Ah, radio ... the good old days ... I could reminisce ... but no.
Kerouac maede good use of it and (I think it was) Koch with a good
funny poem.
Here I use Radio Plays as an exercise for my post-grad oral english
class. (There was a recent BBC Radio Play Writing Competition for
people with English as a second languge outside of England. This was
my prompt.) The idea was that we could only hear their words, in
english, and therefore they must pronounce them clearly. But they used
all their Chinese imaginative power, which is considerable, and have
devised, written and presenteed skits so hilarious I forgot all about
the 'only audio' rules early on. (In one they projected an animated
Hollywood movie about animals, and redid the audio live - and
extremely well!)
I love Under Milk Wood and have played various roles in it over the years.
Androo
On 09/06/07, Alison Croggon <[log in to unmask]> wrote:
> I LOVE Dylan Thomas. My son Josh did the beginning of Milk Wood for his VCE
> final year drama, and it was such a pleasure returning to that language. I
> never understand why people are so snotty about his work. And good work is,
> as far I'm concerned, always good work. I actually grew up on radio drama
> (we didn't have a tv, which might explain why I find so much of it baffling
> and boring) and I wish radio drama here was richer, in all senses -
>
>
> xA
>
>
>
> On 6/9/07, MC Ward <[log in to unmask]> wrote:
> >
> > I did a degree in theatre, Alison, and directed
> > Bernarda Alba for my senior project. I share your
> > enthusiasm.
> >
> > As for question #1, no discussion (or composition, for
> > that matter) can afford to ignore the words OR the
> > body whose voice and _gestus_, some of which are
> > lyrical. I keep thinking about Under Milkwood. Does
> > that have any resonance with you, or is it too old
> > hat?
> >
> > Candice
> >
> >
> >
> > --- Alison Croggon <[log in to unmask]> wrote:
> >
> > > Old hobby horse here. (I _did_ change the title of
> > > this thread, after
> > > all...)
> > >
> > > Anny: Joe said that the theatrical I was not
> > > problematised in the way the
> > > poetic lyric I is. ("The I in the theater is
> > > certainly interesting, but it
> > > is not the problematized lyric I this discussion
> > > began with.") I gave a few
> > > example where the I is deeply problematised in ways
> > > that run parallel to the
> > > problematised lyric I. Capiche?
> > >
> > > One question: do all of you think that speculations
> > > about the body and
> > > spoken utterance are utterly irrelevant to poetry
> > > (and particularly to
> > > lyric?)
> > >
> > > Question two: shall I get off this list and leave
> > > you all in slumbrous
> > > peace? Enthusiasm doesn't seem to go down well here
> > > -
> > >
> > > Puckishly
> > >
> > > A
> > >
> > >
> > >
> > >
> > >
> > > On 6/9/07, MC Ward <[log in to unmask]> wrote:
> > > >
> > > > Anyone else interested in the "lyrical we"? To me,
> > > it
> > > > divides modernism from its latter-day
> > > manifestations
> > > > (but NOT postmodernism). The reason why the "I" in
> > > To
> > > > Pollen is so shocking is that Prynne seems to have
> > > > rejected "I" for "we" a long time ago. What's
> > > bringing
> > > > it back, I wonder?
> > > >
> > > > Candice
> > > >
> > > >
> > > >
> > > > --- Roger Day <[log in to unmask]> wrote:
> > > >
> > > > > On 6/8/07, Joseph Duemer <[log in to unmask]>
> > > wrote:
> > > > > > Alison wrote: It's hard to avoid the word "I"
> > > in a
> > > > > play. And the "lyric I"
> > > > > > in writing for theatre is particularly
> > > > > interesting, and perhaps
> > > > > > illuminating. Beckett's Not
> > > > > > I, for example... "
> > > > > >
> > > > > > I was just noting that the subject of the
> > > > > discussion had shifted. The I in
> > > > > > the theater is certainly interesting, but it
> > > is
> > > > > not the problematized lyric
> > > > > > I this discussion began with. That's fine, it
> > > is
> > > > > the way discussion go. I
> > > > > > was just making a note of it. (As anyone can
> > > see:
> > > > > we're now off on the
> > > > > > subject of the body in theater!)
> > > > > >
> > > > > > jd
> > > > >
> > > > >
> > > > > Well, yes. I can see Alison's hobby horse
> > > cantering
> > > > > by (^_^)
> > > > > >
> > > > > > --
> > > > > > Joseph Duemer
> > > > > > Professor of Humanities
> > > > > > Clarkson University
> > > > > > [sharpsand.net]
> > > > > >
> > > > >
> > > > >
> > > > > --
> > > > > My Stuff: http://www.badstep.net/
> > > > > "In peace, sons bury their fathers. In war,
> > > fathers
> > > > > bury their sons."
> > > > > Roman Proverb
> > > > >
> > > >
> > > >
> > > >
> > > >
> > > >
> > > >
> > >
> >
> > ____________________________________________________________________________________
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> > >
> > >
> > >
> > > --
> > > Editor, Masthead: http://www.masthead.net.au
> > > Blog: http://theatrenotes.blogspot.com
> > > Home page: http://www.alisoncroggon.com
> > >
> >
> >
> >
> >
> > ____________________________________________________________________________________Ready
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> >
>
>
>
> --
> Editor, Masthead: http://www.masthead.net.au
> Blog: http://theatrenotes.blogspot.com
> Home page: http://www.alisoncroggon.com
>
--
Andrew
http://hispirits.blogspot.com/
http://www.inblogs.net/hispirits
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