Theatre of Sound: Radio and the Dramatic ImaginationCarysfort Press, 2002 - 383 sider Cave, University of London. This is an innovative study of the challenges that radio drama poses to the creative imagination of the writer, the production team, and the listener. It explores the versatile sense of sound and especially music and how it can be effectively used in a radio play, as well as audience reception and storytelling, and include detailed analyses of radio productions, including War of the Worlds, Under Milk Wood, and Krapp's Last Tape, and an extensive analysis of four different radio productions of King Lear. |
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Side 40
... exist between . the perceived autonomy of the BBC within its programming structures while the station itself , incorporating BBC Television , is funded principally by a statutory public licence fee collected by the government . A ...
... exist between . the perceived autonomy of the BBC within its programming structures while the station itself , incorporating BBC Television , is funded principally by a statutory public licence fee collected by the government . A ...
Side 121
... exists in time and begins and finishes within a specific time frame , its psychologically affective resonance continues to exist in the listener's reproductive imagination as memories where time boundaries evaporate . This is in sharp ...
... exists in time and begins and finishes within a specific time frame , its psychologically affective resonance continues to exist in the listener's reproductive imagination as memories where time boundaries evaporate . This is in sharp ...
Side 186
... exists in their sounded forms where elements of extended signification infuse them with ' human ' meaning as distinct ... exist as an acquired language in their written forms . The system and need for musical notation was historically a ...
... exists in their sounded forms where elements of extended signification infuse them with ' human ' meaning as distinct ... exist as an acquired language in their written forms . The system and need for musical notation was historically a ...
Indhold
Introduction What is a Radio Play | 1 |
Whos Listening? Some statistics | 11 |
The Birth of a Genre | 21 |
Copyright | |
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actor audience bass BBC Radio BBC Radiophonic Workshop BBC3 BBC4 Production Beckett broadcast Burgundy centre-mic character composed context Cordelia Cornwall creates Crisell dialogue Dylan Thomas Edmund electronic elements emotional example fades film footsteps France and Burgundy function genre Gloucester Gloucester's Goneril Goneril and Regan hear heard Howard Koch ibid illusion imagination Kent Kent's King Lear Act Krapp Krapp's Last Tape language Lear Act 1:i Listener Right Centre listener's Llareggub Lord Love meaning medium melody Mercury Theatre microphone Milk Wood movement moving natural Orson pause perception phrase pitch playwrights position prelude prelude music programme radio drama radio drama production radio play radio productions recording reverb rhythm rhythmic RTE Production Samuel Beckett script sense Shakespeare signifying silence sonic sound effects sound fx spatial speak speech SRS Production stage Stoppard structure studio television tempo of delivery theatre timbre timpani trumpet utterances verbal visual vocal delivery