24 February 2008

I found myself in unknown waters today. A phrase one uses when alluding to a period of awkwardness or unease. But however, today I am using this phrase to describe something that I was introduced to that perhaps I still don’t understand but more specifically something I do want to get to understand - Audio Drama. A rather mysterious man named Brother Slone familiarized us with the concept of Audio Drama today but I decided to inquire more about this unfamiliar term. Whilst googling ‘Audio+Drama+definition’ I came across limited resources explaining what Audio Drama is, until however, I found a 2007 article by Paeter Frandsen entitled ‘The Answers’. Frandsen says that Audio Drama has previously been dubbed audio theatre, radio drama and radio theatre but now that it is available on CDs, cassette and MPS the ‘drama’ has adopted the more versatile ‘audio’. Further more he compares audio dramas to big budget action movies with plenty of sound effects, actors and spectacular stories. Basically an Audio Drama is an “audio experience” that one can have at home or whilst being active.

The reason why I found myself in unknown waters is because I don’t know what role we’ll be playing in this Audio Drama seminar. Will we be the actors? The practitioners? The listeners or audience? Or perhaps we will be everything. Quite frankly I think that this is the case. We will be partaking in every aspect of Audio Drama to gain a clearing understanding of what Audio Drama is, what it entails, how it is materialized and its proactive potential in making a difference in South Africa as a country in the transitional phrase of democratization.

http://www.spiritblade.net/site.cfm/sbp/answers

28 February 2008

After class today I realized that there must be more to audio drama then I expect. Like any think, if you want to understand it on a whole it is necessary to examine it origin. Whilst browsing the net I came across a few articles by Tim Crook and snippets from his book Radio Drama – Theory & Practice. He deems audio drama as the era of the electrophone and radio and follows an emphasis on avant-garde and the “the use of sound as art”.

Tim Crook, is an apparent well-known audio drama practitioner and critic, talks about Audio Drama’s six ages of development in his book Radio Drama: Theory and Practice (1999). The first stage, or rather origin of the medium, can be found in the historical cultures of orality. Storytelling historically constituted as a means of communicating cultures and identity from generation to generation. Therefore the roots of audio drama lie in the tradition of African culture before ink and paper. It is however impossible to pin point an exact time when this age began but what we do know is that the year 1950 introduced Mcluhan’s Age of the Gutenberg Galaxy. Mcluhan asserts that with the coming of print the auditory was translated into a visual medium.

The second era(1878) signaled the invention of the phonograph. The phonograph made the first experience of recording and play back of human sound possible. Thus this era signaled the capture of sound into audio recall. Along with the ability to now record, the invention of the phonograph also led to the concept of sound editing and mass marketing of phonographs for edutainment.

The third era encapsulated the time of the telephone and cable. 1902 onwards signaled the era of broadcast and downloadable sound services. The electrophone dominated this era as it became the first machine able to broadcast a source over and over again to a large audience. The telephone enabled ‘live’ broadcasting to reach far distances. The period between 1902 to 1922 saw the electrophone flourish without any competition from the radio.

The fourth era saw the discovery of the radio and wireless. This era, 1908 onwards, developed from the growth of broadcasting utilizing electromagnetism and the producing of sound programming to a mass audience. Thus a direct communication method engaging with “the ear and imagination” (Crook, 1999: 23). This led to the establishment of the medium, or genre, of Audio Drama.

Ad audio drama developed it took on a Brechtian approach, with calling being able to phone-in and thus encouraging participation and breaking the artificial barrier.

1926 onwards motioned the fifth age dominated by the picture and image rather than simply sound. However it was the merger of sound communication and the visual image – optical recording techniques – that led to the development of television. Crook describes how sound and image are equally important and it is an ongoing debate as to which is more important – sound or image?

The last and final age – the sixth age – began in 1994. The Internet and World Wide Web stormed in as the PC market grew. The beginning of the global village, connecting people from all over the world, enabled the international transmission of images and sound. In terms of the advantages for the audio drama medium, the Internet has allowed for online broadcasting or pod casts. Therefore one of the advantages of Internet broadcasting it that faces limited censorship from political organization and regulators – liberating the medium.

Crook, T. 1999. Radio Drama: Theories and Practice. London: Routledge

1 March 2008

Anne Dunn has written an interesting article on the structures of radio (audio) drama. It charts the origins of audio drama in relation to “its relationship to the listener” (Dunn, 2005: 191). Until the 19th century people were accustomed to speaking about ‘hearing’ a play rather than seeing it. This highlighting the role of metre, rhythm and tone with orality. Shakespeare’s play, Hamlet, addressed this as Hamlet says , ‘Follow him friends; we’ll hear a play tomorrow.’

Furthermore Dunn distinguishes the origins of ‘audience’ and ‘the spectator’ as terms used to describe ‘a listener’. ‘Audience’ comes from the Latin word ‘audire’, meaning to hear, and was predominately used during the time of audio plays. However with the coming of the 18th century the term ‘spectators’, from the Latin word ‘spectare, meaning to see, was adopted. Specters thus followed alongside the idea of seeing a play as a posed to hearing it.

Dunn, A. 2002. Narrative and Media. New York: Cambridge University Press.


3 march 2008

Following on from last week’s unexplained Audio Drama seminar we now entered into the practical side of things. Brother Slone put us into pairs and together with Nicola I had to create a scene for our graphic novel. It seems there is more to creating an audio drama than just reading, it was stressed that expression and tone are essential when delivering and recording a dialogue or audio piece.

Elements of improvisation and spontaneity play an immediate role in audio drama as Brother Slone highlighted that stage directions should be limited. In other words he explained that the written scenarios should only incorporate setting, time, ambiance and input sound. Therefore replying on ones own understanding of text and the human reaction to convey emotion. Furthermore he stressed that like in Shakespearean times, stage directions were made up on the spot and then adapted and written in the text. Whilst researching this further I came across an article entitled Shakespeare’s Stage Directions. It concluded that stage directions developed from individual actor’s improvisation and were later “added by the editor”. Although this might appear to create chaos and waste time during a production, it does however have an advantage in terms of artistic freedom. Playwrights through the ages have had the freedom to create their own stage directions and thus in some way adapt the play to their own innovations. In Shakespearian plays the lack of stage directions allowed for “flexibility, allowing them to be reimagined by successive generations” (Bloomfield: 2007).


Bloomfield, J. 2007. Shakespeare’s Stage Directions. http://shakespeareantheatre.suite101.com/article.cfm/shakesp eares_stage_directions. Accessed on 3 March 2008.

3 March 2008

I have just listened to Orson Welles ‘ War of the Worlds’ an audio drama that raised controversy. Its very real sound effects led to authentic confusion amoungst the audience as some thought that the alien invasions were real.

Crook however states that the first audio drama to be conceived in terms of the medium, with regard to the placing of actors and expository dialogue and sound effects was “In the Trenches” in 1917. “In the Trenches” was a propaganda disc recording by Major A. E. Rees. It predicted the revolutionary efforts of the BBC and American stations like WGY for several years.

Another, more recent, audio drama that caught my interest was that of the famous “Dracula”. It was written by Bram Stoker and adapted by Orson Welles into an audio drama. Jack French believes that this adaptation recaptured the prominence of radio in the 1930s and 1940s. In these two decades people used to listen to their favourite programs – “The Lone Ranger”, “Charlie McCarthy” and “Suspense” – on the radio because the advent of TV and computers had not happened thus far. “Dracula” first aired on July 11, 1938 and was again aired as a collaboration on 90.7 WXEL – FM as a unique tribute to broadcasting history.

7 March 2008

Unfortunately only after writing our scripts I came across another article written by Tim Crook entitled ‘Principles of writing radio drama’. Crook emphasizes the importance of perfection in writing for audio drama in saying that "every word, every line, every scene must serve dramatic purpose”. Sadly he states that audio drama scripts on a whole lack this “dramatic purpose” and thus point outs key tips that writers should aim to follow.

1 – The beginning is ‘everything’ if it does not ‘kidnap’ the audience immediately the listeners will desert you.

2 – The Moment of Arrival should drop your listeners into the story. Therefore you should use dramatic action but while being careful not to enter into the climax too soon.

3 – The structure should be composed of twists and turns. There should be two storylines and 2 sub-plots and kept linked logically.

4 – The element of surprise should be utilized to make the listeners afraid but also excited.

5 – Characters should appeal to audience. The main characters must demand sympathy from the audience and therefore should encourage self-identification.

6 – Conflict should be apparent in the pitching of one polarity against the other this then creates conflict and therefore drama.

7 – The climax should be somewhat similar to the sexual connotation of the world. It should be thrilling, fulfilling, satisfying and intense.

8 – Dialogue creates the engagement element of audio drama, allowing the story to engage dramatically with the world. Also dialogue is the means by which the listeners are informed.

9 – The atmosphere and ambience set the emotional spirit if the play. If listeners conceive in the world created then the script is a success. Atmosphere can be created by sound effects and music and is key in drawing the audience into the play.




11 March 2008

Today’s class was strange! It entailed periods of silence, no action and limited learning! Or at least that’s what I thought. I think one of the main elements of audio drama is teamwork. Trying to make decisions and pick from a wide array of ideas and inputs is quite difficult, and so perhaps Brother Sloan’s methods are testing our ability to do so.

First off, the class voted for people to be in positions such as director and head writer. Personally none of these appealed to me as, although I enjoy being a significant part of a group, I Don’t think that I could lead a group whilst dealing with such alternative material. Don’t get me wrong, it’s not that I’m afraid, or afraid to fail, but rather I would like to get my feet firmly on the ground first. Furthermore there will still be plenty of opportunities for my opinion to be heard!

I found myself choosing to be coupled with Amanda as the production’s Graphic Designers. However it is evident that each person, be it the publicist or sound director, has a significant part to play not only in their field but also on the production as a whole. There should be an open flow of communication and a welcomed sense of critique.
Next up, we began structuring our personal audio drama. I do not believe that everyone was quite clued up in as to what was going on but luckily we managed to set up a time to meet.


14 March 2008

Ah, but this was the next challenge, the meeting commenced an hour late and never really took off – me eventually volunteering to finish the product.

I realized that teamwork and reliability is essential. I’m not going to lie and say that we work great as a team but I guess there’s potential in every situation. I found a few quotes about teamwork that I feel if we strive towards them, it will only make our audio drama experience more beneficial – “Teamwork divides the task and doubles the success” and one that is highly appropriate - None of us is as smart as all of us (Heartquotes: 2007).


17 March 2008

It quite a weird feeling not knowing what the agenda of a class for the day is. I’m sitting at Nescafe wondering what today audio drama seminar will entail, what mood Brother Slone will be in - Cocky or lame? - and also what mood will I be in – eager or drained? I mean it’s only 13h00 and I’m fading already but I guess it quite refreshing not knowing.


17 March 2008 (22:30)

So I am about to send this initial blog off to Brother Sloan and I think I have a whole new perspective about this audio drama thing. Since last semester I have been complaining about how UCT has not offered any hands-on work as of yet and now I’m finding that theory has taken a back seat and the ‘do’ element has kicked in. YEAH! Also I think today was quite beneficial as I saw a side of me I haven’t seen since school… today I felt confident in front of strangers. Brother Sloan interviewed me whilst recording and it was awesome to be able to let loose. I also found out about the ‘infamous’ beads that Brother Sloan wears – sentimental value with a cause – lovely!

18 March 2008

Yesterday, whilst recording our voices and interviewing each other, we learnt a few significant techniques in terms of voice presentation. You cannot just simply speak into a microphone there are certain angles and distances to take into account. You should project into the microphone at a distance depending on the level of your voice, but you cannot however be a ‘gangster’ and put your lips onto the microphone. Brother Sloan explained that by doing this you damage the “very expensive” equipment. Thomas Murrell agrees and says that the optimal distance between your mouth and the microphone should be the distance of a clenched fist. This will prevent the popping of certain words mainly starting with ‘p’. If however you prefer being a ‘gangster’ and slobbering all over the microphone the condensation could and most probably will damage the foam microphone cover. Furthermore dirt can also collect in the foam and thus these covers are not sustainable. Brother Sloan seems to look after his microphone by keeping it in a case and also utilizes the right techniques in doing so he is making sure that dirt and moisture do not cause frequency loss.

http://8mmedia.blogspot.com/2007/05/how-to-give-great-speech -microphone.html

What I understood from Brother Sloan is that a microphone is like a ball with a sensitive sphere around it. More specifically a sound sensitivity sphere. The website Sound on Sound explains that when projecting into a microphone one should “aim to place sound sources around stereo microphones such that they occupy the complete stereo image” (SOS: 1997). I guess what I am trying to say is that microphone’s circular shape generates a more real, clear and full sound attempting to give listeners a real experience (On radio I mean).

http://www.soundonsound.com/sos/1997_articles/feb97/stereomi king.html

2 1March 2008

I am on my way to the game reserve and whilst deep in thought I remembered Brother Sloan mentioned something in class about a conclave. I get the just that a conclave is a gathering of people for a specific cause. When browsing the net I learnt the idea of the conclave started by the Catholic Church. When electing the pope a secret meeting, or conclave, is held where cardinals meet to do the election. Back to the point a conclave in this sense is The Global Policy Forum deems a conclave as a gathering that has significant influence. I heard about a conclave on 5FM in which you either do not eat for the entire meeting or give up your cellphone. I think these gatherings send powerful messages abroad and more specifically say a lot about those who do them. It is a test of will but also I believe that ‘action speaks louder than words’ and it is clear that a conclave is a perfect opportunity to materialize concerns and beliefs.

25 March 2008

Something that most academics will eventually have to do in order to become financially independent one day is to draw-up a CV. About a month ago I wrote up a CV for the job I was applying for and now we have to hand in a general CV for audio drama. It’s quite strange writing about yourself in such an arrogant manner but at the same time its quite self-assuring. For the first time I was able to put down all the positives in my life without having to acknowledge my regrets, failures and negative aspects. It’s amazing how one can see the beauty in oneself by merely writing up a CV. And hopefully the list is only going to get longer in time. Actually I think that I’ll keep my CV on me at all times so that if I’m having a bad day I’ll just whip it out. ☺

28 March 2008

Today I was chatting to my brother about the importance of sound. It came about while sitting in the dark at the bush with the ambiance joining us. Sound, even in the form of a river flowing, has no limits. Sound alone with no illustrations has even less limits and opens up an array of possible experiences. While illustrations help paint a picture sound alone leaves it up to the audience to create the picture and demands a participatory experience and thus imagination.

(Just an aside thought)

31 April 2008

So I’m sitting at the airport waiting for a flight – which has been delayed for the past two hours. I’ve been thinking about my individual oral and now I’m quite stressed. I’m not sure what I’m going to do or how I’m going to do it. I not only need an idea, I need actors, a set and sound. This seems to be a lot more complicated than I imagined! I think I should do some research to help generate some ideas.


5 April 2008

Just returned home after and entire day of audio drama. A couple of us joined Brother Sloan at a conclave at the Salt River Community Centre. What an experience! Firstly, we watched radio drama performed by the community children or rather by the artists. I have to emphasize that this was for me a moment of clarity. Watching these audio dramas help for me to formulate my own idea of audio drama – a vocal play with emphasis on tone, clarity, narrative and characterization. I do not include gestures and movement because the sole form of audio drama is that it appeals to our sense of hearing. Therefore the fact that one group performed in Xhosa and I managed to create some sort of understanding illustrates how there are certain techniques to such a performance. This group had energy, effective tone and flow thus allowing me to pick up on emotion and thus the feel of different situations.

After watching these plays we critiqued them. One of the performers, Nelson, did a one-man show and for example Brother Sloan advised him to roundup people to help him with some characters in his play. I feel quite reluctant calling these audio dramas plays, as to me plays allude to a visual performance. However although these plays are audio they still require a visual aspect. In fact this audio concept of audio drama is the element that urges the audience to participants within the narrative. Listeners are able to image the situation visually in their heads therefore audio drama aims to entice and allude therefore allowing our minds to create. Therefore I think “play” is still acceptable.

Lastly the groups branched off to fix up there “weaknesses” or just to touch up. I ended up helping Nelson with his play Around the World. I was an American reporter reporting on the potential of traffic officers to become orchestra conductors – interesting though hey? It was a very original play and ended up becoming a great team effort as we all exchanged ideas.

It is unbelievable how appropriate the phrase “hidden talent” was for today’s conclave. Today I witnessed natural talent not forced or constructed talent. These children have a pure passion for performing which was prominent in the plays. I left with a sense of amazement as well as sadness because majority of these children will probably never be noticed for this natural knack for performing. But I guess for most of them it’s not about “being noticed” but rather the idea of audio drama as a form of self-expression.

7 April 2008

I came across an amazing website today purely directed to audio drama as a global phenomenon. It is http://audiodramatalk.com/forumdisplay.php?f=18 and contains blogs, audio dramas and discussion boards all to do with Brother Sloan’s passion – Audio Drama. I haven’t fully explored this site yet but I am slowly finding my way around. Go one have a look, it’s really cool!

8 April 2008

I am still pondering about the potential of audio drama in the South African society, or any society at that. I believe that audio drama forms part of community media – voices marginalized voices and given them an opportunity to express themselves through narrative via cost-effective means. Furthermore Crook highlights that audio drama expression is “a reflection of the polictico-economic story of the twenty first century”. Thus audio drama is a form of art characterized by its social and political themes and concerns but also bringing to life magical worlds.

CLASS

Other than that today I finalized the logo designed that I as graphic designer had to create. I took the interactive media stream last semester so I have had practice in this field but I slowly learnt that I had forgotten many a thing when coming to working illustrator. I designed five different logos 3 very different from the rest. To have a quick squizze look at my images.....


14 April 2008

So Today we attempted to watch a couple of recorded amatuer audio dramas. Brother Sloan assisted students at Rhodes University with making their audio drama production. He said that it took them three days to plan, rehearse and create their piece. I won't lie and say that the drama ran smoothly but personally to me it was entertaining and achieved its goal edutainment. It was original in that it incorporated visual and audio elements whilst still maintaining that clear distinction.

I think I am slowly coming to grips with Audio Drama as a new and effective means of communication. The more I am exposed to audio drama the more I come to understand it potential in this country and abroad but most importantly how versatile the medium is and that anyone can partake in a audio drama production.


21 April 2008

So I have decided that I would like to start right at the beginning. The beginning of audio drama i mean. Therefore that is the actual origin of the invention of the radio. 

The telegraph is constituted as the ancestor of the radio. The telegraph transmitted number codes and signals across distances.  The discovery of electricity in 1881 led to improved experimentation of wireless communication. And thus eventually the radio. Sis years later in 1887 a significant finding took place. Nienrich Hertz accidentally produced the first radio waves through a set up transmitter and receiver.  Hertz's discover encourages three scientists Nikola Tesla, Nathan Stubblefield and Guglielmo Maconi to explore the concept of radio. Although these three scientists were all different in approach and theory, together their experiments led to the perfection of radio. 

Neville, C. Origins and Invention of Radio. www.otal.umd.edu. Accessed on the 21 April 2008

CLASS

Today in our Audio drama class we watched a few recorded audio dramas. I enjoyed all of them whilst all of them were appealing in different ways. Each was individualistic - all original in their context, design, content and presentation. It is amazing how much freedom one has in such a field as Audio Drama. Although it is made for the hear, presenting it live allows for dramatization and costume. In fact I believe that it is imperative to have costume and set so to create the right atmosphere and provoke the actors to get into character. 

I also noticed how important the audience is. Obviously every drama needs an audience but not only was the audience a sign of recognition it also become a participant in the productions.


28 April 2008

So now that I have briefly discussed the origin of radio i wish to discuss the power of radio. Radio is powerful in that it reaches a huge audience efficiently and also that it allows this audience to interact with one another. There are three advantages of radio. Radio is inclusive, immediate and accessible. These advantages are owing to simple technology. Radio is accessible anywhere anytime and can be listened to whilst doing something else. Also radio has the potential to reach all communities although perhaps in different forms and with different intentions. One noticeable disadvantage however is that radio transmissions are temporary. Shows or information is only broadcasted once.

Online Training centre. Power of Radio. www.iwmf.org. Accessed on the 28 April 2008.


An article entitled Power of Radio remains Strong by Issa Sikiti da Silva discussed the positive future of radio. It is said that radio will "continue to serve the listeners on a greater scale and in multiple platforms for a long time to come". Radio has thus remained firm-footed as a relevant, ubiquitous and receptive medium. 

There are three types of radio one of them being community radio. Community radio strives to empower people, and more specifically a community. It creates awareness of national concerns. Public radio is criticized for being too professional and a consumer good product.

da Silva, I. 2007. Power of Radio remains Strong. www.bus-community.com. Accessed 28 April 2008


5 May 2008

So how does audio drama stand out? well Conor Lennon confidently states that audio drama "goes beyond radio". Much like that of community radio, audio drama has a different agenda - to develop a community. Audio drama thus stands out form radio in that takes different forms - documentary, fiction and/or non-fiction etc. Forms which are predominately didactic but most of all celebrate the brilliance of radio and more specifically the power of audio over image. 

Lennon, C. 2007. Audio Drama: Beyond Radio. http://audiodrama.blogspot.com/. Accessed on 5 April 2008

After watching a few recorded audio dramas I learnt that the actual production of audio drama in itself is also inclusive, immediate and accessible. ANYONE can do it. Regardless of your appearance, age, nationality and status anyone can produce and entertaining piece of audio drama, granted they have guidance and a general idea of audio drama. Perhaps i should stress that not everyone will conquer writing of audio drama scripts but there are other jobs one can do.


12 May 2008

Radio drama has been one of the most neglected fictional media practices of its day. Well-known writers for the radio medium who have now turned to audio drama remain "trapped in the fortress" of inconspicuousness.

In relation to broadway, the American box office and other large media conglomerates, critical coverage of audio drama is still lacking.

However some have come to understand that the element of sound has come to guide radio or audio drama into a new dynamic dimension. Radio drama is slowly becoming a universal phenomenon.  It now stands as a means of cultural expression and aims to remember and revive unacknowledged traditions.

Furthermore young writers are rapidly entering the genre and thus highlighting that new oppotunities are arising in both cultural expression and re-representation. 

Tim Crook states that as the genre grows in practitioners so to does its audience. In fact the audio dram genre is growing in relation to that of the film and television. This is because radio drama is on a whole is "more efficient as a means of communication". Tim Crooks argues that not only is it an easily accessible means of communication but also that it stimulates the mind and imagination more than the visual media ever could. He says that "The mind's eye is a continual movie playing movie for the imagination while text, video, film and still pictures are scanned stereoscopically into the physical dimension."

An important promoter of audio drama is that of multi-media and the internet. These 'promoters' have created a sense of time and freedom for audio drama practitioners. Audio drama faces less government censorship in terms of production and control. Audio drama has become for accessible because the internet has made it more affordable.

15 May 2008

Audio drama and media on a whole play an important part within a society.As discuss before media is, on different levels, a form of cultural expression. The media is utilized as a means of politicization and  either in the form of propaganda or objective and diverse coverage. In liberal democracies with capitalist economies, audio drama, specifically, aspires to generate profit. This consumer good aspect could hinder a 'real' sense of cultural identity as government funding could lead to "political compromise and economic expediency". Like other media that could be affected by government funding, audio drama could become insecure and inconsistent.

Apart from this democracy offers greater dimensions and opportunities. Audio drama has become didactic in from and signals the "health of a democracy". This is a global acknowledgement as audio drama had become equally dramatic.

However another important fact that hinders true cultural expression is that of cultural imperialism. The West has a general assumption that the rest of the world speaks English, or at least this is what Tim Cook says. Personally I believe that hey are either not interested in acknowledging cultural diversity or/and that the English niche market stands as the main contributed to economic wealth. However it is not only the West to blame as the people who control national media abide to imperialist antics. Thus they are mimicking imperialism and compromising the very essence of multi-culturalism. History is not being written from the stand-point of the once oppressed or colonialized but is rather being continually ignored.

I realize that this is a bold statement and I myself wish to refute it. It can be disputed in some extend in there are some people who are fighting to withstand imperialism and reignite lost pasts. The SABC, itself, has a long tradition of radio drama. Along with this many international audio drama auteurs and practitioners have brought their expertees to South Africa to help fight imperialism.

18 May 2008

One of these practitioners, and the man who introduced me to the concept of audio drama, is Anthony Sloan, or as I call him Brother Sloan. Tim Cook addresses Anthony as a "a name that does not resonate in the corridors of international audio drama conferences or festivals" enough. Anthony is a crucial figure in the creation of the WBAI, a community aimed at the development of live community radio plays. WBAI was launched in 1986, the year before I was born. Anthony believes in higher education in that instead of just studying to get a job one should and continue to challenge oneself whilst learning. I believe that Anthony has an unbelievable perspective on life. AND NO I am not trying to get extra marks (I know that's what you thinking Anthony), instead I believe that ANthony whilst developing his passion, audio drama, he is helping those who are not necessarily aware of their potential or the opportunities the world can offer.

I think that Tim Crook resonates my feelings in saying that Anthony is on a "personal odyssey evangelism, confirm[ing] that audio drama is assured a future". Earlier this semester I attended a conclave with Anthony and a few of my class mates and it is apparent that Anthony's grassroots approach is a "significant indicator of how radio drama can strengthen its identity and cultural value with its audience". The participants were some of the most talented and enthusiastic people I had ever seen perform. I think that what Anthony is doing is in line with the fight against imperialism - the encouragement of true cultural expression and thus cultural and self-determination. 

Crook, T.  International Radio Drama. www.irdp.co.uk/audiodrama.htm

19 May 2008

So I have come to the sad realisation that "A" I didn't do a proper job in my position as graphic designer and "B" that I will never be a radio drama practitioner.  Whilst browsing the net in hopes of finishing my blow weave I decided to go back and read past emails again. I read one that Anthony sent us and in this specific attachment that I browsed over it stated that a graphic designer not only designs the logo but also creates and distributes a program to the audience. You would think that this would be simple enough especially because there were two of us. URG!! I'm quite irritated and not only feel despondent in myself but also embaressed because I let the group down. :(

AND the reason why I say that I will never be a radio practitioner is because I honestly can say I cannot write audio drama plays. I remember reading in one of Tim Cooks articles that you cannot be taught how to write radio drama plays you can only improve. Alluding to the fact that there has to be some underlying talent. I have no such talent or luck. My play "Dorothy's Tarred Road" seemed appropriate at the time, but i think I am one of those people who has too much on their mind to generate one wholesome concept. My play when presented seemed bitty and boring. I know that this (my OWN negative comment) won't assist in my critique on Friday but I'm one to be honest. 

I generally liked everyone else's as they each had something different to offer - Kara's script was written well and well rehearsed; Lunel's was vibey and entertaining; Jonas' sound was impeccable; Nicola's use of natural sound effects was fresh and Max's play was hilariously entertaining and well written.

One could easily pick out the effective plays and the "not-so".. mine being one of the "not-so's".

Oh well..........