This thesis discusses the state of contemporary audio drama in the US, the UK, and Europe, looking particularly at drama in public service broadcasting contexts and within commercial format radio and within newer, Web-based forms.

Since 1944, the Canadian Broadcasting Corporation, through its radio network, has been the prime disseminator of drama to Canadians. CBC radio reaches virtually every inhabited region of the country, including remote areas where little or no professional stage drama is presented. Canadian playwrights have often adapted their stage plays for GBC radio production in order to reach the largest potential audience. This study examines the techniques which have been used by seven playwrights to adapt their stage plays for CBC radio. The plays examined are: The Abdication by Norman Newton; The Action Tonight by Tom Grainger; Captives of the Faceless Drummer, by George Ryga; Do You Remember One September Afternoon?, by David Watmough; The Great Hunger, by Leonard Peterson; Women in the Attic, by Leonard Peterson; Quiet Day in Belfast and its radio version "Murder in the Betting Shop," by Andrew Angus Dalrymple; and Yesterday the Children Were Dancing, by Gratien Gélinas, translated and adapted by Mavor Moore. The stage scripts and their radio versions were examined to ascertain the changes that had occurred in the adaptation process. The playwrights and several CBC producers were interviewed. Comparison between the stage and radio versions revealed differences in the order of speeches, and additions or deletions of verbal and non-verbal elements. Dialogue was cut or condensed to shorten the script for radio. Occasionally the order of events was rearranged for the adaptation to insure clarity after elements had been cut. Some visual elements of the stage play received verbal equivalents in the radio script, while others were translated through radio production techniques, such as sound effects. In addition, radio production techniques which had no stage equivalent were added in the adaptation process to help create a mood or emphasize a character. These alterations appear to have been made for two reasons: to compensate for the lack of the visual element on radio, and to shorten the script to conform to the CBC network's time restrictions. The author of this study concludes that the adaptation techniques used in the scripts under consideration are relatively rudimentary. For the most part, the playwrights did only what was necessary to make the stage play understandable to the radio listener and did not fully exploit the potential of the radio medium. The radio listener can be stimulated to imagine an unbounded stage and need not be restricted by an aural translation of a physical stage setting. The author suggests that further investigations might explore techniques which would help the adaptor to transform his play more imaginatively for radio. / Arts, Faculty of / Theatre and Film, Department of / Graduate

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ABSTRACT Powerful themes of physical and emotional isolation are found in the Saskatchewan radio plays stored in the CBC files of the Saskatchewan Archives Recorded Sound Collection. Based on the examination of a selection of these plays in their audio format, this thesis will explore themes of isolation and how they are developed in contemporary Saskatchewan radio drama as organized into the following three categories: Timescape, Landscape, and Bodyscape. The Timescape chapter deals with themes of isolation and history plays. The Landscape chapter explores isolation and landscape within three radio plays by James Quandt. The Bodyscape chapter is dedicated to plays with themes of isolation, health, and healthcare. It also highlights the abundance of playwriting by women on healthcare topics. In doing so, the thesis addresses two larger questions: 1. To what extent are themes of isolation and the struggle to relieve it developed by Saskatchewan playwrights on the radio? And 2. If the most acute geographic and demographic isolation experienced by Saskatchewan residents was historic, i.e. during the history of European settlement, why are there still strong thematic currents of isolation appearing throughout Saskatchewan radio plays written after 1980? The development of themes of isolation in this selection of plays often reinforces the value of community and the dangers of isolation. The critical framework of the thesis relies most heavily on the thoughts of Northrop Frye, Margaret Atwood, Kelley Jo Burke, and Carol Gilligan. Most of the plays discussed were produced during the period between 1978-1988. These were the first ten years of local, full time radio drama production at CBC Saskatchewan in Regina. An annotated bibliography of the plays studied en route to this thesis follows the text.

ABSTRACT Powerful themes of physical and emotional isolation are found in the Saskatchewan radio plays stored in the CBC files of the Saskatchewan Archives Recorded Sound Collection. Based on the examination of a selection of these plays in their audio format, this thesis will explore themes of isolation and how they are developed in contemporary Saskatchewan radio drama as organized into the following three categories: Timescape, Landscape, and Bodyscape. The Timescape chapter deals with themes of isolation and history plays. The Landscape chapter explores isolation and landscape within three radio plays by James Quandt. The Bodyscape chapter is dedicated to plays with themes of isolation, health, and healthcare. It also highlights the abundance of playwriting by women on healthcare topics. In doing so, the thesis addresses two larger questions: 1. To what extent are themes of isolation and the struggle to relieve it developed by Saskatchewan playwrights on the radio? And 2. If the most acute geographic and demographic isolation experienced by Saskatchewan residents was historic, i.e. during the history of European settlement, why are there still strong thematic currents of isolation appearing throughout Saskatchewan radio plays written after 1980? The development of themes of isolation in this selection of plays often reinforces the value of community and the dangers of isolation. The critical framework of the thesis relies most heavily on the thoughts of Northrop Frye, Margaret Atwood, Kelley Jo Burke, and Carol Gilligan. Most of the plays discussed were produced during the period between 1978-1988. These were the first ten years of local, full time radio drama production at CBC Saskatchewan in Regina. An annotated bibliography of the plays studied en route to this thesis follows the text.

Performance in isiZulu radio drama is imaginative and abstract to the listeners and radio drama writers make use of semiotic signs to convey intended action or information to the listeners. This research is meant to uncover the role of semiotics in the isiZulu radio drama and the impact it has on the culture of the isiZulu-speaking community. This study was dedicated to answer the following research questions: • How does semiotics play its role in isiZulu radio drama? • To what extent does semiotics play its role in isiZulu radio drama? • What impact it has on the culture of isiZulu-speaking community? To answer these research questions the researcher formulated the following objectives: • To identify different semiotic signs that plays a significant role in isiZulu radio drama. • To explore the role of semiotic signs in isiZulu radio drama. • To analyse the role of semiotic signs in isiZulu radio drama. • To examine the extent to which semiotic signs can influence the revival of cultural knowledge in isiZulu-speaking community. • To suggest for further research on the role of semiotics in isiZulu radio drama and the impact it has on the culture of isiZulu-speaking community. The researcher used a mixed method consisting of quantitative and qualitative approaches which examined the research problem by surveying isiZulu radio drama listeners, observing selected isiZulu radio drama scripts and conducting a telephone interview with the participant. The researcher found that semiotics play significant and different roles in isiZulu radio dramas and has the potential to revive cultural knowledge of the isiZulu-speaking community. The researcher recommended further research on the grounds that this study did not focus on the infringement that exists in isiZulu language, which is used in isiZulu radio dramas to fit the socio-economic, political, technological and demographic changes whether such infringement still restore and revive cultural knowledge of the isiZulu-speaking community. / African Languages / M.A. (African Languages)

Thesis (MA)--University of Stellenbosch, 1991. / ENGLISH ABSTRACT: This study is based on the comparison of six Xhosa radio dramas spanning the period 1987 and 1988. The main objective is to investigate the strengths and weaknesses which manifest themselves in the dramas. The dramas are compared with respect to the six structural elements of drama viz., theme, plot, characterization, time and space, and the techniques of production.Themes are studied to establish whether there have been any developments as far as the choice of themes is concerned in Xhosa radio dramas or whether there has been stagnation. Also given is a brief literary history of the themes broadcast in the Xhosa radio. The analysis of the plot structure is also done to identify the areas where they met the requirements successfully as well as where they failed to. The dramas are analysed according to the traditional approach Le. the exposition, complication, climax and the denouement.With regard to characterization, the characters are classified according to the function they perform viz., the protagonist, antagonist, tritagonist and confidante. They are also analysed according to their individual nature Le. whether they are static or dynamic, mono- or multidimensional etc. Techniques that the playwrights have used in the portrayal of their characters are also examined.The aspects of time and space are also discussed, to investigate the artistic skills of the different dramatists in handling the time and space relations. Time is viewed with respect to the following: order, duration, frequency, tempo and the presentation of the time structures. Space is discussed with respect to the following: type, function, and the techniques of localisation.A critical comparison of the production techniques used by these different playwrights is explored, the focus being on the microphone, sound effects and music. The examination conducted in the study basically revealed that there is little development in Xhosa radio dramas.The themes that are broadcast are mainly for entertainment and consequently have little intellectual depth. There is also a lack of innovation which is shown by the repetition of the same themes.The playwrights also lack skill as far as plot construction is concerned. The plays are devoid of conflict The absence of conflict in the dramas has an effect on characterization. It has given rise to weak antagonists in the dramas. Lack of focus regarding the main character is one of the faults that is evident in the dramas. Because of the fact that all characters are on the level of importance, it becomes difficult to pin-point who the focal character is. Finally, the Xhosa radio dramas discussed in this thesis revealed that there is latent potential in the Xhosa dramatists and the producers. It is therefore necessary that they should be motivated towards research on the subject and consultation with people who are knowledgeable in this sub-genre. Such actions could be of assistance towards the improvement of skills and techniques needed in the writing of the radio drama / AFRIKAANSE OPSOMMING: Hierdie studie is gebaseer op die vergelyking van ses Xhosa radio dramas wat strek oor die tydperk 1987-1988. Die hoofdoelstelling is om die sterkpunte en swakpunte te ondersoek soos dit na vore kom in die dramas. Die dramas sal vergelyk word met betrekking tot die ses strukturele elemente van die drama, naamlik, tema, intrige, karakterisering, tyd en ruimte, en die tegnieke van produksie. Die temas van die dramas is ondersoek om vas te stel of enige ontwikkelings wat betref die keuse van temas plaasgevind het, en of daar stagnasie was in hierdie verb and. Voorts sal 'n kort ootsig gegee word van die liter ere temas in radio Xhosa dramas. Die analise van die intrige van die dramas word gedoen om vas te stel waar daar suksesvol of onsuksesvol voldoen is aan vereistes. Die dramas word ontleed volgens die tradisionele benadering van uiteensetting, verwikkeling, klimaks en die afwikkeling. Betreffende karakterisering, word karakters geklassifiseer volgens die funksie wat hulle vervul, naamlik die protagonis, die antagonis, die tritagonis, en die vertroueling. Karakters kan ook ontleed word volgens hulle individuele karakter, dit is, in welke mate hulle staties of dinamies is, enkel- of multi-dimension eel, ens. Tegnieke wat die skrywers gebruik het in die uitbeelding van hulle karakters word ook ondersoek Die aspekte van tyd en ruimte word bespreek ten einde die artistieke vaardighede van die verskillende skrywers te ondersoek in die hantering van tyd en ruimte verbande. Tyd word ondersoek ten opsigte van volgorde, duur, frekwensie, tempo en die aanbieding van die tyd strukture. Ruimte word bespreek met betrekking tot die aspekte van tipe, funksie en die tegnieke van lokalisering. 'n Kritiese vergelyking word gedoen van die produksietegnieke wat aangewend is deur die verskillende skrywers, met die fokus op mikrofoon klankeffekte en musiek Die ondersoek in hierdie studie toon aan dat daar geringe ontwikkeling is in die Xhosa radio dramas. Die temas van die dramas wat uitgesaai word is hoofsaaklik van 'n vermaaklikheids aard met geen intellektuele diepte nie. Daar is ook 'n tekort aan vernuwing, soos aangedui deur die herhaling van dieselfde temas. Die skrywes toon ook 'n tekort aan vaardigheid wat betref die konstruksie van die struktuur van. intrige. Die dramas toon weinig konflik Die afwesigheid van konflik het ook 'n invloed op die krakterisering, wat aanleiding gee tot swak antagoniste in die dramas.'n Gebrekkige fokus betreffende die hootkarater is een van die foute wat opvallend is in die dramas. Omdat byna al die karakters op dieselfde vlak van belangrikheid is, is dit moeilik om te bepaal watter karakter die hootkarater is. Laastens, die Xhosa radio dramas wat ontleed is in hierdie studie toon dat daar latente potensiaal is in die Xhosa skrywers en regiseurs. Dit is nodig dat hulle aangemoedig word om navorsing te doen oor die onderwerp. Konsultasie met kundiges op hierdie sub-genre kan 'n hulp wees in die verbetering van vaardighede en tegnieke wat nodig is vir die skryf van radio dramas.

Performance in isiZulu radio drama is imaginative and abstract to the listeners and radio drama writers make use of semiotic signs to convey intended action or information to the listeners. This research is meant to uncover the role of semiotics in the isiZulu radio drama and the impact it has on the culture of the isiZulu-speaking community. This study was dedicated to answer the following research questions: • How does semiotics play its role in isiZulu radio drama? • To what extent does semiotics play its role in isiZulu radio drama? • What impact it has on the culture of isiZulu-speaking community? To answer these research questions the researcher formulated the following objectives: • To identify different semiotic signs that plays a significant role in isiZulu radio drama. • To explore the role of semiotic signs in isiZulu radio drama. • To analyse the role of semiotic signs in isiZulu radio drama. • To examine the extent to which semiotic signs can influence the revival of cultural knowledge in isiZulu-speaking community. • To suggest for further research on the role of semiotics in isiZulu radio drama and the impact it has on the culture of isiZulu-speaking community. The researcher used a mixed method consisting of quantitative and qualitative approaches which examined the research problem by surveying isiZulu radio drama listeners, observing selected isiZulu radio drama scripts and conducting a telephone interview with the participant. The researcher found that semiotics play significant and different roles in isiZulu radio dramas and has the potential to revive cultural knowledge of the isiZulu-speaking community. The researcher recommended further research on the grounds that this study did not focus on the infringement that exists in isiZulu language, which is used in isiZulu radio dramas to fit the socio-economic, political, technological and demographic changes whether such infringement still restore and revive cultural knowledge of the isiZulu-speaking community. / African Languages / M.A. (African Languages)

Performance in isiZulu radio drama is imaginative and abstract to the listeners and radio drama writers make use of semiotic signs to convey intended action or information to the listeners. This research is meant to uncover the role of semiotics in the isiZulu radio drama and the impact it has on the culture of the isiZulu-speaking community. This study was dedicated to answer the following research questions: • How does semiotics play its role in isiZulu radio drama? • To what extent does semiotics play its role in isiZulu radio drama? • What impact it has on the culture of isiZulu-speaking community? To answer these research questions the researcher formulated the following objectives: • To identify different semiotic signs that plays a significant role in isiZulu radio drama. • To explore the role of semiotic signs in isiZulu radio drama. • To analyse the role of semiotic signs in isiZulu radio drama. • To examine the extent to which semiotic signs can influence the revival of cultural knowledge in isiZulu-speaking community. • To suggest for further research on the role of semiotics in isiZulu radio drama and the impact it has on the culture of isiZulu-speaking community. The researcher used a mixed method consisting of quantitative and qualitative approaches which examined the research problem by surveying isiZulu radio drama listeners, observing selected isiZulu radio drama scripts and conducting a telephone interview with the participant. The researcher found that semiotics play significant and different roles in isiZulu radio dramas and has the potential to revive cultural knowledge of the isiZulu-speaking community. The researcher recommended further research on the grounds that this study did not focus on the infringement that exists in isiZulu language, which is used in isiZulu radio dramas to fit the socio-economic, political, technological and demographic changes whether such infringement still restore and revive cultural knowledge of the isiZulu-speaking community / African Languages / M.A. (African Languages)

Thesis (M. A. (African Languages)) -- University of the North, 1993 / Refer to the document