MOVING SOUND CENTRE

'We go with' -

the sound centre moves along with the characters as they talk (going 'up the garden path')

An exciting technique - well worth using - it avoids 'stand and deliver' acting.

 In 'we go with', the SOUND CENTRE follows the moving action. The listener gets a more enlivened, moving sequence. We require the listeners to imagine the microphone as a camera on the move.
 The script must offer 'we go with'. One or more of the characters is on the move. (See examples below and Script: 'We Go With)
 EQUIPMENT - choose between (1) a boom microphone OR (2) technician holds the microphone and follows the characters as they speak and move.
 
 The third possibility is to crossfade between fixed microphones. But this is not advised unless there are particular production problems requiring this.
 This is a more advanced technique. It requires a more extended sound set or sound sets. More rehearsal is needed. (A lot of film and TV production uses this technique.) More production time must be allotted.
 PRODUCTION: Care must be taken to avoid script rustle and other unnecessary sounds as the actors and technicians move around.
 
 DIRECTOR & SCRIPT: You have to think through the logic of the movement in every detail. And it has to be made logical by breaking it down into step-by-step.
 SCRIPT: The script has the instruction 'we go with'. That is a technical term in professional radio drama production.
 
 The actor must move on the line and keep speaking when in movement. And the script must offer enough words to allow the character to fulfil the movement logically required. If the scripted words are not enough, more words must immediately be added, in production.
 The actor must do a lot more than the scripted words. See embodying - getting the character's body into the dialogue
 The scene partner must get PRESENCE into the scene - the sense of a character being 'in' while being a partner to the speaking character. Also 'umms' (1) characters' reactions while others (scene partners) are speaking, (2) establishing presence

 

 TO APPLY MOVING SOUND CENTRE - See Level Seven : Script: 'We Go With'

'mise en scène' sequence - by analogy with film's 'mise en scène' shot

See Alan Beck, Radio Acting for a full explanation and how to do this.

EXAMPLE FROM 'The Canterbury Vampires' - episodes 16-20

4.1.4
'COPS AND ROBBERS' THEME NIGHT ('MONDAY') 1.45am.

TECHNICAL NOTE 1 - 'WE GO WITH' LISETTE FOR THESE LOCATIONS IN THIS SCENE - (1) DJ'S BOOTH, (2) WALKING OFF INTO THE EVENT AND MEETING CHARITY.

INTERIOR. DJ'S BOOTH OPEN TO THE AUDIENCE - VENUE ATMOS

Characters: DJ, Lisette, Charity

1. FADE IN MUSIC - Pink Floyd, 'Another Brick in The Wall' CHORUS FOR DJ AND THEN FADE DOWN AS MUSIC BED ('We don't need no education, we don't need no thought control, no dark sarcasm in the classroom, teachers leave the kids alone')

2. DJ: (over the mic to the audience) That's right, cops and robbers, we don't need no education, leave those kids alone!...especially you cops out there. There's nothing like a bunch of babes in uniform...grrr...(to passer by) nice helmet! Hope you're enjoying yourselves tonight... (Lisette is tugging at his sleeve) (CLOSE UP - POSITION 2 FOR DJ AND LISETTE) What? What do you want? Can't you see I'm tending to my fans?
3. LISETTE: Have you seen my friend, Tyra? I can't find her. Can you put a call out?
4. DJ: And say what? Seen a chick named Tyra - dressed as Myra Hindley? I'm a DJ, not a private investigator. (back to mic) So, once again, bunk up with your cellmates and get yourselves into trouble!
5. LISETTE: ('WE GO WITH' - MOVING OFF FROM DJ'S BOOTH OUT INTO THE EVENT) Thanks for nothing, wiseguy! (walks on and calls back to DJ) And by the way, she's a cop, not a robber. (seeing Charity) Hey! Chazza, what's up?
6. CHARITY: (approaching her, with banter) Lizzy! Nice dress by the way, would have looked really good last season. (As we know from the first scene, this is Tyra's dress.)
7. LISETTE: Might give it to you when I'm done with it. (It's Tyra's dress already - that's the joke.) Tyra. I can't find her. You seen her?
8. CHARITY: Nope. Last spotted walking out with some hunky guy... Leather jacket, tight jeans, black boots. Might wanna check the toilets, I heard some groaning in there earlier.
9. LISETTE: 'Kay, thanks for nothing. (walking off)

10. (FAST FADE DOWN )

 SOUND CENTRE
 Standard production
 Point of listening = POL
 Perspective explained by film shot analogy
 'We go with - ' - training script
 'mise-en-scène' - representation of the play scene, locations, spaces and perspectives

 

 

 

 

 

 

 

 

 

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