دانلود کتاب Writing Audio Drama

فهرست مطالب :

Cover
Half Title
Title Page
Copyright Page
Table of Contents
About the Author
Preface
Companion Website Resources
Chapter 1: Radio Drama Is Born and Is in Its Cradle
The Medium of Almost Unlimited Possibilities
The Problem with Stereotypes
Audio Drama Is Spoken Word – for the Ear and Not the Eye
David Pownall – ‘Sound Theatre Is a Performance Art of Special Purity’
Shakespeare as Radio Drama
David Pownall’s Laser Test – An Epiphanous Use of the Microphone
BBC Advice and Guidance: Past and Present
Special Characteristics and Early ‘Secrets of the Radio Drama’: Reith and Shaw
Seeing with the Mind’s Eye, Studio Production, Perceptions of the Future, Art and Excelsior: Archer, Drinkwater, Jeffrey, Smythe, and Thorndike
Companion Website Resources
Chapter 2: The Psychology of Writing and Listening
Darkness Epiphany Plays of 1923 and 1924
The Not So ‘Comedy’ of Danger
The Dweller in the Darkness
Companion Website Resources
Chapter 3: Instrumental Utilitarianism in Radio Playwriting: The Evolving Thoughts of Val Gielgud
The Wireless Play – I. For the Aspiring Dramatist
Val Gielgud. The Wireless Play – II. Choice of Subject
The Wireless Play – III. Length and Method
The Wireless Play – IV. ‘How Many Studios?’
The Wireless Play – V. People of the Play
The Wireless Play – VI. A Practical Example
Concluding Thoughts for the Writer on the Medium with ‘Unlimited Possibilities’
Companion Website Resources
Chapter 4: Achieving the Long Form Audio Drama
Audio Drama’s Key Elements
Analysing the BBC’s Life Lines Using Gordon Lea’s 1926 Template Radio Drama and How to Write it – ‘The World in a Buttercup and Jewels Against a Background of Black Velvet?’
Reginald Berkeley’s Bridging Achievements in Dramatising Consciousness with Modernist Technique
L du Garde Peach – The Mary Celeste: A Mystery of the Sea – Long Form Radio/Audio Drama
Tyrone Guthrie – Rhythm and Long Form
Companion Website Resources
Chapter 5: Beginning the Sound Story: Techniques and Devices
Who? What? Where? When? Why, and How?
Vissi d’arte by Paul Sirett. IRDP for LBC 1990. English Version Compared with the NRK Norwegian Version
Cigarettes and Chocolate by Anthony Minghella. BBC 1988
Sorry, Wrong Number by Lucille Fletcher. CBS 1943.
The War of the Worlds by Howard Koch for Mercury Theatre on the Air CBS 1938
Richard Durham’s Origination of Characterisation in Radio Play Openings
Opening the Long Form – Caryl Phillips The Wasted Years (1984) and Nigel D. Moffatt’s Lifetime
Verse Plays by Norman Corwin and Benjamin Zephaniah – Some Model Beginnings
Conclusions
Companion Website Resources
Chapter 6: Characterising the Sound Story: Techniques and Devices
Characters Unique to the Audio Drama Medium
Creating the Character and Effective Use of Characterisation
Conclusions
Characterisation in Morton Wishengrad’s The Battle of the Warsaw Ghetto ( 1943)
Companion Website Resources
Chapter 7: Dialogue and the Sound Story: Techniques and Devices
Writing Dialogue – Key Principles
Companion Website Resources
Chapter 8: Sustaining the Sound Story: Techniques and Devices
Ironic Transposition of Character in Audio Drama Play Development
Ironic Transposition – from Conrad to Bleasdale
Dramatic Ironic Transposition Through Interiority
Ironic Transposition Through Tagged Words, Phrases and Sounds Between Scenes
Companion Website Resources
Chapter 9: Plotting the Sound Story: Techniques and Devices
The Mechanics
Audio Drama Plot Peculiarities
Analysing Plot Structure in The Wasted Years (1984) by Caryl Phillips
Checklists for the Audio Drama Writer
Companion Website Resources
Chapter 10: Ending the Sound Story: Techniques and Devices
Complicating and Enhancing Conflict Struggles
Locations of Ironic Effect
Audio and Radio Dramatic Endings
The Haunting Ends of Lucille Fletcher’s The Hitch Hiker and Sorry, Wrong Number
The Filmic Sophistication of the Ending of Caryl Phillips’ First Radio Play The Wasted Years
Endings in Richard Durham’s Destination Freedom Plays
Trust in the Listener’s Imagination. Bertolt Brecht’s The Trial of Lucullus
Conclusions
Companion Website Resources
Chapter 11: Film, Internet, and Stage Dimensions to Sound Storytelling: Techniques and Devices
Cross-Media Projects
Dad’s Army Ten Seconds from Now
Sorry, Wrong Number – Radio, Film, Radio
Citizen Kane – Radio Play on the Screen?
Radio and Film – Oluwale by Jeremy Sandford
Companion Website Resources
Bibliography
Books and Journals
Academic Theses
Giles Cooper Award winners
Newspaper, Magazine and Online Articles
Radio and Audio Programmes referenced in the text
Archives
Films and Television Drama referenced in the text
Internet Sites and recommended radio and online listening
Paul Ashton’s Perfect 10. Blog at BBC Writers Room
Script Room latest: radio drama
John Yorke’s 10 Questions
Writing Radio Drama
Monday–Friday 10:45–11am Radio 4 (repeated at 19.45 weekdays)
Monday–Friday 2:15–3.00pm Radio 4
Saturday 2:30–3:30pm Radio 4
Sunday (time varies) Radio 3
Life Lines Podcast
BBC Radio Four Extra Podcasts and Podcast Radio Hour
Script Library – Radio Drama
Making Radio Drama – the bad news and the good news
Writing for Radio – Find Your ‘Itch’
The Writer\'s Prize commission: Bang Up
Creating Home Front – Radio 4’s epic new First World War drama
Red Velvet – Rediscovering Ira Aldridge
Writing The Archers: From idea to airwaves
Five things I know about writing The Archers
Gordon House talking about key things when writing radio plays. 1 Nov 1996
Ten tips for writing a radio play. 2020 BBC World Service International Radio Playwriting Competition
Companion website pages
Additions and updates for individual chapters
Special subject pages
Index