In both the play and the film of Marguerite Duras's India Song no verbal exchange is seen to take place on stage or in camera shot and all the dialogue emanates from disembodied voices which reverberate across the filmic or theatrical imagery. The verbal text is woven into a complex, orchestrated soundscape of instrumental music, songs, non-verbal cries and utterances, screams of pain and wretchedness, sound of street shouting, and screeches of exotic birds and animals. These elements together become a score functioning alongside the visual text. In this essay, I want to focus on the composition and the ‘enactment’ of the sound script of India Song and consider the way in which it functions as a stratum of eloquent signifying systems in the performance of this rich and poetic text. My concern will be with the ‘composite’ text of novel/play/ film and the way in which sound is evoked across the spectrum of reader, spectator and auditor, though my intention is not to suggest that the written text, the film and the play performance are interchangeable. I shall refer to the published text, Duras's own 1974 film version, and Theatr Clwyd's performance directed by Annie Castledine and Anabel Arden in 1993.