Theatre of Sound: Radio and the Dramatic ImaginationCarysfort Press, 2002 - 383 Seiten 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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Seite 6
... hear ' the complete sound montage and retain the running sequence of sounds during the ensuing dialogue . Readers of the text who are not familiar with thinking- in - sound will certainly understand that the opening directions refer to ...
... hear ' the complete sound montage and retain the running sequence of sounds during the ensuing dialogue . Readers of the text who are not familiar with thinking- in - sound will certainly understand that the opening directions refer to ...
Seite 8
... hear ' the music from printed music notation is another example of ' imaginative sonic reading . ' Music notation employs a different iconic system from that of the printed word . The trained musician , for example , can silently ' read ...
... hear ' the music from printed music notation is another example of ' imaginative sonic reading . ' Music notation employs a different iconic system from that of the printed word . The trained musician , for example , can silently ' read ...
Seite 88
... hear the houses sleeping in the streets in the slow deep salt and silent black , bandaged night ... Only you can hear and see , behind the eyes of the sleepers , the movements and countries and mazes and colours and dismays and rainbows ...
... hear the houses sleeping in the streets in the slow deep salt and silent black , bandaged night ... Only you can hear and see , behind the eyes of the sleepers , the movements and countries and mazes and colours and dismays and rainbows ...
Inhalt
Introduction What is a Radio Play | 1 |
Whos Listening? Some statistics | 11 |
The Birth of a Genre | 21 |
Urheberrecht | |
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Häufige Begriffe und Wortgruppen
accepted acoustic action actor adaptation analysis approach audience aural becomes beginning believe broadcast Burgundy centre character close combined complete composed considered context Cordelia creates critical delivery distance effect elements emotional example exist exit expressed fades footsteps France function gives Gloucester Goneril hear heard human identifiable imagination important individual interesting Kent King Lear language Lear's listener live Lord Love meaning medium microphone Milk Wood mind movement moving natural object opening particularly pause perception performance phrase physical piece pitch placed position prelude present production programme radio drama radio play radiophonic realized recording referred Regan remains scene seconds sense signifying silence similar slow sonic sound space speak speech spoken stage structure studio tape television tempo theatre Thomas thought timpani verbal visual vocal voice