DIRECTIVES IN JAVANESE OF TEGAL: A CASE STUDY OF DRAMA ON PERTIWI RADIO

Drama on the radio is still one of the effective media to convey messages to its listeners. Pertiwi Radio, owned by the local government of Tegal regency, is one of radio stations in the region to convey messages, especially from the government to public living in the region and surrounding towns. The radio station is still used by the local government to inform its listeners and public in the form of drama broadcast in Javanese of Tegal. The content of the drama vary in terms of fields, such farming, local distric head election, the anniversary of Tegal district, etc. This paper aims at exploring how directive utterances are used in the drama by using speech acts theory. The data of the resaerch are in the form of directive utterances of the characters involved in the drama spoken in Javanese of Tegal. The data are collected through recording followed by transcribing the spoken data. The data are then anlyzed based on the forms and the functions of the utterances which are in the form of directives. The result shows that, 1) based on the form, the directive utterances tend to be expressed directly than indirectly, and 2) based on the function, the directive utterances are use to ask, to command, to demand, to forbid, to suggest, and to warn

Moving tales, exploring narrative strategies for scalable locative audio drama.

This paper reports on a recent collaboration between the Lansdown Centre for Electronic Arts at Middlesex University and the BBC Radio Drama Department, which was designed to investigate the narrative possibilities of locative media in a drama context. The locative drama Scratch is the first outcome of an ongoing research project, Locating Drama, whose aim is to investigate and develop narrative strategies that take full advantage of the current generation of GPS enabled portable computing devices for audio drama. In particular, we are exploring content and modes of interaction, which, while based on location awareness are not in any way site-specific allowing users to experience the drama in a location of their choice. We will refer to this approach as translocational as it allows the translation of locative media experiences to a wide variety of spaces. The translocational approach is of particular interest to broadcasters as it is more scalable than a site-specific paradigm, opening the possibility of downloadable location-aware podcasts featuring professionally authored content for a wide audience

British Radio Dramaturgy and the Effects of the New Conservatism

Reproduced with permission of the publisher. © 2004 Cambridge University Press.This essay, which is informed by the author's own practice as a playwright working in the medium of radio drama, looks at some effects of the enforced merger of radio with TV drama to create a ‘bi-media’ department at the BBC, and considers the evolution of commissioning policy since the imposition of the internal market under the Director Generalship of John Birt (from 1992 to 2000). Considering radio drama, after Adorno, as a producer in the culture industry, he suggests that the neo-conservatism of the 1980s, as described by Habermas, is a significant factor in understanding current commissioning practices and the dramaturgy of new realism in some radio drama

Dambusters 70: after me, the flood

Drama commemorating the 133 airmen involved in Operation Chastise A drama, commissioned by the radio station working in partnership with the RAF and the University of Lincoln, will be broadcast throughout the programme. The drama has been written by university lecturer Conan Lawrence and former graduate Emma Rodgers, who is now working at BBC Radio Lincolnshire. It was inspired by a book on the Dambusters raids by Max Arthur

Misusing Sights as Sounds: The Infringements of Radio Drama on the Making of CITIZEN KANE

Many arts have influenced the cinema over extended periods of time. One art – radio drama – is an exception, for we can date the onset of its influence from the coming of synchronous sound to the cinema in 1926 and the culmination of it with the creation of CITIZEN KANE in 1941. Film and radio drama were thereafter to part company, each having learned what it could from the other. What had the cinema learned from radio drama? If we look closely at CITIZEN KANE, we can learn much about the virtues and limitations of radio design, cinematical design and the design of CITIZEN KANE itself

Hilda, Mabel and Me

This thesis explores the work of three women practitioners in radio and examines the process of writing radio drama through a mixture of criticism and practice. It analyzes early theories about radio drama and compares them with those of today, in order to ascertain whether the early ideas are still relevant. Starkey points out that radio has been relatively undertheorized (2004: 204), so this evaluation of the practice of writing radio drama adds to knowledge of the medium as a whole. The work focuses on two women practitioners from the past: Hilda Matheson, whose book Broadcasting (1933), was the first single authored text on radio and broadcasting by a woman published in English (Crook 1999: 12) and Mabel Constanduros, who was a prolific writer and actress of the time, specialising in comedy. Matheson s ideas are compared with those of Val Gielgud and other early theorists, which were more accepted at the time. This analysis leads to close examination of a debate at the heart of radio drama, that being whether noises or dialogue are the best method of storytelling. Finally there is a consideration of the author s own writing practice, using three broadcast radio plays, 21 Conversations with a Hairdresser, 15 Ways to Leave Your Lover and Jesus, The Devil and a Kid Called Death. This provides insight into the changing methods of writing for radio. The findings create a story design for writing the Radio 4 Afternoon Drama. Final written drafts are included, along with audio copies of the plays as they were broadcast. Several different types of criticism create the theoretical base, including works on cultural theory, feminist theory and reception theory, as well as texts on radio, screen, play and comedy writing

Sound-Stories: Audio Drama and Adaptation

Although it is one of the most neglected fields of performance culture, throughout its history audio drama has been prolific and impactful. Radio has produced adaptations of fiction which has been as (in)famous as Mercury Theatre on the Air’s ‘War of the Worlds’ broadcast (1938) and as monumental as the BBC’s complete Sherlock Holmes (1989-98). In the twenty-first century, the internet has created a new era of audio drama: there has never been a more fluid range of options through which we can consume network radio and, in addition to this, there are websites streaming archival materials as well as podcasts of experimental or amateur work. In short, there has never been a richer time to be an audio drama ‘listener’. Adaptation has been a central practice in audio drama since the beginning of radio: indeed, the creation of ‘original’ plays for radio is a trend that emerged sometime after plays appeared on radio, which were initially entirely adaptive. This chapter will explore different types of adaptation in audio drama. An enormous range of stage plays, novels and films of every kind of genre have been chosen as sources for audio adaptation. Moreover, the format of these plays has been as diverse as the genres that have been selected. From readings and audiobooks to the complexity of binaural and interactive productions, audio listeners can experience one-off dramas and serializations, differing in length and ambition. In terms of strategy, audio adaptation can be found to use the strategies of allusion or hybridization as much as a more conventional or ‘completist’ approach. A range of case studies will be used for analysis to ensure that the topic is explored in the most diverse way: as well as classic works of radio drama and output from the major radio networks, the essay will also feature analysis of independent podcast audio drama

Pendidikan dan Hiburan dalam Drama Radio Pendidikan (Analisis Isi Naskah Drama Radio “Generasi Edu”)

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