Some Words About The ART Of Audio Drama

"In the late fifties it was decided that you couldn't broadcast dreams on the air unless you transmitted pictures with it. This, despite the fact that radio had become the most popular mass entertainment medium of all time. The basic appeal of radio drama was the fact that you had to listen if you wanted to follow it. It wasn't enough to merely "hear" it. You had to listen. The word listen implies a conscious effort to pay attention, to participate. Thus, all the senses are activated, the curiosity is sparked, the imagination is fired, and the listener finds himself participating. In a real sense, he is a collaborator. In his brain he matches a face and a body to the voice. In his mind, he sees the action. And this is the basic difference between radio on the one hand, and every visual medium on the other. A good movie, a fine stage play or television drama, an excellent ballet, all these require an appreciative audience - a listener who literally works with the writer, the director, the actors and technicians to give completeness to the creative process.
It can fairly be said that along about the same time that radio drama disappeared, there came about a general decay in the art of listening. If you don't believe it, "listen" to some of the nonsense that's being spouted in all fields of endeavor and in all walks of life. This kind of talk is being inflicted upon us, because, in my opinion, people aren't really listening.
The most popular word in our language is now Communication. We deplore the fact that we no longer seem to be able to communicate with our children, our parents, our allies, industry, labor, each other.
How can we communicate if we no longer listen? A radio show has listeners, a television show has "viewers". Listening is an activity. Viewing is an event. Of course, there is room and need for all the entertainment media - and happily, a regrettable error made some [time] ago is slowly and hopefully being rectified. To me, it was incomprehensible that a flourishing and, yes, a spiritually nourishing, art form should have been allowed to die."

These thoughts echo mine.

They are from the introduction to the book "Strange Tales From CBS Radio Mystery Theater", written by the indomitable Himan Brown. THIRTY TWO years ago. 1976. This radio revival series ran from 1974 to 1982, logging some 1,400 shows (!). Originally hosted by E. G. Marshall, of which, here is a pic:

Mastering Dialects

So you want to put on your own audio drama? GOOD FOR YOU! Do it. Maybe you'd like to utilize some dialects in your show, in order to keep your listener's interests piqued, or to help keep the characters separate.

Here's a few pages from the 1943 book "Manual Of Foreign Dialects For Radio, Stage, And Screen" (my copy was evidently owned by Judith Krauss, somehow associated with the Will O Way Playhouse, according to the signature on the flyleaf). Be sure to familiarize yourself with all of the phonetic symbols (click each picture for a larger, easy-to-read version) before attempting to read the Irish dialect passage that I've included here:

WHEW! Did you try it out loud?

This book is a really, really rough read! No easy thing to do, learning dialects from a book - but if you were in radio or theater, having a big list of dialects on your resume meant getting more work. Nothing like doubling or tripling your salary by reading multiple parts in the same show, hm? I wonder what kind of money Paul Frees made when he performed EVERY ROLE in the OTR show "The Player"?!?

Of course, I have to mention to everyone that's interested in producing their own audio drama (or "radio shows", whether they are heard on the radio or not) how important it is to study what went before. There's a reason why the (good) old shows are as good as they are, even after 60 years or so: these writers and actors and sound effects men were all PROFESSIONALS. They made their livings doing this. If they weren't up to snuff, they didn't have a job!

So isn't it your responsibility to research the past? Pick up books and scripts that are related to Old Time Radio, and soak them up. As with any profession, you must first learn the rules before you go out and break them. There are tons of old "how to" books out there about radio writing, production, direction, and sound effects - pick up a few and LEARN HOW IT'S REALLY DONE. Besides, the books, just like the old radio shows, are a window to a different time...certainly not very politically correct, worth a nervous laugh or two (I'll post another book snippet later about why women are just not cut out for careers in radio!).

MAH'r LAY/uhr!

("More later!") 8^)#