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 257
... tempo of delivery . Taking the male voice range as an example , if the modal voice is a lower pitch ( bass / tenor ) combined with a slow to moderate tempo of delivery ( including phraseology , pause and hesitancy ) , it can create the ...
... tempo of delivery . Taking the male voice range as an example , if the modal voice is a lower pitch ( bass / tenor ) combined with a slow to moderate tempo of delivery ( including phraseology , pause and hesitancy ) , it can create the ...
Seite 286
... tempo and delivery together with his loud volume gives the impression of a King who knows exactly what he is about and wastes no time in getting on with it . But such a combination of vocal characteristics gives the impression of a ...
... tempo and delivery together with his loud volume gives the impression of a King who knows exactly what he is about and wastes no time in getting on with it . But such a combination of vocal characteristics gives the impression of a ...
Seite 297
... tempo ( almost adagio ) . They do not use deliberate pauses / silences , just that even , measured , slow tempo which Lear and Cordelia adopt . The tempo quickens in the second half of the sequence from Cordelia's line , Unhappy that I ...
... tempo ( almost adagio ) . They do not use deliberate pauses / silences , just that even , measured , slow tempo which Lear and Cordelia adopt . The tempo quickens in the second half of the sequence from Cordelia's line , Unhappy that I ...
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