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Raw understanding drama
- 1. CAPICITY BUILDING TRAINING MODULE ON RADIO DRAMA.
- 2. Understanding Drama A story represented by means of words and action. In words of Bonamy Dobree moving literature. Action is pivotal to any drama which is basically meant for performance. Words were introduced in plays at much lateral stag e than other elements e.g. Mime, dance , Music, costume and stage d辿cor.
- 3. Recreation implies creation of an illusion of a reality, this phenomenon is called make believe or suspension of disbelief Action represents a character at a given time and space Action promotes the plot or keeps the story moving Drama needs proper characterisation and gripping Plot. Plot has four elements ( Freytags pyramid ) Exposition Conflict (Rising action ) Climax Resolution , Denouement or anticlimax (Falling action )
- 4. Plot Its the series of actions and sequences of the story The plot grows from the conflict that arises when two forces in a play come into opposition
- 5. Characters They are the people in the drama They are defined by what they do and what they say They are defined by their actions
- 6. Brief History There are records of sacred drama in Egypt (2000 B.C). The Psi (600B.C) in the ancient Greece is the first known playwright. Then followed Aeschylus (525-456 B.C), Sophocles (496-406 B.C ). In the East, Indian culture was influenced by Buddhism and under this influence plays were being written and performed for religious purposes. In fact classical drama is conventional and
- 7. The plays of Kalidas (4th century A.D ) and Bhavati are lyrical in tone and refined in feelings. Kalidass delicate romantic tales leep time and space but there is no conflict and characters are transformed from human beings in to gods
- 8. Dramaturgy Theme Story Script Theme Suspense Characterisation antagonist Protagonist Direct ( round or explicit, it uses another character, narrator or the protagonist himself to tell the audience about the subject) Indirect (Flat or implicit, the audience has to deduce for himself the characteristics of the character by observing his/her own thought process, behaviour, speech, way of talking, appearance and way of communication with other characters ) Plot Dialogue(s)
- 9. The Radio Play The term Play applied to Drama indicates that certain action is displayed or reacted for recreation Basically radio play emerged out of Theatre or stage play The recreative quality of drama gets more imaginative place in Radio It has ,sometimes, been called Blind Theatre or Aural Half of stage play
- 10. Stage Play vs. Radio Play Stage Play Radio Play Stage d辿cor and lights. Studio acoustics. Actors presence visible Voice variations (Sign Posting, stress, pause, swing) with costume ,make up and voice throw . Dance and mime. Stress, Pause , swing and silence Sound Effects & Music . Sound effects & Music .
- 11. Elements of Drama- Freytags pyramid
- 13. 1. Exposition/Opening This usually occurs at the beginning of a story. Characters are introduced. We also learn about the setting of the story. Most importantly, listeners are introduced to the characters and the conflict gets start.
- 14. 2. Conflict/Rising Action This part of the story begins to develop the conflict. Suspense is created to arise interest as to what is next .
- 15. 3. Climax This is the turning point of the story. Usually the main character encounters face to face with a conflict. The major character will change in some way.
- 16. 4-Resolution or denouement All loose ends of the plot are tied up. The conflict(s) and climax are taken care of.
- 17. Further Explanatory notes Exposition The exposition is the portion of a story that introduces important background information to the audience Rising Action A series of related incidents builds towards the point of greatest interest. The rising action of a story is series of events that begin immediately after exposition
- 18. Climax the climax is the turning point, which changes the protagonists fate. If the story is a comedy, things will have gone badly for the protagonist up to ths point. Falling action During the falling action, the conflict between the protagonist and antagonist unfolds, with the protagonist wining or loosing against the antagonist. The falling action may contain a moment of final suspense, in which the final outcome of the conflict is in doubt
- 19. Resolution or denouement The d辿nouement comprises events from the end of the falling action to the actual ending scene of the drama or narrative. Conflicts are resolved, creating normality for the characters and a sense of catharsis or release of tension and anxiety.
- 20. Conflicts meaning Conflicts meaning A Struggle between two or more forces that creates tension which must be resolved. There are two conflicts namely External and internal. The traditional breakdown of the conflict is : Man vs. man (external) Man vs. nature (external ) Man vs. society (external ) Man vs. Self ( Internal )
- 21. Production and directional modes Getting hands on script Idea formulation (Research, personal observations, inspirations, adaptation of popular novels and short stories, discussions with playwrights, translations ) Script (Vetting, amendments in consultation with seniors and the playwright you have either a solicited or unsolicited script, Readers Report and final approval Casting ,booking proposal Preliminary production script Copies of final script and selection of dramatists
- 22. REMEMBER: Do not perform the script by your self in front of the artists. why????? what to do?
- 23. Directional mode Directional mode First Rehearsal ( reading the script by the dramatists ,cues, stresses, pauses, swings, silence, sign posting, tones, tempo, pace ) second Rehearsal, Final Rehearsal, Dress or Mike rehearsal (Microphone distances for sign posting, in out cues, interactive responses among drama voices and interaction with the producer through observation window )
- 24. Music blending music can capture emotions and images It can swing the listenerts instantaneously from entirely one mood to an other mood It can, as subtly as a raised eyebrow-give to a phrase an extra, and as possibly contradictory, level of meaning There happen different kinds of music while producing a radio play e.g. Opening/closing music depending on theme of the dram, Bridging music, change over or transitional music for separating different scenes, Bangs, BGM as continuity etc.
- 25. Music has many shades : suggestive descriptive indicative etc.
- 26. Sound Effects Sound Effects help tell the story in audio. They tell you where or when the story takes place. They tell you about the action, how events are unfolding. Radio drama is usually recorded in a carefully sound proofed studio. But voices and script alone can sound dry and unreal. Its the studio managers job to add recorded sound effects, and to create live sound effects.
- 27. The addition of sound effects transforms the clean audio of voices reading script into a world that is believable for the listener. Some of these sound effects happen at a very subconscious level. They can be as simple as a teaspoon clipping the edge of a cup, or a door opening all ordinary noises that happen in the background of real life, but that have to be artificially created in the world of radio drama.
- 28. Books recommended: The Sound Effects Bible - Ric Viers, Michael Weise Productions, 2008. And excellent book that covers modern hardware and software, field recording, sound design, and how to make specific sounds. Radio Sound Effects - Robert L. Mott. McFarland, 1993. Radio and Television Sound Effects - by Robert B. Turnbull. 1951. Rinehart & Company Inc.; New York www.suondeffectsbible.com www.sounddogs.com
- 29. How to produce a Radio Play in eight easy steps ? Create visual picture. Production of a radio drama requires you to paint a picture in the audiences minds. This means the use of descriptive words to build up images that enable the listening audience to identify with the characters, the world the character lives in and the atmosphere for each scene. Use of colour is very important to create the image in the listeners mind A narrator is very useful in the context of radio: the narrator play out the scene, explain action sequences and wrap up the scene. If you are working on a serial, the narrator can summarise the previous episodes action as recap The narrator can switch between scenes
- 30. REMEMBER Create the action through dialogues, since all you have to work with , is dialogues rather than props, a setting or visual cues, dialogues will need to work hard on it. It can be used to describe action as it is taking place
- 31. Make the most of sound effects where necessary. Too many sound effects can spoil the broth and can get your listeners confused. Use astounding sounds- things to wake up your listeners such as an explosion, a music bang, a cry, a skidding car, an angry mob shouting etc.
- 32. You can use effects which are built in to the mixer desk to help create actualization. When it comes to producing your play, and if you are producing it, be sure that you do a sound check with the effects, to ensure the sound levels and effects are how you want them. Use reverberation- use it to set the acoustics of a location. For example empty room, an office full of coworkers, a cave, halls, a court room etc.
- 33. Music in the background can help to set the mood of your play. Obviously, you can match music o feelings such as sad music for sad occasions featuring death or loss; happy music for good news; suspenseful music for a scary or worrying moment and fast music for increased action or a chase. Music also sets opening/closing tone of a play, serving as aural curtain..Sky is the limit for a creative drama producer
- 34. Be precise and clear with spoken words, always use economy of words without altering the meaning of a dialogue. Every thing must be clear because your listener cannot view a character using facial expressions, waving arms about or throwing objects etc; Silence must be used craft fully so as not to convey an empty space- meaningful or pregnant pause is always appreciated
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