The British Broadcasting, bbc radio 4 – Afternoon Play
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ConclusionThe main intention of these theses was to look closer at some examples of British radio drama specially written for the Afternoon Drama program and also to acquire a better understanding of the background of traditional British drama. In order to do so it proved necessary to explore some secluded areas of the BBC radio. As well as researching textual and web sources it was equally, if not more, important to create a database of plays to satisfactory completion. The importance that the BBC has played in lives of the British people and in lives of people worldwide, especially during the Second World War, is inexpressible. It was maily due to General Director John Reith and his unique approach that British Broadcasting Company could develop into organization whose name is recognized all over the world. Nevertheless, significance of the Second World War is no less important. After that many more stations were added to the BBC family. The survey of Drama Department technology provided some useful insight into the problem of production of dramas. It mainly points out the crucial inventions, control panel and type A microphone, that helped to fulfil playwright’s imagination for it is not only the script and actors that make the play good it is thanks to technology which enabled the BBC Drama Department to create such a great library of sound effects. To, at least, partially understand the usage of sound effects it was essential to explore the theory of sounds and sound division. It was also intended by this thesis to highlight and to explore the importance of Samuel Beckett and Thomas Stoppard work in order to realize that the development of the British radio drama does not lie only upon the technology and its possibilities but equal accountability lies upon the playwrights themselves. Stoppard and Beckett’s plays prove to be apposite examples of innovative playwriting therefore the contribution to the development of playwriting is evident. It was also necessary to draw attention to playwrights of present day who seem to be standing out either by the number of plays that they delivered or by striking a topic rarely talked about. Subsequently, making their mark in the history of British radio drama. The attempt of the five months analyse was to demonstrate the numbers of Afternoon dramas produced every year and to expound the number of playwrights commissioned yearly by the BBC. This was achieved by analyzing 122 afternoon dramas. The fact that afternoon plays are very really repeated is based on first part of analyse consisting of dividing afternoon plays into groups according to the number of repetitions. Another part of analyze focused on number of plays per one playwright and last part concentrated on the number of episodes. It was evident that the largest group in the first case was group with only one broadcast in the second case group with one episode and in the third case group with one play per writer. The outcome denotes the fact that the number of playwrights commissioned by the BBC is overwhelming. Therefore, it is more than evident that writing dramas has a really strong tradition in Great Britain.
By combining all the knowledge acquired while working on the thesis I must admit that the phrase ‘British traditional radio drama’ has a great value attached to it. The List of Referencesnpnd13: , (n.p., John Reith - 1. Beginnings, n.d.), npnd14: , (n.p., Director-Generals of the BBC, n.d.), npnd16: , (n.p., The BBC Television Service opens, n.d.), npnd21: , (n.p., The story of BBC Television - Closedown, n.d.), npnd16: , (n.p., The BBC Television Service opens, n.d.), Ric07: , (Havers, 2007), Den85: , (Gifford, 1985, p. 59), npnd20: , (n.p., The BBC during the War years: A timeline, n.d.), npnd15: , (n.p., The BBC at War - D-Day and War Report, n.d.), Hav07: , (Havers, Here is the News - The BBC and the Second World War, 2007), npnd18: , (n.p., List of BBC radio stations, n.d.), npnd19: , (n.p., BBC Radio, n.d.), npnd17: , (n.p., BBC Radio 4 Schedule, n.d.), Joh81: , (Drakakis, 1981, p. 4), Hol10: , (Hollingum, 2010), np134: , (n.p., Val Gielgud’s legacy to Radio Drama today, 2013), Tim99: , (Crook, British Radio Drama - A Cultural Case History, 1999), Tim99: , (Crook, British Radio Drama - A Cultural Case History, 1999), npnd11: , (n.p., Objects from the BBC Collection - Technology, n.d.), Bar02: , (Tailor, 2002), Bar021: , (Tailor, BBC Type A, 2002), Bar02: , (Tailor, Microphones: BBC Type A, 2002), Lau04: , (Laura Marcus, 2004), Stend: , (Grant, n.d.), Ala98: , (Beck, 1998), Micnd: , (Chion, n.d.), Mic76: , (Chion, 1976, p. 32), Micnd: , (Chion, Acousmatic sound , n.d.), npnd34: , (n.p., BBC Sound Effects Library - Original Series, n.d.), Wad81: , (Wade, 1981, p. 228), npnd22: , (n.p., Speaking up for Radio Drama (1999), n.d.), npnd23: , (n.p., BBC Rates, n.d.), Wad81: , (Wade, 1981, p. 223), npnd24: , (n.p., The Nobel Price in Literature 1969, n.d.), Ell96: , (Guralnick, 1996), npnd25: , (n.p., Samuel Beckett Radio Plays , n.d.), Samnd: , (Beckett, n.d.), np101: , (n.p., Embers/ Krapp's Last Tape by Samuel Beckett, 2010), Wad81: , (Wade, 1981, p. 235), Ell96: , (Guralnick, 1996, p. 29), npnd26: , (n.p., Tom Stoppard, n.d.), npnd27: , (n.p., Roy Smiles, n.d.), npnd28: , (n.p., Sebastian Baczkiewicz : Writer, n.d.), npnd29: , (n.p., He Who Would Valiant Be, n.d.), npnd30: , (n.p., Birthday Shoes, n.d.), npnd31: , (n.p., The State of the Afternoon Play, n.d), np137: , (n.p., The BBC trust's review and assesment, 2013), Wad81: , (Wade, 1981, p. 224), np111: , (n.p., Radio Commissioning Agreement Draft, 2011), npnd33: , (n.p., Jonathan Holloway , n.d.), np136: , (n.p., The Emperor's Babe by Bernardine Evaristo, dramatized by Jonathan Holloway, 2013), npnd32: , (n.p., Clara Glynn, n.d.), np135: , (n.p., One of the Lads by Clara Glynn, 2013), np12: , (n.p., The People's Passion by Nick Warburton, 2012), Timnd: , (Crook, n.d.), npnd: , (n.p., Mr Adam Ganz, n.d.), np14: , (n.p., Finalists announced for BBC Audio Drama Awards 2014, 2014), np13: , (n.p., New play about the Gestapo based on real family history , 2013), npnd1: , (n.p., The Gestapo Minutes, n.d.), np131: , (n.p., The Gestapo Minutes by Adam Ganz, 2013), np141: , (n.p., Robon Lusting, 2014), Ann13: , (Shienman, 2013), np142: , (n.p., Ed Stoppard, 2014), npnd2: , (n.p., Ed Stoppard, n.d.), npnd3: , (n.p., Tamzin Griffin, n.d.), Nie09: , (Dowden, 2009), np143: , (n.p., Julian Rhind-Tutt, 2014), Sim09: , (Round, 2009), Sim09: , (Round, 2009), np10: , (n.p., Nuclear Reactions by Adam Ganz, 2010), npnd6: , (n.p., Anita Sullivan, n.d.), npnd5: , (n.p., Dangerous Curiosities , n.d.), np133: , (n.p., An Angel at my Table by Janet Frame, dramatized by Anita Sullivan, 13), npnd7: , (n.p., BBC Afternoon Drama, n.d.), npnd8: , (n.p., Sleeping Dog, n.d.), npnd9: , (Sullivan, The Octopus, n.d.), npnd9: , (Sullivan, The Octopus, n.d.), npnd10: , (n.p., Countrysides, n.d.), npnd12: , (n.p., Counrtysides, n.d.), Ani11: , (Sullivan, 2011), np11: , (n.p., Two takes from hunting on Radio 4, 2011), Gil11: , (Raynolds, 2011), 1 British Broadcasting Corporation 2 Second World War Download 241.84 Kb. Share with your friends:
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