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 316
... France that was speaking only after France had finished speaking . By not aurally identifying new voices or characters before they speak can greatly weaken the role or relative significance of what that character has to say . The two ...
... France that was speaking only after France had finished speaking . By not aurally identifying new voices or characters before they speak can greatly weaken the role or relative significance of what that character has to say . The two ...
Seite 319
... France at C.3 . ( For you , great France ... ) France is placed at centre - right mic . position 3 in stereophonic contrast to Burgundy at left mic . position 3. Cordelia's aural position is interesting within the hierarchical structure ...
... France at C.3 . ( For you , great France ... ) France is placed at centre - right mic . position 3 in stereophonic contrast to Burgundy at left mic . position 3. Cordelia's aural position is interesting within the hierarchical structure ...
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... France and Burgundy ? CORNWALL : LEAR : Here's France and Burgundy , my noble Lord . My Lord of Burgundy , We first address toward you , who with this King Have rivall'd for our Daughter ; what in the least Will you require in present ...
... France and Burgundy ? CORNWALL : LEAR : Here's France and Burgundy , my noble Lord . My Lord of Burgundy , We first address toward you , who with this King Have rivall'd for our Daughter ; what in the least Will you require in present ...
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