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 44
Seite 187
... verbal language , sign- language etc. , meaning is encoded and communicated by the sender ( s ) and decoded and interpreted by the receiver ( s ) through a recognized and shared syntax of semiotic codes . Although music has been ...
... verbal language , sign- language etc. , meaning is encoded and communicated by the sender ( s ) and decoded and interpreted by the receiver ( s ) through a recognized and shared syntax of semiotic codes . Although music has been ...
Seite 228
... verbal and non - verbal utterances not published in the source text . These additions can be rightly justified as being medium specific where they sonically illustrate the modus operandi for contextualising certain otherwise visual ...
... verbal and non - verbal utterances not published in the source text . These additions can be rightly justified as being medium specific where they sonically illustrate the modus operandi for contextualising certain otherwise visual ...
Seite 266
... verbal utterances , e.g. laughs , chuckles etc. , at different points between the text . This has the dramatic effect for the listener of bringing Shakespeare's text alive by creating a sense of spontaneous conversation between the ...
... verbal utterances , e.g. laughs , chuckles etc. , at different points between the text . This has the dramatic effect for the listener of bringing Shakespeare's text alive by creating a sense of spontaneous conversation between the ...
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