Radio Drama

Pino Masnata (1901-1968), surgeon, Futurist poet and dramatist, co-authored the Futurist Radio Manifesto with F. T. Marinetti, the founder of Futurism.

In 1933 F. T. Marinetti and Pino Masnata described a new radio art in Manifesto futurista della radio, published in the Gazzetta del Popolo of Torino. In 1935 Masnata, worried that the manifesto’s abstruse references to wave motion and the behavior of sub-atomic particles might be overlooked, wrote a 51-page gloss that begins, “The Futurist Radio Manifesto needs some explanation because it contains a synthesis of numerous modern scientific and artistic tenets. Only someone who stays informed of the current trends in human ideas can understand the full significance of our Manifesto and dispense with the explanation.”
Masnata’s gloss “Radia, not Radio” (“Il Nome Radia”) is introduced and annotated within the context of politics and science in Italy in the 1920s and 30s. Appendices to the volume include translations of Masnata’s radio sintesi and Radio Corriere’s transcription of Marinetti’s 1933 eyewitness radio broadcast of Italo Balbo’s landing of the Atlantici in Rome, as well as a brief history of early Italian radio and tables listing hundreds of Futurist radio programs and broadcast-related documents by and about the Futurists—photographs, reviews, articles, photographs, cartoons, and advertisements.

Intended audience: This previously unpublished manuscript is a source book for media studies, art and literature of the first half of the twentieth century. This book is now being used as a textbook in fields of contemporary Italian literature, history of electronic media, radio art, and twentieth century art.

Update: first edition is sold out. Some publishers' returns are available  on Alibreis.com and there are used copies offered on the web. Try this site and support new music: <http://webstore.otherminds.org/products/radia-a-gloss-of-the-1933-futurist-radio-manifesto>

Dramaturgy for the world premiere of Pan Pan Theatre Company's new production of "Cascando" by Samuel Beckett, performed in the Samuel Beckett Theatre in April 2016, with support from the Trinity Creative Challenge, the Arts Council, and Dublin City Council.

Angela Carter is best known for her novels, short fiction and journalism, but she also produced a substantial body of writing for media other than the printed page, including five radio plays, two film adaptations, an original television documentary and a number of unrealized scripts for stage and screen. Despite increasing academic interest in Carter's work, these dramatic writings have largely been ignored. In this book, Charlotte Crofts redresses this lack of critical attention by examining Carter's dramatic writings together for the first time (including two unpublished works), giving them a more central position in the Carter canon

You can read an excerpt of the book here:http://books.google.com/books?id=RsMnIC72qC0C&printsec=frontcover&dq=anagrams&ie=ISO-8859-1&cd=9&source=gbs_gdata#v=onepage&q&f=false

Cited in Jack Zipes (2010), The Enchanted Screen, The Unknown History of Fairy-Tale Films; Susanne Gruss (2009), The pleasure of the feminist text, reading Michèle Roberts and Angela Carter and Laura Di Michele (2005) Shakespeare, una "Tempesta" dopo l'altra

This is the Introduction to a special issue of the Historical Journal of Film, Radio & TV about the dramatist Harold Pinter. Pinter’s activity across different media of expression makes his work a productive focus for a study of transmediality, and this article focuses on his formal experimentation in television, radio and cinema as well as theatre. Transmediality denotes the tracing of transfers of the same trope, narrative or motif from one medium to another, and Pinter’s work has been a part of the canon of world theatre since the 1960s, his films contributed to the unique nature of British cinema, and he is often cited as one of the most significant British writers of the post-war period. His significance is demonstrated by the acquisition of his papers for the British Library's Pinter Archive, which, along with papers held at the BBC Written Archives Centre, British Film Institute and Film Finance, for example, comprise much of the often unexplored original archival material used in the special issue of HJFRTV for tracing Pinter's histories across media.

The question of attention in theatre remains relatively unexplored. In redressing this, Theatre and Aural Attention investigates what it is to attend theatre by means of listening. Focussing on four core aural phenomena in theatre - noise, designed sound, silence, and immersion - George Home-Cook concludes that theatrical listening involves paying attention to atmospheres.

Such matters are examined as they have arisen in some of the most sophisticated works of theatre sound design of recent years, including Sound & Fury's Kursk, Romeo Castellucci's Purgatorio, Complicite's Shun-kin and Robert Lepage's Lipsynch. In suggesting how theatre works to direct the audience's aural attention, the book also carries out an important enquiry into radio drama (Beckett's All That Fall, Embers, and Pinter's A Slight Ache).

This ground-breaking study will be of interest to drama students, sound theorists, practitioner-researchers, performance philosophers, and to anyone curious to explore what it means to attend theatre.

As many critics have pointed out, Martin McDonagh’s work for the stage and screen is deeply indebted to the drama of Samuel Beckett. While critics have spotted most of McDonagh’s intertextual debts to Beckett, they have curiously failed to recognise that his Oscar-winning short film, Six Shooter (2004), draws heavily on Beckett’s classic radio play, All That Fall (1957). As Julia Kristeva contends, intertextuality always involves the ‘absorption and transformation’ of the earlier text. There is much evidence of All That Fall's 'absorption' into Six Shooter: both works centrally feature trains, the death of young children, childless couples, animals, reflections on Christianity, and haunting Irish memories which inspire bizarre and, indeed, violent behaviour in the present. As regards ‘transformation’, McDonagh’s film challenges and updates the reflections on Christianity, adult-child relationships, and Dublin found in Beckett’s play, and McDonagh uses the visual medium of film to extend the unexploited ‘performativity’ of Beckett’s earlier, audio work.

[Originally delivered as a conference paper at the 2012 "Beckett and the ‘State’ of Ireland" Conference at University College Dublin.]

A brief survey of the history of British radio drama in the twentieth century.  This chapter attempts to identify some of the main influences and trends in the rise and fall of the genre.  The early influence of the stage, the rise of the radio feature, the impact of European absurdism, the radio serial and the impact of television are all mentioned.  The recent move to online delivery of drama and the more cinematic use of sound is also included.

What is the reaction of viewers when characters speak directly to the audience—breaking the invisible “fourth wall” of the theater—in films or television programs? Mel Brooks did this in “Blazing Saddles” and, more recently, Gary Shandling did in his television program with questions like: “Does my hair look OK?” This experiment using college students suggests that audiences do, within limits, like to be so involved in the program. Clips that broke the fourth wall were rated significantly more entertaining on a semantic differential scale, and significantly more sophisticated than were clips that did not break the wall. The study concluded that programs that break the fourth wall are more cognitively involving.

The scholarship on Tom Stoppard’s theatrical engagement with philosophy has glossed over the playwright’s unique choice to use both analytic philosophers as characters and analytic methodology in his dramaturgy. This article, considering the 2013 radio drama DARKSIDE, argues that Stoppard creates a uniquely analytic dramatic and theatrical universe in his “analytic plays,” which include Jumpers and THE HARD PROBLEM. DARKSIDE imagines Philippa Foot’s famed “trolley problem” thought experiment, a cornerstone in analytic ethics, with one character existing in an abstract “thought experiment universe” that tests the longstanding distinction between “physical/mental” and “body/mind.” In so doing, Stoppard creates new avenues for collaboration among analytic philosophy, drama, and theatre.

As part of the module 'Writing for the Theatre and Radio', English and Creative Writing students at Coventry University were asked to adapt their ten-minute plays to eight-minute radio dramas. They had to adjust visual elements into aural ones, which involved considerable rethinking and revision of content. This necessitated the recording of voices, creation of sound effects, addition of music and so forth using audio recording and editing software. Students had also to accompany their radio play with an oral commentary. It was a new learning experience for all concerned, and the dramas have attracted interest from BBC Coventry and Warwickshire Radio. This paper will outline the development of the project.

Through an empirical study of ‘dramatised documentary’ feature-making on British Radio, Jo proposes a genealogy of the genre.  Analysing the interplay between content and form she applies the ideas of Rudolf Arnheim, Donald McWhinnie, Tim Crook and Dermot Rattigan to several case studies: 'Shadow of the Swastika', 'The Last Days of Hitler', 'The Ballad of John Axon', 'The Battle of Britain', 'Echoes of D-Day', 'From Salford to Jericho', 'The Day that Lehman Died', 'How to Make Your First Billion'. 
Jo used the British Library Sound Archives as well as digital/on-line collections and carried out an on-line listener survey into radio and specifically radio drama consumption.  She recommends that since the ‘docudrama’ genre is the epitome of good radio (entertaining, informative, topical and relevant) that investment in it should be sustained and effort made to improve accessibility and more persistent digital availability of these valuable programmes.

The Dungeons & Dragons-inspired podcast, The Adventure Zone (TAZ) (2014-present), which is run by the McElroy family, is an ongoing narrative about three adventurers who work to find and destroy seven powerful Grand Relics. The narrative incorporates several different genres, themes, and both player and non-player characters. During the podcast, the youngest brother, Griffin, explains settings and story elements so that his two brothers, Justin and Travis, and his father, Clint, can react to them while playing characters that they have created. This paper argues that TAZ models a storytelling approach that incorporates and streamlines radio drama storytelling, chance, and roleplay into an organic, collaborative narrative. I examine TAZ’s audio gameplay, the discussions amongst the players between scenes (metagaming), and the metatextual discussions in the Lunar Interludes and other metaepisodes, in order to track the progression of the story and explore how the storytelling methods contribute to an engaging narrative.

Aleksandra Urošević LIFT  7
Andrija B. Ivanović LUCIDNA INSPIRACIJA 
Danijela Kambasković OTHELLO 
Danijela Jovanović POPODNEVNA DREMKA 
Eduard Pranger LET BROJ AZ 0542
Гоце Смилевски СМРТТА НА ХЕРМАН БРОХ 
Goran Bogunović REČENICA JE PJESMA 
Goran Mimica BALKANIBAL 
Ja‘akov Fihman ŠABAT U ŠUMI 
Jelena Pavlović ČETIRI SKICE 
Marica Puškaš NARUČENI ROMAN 
Mario Brkljačić PORAŽEN U SEKULARNOJ DRŽAVI 
Muharem Bazdulj  LEPA SELA LEPO GORE 
Nada Dušanić GODIŠNJA DOBA 
Petar Lazić BIO JE RAT 
Peter Rezman KUĆA (Drama) 
Rade Jarak ČUVAR PLAŽE U ZIMSKOM PERIODU 
Vladan Čukvas BUĐENJE ANDRIJE KOLARA 
Vojin Vasović POST PRIČE 
Ajla Terzić GRAD, LJUDI 
Alen Alispahić PESME POD POLITIČKI NEKOREKTNIM NASLOVOM 
Danijela Kambasković PUTOVANJE II 
Danica Pavlović USNE 
Dušan Bajski DŽUNGLA. NIŠTA NOVO. 
Enes Halilović U HLADU MASLINE 
Јордан Даниловски БЕЗВЕРНО САМ 
Josif Brodski IZ „ŠKOLSKE ANTOLOGIJE“ 
Elfrida Matuč Mahulja „MOJ KRIŽ SVEJEDNO GORI“ - JOSIP PUPAČIĆ 
Konstantin Kavafi SVIJEĆE 
Morten Søndegaard ODBROJAVANJE 
Nina Živančević KO MI TREBA? 
TURSKI PESNICI U BKG 
Radmila Lazić ŽENSKO PISMO 
Vivian Yue NEĆEMO PASTI 
Aleksandar Šajin PROCESIJA, ILI HARIJETA 
Божидар Васиљевић КОСОВО 2006.
Danijela Jovanović ROMI U JEVREJSKOM LOGORU ZEMUN 1941-1942. 
Dražan Gunjača KAD SE PRESTANEMO PITATI 
Елизабета Шелева БОРН ТО БЕ БАЛКАН 
Јован Пејчић НЕПОЗНАТА ПЕСМА МИЛАНА РАКИЋА 
Laura Barna DELO U NASTAJANJU 
Intervju MARIJA KNEŽEVIĆ 
Историјски документи БЕЧКИ ДОГОВОР 1850.

Radio drama is a genre appropriate for contributing to the acoustic memory, and to the promotion and transmission of intangible cultural heritage, hence the importance of exploring the relationship among broadcasting systems, education and culture. This paper presents two cases, one based on the traditional knowledge of boat builders, and the other on the experience of women dedicated to the recollection of shellfish, both from Haulaihé, Región de Los Lagos, Southern Chile. Using a qualitative methodology, the voices and testimonies of these sea people were recollected and transformed into two radio dramas, aimed at reconstructing the memory and cultural identity of this zone. Broad-casted throughout most of the region by the most tuned local radio, they combined fiction and reality in order to recreate traditional stories, ways of life and the sounds of the village. This initiative allowed local inhabitants to appropriate cultural goods through this non-traditional learning experience.

In 1963, Delia Derbyshire took a music score by Ron Grainer, manipulated it through various pieces of electronics, cut and re-edited lengths of recording tape and produced what has arguably become one the most memorable theme tunes to a television programme: Dr Who. That Derbyshire and her colleagues had been able to produce such a series of sounds that were different, unworldly, and to the general listening public, so new, was interesting in its own right. That they were doing this as an official unit in a couple of small rooms at one of the BBC’s studios is even more interesting. This was the BBC Radiophonic Workshop, a specialist unit that ran from 1957 until 1998, producing sound effects, incidental music and themes for BBC radio and television. This thesis makes a focussed study of the emergence of the BBC Radiophonic Workshop, providing grounds for revision and expansion of the canonical history of the BBC.

The importance of the work that the BBC Radiophonic Workshop created is undeniable, as is its contribution to technical development, both in sound and in musical instrumentation. What has not been previously interrogated is how the Workshop came about, who the key players were in its origination, and how the BBC influenced and facilitated its establishment. Much of the impetus for the Workshop arose from the needs of the department of Drama (Sound) whose creative lead is central to this narrative. This thesis also shows that having created the demand for such a creative unit, it was another section of the Corporation, Central Programme Operations that was in the position to physically create the Workshop.

Whilst the department titles provide an objective nomenclature, it is the people, the personalities who were central; these were personalities who pioneered the new developments of voice and sound recording and manipulation, and included engineers, scriptwriters and producers. These personalities are represented by an examination of Sir William Haley, Val Gielgud, Donald McWhinnie and Desmond Briscoe. The thesis also explores the impact of the new technology of tape recording, the convergence of institutional expectations and inter-generational creative drives that led to the exploration of the aesthetic possibilities opened up by these new technologies, and the cultural and societal influences upon these creative energies.

Fenomena perkelahian antarpelajar melatarbelakangi munculnya kebijakan nasional pendidikan karakter pada tahun 2010. Balai Pengembangan Media Radio Pendidikan (BPMRP) mengambil peranan mengkampanyekan nilai-nilai pendidikan karakter dalam bentuk seri drama radio “Generasi Edu”. Meski dianggap terlalu bermuatan pendidikan, namun konten audio yang dikembangkan BPMRP dicampur dengan unsur informasi dan hiburan agar dapat diterima oleh semua kalangan. Penelitian ini menggunakan metode analisis isi terhadap naskah drama “Generasi Edu” untuk mengetahui unsur hiburan dan pendidikan yang terkandung di dalamnya. Hasil penelitian menunjukkan bahwa unsur hiburan lebih mendominasi program dibandingkan unsur pendidikan. Oleh sebab itu, drama radio “Generasi Edu” dapat mengenai target sasaran anak muda usia 12-18 tahun karena tidak berkesan menggurui.

Kata kunci: pendidikan, hiburan, drama radio

This paper argues that the work of James Joyce continued to be both a creative source of inspiration and a stumbling block for Beckett in the 1950s, especially when writing in English. After discussing Beckett's re-immersion in Joyce's work during this decade, it moves on to show how his radio play 'Embers', written between 1957 and 1959, builds on the Proteus chapter from 'Ulysses' and 'A Portrait of the Artist as A Young Man'.

The proposal of this research is the radio drama while being explored in the field of verbal plasticity. It is investigated the historic of the genre and its asthetical precepts, as well the composition of radiotheatrical experiments from diferent textual materials. In the meantime, the word is taken as a plastic element: the word that can be carved, molded, and worked as action by elocution – the result of the gathering between the word and the particular universe of its transmitter.

How to cite this work (APA Style):
Néia, L. M. (2013). Peça radiofônica e plasticidade verbal: investigação e composição de experimentos radioteatrais [Undergraduate thesis, State University of Londrina]. ResearchGate. http://doi.org/10.13140/RG.2.2.11281.58721

Il saggio analizza il processo creativo di una performance radiofonica: L’assoluto naturale di Goffredo Parise, con Sandro Lombardi e Sabina Guzzanti, regia di Federico Tiezzi. Trasmesso nel 1998 da Radio Tre in un ambizioso cartellone ideato da Luca Ronconi, l’adattamento per la radio anticipa di alcuni mesi il corrispettivo allestimento teatrale, nato così da un percorso creativo davvero inconsueto. Per realizzare solo vocalmente una pièce che critica la società di massa attraverso una polarizzazione tematica maschile-femminile di strindberghiana memoria, il regista adatta consistentemente il testo e interviene sulla recitazione degli attori abbinando alle emissioni degli interpreti brani musicali, rumori o suoni astratti. Una partitura vocale così raffinata, nata da uno studio approfondito dei personaggi, costituisce una sorta di innovativo studio di mise en scène.

Following the popularization of iPod and mobile-audio technologies, the last decade evidences a dramatic rise in the production and prominence of podcast audio fiction. This is largely dominated, and arguably pioneered, by the horror genre (Hancock and McMurtry 2017; Locke 2016). Among the most exciting outcomes of this development has been the revival of binaural recording and its long overdue application to horror audio-fiction. Binaural ('3D') recording produces an acoustic form which mimics the way that our bodies physically receive and distinguish sound. 1 This provides the realistic listening sensation of sound moving around, or even inside, the body. Moreover, it potentializes illusions of physical touch: listeners to binaurally recorded 'virtual' haircuts report sensations of tickling as the sound of electric clippers traverse the virtual space surrounding their heads. 2 In other words, binaural sound affords a uniquely acoustic virtual reality. While hitherto unexplored, the Gothic and horror potential of binaural or 3D sound is immense, and-for the audio form-a tool with revolutionary possibilities, as binaural offers a perfect harnessing of sound's properties of invisibility, intimacy and invasiveness. 3 Voices may whisper in the ear; noises may sound from behind or above; footsteps may circle the listener-and all while they are disconcertingly, disarmingly deaf to their real-world environment. If audio horror has previously been understood as eclipsed by television and film, and possibly lacking in accessibility due to the blind nature of the medium, in binaural we may see the audio form's unique capabilities as offering an alternative, and highly effective, form of horror when compared with cinema, gaming, or even literature. Within binaural productions, blindness emerges as a desirable asset, where the sounds that surround the listener are not dependent upon a correlating landscape and thus may offer a more intense audio experience, enabling greater levels of Gothic uncertainty, shock and immersion.

Radio's coming of age in the 20 th century was a thoroughly public affair, with a mass of listeners tuning in to the milestones and missteps of early broadcasting houses. As radio transitioned from an emergent technology to a dominant medium, there was a concurrent standardization of studio techniques that involved a push toward an ethos of intimacy, immediacy, and seamless professionalism. An ideal of immediacy, however, was not a foregone conclusion and many broadcasters shifted their work in the opposite direction by foregrounding their equipment and the medium in all their noisiness. At cultural institutions like the BBCwhich had an indelible impact on modes of literary expression in both Great Britain and Ireland 1this struggle was often taken up by writers looking to test a new medium, work out new techniques, and reach new audiences. The broadcasting house, as a rapidly-changing social milieu and creative workshop thus stands out as a locus in which writers could explore new forms and shape coalescing conventionsa process that included exploration of the medium's shortcomings and the breakdown of immediacy.

Nasi orang dagang - mengisahkan asal usul nasi dagang, satu nasi yang cukup popular di negeri Terengganu. Di mana asal nasi ini dari orang Bugis yang berdagang ke Terengganu. Di mana pada setiap menjelangnya hari raya, Sultan Terengganu mengarahkan semua rakyat jelata termasuk orang dagang, buat masakan dan bawa ke masjid untuk diinfaqkan. Pak Galesong dan Mak Kembang bercadang mahu membuat Burasak dan Lepat, sejenis masakan tradisi orang Bugis, tapi atas sesuatu sebab yang tak diduga, apa yang dirancang tak menjadi. Mereka pada mulanya bimbang kiranya Tuanku Sultan murka, tapi sebaliknya Tuanku Sultan amat suka menikmati hidangan itu dan Tuanku Sultan mengelar masakan itu Nasi Orang Dagang.

This article examines the cultural politics of Arch Oboler’s radio dramas from the mystery-thriller program Lights Out. Analyzing the dramas through the critical concept of the cultural front, the author argues that Oboler crafted plays that were antifascist and critical of the developing world war that supported cultural front politics. These plays critiqued fascism and the war indirectly through fantastic political allegories. Many of the plays featured fascistic figures that received poetic political justice in gruesome endings. This article advances our understanding of popular radio drama’s cultural politics during the interwar years and the continuity of Arch Oboler’s radio writing. It corrects the historical record by demonstrating that antifascist cul- tural front radio aired earlier in the interwar period than previously established. Additionally, the article bolsters our comprehension of Oboler’s radio work by establishing stronger ties between his early, popular genre work for Lights Out and his later radio writing. Drawing on Oboler’s original scripts for this program, the article also examines 17 plays for which no extant recordings exist. Therefore, the article contributes to our knowledge of this program, 1930s mystery-thrillers, and sustained radio dramas on U.S. radio.

"STARCALL" Anthology of Novelized Radio Dramas & Teleplays, Volume 1 (2011), by Bob Bello. A collection of 10 short stories illustrated by the author with Dramatis Personae (portraits of the main characters) from each standalone story. Written in many genres: science fiction, historical fiction, alternate reality, mystery, adventure, family drama, wartime romance, apocalyptic, post-apocalyptic, space opera, prehistory, suspense, etc. A little bit of everything for everyone. More titles at www.amazon.com/author/bobbello and www.barnesandnoble.com/s/bobbello

Can sound be an ontological index of existence? The paper examines this question of sound ontology in Harold Pinter’s radio drama. It foregrounds the ontological gap between linguistic and non-linguistic sounds in A Slight Ache (1959) to track how they solidify existence as a play of presence and absence. The sound problematic in A Slight Ache rests on a wordless character who is not soundless. The presence of such a character in the radio problematises existence through sound. The article takes this dynamic through philosophical literature on sound ontology to make an argument about the dramatic alteration of a sonic situation. Family Voices (1981), the second play under the scanner, indicates another dimension of sound ontology by proposing the voice as a transformation of the epistolary function of writing. The characters in the play are voices, standing in for letters that never reach each other. The paper highlights a pressurepoint between ontology and epistemology in relation to sound. It also shows how Pinter’s radio drama is able to mark the “unsaid” as something that can be heard through the connecting function of the radio audience. We have a potentialist sonic ontology here that dismantles the binary of sound and silence.

Les « entretiens impossibles ». Des écrivains interviewers à la radio italienne En 1973, la Rai (Radio italienne) conçoit une nouvelle émission radiophonique sous le titre Le interviste impossibili, «Les entretiens impossibles ». La production demande à des écrivains renommés de concevoir un entretien avec un personnage disparu ou imaginaire, qu'ils feraient semblant de rencontrer aux fins d'un entretien radiophonique mené selon les normes en vigueur. Vittorio Sermonti, réalisateur et scénariste actif à la Rai, est chargé d'écrire un prototype de dialogue, pour qu'il soit soumis à l'attention des écrivains concernés, et puisse leur montrer le style et l'ampleur demandés. Ce premier entretien, où Sermonti imagine de rencontrer et d'interviewer l'empereur romain Marc Aurèle est déjà un petit chef d'oeuvre, capable de montrer les consignes de la production et en même temps les libertés laissées à chaque auteur : en fournissant les données générales comme les variantes personnelles, Sermonti parvient à réunir la règle et la transgression à la règle. Après le prototype, la proposition de la Rai est acceptée par cinquante écrivains environ. Puisque certains en écrivent plusieurs, nous arrivons à un total de 82 entretiens, réalisés et enregistrés et publiés par la suite (sans compter les très nombreux restés à l'état d'ébauche). 1 À partir de juillet 1974, pendant environ un an, présente aux auditeurs abasourdis les entretiens imaginaires écrits par Italo Calvino, Edoardo Sanguineti, Umberto Eco, Alberto Arbasino, Giorgio Manganelli, Guido Ceronetti, Andrea Camilleri, entre autres, qui posent des questions à des personnages historiques ou littéraires, interprétés par de grands comédiens. Au rythme d'un entretien par jour (la durée étant d'une vingtaine de minutes) cette émission remporte un succès énorme, aussi bien de critique que de public. Un succès qui se poursuit jusqu'à aujourd'hui, si vous considérez le nombre de reprises radiophoniques, d'adaptations théâtrales (dont la dernière à Rome en 2008) et la quantité d'entretiens encore disponibles sur Internet. Et pourtant, l'émission avait été conçue au début comme simple divertissement estival, comme l'atteste le Radiocorriere (le journal radio) qui la présentait aux auditeurs comme (je cite et je traduis) : « un jeu suggestif pour l'oisiveté des après-midis d'été ».

Between 1984 and 2016 Caryl Phillips wrote nine radio plays which
were all broadcast on the BBC. Meant for a different circuit of
communication than his novels, essays and published stage plays,
Phillips’s radio plays might be dismissed as minor writing, yet they
constitute a fascinating, under-investigated body of texts which are
worth exploring alongside the rest of his work. Thematically, Phillips’s
radio drama covers similar ground to his fiction and essays. Starting
from this sense of familiarity, this article examines the formal and
communicative specificities at play in Phillips’s contributions to the
radio drama genre. Focusing on two radio plays entitled Crossing the
River (1985) and A Kind of Home: James Baldwin in Paris (2004), this
piece discusses which features of this marginal genre inform Phillips’s
radio-dramatic characterization of protagonists with complex
identities, but also, more generally, how these aspects infuse his
formally experimental fiction.

Osnovni cilj u ovom istraživanju je preispitati medijsku politiku Radija Novi Sad, u vezi sa odlukom da se rasformira Redakcija radiodramskog programa, kao i utvrditi razloge drastičnog smanjenja produkcije multijezičkih radiodramskih sadržaja Radija Novi Sad. Poseban cilj ovog istraživanja je ukazati na kulturološki značaj produkcije dramskih programa na jezicima matičnog naroda i nacionalnih manjina, na nivou kulturne politike Republike Srbije.

This article situates Harold Pinter’s radio play "A Slight Ache" alongside the radio-playwriting protocols of its first producer, the British Broadcasting Corporation. In guidebooks for radio playwrights, the BBC’s Drama Department promoted a clear and coherent on-air style. Pinter challenged this standard by building his play around a silent character and thus refusing to let his audience fall back on familiar methods of listening. Having written a radio play that gestured toward the theater, Pinter did the opposite in "A Slight Ache"’s stage adaptation, concealing visual elements as if glancing back at the airwaves. Both versions moved toward transcending the realism of "The Birthday Party," whose blackout scene had already experimented with restricting stage drama to sound alone. The influence on Pinter’s later stage style can be seen as early as Aston’s monologue in "The Caretaker," where complex lighting effects briefly transform a realistic setting into the “mindscape” of a radio play.

Fenomena perkelahian antarpelajar melatarbelakangi munculnya kebijakan nasional pendidikan karakter pada 2010. Balai Pengembangan Media Radio Pendidikan (BPMRP) mengambil peranan mengkampanyekan nilai-nilai pendidikan karakter dalam bentuk seri drama radio “Generasi Edu”. Meski dianggap terlalu bermuatan pendidikan, namun konten audio yang dikembangkan BPMRP dicampur dengan unsur informasi dan hiburan agar dapat diterima oleh semua kalangan. Penelitian ini menggunakan metode analisis isi terhadap naskah drama “Generasi Edu” untuk mengetahui unsur hiburan dan pendidikan yang terkandung di dalamnya. Hasil penelitian menunjukkan bahwa unsur hiburan lebih mendominasi program dibandingkan unsur pendidikan. Oleh sebab itu, drama radio “Generasi Edu” dapat mengenai target sasaran anak muda usia 12-18 tahun karena tidak berkesan menggurui.

Fíbín, in conjunction with RTÉ Raidió na Gaeltachta, has announced, that Susanne Colleary, Seán Ó Dubhchon and Eoin Ó Dubhghaill will be the three playwrights to be considered for the Joe Steve Award. This award is named for one of the greatest playwrights of our time, Joe Steve Ó Neachtain, who died in January this year. Fíbín is Ireland's largest and most active Irish language drama company. They are based in Tulla in the Cois Fharraige area of Connemara. The sponsors of the Joe Steve Award are RTÉ Raidió na Gaeltachta, Údarás na Gaeltachta and An Taibhdhearc. Fíbín is running the competition. This award is for short Irish language plays based on the mythical or historical stories of Ireland and Susanne, Seán and Eoin will now work with adjudicators Philip Doherty (Artistic Director with Fíbín), Cillian Ó Donnachadha (Fíbín Producer) and Seán Ó hÉanaigh (RTÉ Radio na Gaeltachta), to develop their scripts. When the scripts are completed, the plays will be recorded on An Taibhdhearc stage, in line with the HSE's health and safety instructions. Fíbín will produce the plays, and then broadcast them on RTÉ Raidió na Gaeltachta. Susanne Colleary is a native of Sligo, and still lives in that county. She is currently a lecturer in drama in School of Education, Trinity College, and also lectures in the Institute of Technology, Sligo. Susanne is particularly interested in comedy, and has written two books on this subject. She has also written plays, and can be heard critiquing plays, and radio essays, on the Arena arts program on RTÉ Radio 1. The play

Pound’s musical setting of Guido Cavalcanti’s philosophical canzone Donna mi prega (late thirteenth century) richly rewards the scholar interested in Pound’s application of personae, medievalism and rhythmic proportions to his poetry as well as the scholar interested in methods of translation and criticism. The canzone would become the centerpiece of Pound’s second opera Cavalcanti, composed between 1931 and 1933. Written for radio, the opera emphasizes the hearing (vs. the reading) of Cavalcanti’s poetic and philosophic oeuvre. The opera engages with medieval philosophy, at times humorously, as when Pound references Averroës in connection with the Donna mi prega aria. Of all the arias in the opera, Donna mi prega best demonstrates Pound’s conclusion that music composition may function as literary criticism. The paper includes an audio link and these examples: a graphic rendering of Cavalcanti’s sonic scaffolding (example 1); rhythmic transcriptions  or phrasal durations extrapolated from Pound’s reading of Cavalcanti’s poem (example 2); and the musical values Pound assigned his aria, “Donna mi prega” (example 3).