INDEX

'Radio Drama - directing, acting, technical, learning & teaching, researching, styles, genres' site.

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See also Alan Beck's site on 'MAKING A RADIO SOAP (SERIAL DRAMA) - a fixed-end soap'

TECHNIQUES - FULL RANGE OF RADIO DRAMA TECHNIQUES ON THESE SITES

A

A - RESEARCH
 Analysing radio drama
 Address - defines whom the speaker is addressing
 Adaptations
 Dialect or accent
 Addition of extra sounds (speech problem)
 Radio apparatus theory
 Aurality as central to radio theory
 Aural Paradise
 Atmos - Darren Copeland's Ten Questions for a Listener - comments - learning about sound and listening
 Aesthetics - the branch of philosophy that deals with the nature and value of art objects and experiences
  Audiences - reception theory - the listener actively constructs a story from the fictional data provided by the radio play
 Audiences - cognitive mapping - mental geography - navigating or orienteering through the fictional 'scenery' of radio drama - see Cognitive Mapping and Radio Drama by Alan Beck - Consciousness, Literature and the Arts, Volume 1 Number 2, July 2000 (on this site)
 Acousmatic sound - sound events heard by the play characters, and by the listener, but not 'seen' - Point-of-listening 8
 
 

 

 A - TECHNIQUE - PRODUCTION
 Acoustic - the way sound behaves in a particular environment
 Advice - Your work as a radio drama director
 Atmos bed (underneath the scene dialogue) - establishes scene location or scenery
 Acoustics - Darren Copeland's Ten Questions for a Listener - comments - learning about sound and listening
 Approaches - from POSITION 5 'MOVES OFF' to POSITION 3
 
 
 
 

 A - ACTING - see also DIRECTING
 Acting - some key terms
 Acting - Summary of what the actor must achieve, from Felner, Free To Act:

 OBJECTIVE - What the character is trying to achieve

CHOICES OBJECTIVE

 OBSTACLE
 Taking a scene apart
 Embodying - getting the character's body into the dialogue
 Radio drama dialogue is much more than the words on the page
 'umms' (1) characters' reactions while others (scene partners) are speaking, (2) establishing presence
 Avoid the impression of 'stand-and-deliver' acting & dialogue
 MOOD NOTES FOR THE ACTORS - supporting your actors with detailed guided notes on emotions and interpretations
 Choices - you discover the different CHOICES for each line and phrase - the final CHOICE becomes the actor's OBJECTIVE
 DIRECTING THE ACTOR - objective, obstacle, subtext, adjustment, choices, objective
 COUGHS AND COLDS - a disaster possibly
 
 
 
 
 A - SCRIPTS
 'The Ark' - introduction (Training Script)
 
 

 AUDITIONS

SPOTLIGHT BOOK - AUDITIONS BOOK

 AUDITION PIECES FOR ROUND ONE
 RADIO SPOTLIGHT BOOK or AUDITIONS BOOK
 Short introduction to Auditions
 AUDITIONS - further advice (Auditions 2)
 AUDITIONS - MOST OF THE ADVICE ABOUT AUDITIONS (Auditions 3)
 REJECTION LETTER (for auditionees)
 Test 1 - 'In the restaurant' (audition reading)
 Test 2 - 'Diana and her treasures' (audition reading)
 Test 3 - 'Janice and Victor' (audition reading)
 Test 4 - 'Diana on stage' (Audition reading)
 
  A - Plays
 Kate Adshead, 'Hanging', 20-9-2002, Friday Play 1', BBC Radio 4

This is the 'Radio Drama - directing, acting, technical, learning & teaching, researching, styles, genres' site.

See also Alan Beck's site on 'MAKING A RADIO SOAP (SERIAL DRAMA) - a fixed-end soap'

To WELCOME PAGE

B

 Bibliography - Radio Drama Reading List
 
  B - RESEARCH
 Blind medium of radio - Point-of-listening in radio plays - Beck, Alan, 1998, Sound Journal 2.2

 Blind medium of radio - Beck, Alan, 1999, 'Is radio blind or invisible? A call for a wider debate on listening-in', World Forum for Acoustic Ecology (WFAE), electronic publication,

http://interact.uoregon.edu/MediaLit/WFAE/library/articles/beck_blindness.pdf

 
  A - RESEARCH - Alan Beck
 Alan Beck's Key Theories on Radio and Sound
 
 B - SCRIPTS
  Broadway (monologue script)
 
 BBC
 BBC Editorial Guidelines
 See also Swear words - exclamations - profanities (SUBSTITUTES)
 
 B - TECHNIQUE - PRODUCTION
 Bed - atmos
 Budgets - Pre-production
 Back Story - characterisation

To Welcome Page

C

C - RESEARCH
  closure or ending of the play - scripting, production, theory
  Darren Copeland's Ten Questions for a Listener - comments - learning about sound and listening
 Cocktail Party Effect
 Chion, Michel - discussed in Point-of-listening in radio plays - Beck, Alan, 1998, Sound Journal 3
 Cognitive mapping - mental geography - navigating or orienteering through the fictional 'scenery' of radio drama - see Cognitive Mapping and Radio Drama by Alan Beck - Consciousness, Literature and the Arts, Volume 1 Number 2, July 2000 (on this site)
 Culturalism - Radio theory is more than 'culturalism'
 
 
 
 C - SCRIPTS
 Colour Lands (training script - music choices)
 
 C - TECHNIQUES
  SOUND CENTRE
  Moving sound centre
  chaining sentences - scripting, production, postproduction
  closure or ending of the play - scripting, production, theory
  Copyright - main guidance
  Credits in the radio play
  Close-up - making some dialogue section more intimate
  Creative Exercises 
 Choices - you discover the different CHOICES for each line and phrase - the final CHOICE becomes the actor's OBJECTIVE
 
 
 CLEARING PERMISSION FOR LOCATION RECORDING
 
 DARREN COPELAND
 Ten Questions for a Listener' by Darren Copland at http://interact.uoregon.edu/Medialit/WFAE/library/articles/copeland_listener.pdf
 Notes on Darren Copeland's Ten Questions for a Listener

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This is the 'Radio Drama - directing, acting, technical, learning & teaching, researching, styles, genres' site.

To WELCOME PAGE

See also Alan Beck's site on 'MAKING A RADIO SOAP (SERIAL DRAMA) - a fixed-end soap'

D

D - RESEARCH
 Description or added words in the dialogue to fill in what is 'blind' for the listener
 Diegetic within the story world of the play) and nondiegetic (without a source in the story)
 Dangers of visually-based theoretical terms (as 'image') - warning by Alan Beck
 Dialogue - Salience of dialogue - see 11.2 Linear - Cognitive Mapping and Radio Drama by Alan Beck - SECTION 11
 
  Dialect or accent
 DISCLAIMER
 
 D - DIRECTING (see ACTING)
 Directing - Advice - Your work as a radio drama director
 Directing - SEVEN tasks (allocations) - production and post-production
 Directing - Swear words - exclamations - profanities (SUBSTITUTES)
 Close-up - making some dialogue section more intimate
 Getting PRESENCE into the scene - the sense of a character being 'in'
 Choices - you discover the different CHOICES for each line and phrase - the final CHOICE becomes the actor's OBJECTIVE
 DIRECTING THE ACTOR - objective, obstacle, subtext, adjustment, choices, objective
 
 D - SCRIPTS
  Dragon - training script (thriller)
 
 D - STUDYING INDIVIDUAL PLAYS
 John Dryden, 'Hotel Europa', 7-10-2000 and (repeated) 13-4-2001, B.B.C. R4, Friday Play 1 hour

E

 
 E - RESEARCH
 economy rule - each sound must have cause, effect, source
 ESTABLISH OUTSIDE SCENE (technique)
 ESTABLISH SCENE AT TOP
 EDIT POINTS - edit-friendly points for POSTPRODUCTION (CHANGEOVERS) (BELOW)
 EXPERIMENTAL radio drama pieces
 'The Egg-stremists' - training script (Spot effects)
 ENTRAINMENT (and RESONANCE)
 Epistemology (theory)
 Extra-radio world (theory)
 
 ESSAY
 Essay writing - general advice
 Essay - some specific issues
 

See also Alan Beck's site on 'MAKING A RADIO SOAP (SERIAL DRAMA) - a fixed-end soap'

F

F - FILMIC
 Filmic - styles of radio drama directing and post-production which creatively relate to film
 Filmic - Perspective explained by film shot analogy
 Filmic - Close-up - making some dialogue section more intimate
 Filmic - SOUND CENTRE - FIXED SOUND CENTRE - the centre of the sound picture remains fixed in the same place + MOVING SOUND CENTRE - 'we go with'
 
 
 FILM - RESEARCH
 Film - 'surplus of reality' - Point-of-listening in radio plays - Beck, Alan, 1998, Sound Journal  2.2
 F - RESEARCH
 FORMALISM
 Fictionalised sounds in radio drama - Darren Copeland's Ten Questions for a Listener - comments - learning about sound and listening
 Figure-and-ground of dialogue - see 11.2 Linear - Cognitive Mapping and Radio Drama by Alan Beck - SECTION 11
 Frame limits of the radio play scene - see Point-of-listening 6
 
 
 
 
 F - PRE-PRODUCTION, PRODUCTION, POSTPRODUCTION
 Files - Standardizing file names
 Fallback - repairing problems in production
 
 
 FEISTY GIRL - attractive, pushy, selfish, sexy, attacking, intelligent
 
 
 F - SCRIPTS
 Face it - monologue script
 
 Gary Ferrington
 Gary Ferrington, 'Keep Your Ear-Lids Open' Journal of Visual Literacy (1994) http://interact.uoregon.edu/Medialit/wfae/library/articles/ferrington_earlids.pdf
 Gary Ferrington, 'Audio Design: Creating Multi-Sensory Images For The Mind', Journal of Visual Literary (1993) http://interact.uoregon.edu/Medialit/wfae/library/articles/ferrington_design.pdf
 Gary Ferrington, 'Take A Listening Walk and Learn To Listen', http://interact.uoregon.edu/Medialit/wfae/library/articles/ferrington_listening_walk.pdf
 

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 Genre
 Types of radio plays (genres)
 Glossary
 Get a new pair of ears to listen to your post-production work
 Group dynamics - what goes right and avoiding the rest (RADIO SOAP SITE)
 

This is the 'Radio Drama - directing, acting, technical, learning & teaching, researching, styles, genres' site.

To WELCOME PAGE

See also Alan Beck's site on 'MAKING A RADIO SOAP (SERIAL DRAMA) - a fixed-end soap'

H

H - PRODUCTION
  hook
  Health and Safety
 
 
 
 H - SCRIPTS
 Hopes - monologue script
 
  H - STUDYING PLAYS
 John Dryden, 'Hotel Europa', 7-10-2000 and (repeated) 13-4-2001, B.B.C. R4, Friday Play 1 hour
 Kate Adshead, 'Hanging', 20-9-2002, Friday Play 1', BBC Radio 4
 
 H - RESEARCH
 Horizontal axis - Linear manner of broadcast - 11.2 Linear - Cognitive Mapping and Radio Drama by Alan Beck - SECTION 11
  Human-origin sounds, vocalised, non-vocalised - Darren Copeland's Ten Questions for a Listener - comments - learning about sound and listening
 

I

 interiorizing - the voice in the mind

 INTRODUCTION - Step 1 - SOME OPENING STATEMENTS - Step 1
 Internalist Model of the senses (academic)
 INTENSIFYING THE MOMENT - discover the intense moments within your scenes
 Insects - sounds - Darren Copeland's Ten Questions for a Listener - comments - learning about sound and listening
 INCITING INCIDENT - The Point of Attack - gets the plot into action
 
  INEXPERIENCED BUT LOVELY GIRL WE ALL LOVE
 
 

J

 
 
 
 
 
 

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See also Alan Beck's site on 'MAKING A RADIO SOAP (SERIAL DRAMA) - a fixed-end soap'

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 LISTENING - RESEARCH
 Listening - how people listen
 Listening - Cocktail Party Effect
 Listening as a secondary activity - see audiences (reception theory)
 Listening - sound paradise for the listener
 Darren Copeland's Ten Questions for a Listener - learning about sound and listening
 Listening - Becoming aware of sound events in radio plays
 Audiences - reception theory - the listener actively constructs a story from the fictional data provided by the radio play
 Listening - enjoying
 Listening - reception theory (general)
 Listening - Internalist Model of the senses
 Listening - Perceptual filling-in - necessary compensation by the listener for what is blurred or indistinct or omitted
 
 
 
 
 L - LIFEWORLD
 LIFEWORLD
 Lifeworld sounds - Darren Copeland's Ten Questions for a Listener - comments - learning about sound and listening
 
 L - RESEARCH
 Linear manner of broadcast - 11.2 Linear - Cognitive Mapping and Radio Drama by Alan Beck - SECTION 11
 logocentric - Radio drama as language - based
 Looking - Oculocentrism or ocularocentrism (theory)
 Location - Time-space rule or jump cut? CAN THE SAME CHARACTER BE IN THE FOLLOWING SCENE IN ANOTHER LOCATION - A LEAP IN TIME AND SPACE?
 Locations - moving your characters around and making your plot more exciting
 
 
 
 
L - STUDYING INDIVIDUAL PLAYS 
 Doug Lucie, 'Small Earthquake', 3-5-2002, Friday Play 1', pr Janet Whitaker

This is the 'Radio Drama - directing, acting, technical, learning & teaching, researching, styles, genres' site.

To WELCOME PAGE

See also Alan Beck's site on 'MAKING A RADIO SOAP (SERIAL DRAMA) - a fixed-end soap'

M

M - TECHNIQUE - PRODUCTION
 microphone positions
 Moving sound centre
 
  technique - 'moving camera' or 'we go with' or 'mise en scène' 'shot'
 'mise-en-scène' - techniques for the director to guide the listeners' perceptions
 
 
 
 
 
  M - RESEARCH
Master Narrative theorising (the flight from) - see Radio theory - what is it for? What is it?
Middle-range theorising - see Radio theory - what is it for? What is it?
 Radio drama dialogue is much more than the words on the page
 Internalist Model of the senses
 'mise-en-scène' - representation of the play scene, locations, spaces and perspectives
 Music
 
  M - SCRIPTS
  'Music Theory' - monologue script
 
 MONTAGE
  montage
 Montage - definition and creative exercises
 
 MONOLOGUES
 'Thoughts' - internal thoughts of a character - see Point-of-listening 10-7
 Monologues
 Directing the Monologue - scripts
 Directing the Monologue - advice 1
 Directing the Monologue - Questions for the director and actor
 Advice - Your work as a radio drama director
 
 STUDYING PLAYS
 David and Caroline Stafford, 'The Men Are From ….', 18-7-2002, Afternoon Play, producer Marc Jobst (repeat), BBC Radio 4
 Gregory Whitehead, 'The Marilyn Room', broadcast 25-5-2001 and 11-10-2002, B.B.C. R4, Friday Play, 1 hour, directed by Gregory Whitehead

N

 naming
 Narrative
 Narrative - INCITING INCIDENT - The Point of Attack - gets the plot into action
 Narrative - TRANSFORMATION - the main character goes through a significant change - then resumes their core qualities
 
 
 Narrator
 Noise
Nondiegetic - Diegetic within the story world of the play) and nondiegetic (without a source in the story)
 

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 'Ouija Board' or 'I vant to be alone' - training script (acoustics)
 
 O - RESEARCH
 Oculocentrism or ocularocentrism (theory)
 
 O - TECHNIQUE - PRODUCTION
 OB - recording outside the studio
 OBJECTIVE (ACTOR - DIRECTOR) - Choices - you discover the different CHOICES for each line and phrase - the final CHOICE becomes the actor's OBJECTIVE
 OBSTACLE (ACTOR - DIRECTOR) -DIRECTING THE ACTOR - objective, obstacle, subtext, adjustment, choices, objective
 OBJECTIVE - Choices - you discover the different CHOICES for each line and phrase - the final CHOICE becomes the actor's OBJECTIVE
 PRODUCTION OUT OF SEQUENCE

P

 P - RESEARCH
 Point of listening = POL
 Point-of-listening in radio plays - Beck, Alan, 1998, Sound Journal (on this site)
 Prologue
 protagonist-dominated structure
 Perceptual filling-in
 Physics of sound - Darren Copeland's Ten Questions for a Listener - comments - learning about sound and listening
 Paralinguistic analysis - in Beck, Alan, 1985, 'Radio Drama "Playspeak", Speech and Drama, 34 (No 2) 15-20
 
   
   
 Positioning of listener - Point-of-listening in radio plays - Beck, Alan, 1998, Sound Journal 4
 

  P - SCRIPTS
 'Pillow Talk' - monologue script
  'Pontiac' - monologue script
 
   PRODUCER
   PRE-PRODUCTION
  CLEARING PERMISSION FOR LOCATION RECORDING
  
 PRE-PRODUCTION - Three Phases of Production
 Publicity - arranging for products
   
 P - PRODUCTION
 PRODUCER - responsible for the business side of radio drama production, budgets, contracts, delivering the product
 Seven Production Steps
 SEVEN tasks (allocations) - production and post-production
 Perspective
 PRODUCTION - 'Rehearse-record' - production method in the Studio
 PRODUCTION - 'Rehearse all - then record' - PRODUCTION METHOD
 Perspective explained by film shot analogy
 Getting PRESENCE into the scene - the sense of a character being 'in'
 THREE PHASES OF PRODUCTION
 PRODUCTION OUT OF SEQUENCE  
 P - POSTPRODUCTION
 POST-PRODUCTION - introduction
 Get a new pair of ears to listen to your post-production work
 Underscoring music versus FXs
 Problem solving
 EDIT POINTS - edit-friendly points for POSTPRODUCTION (CHANGEOVERS)
   
   
 'The Company of Wolves' (Angela Carter) - example of scripting prologue - student project with teacher's commentary
 P - ISSUES
 PARADISE - sound paradise for the listener
 Phenomenology (theory)
 

This is the 'Radio Drama - directing, acting, technical, learning & teaching, researching, styles, genres' site.

To WELCOME PAGE

See also Alan Beck's site on 'MAKING A RADIO SOAP (SERIAL DRAMA) - a fixed-end soap'

Q

 quarter-layering - STYLISH SLIGHT REPEATING KEY PHRASES UNDER EACH OTHER (technique)
 Use QUESTIONS - 'HOW DO I' - to navigate this site.
 
 
 
 

R

R - RESEARCH
 RESEARCH - INTRODUCTION
 radio drama - various techniques
 Analysing radio drama
 'The Revenge' - radio play without words, written and performed by Andrew Sachs in 1978
 Radio theory - what is it for?
 Realism
 Radio drama dialogue is much more than the words on the page
Bibliography - Radio Drama Reading List
 Radio apparatus theory
 Radio theory is more than culturalism - see Radio theory - what is it for? What is it?
 Master Narrative theorising (the flight from) - see Radio theory - what is it for? What is it?
 What does radio theory deal with? - see Radio theory - what is it for? What is it?
 Aurality as central to radio theory
  Reception theory - RESEARCH INTO RADIO DRAMA - INTRODUCTION
  Reception theory - Audiences (reception theory)
  Reception theory - Cognitive Mapping and Radio Drama by Alan Beck - monograph - SECTION 3 and 3.2 'Radio Audiences' for cognitive schemata (Branigan)
 

 
 R - SCRIPTS
  'Revolution' - monologue script
 
  R - TECHNIQUES
R -  VOCAL PROBLEM - PRONOUNCING 'R' - rhotacism (speech problem)
 Reverberation (echo)
 'rehearse-record' method
 'Rehearse all - then record' - PRODUCTION METHOD
 RADIO SPOTLIGHT BOOK or AUDITIONS BOOK
 REJECTION LETTER (for auditionees)
 Room tone
 
 
 
 

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This is the 'Radio Drama - directing, acting, technical, learning & teaching, researching, styles, genres' site.

To WELCOME PAGE

See also Alan Beck's site on 'MAKING A RADIO SOAP (SERIAL DRAMA) - a fixed-end soap'

S

 SCRIPTS
See also the SCRIPTING ADVICE at Radio Soap (Serial Drama) - HOW TO MAKE IT
 SCRIPTS - training scripts - radio soaps (short-form serial dramas) - LIST
 SCRIPTS - PRE-PRODUCTION
 EXAMPLE - CUT OUT THAT 'AND'
 TECHNICAL NOTES NEEDED FOR EACH SCENE - PRODUCTION-POSTPRODUCTION information - FXs - microphone positions - scene boundaries - music
  Storyboard - layout of scenes and details - how to make it work for you
 
 
  TRAINING SCRIPTS
 'The Ark' - introduction (Training Script)
 'The Ark' - SCRIPT - text
 'The Ark' - PRODUCTION NOTES
 Broadway (monologue script)
 Colour Lands (training script - music choices)
 Dragon - training script (thriller)
 'The Egg-stremists' - training script (Spot effects)
 Face it - monologue script
 Hopes - monologue script
 Teen Horror - monologue script
 Directing the Monologue - scripts
 'Music Theory' - monologue script
 'Ouija Board' or 'I vant to be alone' - training script (acoustics)
 'Pillow Talk' - monologue script
 'Pontiac' - monologue script
 'Revolution' - monologue script
 'Teen Dreams' - monologue script
 Test 1 - 'In the restaurant' (audition reading)
 Test 2 - 'Diana and her treasures' (audition reading)
 Test 3 - 'Janice and Victor' (audition reading)
 Test 4 - 'Diana on stage' (Audition reading)
 'Warm Up Act' - training script
 'We go with - ' - training script
 
 
  'WRAP PACK' - RADIO SERIAL DRAMA (SOAP)
  'Wrap Pack' - Scenes 1-1-2, 1-1-4 one male, one female (Jack, Sarah)
 'Wrap Pack' 1-2-3 - two males (Jack and Colin)
 'Wrap Pack' 1-3-5 - two males, one female (Jack, Colin, Olivia)
 'Wrap Pack' 1-4-1 - one female, one male (Olivia, Colin)
 'Wrap Pack' 2.2.5 - Olivia + Jack + Colin
 
  'SPACE DETECTIVES'
 'SPACE DETECTIVES' - Episodes 1-5
 
 
 
 
 
 
 'The Canterbury Vampires' - 50 episodes - Radio Soap (Serial Drama)
 
 
 
 
 
 
 
 
 
 
 
 
 
 SCENE
  scene boundaries
 scene boundaries - more
 scene structure
 ESTABLISH SCENE AT TOP
 
SIGNPOSTING
Signposting - establishing the location at the beginning of a scene
Signposting - further definition
 Signposting - more - Signposting and establishing location
 
 
 SILENCES
  silences - different sorts
  Silences and the overall design
Silences - Darren Copeland's Ten Questions for a Listener - comments - learning about sound and listening
 SOUND FILES
 FREE SOUND FILES
 
 
SOUND
Sound - sound effects - sound events
SOUND BOX - production sound effects archive
sound paradise for the listener
 Soundscapes
 Reverberation (echo)
 SOUND CENTRE
 Sound centre - see Point of listening = POL
 Sound centre - see Perspective explained by film shot analogy
 Moving sound centre
 
 Becoming aware of sound events in radio plays
 FICTIONALISED SOUNDS IN RADIO DRAMA - Darren Copeland's Ten Questions for a Listener - comments - learning about sound and listening
LIFEWORLD SOUNDS - how we listen - recognition and learning - Darren Copeland's Ten Questions for a Listener - comments - learning about sound and listening
 List of sounds in categories for radio drama - Darren Copeland's Ten Questions for a Listener - comments - learning about sound and listening
 
 HANDBOOK FOR ACOUSTIC ECOLOGY by Barry Truax - key groundwork and terms for mapping the area of sound
 
 
 SPEECH
 Addition of extra sounds (speech problem)
 VOCAL PROBLEM - PRONOUNCING 'R' - rhotacism
 sigmatism - VOCAL PROBLEM - PRONOUNCING 'S'
 Slurring and stuttering (vocal problems)
 Swear words - exclamations - profanities (SUBSTITUTES)
 
S - RESEARCH
 Semiotics
 Scruton question - Listening to a CD and broadcast - the same?
 Salience of dialogue - see 11.2 Linear - Cognitive Mapping and Radio Drama by Alan Beck - SECTION 11
 Seeing - Oculocentrism or ocularocentrism - dominance of seeing in our senses
 
 
 
 S - PRE-PRODUCTION, PRODUCTION, POSTPRODUCTION
 Soap Project
 Standard production
 SEVEN tasks (allocations) - production and post-production
 Storyboard
 Seven Production Steps
 Subtext
 STUDENT - INTRODUCTION
  Sequence - PRODUCTION out of sequence
 
 
 
 
 
 STUDYING INDIVIDUAL RADIO PLAYS
 Andy Rashleigh, 'Smokers', 10-9-2001, pr. Clive Brill, Afternoon Play
 John Dryden, 'Hotel Europa', 7-10-2000 and (repeated) 13-4-2001, B.B.C. R4, Friday Play 1 hour
 Doug Lucie, 'Small Earthquake', 3-5-2002, Friday Play 1', pr Janet Whitaker
 David and Caroline Stafford, 'The Men Are From ….', 18-7-2002, Afternoon Play, producer Marc Jobst (repeat), BBC Radio 4
 Gregory Whitehead, 'The Marilyn Room', broadcast 25-5-2001 and 11-10-2002, B.B.C. R4, Friday Play, 1 hour, directed by Gregory Whitehead
 Kate Adshead, 'Hanging', 20-9-2002, Friday Play 1', BBC Radio 4
 

T

T - TECHNIQUES
 TECHNIQUES - FULL RANGE OF RADIO DRAMA TECHNIQUES ON THESE SITES

 record 'umms' from all the characters to store
 Underscoring music versus FXs

  silences - different sorts
  Silences and the overall design

 Standard production
 SEVEN tasks (allocations) - production and post-production
 Storyboard
 Seven Production Steps
 subtext
 quarter-layering - STYLISH SLIGHT REPEATING KEY PHRASES UNDER EACH OTHER (technique)
 Sequence - PRODUCTION out of sequence

 Slurring and stuttering (vocal problems)
 Swear words - exclamations - profanities (SUBSTITUTES)

 SCENE
  scene boundaries
 scene boundaries - more
  scene structure
 ESTABLISH SCENE AT TOP
 
 SIGNPOSTING
Signposting - establishing the location at the beginning of a scene
Signposting - further definition
 Signposting - more - Signposting and establishing location

 Time-space rule or jump cut?
 top of scene (technique)
 top of the scene - more
 technique - 'moving camera' or 'we go with' or 'mise en scène' 'shot'
 OB - recording outside the studio
THREE PHASES OF PRODUCTION
 hook
Sound - sound effects - sound events
SOUND BOX - production sound effects archive
 Back Story - characterisation
 interiorizing - the voice in the mind
 INTENSIFYING THE MOMENT - discover the intense moments within your scenes

 Problem solving

 Reverberation (echo)
 SOUND CENTRE
 Sound centre - see Point of listening = POL
 Sound centre - see Perspective explained by film shot analogy
 Sound centre - see Moving sound centre

VOCAL PROBLEM - PRONOUNCING 'R' - rhotacism (speech problem)
 Reverberation (echo)
 'rehearse-record' method
 'Rehearse all - then record' - PRODUCTION METHOD
 RADIO SPOTLIGHT BOOK or AUDITIONS BOOK
 REJECTION LETTER (for auditionees)
 Room tone

  SOUND CENTRE
  Moving sound centre
  chaining sentences - scripting, production, postproduction
  closure or ending of the play - scripting, production, theory
  Copyright - main guidance
  Credits in the radio play
  Close-up - making some dialogue section more intimate
  Creative Exercises 

 Seven Production Steps
 SEVEN tasks (allocations) - production and post-production
 Perspective
 PRODUCTION - 'Rehearse-record' - production method in the Studio
 PRODUCTION - 'Rehearse all - then record' - PRODUCTION METHOD
 Perspective explained by film shot analogy
 Getting PRESENCE into the scene - the sense of a character being 'in'
 THREE PHASES OF PRODUCTION
 POST-PRODUCTION - introduction
 Get a new pair of ears to listen to your post-production work

 Underscoring music versus FXs

 Address - defines whom the speaker is addressing
 Adaptations
 Dialect or accent

 Acoustic - the way sound behaves in a particular environment
 Advice - Your work as a radio drama director
 Atmos bed (underneath the scene dialogue) - establishes scene location or scenery
 Acoustics - Darren Copeland's Ten Questions for a Listener - comments - learning about sound and listening
 Approaches - from POSITION 5 'MOVES OFF' to POSITION 3

 Get a new pair of ears to listen to your post-production work
 Group dynamics - what goes right and avoiding the rest (RADIO SOAP SITE)

 Bed - atmos
 Budgets - Pre-production

  montage
 Montage - definition and creative exercises

 microphone positions
 Moving sound centre
 
  technique - 'moving camera' or 'we go with' or 'mise en scène' 'shot'
 'mise-en-scène' - techniques for the director to guide the listeners' perceptions

 naming
 Narrative
 Narrator
 Noise

T - PRODUCTION AND POST-PRODUCTION
 technique - 'moving camera' or 'we go with' or 'mise en scène' 'shot'
 The Company of Wolves - example
THREE PHASES OF PRODUCTION
 
 HOW TO PRODUCE A 1- minute TRAIL
 Time-space rule or jump cut?
 top of scene (technique)
 top of the scene - more
 Time (theory) - radio drama dialogue and diegesis impose a linear and 'real' time Point-of-listening in radio plays - Beck, Alan, 1998, Sound Journal 2-2
 TRANSFORMATION - the main character goes through a significant change - then resumes their core qualities
 Trails - making a short radio ad for the soap (serial drama)
 
 
 
 SPEECH
 Addition of extra sounds (speech problem)
 VOCAL PROBLEM - PRONOUNCING 'R' - rhotacism
 sigmatism - VOCAL PROBLEM - PRONOUNCING 'S'
 Slurring and stuttering (vocal problems)
 Swear words - exclamations - profanities (SUBSTITUTES)
 
 
 
 
 
 
 
 
 T - SCRIPTS
 Training scripts - 'The Ark', 'Ouija Board', Creative Exercises, Trail, Monologue, 'We Go With', 'Dragon', 'Colourlands', 'The Egg-Stremists', 'Warm Up Act'
 Teen Horror - monologue script
 'Teen Dreams' - monologue script
 Test 1 - 'In the restaurant' (audition reading)
 Test 2 - 'Diana and her treasures' (audition reading)
 Test 3 - 'Janice and Victor' (audition reading)
 Test 4 - 'Diana on stage' (Audition reading)
 Types of radio plays (genres)
 
 
 T - ISSUES
 Types of plays
 Theory - Radio theory - what is it for?
  Theory - what is it?
 Middle-range theorising - see Radio theory - what is it for? What is it?
 Master Narrative theorising (the flight from) - see Radio theory - what is it for? What is it?
 TERMS - Radio does not employ enough terms for discussing itself
 
 
 
 
 
 T - TEACHER
 TEACHER - INTRODUCTION - LESSON PLANS
 
 T - RESEARCH
  What does radio theory deal with? - see - Radio theory - what is it for?
 Theory - what is it?
 The Company of Wolves - student project with teacher's commentary
 TEACHER - INTRODUCTION
 Marking criteria
 Taking a scene apart
 Theory - Semiotics
 Aurality as central to radio theory
 Radio theory is more than culturalism - see Radio theory - what is it for? What is it?
  Master Narrative theorising (the flight from) - see Radio theory - what is it for? What is it?
 Middle-range theorising - see Radio theory - what is it for? What is it?
 HANDBOOK FOR ACOUSTIC ECOLOGY by Barry Truax - key groundwork and terms for mapping the area of sound
 TERMS - Radio does not employ enough terms for discussing itself
  Alan Beck's Key Theories on Radio and Sound
  Time - Linear manner of broadcast - 11.2 Linear - Cognitive Mapping and Radio Drama by Alan Beck - SECTION 11

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See also Alan Beck's site on 'MAKING A RADIO SOAP (SERIAL DRAMA) - a fixed-end soap'

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 record 'umms' from all the characters to store
 Underscoring music versus FXs
 
 
 
 

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VOICE
  Voice
  Voice - Dialect or accent
 
  V - RESEARCH
 Vocabulary of sound - Darren Copeland's Ten Questions for a Listener - comments - learning about sound and listening
 Visual - Oculocentrism or ocularocentrism (theory)
 Visual - dominance of - Point-of-listening in radio plays - Beck, Alan, 1998, Sound Journal 4.2
 Visual - Dangers of visually-based theoretical terms (as 'image') - warning by Alan Beck
 
 
 
 

W

 writing up your student project work (critique)
 word lobby and the sound brigade
 WELCOME PAGE
 Wolves - The Company of Wolves
 
 W - TECHNIQUES
 'We go with' - technique - 'moving camera' or 'we go with' or 'mise en scène' 'shot'
 
 
 
 W - SCRIPTS
 'Warm Up Act' - training script
 'We go with - ' - training script
 'Wrap Pack' - Scenes 1-1-2, 1-1-4 one male, one female (Jack, Sarah)
 'Wrap Pack' 1-2-3 - two males (Jack and Colin)
 'Wrap Pack' 1-3-5 - two males, one female (Jack, Colin, Olivia)
 'Wrap Pack' 1-4-1 - one female, one male (Olivia, Colin)
 'Wrap Pack' 2.2.5 - Olivia + Jack + Colin
 
 STUDYING INDIVIDUAL PLAYS
 Gregory Whitehead, 'The Marilyn Room', broadcast 25-5-2001 and 11-10-2002, B.B.C. R4, Friday Play, 1 hour, directed by Gregory Whitehead
 
 
 
 World Forum for Acoustic Ecology Online Reader, http://interact.uoregon.edu/Medialit/wfae/library/articles/

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This site is 'Radio Drama - directing, acting, technical, learning & teaching, researching, styles, genres'. See INDEX to navigate also.  Complete curriculum of scripts, techniques (acting & directing & post-production & genre styles), advice, sound files - effects and atmoses (with no copyright and so free to use), detailed script commentaries, etc.

TECHNIQUES - FULL RANGE OF RADIO DRAMA TECHNIQUES ON THESE SITES

Academic material on this site is Creative Commons License Alan Beck is licensed under a Creative Commons Attribution-Non-Commercial-Share Alike 2.0 UK: England & Wales License.

Learn about radio drama on this site along with my book - Beck, Alan, Radio Acting, London: A & C Black ISBN 0-7136-4631-4 Available on Amazon. CLICK HERE.

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