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Audio Drama Session 5
Introduction Jessica Dromgoole directed the session, the subject of which was the presence of the microphone in the piece. For example, in the self-autopsy play the microphone or recording device is another ‘character’ to which the main character directs his narrative. We began by listing as many situations as we could imagine in which voices or activities might be recorded or broadcast. The list we compiled included the following: Voicemail Answerphone Black box recording Telephone sales calls Satnav Speaking clock Police interview Journalistic interview Dictaphone Documentary Music recording Accidental recording e.g. between takes Surveillance Flight control Voiceover ADT Language tapes Accent training Interview training Audition Talking book Public address Sports commentary Autopsy ...and many more. Exercise 1 We were set the task of choosing one of the means of recording or broadcasting on the list we’d compiled, and each writing an example of such a recording. We were to attempt to write a short, realistic and purely factual example, that is, with no narrative. A number of the pieces were read aloud. It was noted by many that it was surprisingly difficult to avoid the narrative tendency; despite the intention to do so. Or perhaps, to avoid reading stories into sequences of events. For example, John’s speaking clock, which went something like this: ‘At the third pip the time will be five, fifty three, and ten seconds. Pip, pip, pip. At the third pip the time will be five, fifty four, and twenty two seconds. Pip, pip, pip. At the third pip the time will be five, fifty seven, and thirty six seconds. Pip, pip, pip. At the third pip the time will be five, fifty nine, precisely. Pip, pip, pip. At the third pip the time will be ...’ ...had me enthralled, wondering of the possible significance of the irregular and vaulting chronology. We then discussed the next step, which was to transform these factual pieces into something more dramatic. Jessica opined that the best plays were those in which the story grew out of the purpose or nature of the recording or broadcast. A few of the pieces were discussed in more detail, such as Elena’s language tape. Suggestions for the transformation of Elena's piece included adding political overtones (such as a Greek language tape for Turkish Cypriots, with political subtext), a purposefully inaccurate lesson, so that the student would learn something other than he or she intended, and a personal language tape which was in fact a disguised plea for romantic fulfilment. Jessica stated that the latter would in her view be the most rewarding to pursue as the implicit purpose of the recording; an appeal for romantic understanding; grew out of the explicit one. However, Jessica added that with pieces of this type, the more there was going on the better; a successful piece could include more than one of the suggestions. Exercise 2 We were set the task of transforming the factual piece we had each written into something more dramatic, for example by adding a narrative structure. We were to attempt to write something in which the drama grew out of or was integral to the nature of its recording. A number of the pieces were read aloud. An example was Faye’s answerphone piece, in which a distressed woman appeals to someone to contact her, states she is drunk and emotionally volatile, alone in his or her apartment and hints at possible suicide. The pieces were discussed, following which we divided into groups of five or so. Exercise 3 Each group was set the task of selecting a piece from those written by its members, workshopping and improving it with a view to its eventual recording from a written script. All sound effects were to be those we were able to generate ourselves. We were invited to use our surroundings and found props in inventive ways. Jessica listened in to each group and offered suggestions, after which the pieces were recorded. Conclusion The recorded pieces were played. Ben xx |
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