The presence of sounds in Giraudoux’s plays

Giraudoux’s plays contain many indications for sounds. More than a mere “reality effect,” is this a matter of succumbing to a dramatic necessity? Does Giraudoux’s use of conventional procedures reveal, beyond a genuine feel for the theater, an effect of distancing through humor and metatheater? Are the plays’ cries and music the sign of a stagecraft that plays with the limits of language? Did the choices made by the partnership of Jouvet and Giraudoux reinforce or alter certain approaches to stagecraft?