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 | |
30 weitere Abschnitte werden nicht angezeigt.
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