A matter of fundamentals : sound and silence in the radio drama of Samuel Beckett

Samuel Beckett was arguably one of the most influential writers of the 20th century. Known for his stage plays, including the renowned En attendant Godot (1948), Beckett’s contribution to the field of radio drama is often overlooked. His corpus of radio dramas included some of the most innovativeradio works of the post-World War II period. For Beckett, radio drama was not exclusively verbocentric, for he always maintained that his work was “a matter of fundamental sounds (no joke intended) made as fully as possible” (Frost 362). His (radio) drama aesthetics defined a strict hierarchy of sound whereby the dramatist balances sound effects, music and the characters’ dialogue – and the use of silence. In this essay, I examine the juxtaposition of sound and silence in Samuel Beckett’s most influential radio dramas: All That Fall, Embers, Words and Music and Cascando. In the end, this essay will show that the sounds and silence employed in Beckett’s radio dramatic works were inextricably linked, which added to the overall meaning of his dramas.

'Scratch' locative audio drama - report to BBC executives on trial at BBC FreeThinking 2008

‘Scratch’ investigates the use of physical space as a representation of narrative and dramatic structure. An audio-drama, it is a world-first in being location-sensitive without being tied to any particular place (preceding attempts by others have emphasised location-specific aspects of the genre). Developed in collaboration with and part-funded by BBC Radio Drama, it builds on research undertaken for ‘Dragons’ (output 4). It uses pre-recorded audio on GPS-enabled mobile devices allowing sounds to be virtually attached to locations in an outdoor space. As participants move, they encounter scenes forming a coherent drama which behave differently if the same place is visited more than once. This translocational approach opens novel artistic possibilities exploited through team expertise in narrative, sound design and advanced interaction. It is also significant in the economics of broadcast media as a more viable proposition than the many experimental locative experiences which have been site-specific: this was of great interest to the BBC. The public performance selected for BBC FreeThinking, 1-2 September 2008 in Liverpool as part of European Capital of Culture was reported in a co-authored 2009 conference presentation at ISEA, Belfast, 26-29 August 2009 and in a co-authored short chapter in Spierling and Szilas (eds.) Interactive Storytelling, Springer 2008. Boyd Davis directed the project and devised and undertook the evaluation with 40 trial listeners, reporting to BBC executives (http://researchonline.rca.ac.uk/1000/) for whom a second trial was also run in London in 2009. The evaluation used interview, video observation and a questionnaire combining an open question at the beginning with more specific questions later, avoiding channelling respondents' reactions immediately after the experience into issues which might not be uppermost in their minds, while also yielding data capable of rigorous analysis. The evaluation was to provide feedback to the makers of the drama and to guide policy at the BBC. [287] Participants were recruited principally through the publicity for FreeThinking 2008 – mainly via the festival website. The average age of participants was 40. The gender of participants was 20 males, 17 females and 3 null returns. The evaluation strategy was to combine an open question at the beginning with more specific questions later. In this way we avoided channeling respondents' initial opinions immediately after the experience into issues which might not be uppermost in their minds, while also yielding data capable of rigorous analysis. The purpose of the evaluation was to provide guidance for ourselves as the makers of the drama and to guide policy at the BBC on locative and other interactive media. The responses are analysed in the report.

Hearing Voices

A BBC Radio 4 Afternoon Play. A police detective starts having auditory halluincations but the case he is working on provides the clue to his deep-seated psychological conflict.

Moonmen

An hour-long radio play on BBC Radio 3. A space odyssey with a difference, Moonmen centres on a philosophical encounter between two isolated men - an astronaut and a CB radio enthusiast in rural Ireland. Are they polar opposites or kindred spirits locked in a mutual orbit?

Wigs on the Green

A six-part radio comedy series, co-writeen with John Murphy, set in the insane world of the Circuit Court in the Republic of Ireland. The series was broadcast by RTE Lyric FM.

Food of the Blue

An episode of BBC Radio 4's detective series 'Baldi'. Paolo Baldi finds himself in a world of superstar academics, but why are their bloodless corpses littering the college? And what is that thing they drink to rejuvenate the venerable institution?

John W. Fisher Fonds, 1937-1961, 1964-1989, 1993, n.d.

Norah and Fred Fisher welcomed John Fisher into the world on November 29, 1912, not knowing what an influential role he would play in shaping Canada's history. John Fisher grew up as the middle child of five brothers and sisters in Frosty Hollow, New Brunswick, close to today’s town of Sackville. Sackville’s main industry was the Enterprise Foundry which the Fisher family owned and operated; however, Fisher had no plans of going into the family business. He was more inspired by his maternal grandfather, Dr. Cecil Wiggins, who lived with the family after retiring from the Anglican ministry. Wiggins encouraged all his grandchildren to be well read and to take part in discussions on current events. There were often visitors in the Fisher household taking part in discussions about politics, religion, and daily life. Fisher forced himself to take part in these conversations to help overcome his shyness in social settings. These conversations did help with his shyness and also in forming many opinions and observations about Canada. It put Fisher on the road to becoming Mr. Canada and delivering the many eloquent speeches for which he was known. Fisher did not venture far from home to complete his first degree. In 1934 he graduated from Mount Allison University in Sackville, NB with an Arts degree. The same year Fisher enrolled in Dalhousie’s law school. During his time at Dalhousie, Fisher discovered radio through Hugh Mills. Mills or “Uncle Mel” was on CHNS, Halifax’s only radio station at the time. Fisher began by making appearences on the radio drama show. By 1941 he had begun writing and broadcasting his own works and joined the staff as an announcer and continuity writer. In 1936 the Canadian Broadcasting Corporation was formed, the first National radio station. Fisher joined the CBC shortly after it’s beginning and remained with them, as well as the Halifax Herald newspaper, even after his law school graduation in 1937. By 1943 Fisher’s talks became a part of the CBC’s programming for a group of maritime radio stations. Fisher once described his talks as follows “my talks weren’t meant to be objective. . . they were meant to be favourable. They were ‘pride builders’” He began his famed John Fisher Reports at CBC Toronto when he transfered there shortly after the war. This program brought emmence pride to the fellow Canadians he spoke about leading to approximately 3500 requests per year to speak at banquets and meeting throughout Canada and the United States. Fisher was a well travelled indivdual who would draw on personal experiences to connect with his audience. His stories were told in simple, straight forward language for anyone to enjoy. He became a smooth, dynamic and passionate speaker who sold Canada to Canadians. He became a renowned journalist, folk historian, writer and broadcaster. Fisher was able to reach a vast array of people through his radio work and build Canadian pride, but he did not stop there. Other ways Fisher has contributed to Canada and the Canadian people include: Honoured by five Canadian Universities. 1956, became the Director of the Canadian Tourist Association. 1961, was appointed Special Assistant to the Prime Minister of Canada. 1963, Commissioner of the Centennial Commission (the Federal Agency Responsible for Canada’s 100th birthday) 1968, received the Service Medal , a coveted Order of Canada. President of John Fisher Enterprises Ltd., private consultant work, specializing in Centennial planning, broadcasts, lectures and promotion. John Fisher continued recording radio broadcasts even after his diagnosis with cancer. He would record 3 or 4 at a time so he was free to travel across Canada, the U.S., Europe and Mexico in search of treatments. Fisher passed away from the disease on February 15, 1981 and he is buried at Mount Pleasant Cemetery in Toronto.

Análisis del radioteatro a través de la obra de Julio Cortázar : Adiós, Robinson

SOMMAIRE Cette recherche est basée sur l’étude de la pièce Adieu, Robinson, écrite par Julio Cortazar pour le théâtre radiophonique en 1977. Publiée en 1984, elle a été rééditée en 1995 –après le décès de son auteur– et diffusée, vers la fin des années 70, sur tous les continents. L’analyse de l’œuvre a été réalisée en tenant compte de deux orientations différentes mais complémentaires: l’une plus formelle ou technique et l’autre idéologique. Il y a, d’abord, l’étude du théâtre radiophonique comme discours qui utilise un langage spécifique –le langage radiophonique– et suppose un “théâtre écrit pour la radio”, et ce, à partir des œuvres de Rudolf Arnheim, Armand Balsebre et Etienne Fuzellier. Puis, il y a une mise en contexte de la pièce en faisant référence à la situation particulièrement mouvementée de l’Amérique latine, pendant les années 70, en mettant en rapport le sujet de la “décolonisation” avec celui de la libération. Avant d’aborder le sujet du théâtre radiophonique –ce qui inclut ses origines en Argentine, les premières pièces et les caractéristiques du format– et en prenant comme référence l’auteur Jésus Martin-Barbero, nous revoyons brièvement l’histoire du mélodrame, ce spectacle de forte valeur émotionnelle présent en Amérique latine, notamment, dans le théâtre radiophonique et le feuilleton télévisé. Suivant une revue des caractéristiques concernant le style d’écriture de Cortazar, nous analysons la pièce théâtrale d’un point de vue qui tient compte, principalement, des catégories d’espace et de temps, particulièrement importantes dans l’étude d’une œuvre radiophonique. Finalement, cette étude prétend démontrer que le but de Julio Cortazar, en écrivant Adieu, Robinson, n’était pas de proposer un passe-temps radiophonique, mais plutôt d’atteindre un public plus vaste via un puissant moyen de communication en lui offrant une fable anticolonialiste. Mots-clés : Cortazar, Robinson Crusoé, décolonisation, sémiologie du théâtre radiophonique.

Performing embodiment in Samuel Beckett's drama

The representation and experience of embodiment is a central preoccupation of Samuel Beckett’s drama, one that he explored through diverse media. This monograph investigates the full range of Beckett’s dramatic canon for stage, radio, television and film, including early drama, mimes and unpublished fragments. It examines how Beckett’s drama composes and recomposes the body in each medium, and provokes ways of perceiving, conceiving and experiencing embodiment that address wider preoccupations with corporeality, technology and systems of power.

Airwaves: 100 years of radio

Music composition using prominent broadcast speeches across the whole twentieth century in commemoration of the centenary of Marconi's first transatlantic radio transmission. The work is based on creating music from the found objects of melody derived from spoken intonation. Recordings of the speeches are accompanied throughout by live instrumental music.