to place atomizers around the theatre, but the main issue with this was odors lingering after the show for hours. Mike Todd Jr. introduced a machine called a Smell-O-Vision in 1960. Its task was to be able to make the audience of a film to smell a scene on cue. It was first used during his comedy-mystery called Scent of Mystery. There were thirty different scents within the movie, including wine, roses, and tobacco smoke. Smell-O-Vision (Figure 2), which was set up in the lobby of the theatre, would release each scent on cue and was blown by fans though tubes that were attached to every seat in the theatre (Kim).
(Figure 2, Mike Todd Jr. and the ‘Smell-O-Vison machine)
Smell-O-Vision wasn’t a huge success in the 60’s, resulting in delays between smell and scene, and audience members finding the smells unpleasant (Kim). Though today, Smell-O-Vision made its way back to the film theatre through C.J. which is a Korean 4-DX theatre chain.
Along with Smell-O-Vision, some of the other effects that 4-DX theaters use include 3-D film, moving chairs, strobe lights, bubbles, water jets, smoke, and even a foot tickler that can simply be controlled by a tablet. C.J. was the first to introduce 4-DX theatre and it began to spread to Europe and Mexico. Currently, AEG L.A. Live Venue in Los Angles is creating its own 4-DX theatre. The price for the new theatre can cost up to $700,000. A ticket to see a 4-DX film would cost six dollars more than a 3-D movie ticket (Erlichman).
When it comes to scent being a part of a theatre set on a significantly lower budget than AEG, the scent designer is faced with many different challenges. One of the first steps for the designer would be to know the size of the space and work out with the lighting and set designers as to what they want the space to evoke. Does the lighting designer want the lights diffused and the shafts of light visible from the mist in the air? There is also the concern of is the scent design going to be ambient and part of the set and if a stunt scent design is needed (Slagle).
The difference between ambient scent design and stunt scent design is ambient is in the air when the audience comes in for the production and remains in the air when the audience leaves. Ambient scent is scent that is mostly part of the set. Stunt scent design is when the scent acts more of an action. It’s used when a particular scent is needed for a particular cue during the production (Slagle).
Both of these concepts are brought out to the audience in similar, but still in different ways. David Bernstein of the Belasco Theatre in New York City has invented effective tactics in order to make this invisible design a reality (Slagle).
For ambient scent design, Bernstein uses a mixture of essential oils and concentrated tea that are placed in a cold-mist humidifier. The reason why the humidifier is cold-mist is because hot-mist would burn off some of the scent. The humidifier would be turned on about twenty minutes before the opening of the house. This causes the whole house to have one ambient scent that remains in the air until the end of the production (Slagle).
Stunt scent design is slightly different and has a tendency to be the provider of a negative atmosphere. Bernstein usually makes an aromatic base is made which is either made from oil or synthetic aromas that are also made to make most perfumes. Then, oils that contain the smell that the designer is looking for is added to the concoction. They are then diluted in a solution of alcohol for the safety of the audience and placed into spray bottles. They are then sprayed through a fan that sends the gases towards the audience. It is usually sprayed several lines before the scene change so then the gases have time to diffuse into the audience. An example of a stunt sent design in action was the one time when Bernstein’s design did not inflict a negative effect. The scene consisted of a couple kissing after eating oranges and thus ending the play. The director of the production wanted the audience to “smell their kiss” by having the smell of oranges be the closing action (Slagle).
A challenge that would’ve been faced by a theatre that is beginning to embrace olfaction design is if the audience would have a medical dilemma caused by the materials used to create the scents. This is especially with the use of essential oils.
It is wise to note that essential oils are very concentrated and must be diluted for the safety of the audience. It takes two hundred and fifty six pounds of peppermint leaf to make one pound of peppermint essential oil and at least one hundred fifty pounds of lavender flowers to make one pound of lavender essential oil. The term for applying essential oils undiluted is applying them “neat”. Dilution of essential oils allows a more controlled method of the skin’s absorption of the oil and quicker evaporation of the oil (Natural-Aromatherapy-Benefits). While rare, young children that are predisposed to seizures are at risk of seizing if they are exposed to a large amount of essential oil. Pregnancy is also an issue with essential oils. For example, it is known that peppermint oil might decrease milk supply while the mother is nursing (Wellness Mama). These are the reasons why the oils must be diluted (Harris). It is also wise to inform the audience members ahead of time about the oils and other materials being used in the production.
There are many ways in which people can be sensitive to essential oils, but one cannot have an allergy against it. Allergies are immune responses to proteins, peptides, and amino acids which are nitrogen compounds that are not found in essential oils (Stewart). Inhalation also stands at a very low risk for most. It is very unlikely for essential oils to reach a dangerously high level within vaporization (National Association for Holistic Aromatherapy).
When people think of dilution of essential oil, one would usually think of mixing the essential oils with carrier oil. Carrier oil is vegetable oil such as coconut oil or grape seed oil that is used to dilute essential oils if they were to come in contact with skin (Young Living Essential Oils). However, the best way to dilute essential oils that are designed to evaporate and diffuse into the air is mixing about ¼ cup of hot tap water and ¼ cup of alcohol to 20-25 drops of the wanted essential oils. Alcohol is used because it evaporates faster than water and mixes better with water than any vegetable oil (Martinko).
Playwrights like Anton Chekhov were known to challenge the audience’s perception of reality and allow the audience to learn about life in itself. Anton Chekhov’s The Cherry Orchard has potential to include olfaction design into one of its productions mainly because of it containing an extremely vivid idea of lower middle class life in 20th century Russia (Tyrrell). What better way to perceive reality than to add another one of the five senses? The Cherry Orchard was one of Anton Chekov’s most famous plays as well as his final play. Chekov intended for The Cherry Orchard to be a comedy in four acts, but despite its comical elements, it was directed as a tragedy because of the heavy subjects it possessed (Pryor).
For a play like Anton Chekhov’s The Cherry Orchard, it could be a production that might carry both an ambient scent design and a stunt scent design on cue. The beginning of the play gives off a slightly welcoming atmosphere for the returning family, so it would make sense to have a beautiful and welcoming smell. The production could begin with an ambient scent to be something that would contain a mixture of a few drops of black cherry oil mixed with a few drops less of vanilla essential oil. The scent from the black cherry oil would bring a very tart smell and the vanilla essential oil would add a sweet element. This smell would express the close presence and importance of the cherry orchard. There would not be so much oil added for the ambient part of the production, so then the smell can slowly diffuse and fade throughout the performance as though the grip on the cherry orchard and the estate are slowly fading from Anderéyevna’s hands. There would also be a scent cue at the end of the production and would also support Bernstein’s statement on most scent stunt cues bringing forth a sudden negative atmosphere to the production.
The scent cue would happen right after Firs’s final line in the play. After Firs’s line “You young flibbertigibbet”, Chekhov states that “In the distance we hear a sound that seems to come from the sky, a sad sound, like a string snapping. It dies away. Everything grows quiet. We can hear the occasional sound of an ax on a tree (The Cherry Orchard, Act IV, 300).” For this cue, there would be a mixture of a few drops cedar wood essential oil and a few drops of sandalwood essential oil. This would create a strong woody smell that is projected into the audience that can almost drown out what is left of the original ambient scent of cherry and vanilla. This can indicate that the cherry orchard is coming down and the sweet, beautiful smell is being replaced by a strong wood smell that is saddening and unwelcome.
While olfaction design may be invisible, it can still have just as strong of an impact on the audience as sight and sound can. As long as it is done correctly, scent can carry the power to transport the audience member out of the seat and into the world that the playwright has brought forward.
Boeree, 2009. Web. 3 Apr. 2015. <http://webspace.ship.edu/cgboer/
limbicsystem.html>.
Chekhov, Anton. The Cherry Orchard. N.p.: n.p., 1904. Print.
Dowdey, Sarah. "How Smell Works." health.howstuffworks.com. HowStuffWorks, 1998.
Web. 2 Apr. 2015. <http://health.howstuffworks.com/mental-health/
human-nature/perception/smell3.htm>.
Erlichman, Jon. Coming Soon: 4D Movie Theaters with Smell-o-Vision.
Bloomberg.com. Bloomberg L.P., n.d. Web. 6 Apr. 2015.
БреезЖ..цццюидщщьиукпюсщь.туцы.мшвущы.и.
вс4с9002-и437-4афу-919и-ф406и8ув2аафЮю
Harris, Jonathan Gil. The Smell of "Macbeth." N.p.: Folger Shakespeare Library,
2007. Print. Shakespeare Quarterly.
Harris, Lea. "Properly Diluting Essential Oils." Learningabouteos.com. Learning
About EOs, 7 Aug. 2013. Web. 5 Apr. 2015.
<http://www.learningabouteos.com/index.php/2013/08/07/
properly-diluting-essential-oils/>.
Hulton Archive / Getty Images. "Mike Todd Jr and the 'Smell-O-Vision' Machine."
Entertainment.time.com. Time Inc., 2012. Web. 5 Apr. 2015.
<http://entertainment.time.com/2012/12/10/
fantasound-to-odorama-10-unusual-movie-technologies/slide/smell-o-vision/>.
Kim, Wook. "Smell-O-Vision." Entertainment.time.com. Time Inc., 7 Dec. 2012.
Web. 5 Apr. 2015. <http://entertainment.time.com/2012/12/10/
fantasound-to-odorama-10-unusual-movie-technologies/slide/smell-o-vision/>.
Martinko, Katherine. "Make Your Own Chemical-free Essential Oil Diffuser."
Treehugger.com. MNN Holding Company, 27 Aug. 2014. Web. 6 Apr. 2015.
<http://www.treehugger.com/green-home/
make-your-own-chemical-free-essential-oil-diffuser.html>.
National Association for Holistic Aromatherapy. "Exploring Aromatherapy."
Naha.org. National Association for Holistic Aromatherapy, n.d. Web.
5 Apr. 2015. <https://www.naha.org/explore-aromatherapy/safety/>.
Natural-Aromatherapy-Benefits. "How to Use Essential Oils For Family Health."
natural-aromatherapy-benefits.com. Natural-Aromatherapy-Benefits,
n.d. Web. 6 Apr. 2015. <http://www.natural-aromatherapy-benefits.com/
HowtoUseEssentialOils.html>.
Pinhas, Nicole. "Olfactory Designer David Bernstein on the Power of Scent in
Theater." bbook.com. McCarthy LLC, 1996. Web. 5 Apr. 2015.
<http://www.bbook.com/
olfactory-designer-david-bernstein-on-the-power-of-scent-in-theater/>.
Pryor, Megan. "The Cherry Orchard by Chekhov: Summary, Characters & Analysis."
Study.com. Study.com, 2003. Web. 6 Apr. 2015. <http://study.com/
academy/lesson/
the-cherry-orchard-by-chekhov-summary-characters-analysis.html>.
Slagle, Dillon. "Can You Smell That Smell? It’s Theatrical Scent Design."
Clydefitchreport.com. Clyde Fitch Report, 28 July 2014. Web. 5 Apr.
2015. <http://www.clydefitchreport.com/2014/07/
scent-design-theatre-play-audience/>.
Stewart, David. "Sensitivities to Essential Oils." Raindroptraining.com. CARE
International, Feb. 2006. Web. 5 Apr. 2015.
<http://www.raindroptraining.com/messenger/v4n1.html>.
Stoddart, D. Michael. Mammalian Odours and Pheromones. London: Edward Arnold,
1976. Print.
Tyrrell, David John. "The Relevance of Anton Chekhov’s The Cherry Orchard in the
21st Century: an Analysis using Socratic Dialogue."
Performancephilosophy.ning.com. Laura Cull, 20 Apr. 2013. Web. 6
Apr. 2015. <http://performancephilosophy.ning.com/profiles/blogs/
the-relevance-of-anton-chekhov-s-the-cherry-orchard-in-the-21st>.
Wellness Mama. "Risks and Uses of Essential Oils." wellnessmama.com.
wellnessmama, 2015. Web. 5 Apr. 2015. <http://wellnessmama.com/26519/
risks-essential-oils/>.
Young Living Essential Oils. "Essential Oil Safety Guide." Youngliving.com.
Young Living Essential Oils, 2014. Web. 6 Apr. 2015.
<https://www.youngliving.com/en_US/discover/essential-oil-safety>.
According to Graham’s laws of gas diffusion, odors travel very slowly in still air, but can travel very fast when they are helped by air movement. The expression of Graham’s law of gas diffusion is as follows:
U (r ,t) = □(Q/(2Dπ )) f [r/(√(4Dt))]
The concentration U (r, t) is measured in molecules/cm3. r represents distance (cm) from the emission source. t is time in seconds from the start of emission. Q is the emission rate of the gas. D is the diffusion coefficient of the substance within the air. f represents a correction function of error. This equation is serves as the answer of the estimation of the threshold concentration or K (Stoddart 2). This is important to know how big of a space the smell will occupy and how long it is going to take for the smell to reach the audience whether the sent is remaining within the air during the whole of the production or if the smell is needed only for a certain part of the production.
According David Bernstein, “There is something embarrassingly intimate about smell. It allows the external to penetrate our most private associations (Pinhas).” As opposed to sight, smell has more advanced abilities to trigger memories, moods, and affect the overall behavior of an individual human being. This is because smelling something that is familiar to the individual activates the olfactory bulb which is part of the limbic system (Figure 1) located in the central portion of the brain (Dowdey).
(Figure 1, The Limbic System)
The limbic system is solely associated with memory and feeling. The olfactory bulb can immediately access the amygdala, which processes emotion and it accesses the hippocampus, or the enhancer of associative learning (Dowdey).
The issue of olfaction first came to the stage in the early 1600’s during a production of the epilogue of Richard Lovelace’s The Scholars in the form of two low-tech fireworks intended for special effects. These two fireworks were called “rosin-lighting flash” and “squibs”. These fireworks were designed to produce beautiful sound and light effects for the production, but they were known to smell extremely awful, because of them containing a combination foul smelling ingredients, including sulfurous brimstone, coal and saltpeter. Peter Whithorne wrote about the smell of the gunpowder saying that “[the gunpowder] is made of the dunge of beasts,… and aboue all other, of the same that commeth of hogges, the most and best is gotten. (Harris 466)” However, despite the horrid smell that the audience had endured was known to tie in beautifully with many productions of Shakespeare’s Macbeth. Even in the open air of Shakespeare’s Globe, the air quality became poor from the fireworks, which served as a good description for the scene of incantation for the three witches during the beginning of the play; “Hover through the fog and filthy air” (Macbeth 1.1.11). The stink was also known to provide an extra charge to Lady Macbeth’s invocation of the “dunnest smoke of Hell” (Macbeth 1.5.49) (Harris 465-466).
Olfactory components were experienced by many exhibitors and producers including Walt Disney. One of their tactics was to place atomizers around the theatre, but the main issue with this was odors lingering after the show for hours. Mike Todd Jr. introduced a machine called a Smell-O-Vision in 1960. Its task was to be able to make the audience of a film to smell a scene on cue. It was first used during his comedy-mystery called Scent of Mystery. There were thirty different scents within the movie, including wine, roses, and tobacco smoke. Smell-O-Vision (Figure 2), which was set up in the lobby of the theatre, would release each scent on cue and was blown by fans though tubes that were attached to every seat in the theatre (Kim).
(Figure 2, Mike Todd Jr. and the ‘Smell-O-Vison machine)
Smell-O-Vision wasn’t a huge success in the 60’s, resulting in delays between smell and scene, and audience members finding the smells unpleasant (Kim). Though today, Smell-O-Vision made its way back to the film theatre through C.J. which is a Korean 4-DX theatre chain.
Along with Smell-O-Vision, some of the other effects that 4-DX theaters use include 3-D film, moving chairs, strobe lights, bubbles, water jets, smoke, and even a foot tickler that can simply be controlled by a tablet. C.J. was the first to introduce 4-DX theatre and it began to spread to Europe and Mexico. Currently, AEG L.A. Live Venue in Los Angles is creating its own 4-DX theatre. The price for the new theatre can cost up to $700,000. A ticket to see a 4-DX film would cost six dollars more than a 3-D movie ticket (Erlichman).
When it comes to scent being a part of a theatre set on a significantly lower budget than AEG, the scent designer is faced with many different challenges. One of the first steps for the designer would be to know the size of the space and work out with the lighting and set designers as to what they want the space to evoke. Does the lighting designer want the lights diffused and the shafts of light visible from the mist in the air? There is also the concern of is the scent design going to be ambient and part of the set and if a stunt scent design is needed (Slagle).
The difference between ambient scent design and stunt scent design is ambient is in the air when the audience comes in for the production and remains in the air when the audience leaves. Ambient scent is scent that is mostly part of the set. Stunt scent design is when the scent acts more of an action. It’s used when a particular scent is needed for a particular cue during the production (Slagle).
Both of these concepts are brought out to the audience in similar, but still in different ways. David Bernstein of the Belasco Theatre in New York City has invented effective tactics in order to make this invisible design a reality (Slagle).
For ambient scent design, Bernstein uses a mixture of essential oils and concentrated tea that are placed in a cold-mist humidifier. The reason why the humidifier is cold-mist is because hot-mist would burn off some of the scent. The humidifier would be turned on about twenty minutes before the opening of the house. This causes the whole house to have one ambient scent that remains in the air until the end of the production (Slagle).
Stunt scent design is slightly different and has a tendency to be the provider of a negative atmosphere. Bernstein usually makes an aromatic base is made which is either made from oil or synthetic aromas that are also made to make most perfumes. Then, oils that contain the smell that the designer is looking for is added to the concoction. They are then diluted in a solution of alcohol for the safety of the audience and placed into spray bottles. They are then sprayed through a fan that sends the gases towards the audience. It is usually sprayed several lines before the scene change so then the gases have time to diffuse into the audience. An example of a stunt sent design in action was the one time when Bernstein’s design did not inflict a negative effect. The scene consisted of a couple kissing after eating oranges and thus ending the play. The director of the production wanted the audience to “smell their kiss” by having the smell of oranges be the closing action (Slagle).
A challenge that would’ve been faced by a theatre that is beginning to embrace olfaction design is if the audience would have a medical dilemma caused by the materials used to create the scents. This is especially with the use of essential oils.
It is wise to note that essential oils are very concentrated and must be diluted for the safety of the audience. It takes two hundred and fifty six pounds of peppermint leaf to make one pound of peppermint essential oil and at least one hundred fifty pounds of lavender flowers to make one pound of lavender essential oil. The term for applying essential oils undiluted is applying them “neat”. Dilution of essential oils allows a more controlled method of the skin’s absorption of the oil and quicker evaporation of the oil (Natural-Aromatherapy-Benefits). While rare, young children that are predisposed to seizures are at risk of seizing if they are exposed to a large amount of essential oil. Pregnancy is also an issue with essential oils. For example, it is known that peppermint oil might decrease milk supply while the mother is nursing (Wellness Mama). These are the reasons why the oils must be diluted (Harris). It is also wise to inform the audience members ahead of time about the oils and other materials being used in the production.
There are many ways in which people can be sensitive to essential oils, but one cannot have an allergy against it. Allergies are immune responses to proteins, peptides, and amino acids which are nitrogen compounds that are not found in essential oils (Stewart). Inhalation also stands at a very low risk for most. It is very unlikely for essential oils to reach a dangerously high level within vaporization (National Association for Holistic Aromatherapy).
When people think of dilution of essential oil, one would usually think of mixing the essential oils with carrier oil. Carrier oil is vegetable oil such as coconut oil or grape seed oil that is used to dilute essential oils if they were to come in contact with skin (Young Living Essential Oils). However, the best way to dilute essential oils that are designed to evaporate and diffuse into the air is mixing about ¼ cup of hot tap water and ¼ cup of alcohol to 20-25 drops of the wanted essential oils. Alcohol is used because it evaporates faster than water and mixes better with water than any vegetable oil (Martinko).
Playwrights like Anton Chekhov were known to challenge the audience’s perception of reality and allow the audience to learn about life in itself. Anton Chekhov’s The Cherry Orchard has potential to include olfaction design into one of its productions mainly because of it containing an extremely vivid idea of lower middle class life in 20th century Russia (Tyrrell). What better way to perceive reality than to add another one of the five senses? The Cherry Orchard was one of Anton Chekov’s most famous plays as well as his final play. Chekov intended for The Cherry Orchard to be a comedy in four acts, but despite its comical elements, it was directed as a tragedy because of the heavy subjects it possessed (Pryor).
For a play like Anton Chekhov’s The Cherry Orchard, it could be a production that might carry both an ambient scent design and a stunt scent design on cue. The beginning of the play gives off a slightly welcoming atmosphere for the returning family, so it would make sense to have a beautiful and welcoming smell. The production could begin with an ambient scent to be something that would contain a mixture of a few drops of black cherry oil mixed with a few drops less of vanilla essential oil. The scent from the black cherry oil would bring a very tart smell and the vanilla essential oil would add a sweet element. This smell would express the close presence and importance of the cherry orchard. There would not be so much oil added for the ambient part of the production, so then the smell can slowly diffuse and fade throughout the performance as though the grip on the cherry orchard and the estate are slowly fading from Anderéyevna’s hands. There would also be a scent cue at the end of the production and would also support Bernstein’s statement on most scent stunt cues bringing forth a sudden negative atmosphere to the production.
The scent cue would happen right after Firs’s final line in the play. After Firs’s line “You young flibbertigibbet”, Chekhov states that “In the distance we hear a sound that seems to come from the sky, a sad sound, like a string snapping. It dies away. Everything grows quiet. We can hear the occasional sound of an ax on a tree (The Cherry Orchard, Act IV, 300).” For this cue, there would be a mixture of a few drops cedar wood essential oil and a few drops of sandalwood essential oil. This would create a strong woody smell that is projected into the audience that can almost drown out what is left of the original ambient scent of cherry and vanilla. This can indicate that the cherry orchard is coming down and the sweet, beautiful smell is being replaced by a strong wood smell that is saddening and unwelcome.
While olfaction design may be invisible, it can still have just as strong of an impact on the audience as sight and sound can. As long as it is done correctly, scent can carry the power to transport the audience member out of the seat and into the world that the playwright has brought forward.
Works Cited
Boeree, C. George Boeree. "The Limbic System." Webspace.ship.edu. C. GeorgeBoeree, 2009. Web. 3 Apr. 2015. <http://webspace.ship.edu/cgboer/
limbicsystem.html>.
Chekhov, Anton. The Cherry Orchard. N.p.: n.p., 1904. Print.
Dowdey, Sarah. "How Smell Works." health.howstuffworks.com. HowStuffWorks, 1998.
Web. 2 Apr. 2015. <http://health.howstuffworks.com/mental-health/
human-nature/perception/smell3.htm>.
Erlichman, Jon. Coming Soon: 4D Movie Theaters with Smell-o-Vision.
Bloomberg.com. Bloomberg L.P., n.d. Web. 6 Apr. 2015.
БреезЖ..цццюидщщьиукпюсщь.туцы.мшвущы.и.
вс4с9002-и437-4афу-919и-ф406и8ув2аафЮю
Harris, Jonathan Gil. The Smell of "Macbeth." N.p.: Folger Shakespeare Library,
2007. Print. Shakespeare Quarterly.
Harris, Lea. "Properly Diluting Essential Oils." Learningabouteos.com. Learning
About EOs, 7 Aug. 2013. Web. 5 Apr. 2015.
<http://www.learningabouteos.com/index.php/2013/08/07/
properly-diluting-essential-oils/>.
Hulton Archive / Getty Images. "Mike Todd Jr and the 'Smell-O-Vision' Machine."
Entertainment.time.com. Time Inc., 2012. Web. 5 Apr. 2015.
<http://entertainment.time.com/2012/12/10/
fantasound-to-odorama-10-unusual-movie-technologies/slide/smell-o-vision/>.
Kim, Wook. "Smell-O-Vision." Entertainment.time.com. Time Inc., 7 Dec. 2012.
Web. 5 Apr. 2015. <http://entertainment.time.com/2012/12/10/
fantasound-to-odorama-10-unusual-movie-technologies/slide/smell-o-vision/>.
Martinko, Katherine. "Make Your Own Chemical-free Essential Oil Diffuser."
Treehugger.com. MNN Holding Company, 27 Aug. 2014. Web. 6 Apr. 2015.
<http://www.treehugger.com/green-home/
make-your-own-chemical-free-essential-oil-diffuser.html>.
National Association for Holistic Aromatherapy. "Exploring Aromatherapy."
Naha.org. National Association for Holistic Aromatherapy, n.d. Web.
5 Apr. 2015. <https://www.naha.org/explore-aromatherapy/safety/>.
Natural-Aromatherapy-Benefits. "How to Use Essential Oils For Family Health."
natural-aromatherapy-benefits.com. Natural-Aromatherapy-Benefits,
n.d. Web. 6 Apr. 2015. <http://www.natural-aromatherapy-benefits.com/
HowtoUseEssentialOils.html>.
Pinhas, Nicole. "Olfactory Designer David Bernstein on the Power of Scent in
Theater." bbook.com. McCarthy LLC, 1996. Web. 5 Apr. 2015.
<http://www.bbook.com/
olfactory-designer-david-bernstein-on-the-power-of-scent-in-theater/>.
Pryor, Megan. "The Cherry Orchard by Chekhov: Summary, Characters & Analysis."
Study.com. Study.com, 2003. Web. 6 Apr. 2015. <http://study.com/
academy/lesson/
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