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. |
Im Buch
Ergebnisse 1-3 von 79
Seite 118
... listener . Somewhere between the two the imaginations of its writers meet with the imaginations of the listeners through the performer / performance . As the listener hears the drama the void is continually filled with mental ...
... listener . Somewhere between the two the imaginations of its writers meet with the imaginations of the listeners through the performer / performance . As the listener hears the drama the void is continually filled with mental ...
Seite 208
... listener's perception about BARRY . The party and its ensuing event is now placed in a new and distant perspective ... listener's visual illusion without the listener necessarily realizing it , from initially imagining the physicality of ...
... listener's perception about BARRY . The party and its ensuing event is now placed in a new and distant perspective ... listener's visual illusion without the listener necessarily realizing it , from initially imagining the physicality of ...
Seite 255
... listener . It is accepted that the microphone is euphemistically the listener's psycho - acoustic point of hearing in the sense that the microphone ( s ) represents to the actor the ear ( s ) of the listener . Hence , different ...
... listener . It is accepted that the microphone is euphemistically the listener's psycho - acoustic point of hearing in the sense that the microphone ( s ) represents to the actor the ear ( s ) of the listener . Hence , different ...
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
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