An Introduction
Hi folks, This week I’m starting a new series looking at the advice provided by Yuri Rasovsky in his “The Well-Tempered Audio Dramatist”. In his introduction he talks briefly about the freedom and constraint found in audio drama and the skill set he believes is necessary for its effective production and direction.
Mr Rasovsky begins by pointing out that thematically and in terms of plain content, Audio Drama has no limits. It can be set on far planets, worlds that do not or could not possibly exist, and can involve events that the laws of physics would never permit to occur in the real world. The wedding of the listener’s imagination to the delivery of audio drama guarantees an immersiveness that few other media can approach.
He also points out that as an art form it developed a grammar that, while practical, is admittedly cheesy… “For instance, few homes on radio were carpeted (you can’t hear anyone walking on a carpet). All women wore high heels (to distinguish female from male footfalls). Nobody’s clothes rustled. All enclosures were sound proof – once you shut the door, all outside noise evaporated. Most galloping horses had only three legs (too difficult to make the sound of four-legged horses with coconut shells). All cars needed new mufflers etc.”
His excellent book “The Well-Tempered Audio Dramatist” (originally issued online for free until his death) concerns itself primarily with the work of the producer and director of Audio drama, a different focus to that of our last featured author (Mr Erik Barnouwe).
To produce and/or direct audio drama, Mr Rasovsky suggests as a requirement that it is essential to have “A FIRM FOUNDATION IN THE LIVE THEATRE”.
This naturally puts a writer like myself at a disadvantage… but since this man actually made a living in Audio Drama long after the medium was supposed to have died (in fact right up to his own death), I would be foolish not to pay attention.
He further suggests the following as very useful…
- a thorough knowledge of dramatic literature, the humanities and the history of radio drama;
- a smattering of music theory;
- work experience in television and film;
- broad immersion in the world at large, particularly of cultures and modes of living that differ from or are diametrically opposed to the familiar;
- a thick skin (which, unfortunately, I don’t have);
- tenacity, and
- a willingness to take risks (sometimes aptly called foolishness).
If I honestly assess myself against this list, it is probably 3 and 5 that are my weakest areas (particularly 5).
He concludes his introductory comments by talking about the importance of being fully prepared and organised if you wish to create audio drama.
So far, so interesting.
Don’t forget to check out our dinner party script products in the products section of our site, you can check out samples of each title and our full scripts are always available for purchase. Next time: more reflections on what I am learning from Mr Rasovsky’s book.
