Interiorizing - the voice in the mind
The voice in the mind - and radio drama is very good at going inside the mind. This internal voice is more fully private and subjective.
| Best in POSITION ONE at the microphone |
| TECHNIQUE - in a neutral acoustic (as it's the voice in the mind) |
| We hear all the detail and colour of the voice. |
| SCRIPTING - technique for letting the listener know secrets. Useful for description or added words in the dialogue to fill in what is 'blind' for the listener |
| Challenging technique for director and actor - and well worth doing. |
Microphone positions - five in total - from closest to 'moves off' (furthest)
CONTINUING THROUGH THE SITE:
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'Will you turn that music down!' |
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| drop-ins | sound pictures |
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| number the scenes carefully with a system |
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It is recommended to work the actor in position one or position two. If you put the actor in position three, you avoid the problems of blasting and popping, but you have lost the main benefit of the voice in the mind. You have not worked within the convention of this. You are not giving your audience that contrast in acoustic and characterisation, and that journey deep into the voice in the mind. Your actor also has to work in a different way - going into the mind. Depending on the script (and the script has to be written for this technique), the voice in the mind is searching, and revelatory. Research this convention. Listen to BBC radio plays and discover this. Appreciate the different quality of sound and voice (different acoustic). This is not realist dialogue.
Academic discussion: Often met in the radio play as the interiorizing monologue (the voice in the mind or what film terms 'internal focalization'), through cross-cutting the monologue with realistic dialogue (a technique at which BBC producer Jeremy Mortimer is particularly skilled) and also through distanciating devices. |
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