| Information
For Writers and Producers of Radio Drama
The
Magical World of Radio Drama
In
the course of the last 30 years the Radio Drama department has produced
work for BBC Northern Ireland, Radio 3 and Radio 4 by acclaimed
writers such as Joseph Tomelty (ALL SOULS' NIGHT 1969), John B Keane
(THE FIELD 1970), Stewart Parker (THE KAMIKAZE GROUND STAFF REUNION
DINNER 1979), Brian Friel (FAITH HEALER 1980), William Trevor (BEYOND
THE PALE 1980), Robin Glendinning (MUMBO JUMBO 1988), Brendan Behan
(THE HOSTAGE 1989), Bernard McClaverty (DEATH OF A PARISH PRIEST
1989) and Jennifer Johnston (O ANANIAS, AZARIAS AND MISAEL 1989)
The
department has also produced work from such Classic literary giants
as, Jonathan Swift (GULLIVER'S TRAVELS 1969), James Joyce (PORTRAIT
OF AN ARTIST AS A YOUNG MAN 1982), W B Yeats (THE DREAMING OF THE
BONES 1989), J M Synge (THE WELL OF THE SAINTS 1990), Dion Boucicault
(THE COLLEEN BAWN 1990) and Frank O'Connor (THE SORCERER'S APPRENTICE
1997)
Other
well known writers include John McGahern's AMONGST WOMEN, read by
Tony Doyle for Book At Bedtime in 1990. Shane Connaughton's A BORDER
STATION 1991 and RUN OF THE COUNTRY 1992 for Book at Bedtime. Stephen
Rea reading Seamus Deane's READING IN THE DARK for Book At Bedtime
in 1997. Luke Griffin reading Frank McCourt's ANGELA'S ASHES for
Book At Bedtime in 1998. Maeve Binchy's TARA ROAD read by Pauline
McLynn for Book At Bedtime in 1999. Niall Williams' AS IT IS IN
HEAVEN read by Owen Roe in 2000. Simon Callow's performance of THE
MYSTERY OF CHARLES DICKENS in 2001. Tina Kelleger and Stella Gonnet's
reading of Edna O'Brien books, THE GIRL WITH THE GREEN EYES and
MRS REINHARDT in 2002. Performances by Stephen Rea and Frances Tomelty
in Stewart Parker's PENTECOST in 2002.
THE
MAGIC
"As with all forms of story-telling that are composed in
words, not in visual images, radio always leaves that magical and
enigmatic margin, that space of the invisible, 'which must be filled
in by the imagination of the listener "
Angela Carter preface to the collected plays,
1985.
Plays
which are set mostly in one location with a lot of talk will sound
dull on radio without the visual stimulus of the theatre. So a variety
of sound is essential for holding the listener's attention and engaging
their imagination. This can be achieved by varying the lengths of
scenes, number of people speaking, pace of dialogue, volume of sound,
background acoustics and locations.
For
example on radio, one room sounds very like another, if they're
about the same size, but the difference between an interior and
an exterior acoustic is considerable. Also the contrast between
a noisy sequence with a number of voices and effects and a quiet
passage of interior monologue, is dramatic and effective.
The
radio Dramatist can work on the principle that anything which can
be described can be imagined. A radio play need not be restricted
by time or place. It can travel between centuries and continents.
It can take place in aeroplanes, on board ships or in exotic locations.
It can also take place within the confines of a single mind. Since
it is a medium of almost unlimited possibilities, it calls for great
discipline of structure and an awareness of the nuances of language
on the part of the writer. The writer must think in sound. It is
their sole means of holding the listener's attention. Theatre, film
and television can use light, colour, exciting sets and beautiful
actors to hold their audience. A radio writer must combine good
dialogue with the appropriate use of sound effects and music to
stimulate pictures in the minds of their audience. It is important
to note that good dialogue, that which is interesting and exciting,
will carry a play a long way.
Along
with dialogue, the other aural tools the writer has are sound effects
(naturalistic or imaginary), music and silence. This last element
is vital in a radio play. Pauses allow the listener time to absorb
what they have just heard and prepare for what happens next. Dialogue
is the dominant element of a radio play. It carries information
for the listener about character, story and at times location. However,
radio dialogue has to be more explicit than that written for a visual
medium. So the radio writer's skill is in making this extra description
sound natural. Poor dialogue in a radio play is when the characters
just chat on aimlessly. The writer's skill is in choosing the precise
lines needed to tell the story and bring their characters to life.
GETTING TO KNOW RADIO PLAYS
It would be difficult to write a successful radio play without having
a closer acquaintance with the form than can be given in these short
notes. Obviously, the best way to become familiar with the possibilities
of the medium is to listen to radio plays as often as possible and
decide what works well and what doesn't. There are sonic radio plays
available on cassette, but these are mainly recordings of established
work. Enquiries should be addressed to BBC Enterprises (BBC Records
and tapes, Room C23 1, Woodlands, 80 Wood Lane, London, W 1 2 0TT).
In
the earlier years of Radio Drama, a number of excellent books about
radio craft were written by Gordon Lea, Val Gielgud, Lance Sievenking.
Later, Donald McWhinnie's classic work " The Art of Radio"
dealt with both the theory and practice, of a number of productions.
You may also find useful " Radio Drama" by lan Rodger
and "Radio Drama" edited by Peter Lewis. There are many
other more recent books dealing with certain aspects of radio drama
and its theory - though none sets out to cover the basic principles
of writing for the medium. Up until 1992, Methuen published The
Best Radio Plays of each year including the Giles Cooper Award Winners.
While sadly no longer in print they do provide an opportunity to
study texts of successful plays and are available in libraries.
There are also radio plays in the works of established writers such
as Harold Pinter, Tom Stoppard, Samuel Beckett, Howard Barker, Giles
Cooper, Angela Carter, Susan Hill, John Mortimer and others. Not
all of these remain in print but again most can be obtained through
libraries. In some respects, the most useful publication is Radio
Times "Radio has really become the national playhouse. It
is where people who don't go to the theatre turn to hear the rearrangement
of life into drama, that curious process which can make sense of
what happens, help with pain, heal through laughter."
Gillian Reynolds. The Daily Telegraph
|
