Journal articles: 'Radio Play'

1

J. Michael Walton. "FROGSPAWN: A Play For Radio." Arion: A Journal of Humanities and the Classics 22, no. 3 (2015): 101. http://dx.doi.org/10.2307/arion.22.3.0101.

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Amichai, Yehuda, Hadar Makov-Hasson, and Adam Seelig. "Killing Him: A Radio Play." World Literature Today 78, no. 2 (2004): 34. http://dx.doi.org/10.2307/40158392.

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Cusy, Pierre, Gabriel Germinet, and Cécile Méadel. "Maremoto: a radio play (1924)." Réseaux. The French journal of communication 2, no. 2 (1994): 251–65. http://dx.doi.org/10.3406/reso.1994.3281.

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Walton, J. Michael. "FROGSPAWN: A Play For Radio." Arion: A Journal of the Humanities and the Classics 22, no. 3 (2014): 101–44. http://dx.doi.org/10.1353/arn.2014.0002.

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Marks, Sylvia Kasey. "What Did Playwright Arthur Miller Do to Jane Austen's Pride and Prejudice?" Arthur Miller Journal 16, no. 2 (October 1, 2021): 160–70. http://dx.doi.org/10.5325/arthmillj.16.2.0160.

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abstract: Radio drama was a popular form of entertainment in the late 1930s and early 1940s. While Arthur Miller was struggling to make a place for himself as a playwright, he found financial security and an outlet for his talent by writing radio plays. He adapted Helen Jerome's Broadway script of Jane Austen's Pride and Prejudice for an hour-long radio play broadcast on 18 November 1945. The radio play captures some of the essence of the novel, but it is not Jane Austen. Neither is it representative of the best of Arthur Miller. This essay suggests that if Miller had written his radio play after writing his major plays, he could have captured the depth of Pride and Prejudice. The motifs found in Miller's plays suggest that even with the simpler story required of a radio play, there are the makings of a stronger adaptation in Miller's mature hands.

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Conner, Maurice W. "From Short Story to Radio Play." IALLT Journal of Language Learning Technologies 10, no. 1 (January 24, 2019): 19–22. http://dx.doi.org/10.17161/iallt.v10i1.8947.

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Bisson, Terry. "Greet the press: A radio play." Socialism and Democracy 20, no. 1 (March 2006): 99–105. http://dx.doi.org/10.1080/08854300500457225.

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Burzyńska, Anna R. "Playing the invisible." Tekstualia 1, no. 32 (April 1, 2013): 75–84. http://dx.doi.org/10.5604/01.3001.0013.4640.

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The article investigates writing strategies employed by Stanisław Grochowiak as an author of radio plays. Burzyńska analyses two of his works: Zaczarowana stacja (Enchanted railway station) and Perła (The Pearl) based on the novella by John Steinbeck. The article focuses on tracing differences between a theatrical play, a narrative text and a radio play and describes various methods that enabled Grochowiak to turn apparent restrictions of radio (e.g. „invisibility” of radio plays) into artistic advantages.

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Van Laan, Thomas. "All That Fallas "a Play for Radio"." Modern Drama 28, no. 1 (March 1985): 38–46. http://dx.doi.org/10.3138/md.28.1.38.

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Hollier, Denis, and Alyson Waters. "The Death of Paper: A Radio Play." October 78 (1996): 3. http://dx.doi.org/10.2307/778904.

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Zdarek, Karel. "Radio role-play – the use of a simulated radio studio in TEFL." Scenario: A Journal of Performative Teaching, Learning, Research VII, no. 1 (January 1, 2013): 24–39. http://dx.doi.org/10.33178/scenario.7.1.3.

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This paper aims to present a particular role-play technique called radio role-play developed specifically for the use in ELT classrooms. The technique is defined within the context of drama education and language teaching, and characterized in terms of its unique features. Practical examples from teaching practice are provided. Any kind of teaching material (text/recording) can serve as an input for radio role-play. The content is contextualized within the fictional broadcast studio as the students take on roles of a host and their guest(s) – usually characters from the textbook articles, recordings, or any other teaching material. The setting of a radio studio is unique in terms of its close relation to a real studio setting – sitting down at a table, facing the partner, possible use of microphones, jingles, soundscapes, etc. At the same time the setting provides protection, a sense of anonymity and safety, which results in high engagement levels. In practice, the radio role-play is organized as pair or group work, and the tasks are performed simultaneously. The outcomes of preliminary qualitative research (probe) carried out with high-school students aged 17-18 at B2 level are presented.

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Levy, Shimon. "The Israeli radio play: Toward a sociothematic analysis." Journal of Radio Studies 6, no. 2 (September 1999): 307–27. http://dx.doi.org/10.1080/19376529909391729.

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Mildorf, Jarmila, and Till Kinzel. "Multisensory Imaginings: An Audionarratological Analysis of Philip Roth's NovelIndignationand its German Radio Play AdaptationEmpörung." CounterText 2, no. 3 (December 2016): 307–21. http://dx.doi.org/10.3366/count.2016.0062.

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This article analyses the German radio play adaptation of Philip Roth's novel Indignation (Empörung, 2010) from an audionarratological perspective and shows how both the book and the radio play offer potential for multisensory experiences on the part of readers and radio audiences. The article furthermore explores how the two media differ in their semiotic and sensory affordances and possibilities. It is argued that aural signs and signals predetermine certain aspects of the storyworld in the radio play: for example, characters' and the narrator's voices, soundscapes, but also ambient sound and music. Due to its focus on the aural channel, radio drama calls on audiences' imagination in distinct ways, while also complicating narratological concepts. The ‘transcriptivity’ from written to spoken text that is inherent in the transposition of novel into radio play accounts for the fact that the radio play also adds new multisensory and interpretive dimensions to its pre-text. It therefore has to be considered in its own right, as an artistic form appealing to its audiences through its own sensory channels.

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Willems, Gertjan. "Radio drama as art and industry: A case study on the textual and institutional entanglements of the radio play The Slow Motion Film." Radio Journal: International Studies in Broadcast & Audio Media 18, no. 2 (October 1, 2020): 227–41. http://dx.doi.org/10.1386/rjao_00026_1.

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This article argues that in order to obtain a deeper comprehension of the radio play as a work of art, one should complement the dominant method of textual analysis with industry analysis. This argument is illustrated by means of a case study on the 1967 Belgian radio play The Slow Motion Film. This radio play is an adaptation (in fact, a re-adaptation as there had been radio adaptations in 1940 and 1950) of the innovative theatre play The Slow Motion Film (1922) by Herman Teirlinck. In order to explain the creative choices of the radio play, which are largely based on the pursuit of fidelity to the source work, the institutional aspect is of great importance. The goal of honouring Teirlinck and highlighting the cultural-historical importance of his work fitted within the broader cultural-educational mandate of the public broadcaster, which prevented a more inventive adaptation. This article argues that in order to gain a better understanding of the radio play as a text, the industrial context also needs to be studied. Furthermore, this article contributes to the largely unwritten history of the radio play in the Low Countries.

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Wiśniewski, Tomasz. "Soundscape in Complicite, or Mnemonic as a radio play." Tekstualia 1, no. 32 (April 1, 2013): 85–96. http://dx.doi.org/10.5604/01.3001.0013.4643.

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Deprived of visual elements, the radio play Mnemonic by Complicite is analysed as a curious exploration of the sonic elements of communication. As a recorded text, the radio play constitutes, on the one hand, an autonomous and complete artistic entity, and on the other should be treated as part of a more general sequence of artistic nature (theatre performances, dramatic texts). Detailed analysis of the initial four minutes and thirty three seconds of the recording reveals the whole spectrum of technical devices, which – as it turns out in the second part of the argument – are pivotal for the semantics of the entire piece.

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Shabala, Stanislav S. "Environmental dependence of radio galaxy populations." Proceedings of the International Astronomical Union 14, A30 (August 2018): 82–85. http://dx.doi.org/10.1017/s174392131900351x.

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AbstractSensitive continuum surveys with next-generation interferometers will characterise large samples of radio sources at epochs during which cosmological models predict feedback from radio jets to play an important role in galaxy evolution. Dynamical models of radio sources provide a framework for deriving from observations the radio jet duty cycles and energetics, and hence the energy budget available for feedback. Environment plays a crucial role in determining observable radio source properties, and I briefly summarise recent efforts to combine galaxy formation and jet models in a self-consistent framework. Galaxy clustering estimates from deep optical and NIR observations will provide environment measures needed to interpret the observed radio populations.

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Scolnicov, Hanna. "Making ears serve for eyes: Stoppard's visual radio play." Word & Image 20, no. 1 (January 2004): 63–83. http://dx.doi.org/10.1080/02666286.2004.10444006.

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Virtanen, Juho-Pekka, Matti Kurkela, Tuomas Turppa, Matti T. Vaaja, Arttu Julin, Antero Kukko, Juha Hyyppä, et al. "Depth camera indoor mapping for 3D virtual radio play." Photogrammetric Record 33, no. 162 (April 16, 2018): 171–95. http://dx.doi.org/10.1111/phor.12239.

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Lutostański, Bartosz. "An Introduction to the Narratological Analysis of Radio Plays." Tekstualia 1, no. 32 (April 1, 2013): 53–64. http://dx.doi.org/10.5604/01.3001.0013.4636.

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Narratology is nowadays an extensive discipline of literary studies relating to particular media (literature, fi lm or theatre) and particular disciplines (philosophy, sociology or psychology). However, this narratological plurality still fails to include numerous artistic phenomena, for example a radio play; its narratological analysis is presented in the following paper. In order to tackle the variety and complexity of a radio play, I use various methodologies drawn from the narratology of literature and fi lm and the theory of theatre. Dan Rebellato’s Cavalry serves as the prime example insofar as it demonstrates that a radio play’s general narrative features (for example, level construction and focalisation) as well as radio-specifi c features (microphone and space construction) can be successfully examined from the narratological standpoint without ignoring the specifi city and individuality of a radio play as a legitimate work of art.

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McGuire, John. "Selective Perception and its Impact on the Evaluation of Radio Sports Play-By-Play Announcers." Journal of Radio Studies 9, no. 1 (May 2002): 51–64. http://dx.doi.org/10.1207/s15506843jrs0901_6.

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Stephenson, Jenn. "Hearing Hope: Metatheatrical Utopias in the ‘Staging’ of Radio Drama." New Theatre Quarterly 26, no. 1 (February 2010): 49–60. http://dx.doi.org/10.1017/s0266464x10000059.

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The radio play has long survived the competition from television in Britain, and also has a long tradition in the German-speaking world in the form of the Hörspiel – but its strength has lain precisely in demanding a visual contribution from the listener's imagination. What happens when a radio play is ‘staged’ before a live audience? In 2005, under commission from the Royal Festival Hall, the composer Carter Burwell proposed writing a sound score for new plays; and under the banner of Theatre of the New Ear, he recruited his long-time collaborators on film, Charlie Kaufman and Joel and Ethan Coen, to write specifically for sound-only. In this article Jenn Stephenson describes the experience of ‘watching’ a radio play, and offers a theorization of its qualities and the effects on its audience. Jenn Stephenson received her PhD from the University of Toronto in 2003 and is now Associate Professor of Drama at Queen's University in Kingston, Canada. Her recent publications include articles in Theatre Journal, Journal of Dramatic Theory and Criticism, Studies in Theatre and Performance, and Theatre Research in Canada. She is co-editor of the ‘Views and Reviews’ section of Canadian Theatre Review.

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22

Arteel, Inge. "Experimental Acoustic Life Writing: Gerhard Rühm's Radio Plays." CounterText 5, no. 3 (December 2019): 332–51. http://dx.doi.org/10.3366/count.2019.0169.

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In this article I focus on a selection of radio plays by the Austrian author Gerhard Rühm and analyse them from the perspective of life writing, starting with Irene Kacandes' findings on the increased referential effect of experimental life writing (2012). I want to extend the notion of experimental life writing to the medium of the experimental radio play and investigate whether and how the experiments with spoken language, voice, and musicalisation of language contribute to an effect of realness and create an aural world infused with lived experientiality. I'm particularly interested in the relationship between individualised, figurative voices and sounds, as they are to be expected in (auto)biographical art, and the defiguration and deindividualisation in the experimental, synthetic manipulation of human language and voice. Situating the corpus in the history of the German Neues Hörspiel, my analysis hopes to prove that the reality effect of the experimental (auto)biographical radio play does not, or at least not only, refer to an individual biographical self. Instead, the complex constellation of text and paratext, of scripted and spoken language, and of voice and music opens up the referential level for a broader, more general human experientiality. Most importantly, the technical possibilities of the radiophonic medium allow an intricate play with the semantics of referential language, with masking and unmasking voices, and with the exploration of the pathos of speaking together.

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Kincaid, Andrew. "Samuel Beckett's Radio Geographies." Modernist Cultures 17, no. 1 (February 2022): 54–73. http://dx.doi.org/10.3366/mod.2022.0359.

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Throughout his work, Samuel Beckett interrogates the idea that voice is an authentic conduit for identity. Radio distorts, edits, and projects speech, and so broadcasting was a natural choice for his lifelong experiment. Both objects – radio and voice – are also fundamentally spatial. They distribute waves of sound across a given terrain. Beckett's interest in radio is abstract, in that the medium allows him to investigate general concerns about the construction of subjectivity – the ways in which we are all subject to disparate voices. But the writer's engagement with radio also arises against the backdrop of specific material conditions in post-War France and Europe. These were the years that French spatial theory took up the problem of urban modernisation. Gaston Bachelard's Poetics of Space was published in 1957, the same year that Beckett wrote his first radio play, and also the same year that work began on Le Périphérique, Europe's first ring road. This paper investigates Beckett's radio plays against the backdrop of urban theory ( urbanisme), arguing that Beckett's work can reveal light on theories of space, even urban geography.

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van Laan, Thomas F. "All That Fall as "a Play for Radio"." Modern Drama 28, no. 1 (1985): 38–47. http://dx.doi.org/10.1353/mdr.1985.0060.

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Roessler, Gerrit K. "Sounds of the Apocalypse: Preserving Cold War Memories in Ulrich Horstmann's Radio Play Die Bunkermann-Kassette." German Politics and Society 32, no. 1 (March 1, 2014): 94–109. http://dx.doi.org/10.3167/gps.2014.320107.

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This article examines Ulrich Horstmann's science fiction radio play Die Bunkermann-Kassette (The Bunker Man Cassette, 1979), in which the author frames fears and anxieties surrounding a potential nuclear conflict during the Cold War as apocalyptic self-annihilation of the human race. Radio, especially radio drama, had a unique role in capturing the historical imaginaries and traumatic experiences surrounding this non-event. Horstmann's radio drama and the titular cassette tape become sound artifacts that speak to the technological contexts of their time, while their acoustic content carries the past sounds into the present. In the world of the play, these artifacts are presented in a museum of the future, which uses the possibilities of science fictional imagination and speculation to create prosthetic memories of the Cold War. The article suggests that these memories are cyborg memories, because the listener is a fully integrated component of radio technology that makes these memories and recollections of imagined events possible in the first place.

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Dimitrova, Ralitza. "Bulgarian Radio Drama: An Aural Workshop." Theatre Research International 25, no. 2 (2000): 164–67. http://dx.doi.org/10.1017/s0307883300012992.

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Bulgarian radio drama first appeared in 1945, broadcasting live from the national studios. The immediate postwar years were difficult throughout the country, both in economic and political terms. The socialist revolution and takeover, on 9 September 1944, soon imposed strict criteria on dramatic creation and artistic achievement, presumably on world standards. Radio drama, as one of the key instruments in the new national, revolutionary symphony, could not but play in general harmony. It naturally developed according to patterns governed by the political authorities. It contributed to programmes devoted to promote conflict, action, heroes, virtues abounding in the young socialist doctrine. Russian plays and novels were selected and broadcast as master keys in the opening of popular minds to the new philosophy. Broadcasting slots allowed some room for the production of the emerging Bulgarian literature of the late nineteenth century. Plays and playwrights from other parts of the world remained ignored by those in power and, as a consequence, by the production teams and the general audience.

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Saturwar, Dr Jitendra Saturwar,, Dhruv Sheth, Yash Shah, Riddhi Siddhpura, and Tanvi Dhumal. "AI Radio App." International Journal of Recent Technology and Engineering (IJRTE) 11, no. 1 (May 30, 2022): 9–14. http://dx.doi.org/10.35940/ijrte.a6894.0511122.

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We present a live streaming app for Android And iOS devices and Web using URL. The app is useful for three reasons first, all your favorite radio stations will be grouped in one place, and hence, you can easily play and switch from one station to another without any hassle. Second, it is an app that turns your device into a radio setting you listen to live streaming stations while in the office, on the road, or in any other setting. Third, it is the Voice assistant-based app that takes input from the User command and plays channel according to the command. The app is similar to Spotify but on a smaller scale. This application provides a facility to listen to your favorite music anytime, anywhere. It provides live streaming from radio stations all around the globe. It is distinct from on-demand file serving. Internet radio is also distinct from podcasting, which involves downloading rather than streaming. Many Internet radio services are associated with a corresponding traditional (terrestrial) radio station or radio network. Internet using radio stations are independent of such associations. Internet radio services are usually accessible from anywhere in the world. The app has two main contributions: 1) We describe all the steps and components needed to develop such an app. 2) We also discuss the functionality and the trade- offs using different components and approaches. Radio audiences will be formed of all segments of society even people who are handicapped.

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Indika, Deru R., and Windy Utami Dewi. "ANALISIS REBRANDING UNTUK MEMBENTUK FAVORABLE BRAND IMAGE PADA RADIO PLAY 99ers." JBMI (Jurnal Bisnis, Manajemen, dan Informatika) 15, no. 2 (November 21, 2018): 121–35. http://dx.doi.org/10.26487/jbmi.v15i2.4177.

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Penelitian ini membahas hasil analisis pelaksanaan rebranding pada “Play 99ers” Radio Bandung. Tujuan penelitian untuk mengetahui mengenai pelaksanaan rebranding dan keputusan perusahaan untuk melakukan rebranding termasuk keputusan yang tepat atau tidak. Faktor pendorong perusahaan melakukan rebranding adalah karena pergantian kepemilikan, pelaksanaan rebranding yang dilakukan oleh perusahaan adalah mengubah positioning, nama, desain logo, dan cara komunikasi. Dimensi pengukuran analisis rebranding yang digunakan dalam penelitian ini yaitu brand repositioning, brand renaming, brand redesigning dan brand relaunching.Metode penelitian yang digunakan dalam penelitian ini adalah survey dengan metode deskriptif. Teknik pengumpulan data yang digunakan adalah studi kepustakaan, observasi, dan kuesioner. Sampel diambil dari 100 orang responden yang pernah mendengarkan “Play 99ers” Radio Bandung yang diambil dengan menggunakan teknik purposive sampling. Hasil penelitian menunjukkan rebranding yang dilakukan merupakan keputusan yang tepat karena mendapat tanggapan baik dari masyarakat.

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Keskinen, Mikko. "Book and Radio Play Silences: Medial Pauses and Reticence in ‘Murke's Collected Silences’ by Heinrich Böll." CounterText 5, no. 3 (December 2019): 352–70. http://dx.doi.org/10.3366/count.2019.0170.

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This article analyses silence at the interface between print and audio media by reading and listening to Heinrich Böll's short story ‘Murke's Collected Silences’ (‘Doktor Murkes gesammeltes Schweigen’) in its book (1958) and three German-language radio play versions (1965; 1986; 1989). Reference is also made to Benjamin Gwilliam's sound art piece (2007) based on the 1986 adaptation. The Böll story thematises silence and media in various ways, and has definite countertextual aspects, in the sense of technology, textuality, and materiality of language. In the printed story, silence is either verbally named or typographically indicated, whereas the radio plays present or perform it. The comparison of the three silence-related scenes in the Murke radio plays shows considerable variation in the length and manner of pauses. The article considers the differences in receiving silence through print and audio media, and concludes that ‘Murke’ demonstrates, in both formats, that the medium is an integral part of the ‘message’, even the silent one.

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Verhulst, Pim. "Radio Aesthetics in Pinter's Early Drama." Harold Pinter Review 5, no. 1 (May 1, 2021): 70–87. http://dx.doi.org/10.5325/haropintrevi.5.2021.0070.

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ABSTRACT This article studies Pinter's use of media to show that his early drama shifts from a transmedial strategy (different from adaptation), which allows plays to migrate freely between theatre, radio, and television, to an intermedial poetics that exploits the affordances of various media while resisting transposition. Starting out with a terminological excursion and a discussion of Pinter's earliest works that feature a “radio aesthetics,” the article explores The Hothouse as a play that thematizes radio and audio technologies. A Night Out and Night School are then analyzed as examples of Pinter's approach to acoustic and visual media, concluding with Landscape and Family Voices as marking the transition to his later work. The aim of this article is to stress the value of archival and intermedial methodologies for a fuller understanding of Pinter's dramatic practice, and to emphasize the largely overlooked importance of radio within it.

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Seigel, Amanda (Miryem-Khaye). "Nahum Stutchkoff's Yiddish Play and Radio Scripts in the Dorot Jewish Division, New York Public Library." Judaica Librarianship 16, no. 1 (December 31, 2011): 55–82. http://dx.doi.org/10.14263/2330-2976.1004.

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The Nahum Stutchkoff collection in the Dorot Jewish Division of The New York Public Library contains Yiddish translations, plays, song lyrics, and radio programs created by Yiddish linguist and playwright Nahum Stutchkoff (1893–1965). This article describes the collection in the context of the Jewish Division’s holdings, using bibliographic details about his known works to trace Stutchkoff’s career as a Yiddish actor, translator, director, playwright, and linguist. Stutchkoff’s radio scripts in particular provide rare documentation of the golden era of Yiddish radio explored by Henry Sapoznik and Ari Y. Kelman. A detailed bibliography of Stutchkoff’s published and unpublished works is included.

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Kłańska, Maria. "Motive des Ausbruchs und des Aufbruchs in den Hörspielen Ingeborg Bachmanns." Studia Germanica Posnaniensia, no. 37 (April 15, 2017): 165–78. http://dx.doi.org/10.14746/sgp.2016.37.14.

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Bachman wrote only three radio plays, all of them in the fifties of the XXth century. In spite of different settings, all of them have the same topic: escape from society (either into dream or to an island or to the isolation of a couple wishing to live only for love) and utopia. In the first and third play the male protagonists fail however, unable to give up their bourgeois lives. In the third play the female protagonist is a victim of her ability to love without restrictions. This locates The Good God of Manhattan close to the feminist prose of Bachmanns later years. In the second radio play, The Cikadas, the existence on an island separated from society is judged in the negative. All attempts to win utopian happiness end with defeat; although they are valued differently, they show that in spite of all efforts mankind is not able to reach the ideal of truth and love.

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Goldsmith, Michael, and Robert Seward. "Radio Happy Isles: Media and Politics at Play in the Pacific." Pacific Affairs 73, no. 3 (2000): 477. http://dx.doi.org/10.2307/2672066.

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Pick, Monique. "Solar Radio Astronomy at Low Frequencies." Symposium - International Astronomical Union 199 (2002): 415–25. http://dx.doi.org/10.1017/s0074180900169499.

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This review is concerned to study of sun at frequencies lower than 1.4 GHz. Emphasis is made on results which illustrate the topics in which GMRT could play a major role. Coordinated studies including spectral and imaging radio observations are important for research in solar physics. Joint observations between the Giant Meter Radio Telescope (GMRT) with radio instruments located in the same longitude range are encouraged. This review inludes three distinct topics: Electron beams and radio observations- Radio signatures of Coronal Mass Ejections- Radio signatures of coronal and interplanetary shocks.

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Wrigley, Amanda. "Dylan Thomas' Under Milk Wood, ‘a Play for Voices’ on Radio, Stage and Television." Critical Studies in Television: The International Journal of Television Studies 9, no. 3 (September 1, 2014): 77–88. http://dx.doi.org/10.7227/cst.9.3.8.

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Dylan Thomas' radio play Under Milk Wood was performed on stage and television soon after its BBC radio premiere won the Prix Italia in 1954. Textual analysis of the 1957 BBC television production demonstrates how it contributed new resonances deriving from the medium's performative conventions and communicative strategies. The nature of the aesthetic values sought by the professional critic and the domestic viewer are evaluated: it is observed that the comparative approach of critics, focusing overwhelmingly on the work's originating form, inhibits full engagement with the innovative creative possibilities of performances of Under Milk Wood in forms of representation with a visual dimension.

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Julius-Adeoye, ‘Rantimi Jays. "Community radio: an instrument for good governance in Nigeria." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (April 15, 2020): 348–61. http://dx.doi.org/10.4314/ejotmas.v7i1-2.23.

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Decree No. 38 of 1992 enacted under the administration of General Ibrahim B. Babangida put a stop to fifty seven years of government’s exclusive ownership and operation of broadcasting in Nigeria. However, with the cost of setting-up, management and obtaining license for media station being prohibitively expensive, the system can only be accessed by the rich and powerful in the society, thereby depriving rural communities’ involvement in the development of the country. As part of the panoply of strategies to ensure rural communities’ participation in democratic governance, there is need for the establishment of rural community radio stations, which is very much different from educational institutions’ type currently being paraded as community radios but rather a training room for communication and theatre arts students. Using historical-analytic method, this article looks at the role community radio could play in making good governance in Nigeria accessible to every segment of society, especially the rural populace. Therefore, it is recommended that Nigerian Broadcasting Commission (NBC) policy should consider the inclusion of community radio as the third in the sector of radio broadcasting in Nigeria after public and commercial ownership. Furthermore, since community radio is essentially non-for-profit, government should make the operation licence free or at a minimal cost to the host community. Keywords: Community radio, NBC, Good governance, People’s participation, Nigeria

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Wisnu, Windu Bramantio, and Dien Vidia Rosa. "On Air: Representing Osing Identity in Community Radio." Journal of Contemporary Sociological Issues 1, no. 1 (February 3, 2021): 1. http://dx.doi.org/10.19184/csi.v1i1.17712.

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The purpose of this research is to describe the articulation of Osing’s culture on three community radios in Banyuwangi. Understanding language as an identity medium is essential to analyzing underlying cultural dynamics and the crucial vital they play. The Government policy reshaped Osing's identity as an added value to drive regional economic growth. This impacted local, cultural practices. The government created the Osing culture as the primary character used to differentiate them from other cultural practices. Notwithstanding, this research argues that culture is not an entity that can be organized and represented in a monolithic form. Using qualitative methods, this study found that the Osing culture, especially the practice of its language, became a medium of discourse that intertwined with various other cultures. Furthermore, radio has become a space for cultural encounters and a site for cultural submissions that are continually changing and discovering social contexts. Keywords: Osing languages, Osing community radio, Osing representations

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Lee, Yong-Seog. "Media Theatricality and Aesthetics of Hybridization - Research on the Radio Play and the Television Play by Samuel Beckett -." Comparative Study of World Literature 71 (June 30, 2020): 241–95. http://dx.doi.org/10.33078/cowol71.09.

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Ayuso Rodríguez, Elena. "Génesis y realización del primer radioteatro de `Don Quijote´producido por la BBC en 1947." INDEX COMUNICACION 9, no. 2 (June 30, 2019): 35–53. http://dx.doi.org/10.33732/ixc/09/02genesi.

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In 1947, BBC produces the first radio drama on Don Quixote to celebrate the 400th anniversary of Cervantes’ birth. Released in Spain and Latin America in 27 chapters, BBC defined it as “the most ambitious project ever carried out.” The goal was to enhance BBC reputation in Spain. The radio play had the participation of actors from Radio Madrid, Spanish exiles in London and Latin American professionals. BBC surrounded with experts to adapt Cervantes narrative to radio language; deal with Spanish accents diversity; and compose music, which accompanied this radio version. The Quixote of BBC spread Cervantes’ work throughout all Spanish-speaking countries and promoted the production of other Quixotes within the radio in Spain. Keywords: Radio; Radio Drama; Radio Fiction; Don Quixote; BBC.

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Stanton, William. "British Radio Dramaturgy and the Effects of the New Conservatism." New Theatre Quarterly 20, no. 1 (January 5, 2004): 59–68. http://dx.doi.org/10.1017/s0266464x03000332.

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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. William Stanton is a Lecturer in Drama at Exeter University, where he teaches and researches writing for performance and intercultural performance practice through a research/practice link with the University of Santa Catarina, Florianópolis, Brazil, where he has an AHRB award for a new project in 2004. He is also a writer of fiction and plays for stage and radio. His most recent play for BBC Radio 4 was Dead Line in 2002, and his Route 23 is forthcoming.

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Molnar, Helen. "Review: Radio Happy Isles: Media and Politics at Play in the Pacific." Media International Australia 96, no. 1 (August 2000): 205–6. http://dx.doi.org/10.1177/1329878x0009600136.

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Imada, Adria L. "Radio Happy Isles: Media and Politics at Play in the Pacific (review)." Contemporary Pacific 13, no. 2 (2001): 594–97. http://dx.doi.org/10.1353/cp.2001.0054.

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Jeffery, Lucy. "Music in Samuel Beckett’s radio play Embers: ‘I shouldn’t be hearing that!’." Radio Journal:International Studies in Broadcast & Audio Media 16, no. 2 (October 1, 2018): 173–84. http://dx.doi.org/10.1386/rjao.16.2.173_1.

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Luttrell, Briony, Hannah Joyce Banks, Andy Ward, and Lachlan Goold. "Hitchhiker’s guide to reality: Devising an interdisciplinary radio play in a pandemic." Perfect Beat 21, no. 1 (August 27, 2021): 69–75. http://dx.doi.org/10.1558/prbt.19305.

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Warkentin, Erwin J. "War by Other Means: British Information Control and Wolfgang Borchert's Draußen vor der Tür." Comparative Critical Studies 13, no. 2 (June 2016): 255–71. http://dx.doi.org/10.3366/ccs.2016.0202.

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This article focuses on the stage and radio play Draußen vor der Tür (The Man Outside) by Wolfgang Borchert, broadcast in the British zone of occupation for the first time on 13 February 1947. A careful comparison of the stage and radio versions allows us to ascertain the degree to which the changes made by the British radio control officers Hugh Carleton Greene and David Porter were political in nature. The article opens by outlining both the history of the creation of the radio version and Borchert's attitude towards the Public Relations/ Information Services Division of the Control Commission for Germany (PR/ISC) (through the analysis of Borchert's correspondence).The original NWDR (Nordwestdeutscher Rundfunk/ Northwest German Broadcasting) typescript of the radio broadcast, complete with handwritten emendations, is then compared with the published version, confirming how the radio play was edited to conform to British broadcast standards for a German audience, as well as the Anglo-American reeducation programme for Germany. Greene and Porter systematically edited out mention of postwar German suicides, overt German suffering, attacks on the German institutions the British considered important in the reconstruction of Germany, and any suggestion that the Allies had engaged in morally dubious acts during or after the war.

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Verhulst, Pim. "“A thing I carry about with me”." Samuel Beckett Today / Aujourd’hui 31, no. 1 (April 11, 2019): 114–29. http://dx.doi.org/10.1163/18757405-03101009.

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Abstract This article discusses Sisyphus as a recurrent (philosophical) image in Samuel Beckett’s work. Starting from his prewar reading notes, it moves on to the 1940s and the radio play All That Fall (1956), which is studied in light of Albert Camus’s essays Le Mythe de Sisyphe (1942) and L’ Homme révolté (1951). By focussing on how the radio play deals with the absurd, revolt, suicide and murder, the article reads All That Fall as one of Beckett’s most critical but overlooked engagements with Camus, merging classical and modern versions of the character Sisyphus.

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Zdarek, Karel. "Role-Play Kitchen – A Web Application." Scenario: A Journal of Performative Teaching, Learning, Research VIII, no. 2 (July 1, 2014): 62–74. http://dx.doi.org/10.33178/scenario.8.2.5.

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This paper introduces a web application designed primarily for language teachers to help them create and organize role-play and presents research results of the application testing in an educational setting. The work draws on the author’s previous research on a technique called “Radio Role-Play”, which uses the context of a fictional broadcast studio. Specifically, the idea for the app originated as an answer to certain limitations of the technique, mainly classroom organization aspects and the students’ time management within the role. The qualitative research is intended to find out how students perceive and evaluate the use of technology (the web application on tablets and smartphones) in role-playing, and how their role-playing experience might differ in comparison with non-digital (paper, oral) instruction. The application was tested with three groups of students aged 15-17 at Johannes Kepler Grammar School in Prague, Czech Republic, in May 2014. The data for this qualitative research were collected by means of an open questionnaire. The research findings are complemented with the teacher’s/author’s reflection in terms of the educational processes.

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Sipanda, H. "At the Frontier." Index on Censorship 15, no. 4 (April 1986): 13–17. http://dx.doi.org/10.1080/03064228608534071.

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Ineson, Judith, Judith Croston, Martin Hardcastle, Ralph Kraft, Daniel Evans, and Matt Jarvis. "The cluster environments of radio-loud AGN." Proceedings of the International Astronomical Union 10, S313 (September 2014): 299–300. http://dx.doi.org/10.1017/s1743921315002367.

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AbstractRadio-loud AGN play an important rôle in galaxy evolution. We need to understand their properties, and the processes that affect their behaviour in order to model galaxy formation and development. We here present preliminary results of an investigation into the cluster environments of radio galaxies. We have found evidence of a strong correlation between radio luminosity and environment richness for low excitation radio galaxies, and no evidence of evolution of the environment with redshift. Conversely, for high excitation radio galaxies, we found no correlation with environment richness, and tentative evidence of evolution of the cluster environment.

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Craddock, Patrick. "REVIEW: Unique flavour of Pacific public radio." Pacific Journalism Review : Te Koakoa 6, no. 1 (January 1, 2000): 176–79. http://dx.doi.org/10.24135/pjr.v6i1.689.

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Review of Radio Happy Isles: Media and Politics at Play in the Pacific, by Robert Seward. Honolulu: University of Hawai'i Press. It was a pleasure to open Robert Seward's Radio Happy Isles to find an excellent summation of some of the intricacies of radio media at work in the small island countries, both below and above the Equator. It also contains references to Australia and New Zealand, as both run a regular short-wave service with programmes aimed at audiences at the Pacific region.

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Journal articles on the topic 'Radio Play'

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