Unit 41. Radio Drama

Introduction

Radio Drama.

Radio Drama's began in 1927 which would make them over 70 years old. As a whole it became a very popular form of entertainment over the years, reaching its peak in the early 1940's.

During 1927, the networks began to adapt, creating short stories using original scripts. The capacity of the audience led to other thing. In the 1930,s advertisers saw the huge listening audiences as a chance to advertise their products and industries. This then created the potential for other things.

During the war, radio audiences grew, as the doubled number of news slots increased desire for dramatic evening dramas. The popularity of certain programmes led to the launch of television, meaning that radio programmes where made into TV programmes. However, they still made the radio programmes for those without a receiver.

Today in Britain, Radio Dramas still exist although they are not as popular due to the popularity of TV. Stations such as DAB BBC 7 and FM BBC 4, play drama's on a regular basis. Some of these drama’s include Undone, Sherlock Holmes, Born free, Doctor who and the oldest of its kind The Archers.( running for over 50 years)

War of the worlds.

War was an early radio drama set in 1939. Broadcasting live from new york, the program appeared to be an original musical piece. However, several news interruptions proved other wise, as people listened to a thrilling detailed encounter of an attack from mars, directed on New York. Around six million people tuned in to listen, 1.7 million of which, thought the broadcast was real, 1.2, reported to be genuinely frightened.

As so many people believed the program to be true, this had a huge impact. People locked their selfs in basements and stocked up on food. Others reached for the shot gun, got in the car and drove. People walked round with wet towels over their faces to escape the poison gas. Other listeners even took their lives. These events caused havoc across America as America was in a time of war, and global war would come as no surprise.

Listeners missed the opening disclaimer, therefore had no reason to think they were listening to a radio drama. The style of the drama all seemed so believable, as what appeared to be a regular music show, was interrupted by real reporters interviewing real scientists in real places. The technique was very convincing, so its no wonder people thought it was real.

Task 1 Using some of the websites listed below, choose 3 radio dramas of different genres and write an analysis of each using the notes above and in the picture below.

The Archers.

The archers begins with an iconic music bed using an orchestral theme. This music is vitally important as it tells the audiance many things. Over the years you could say that the theme has become an iconic trigger as its very relatable. The music also tells us that the primary target audience would be people from an older generation.

The voices and accent have also been cleverly crafted in order to maximize listening potential. The voices range from newcastle accents, to upper class and western accents. This does many things. First of all the accents allow us to relate to a characters as we cant physically see them. Also it shows a level of integration as each charter can attract an audience form their region.

As well as maximizing the audience, the accents help stereotypically brand the charters roles. For instance, a deep masculine, down to earth voice would relate to a farmer, not the lady of the village for for example.

Dad's Army

The episode starts with a music bed created by a marching band. This gives the drama an instant army feel to it. Following that there is a deep masculine voice over which introduces the episode and briefly sets the scene. As the story begins there appears to be a live audience which provides laughter. This shows the listening audience that Dad's Army is more than likely a comedy.

All the characters are well spoken which shows their position in the ranks. As the story commences there are more tones of voice. There a new voices introduced which links the characters to lower positions but also links some to higher positions. This stereotypically shows how your position in an army is decided by your wealth.

In Dad's Army there is a lot of back ground ambiance. Some created by the audience but mostly it's created by back ground noises. This helps to give the audience a sense of feeling of what war was about but, most of all it helps to signify when new characters are entering or exiting the scene. This is created by door's slamming but also ambience characters shouting a main character off set.

Doctor Who.

Doctor Who is a series drama with a very apparent theme of Science fiction. This theme is instantly recognizable in the programs introduction due to an ambience of marshans and alien existence. This program instantly differs from the other two in which i have analyzed as there is a different use of music throughout. Music is used in this drama to create atmosphere as it's played in the back ground at times. It builds tension to create a better program for the listener.

Other back ground noises are used in the program. For example the sound effect of wind is used to connote that he characters are outside. Other sound include foot steps to show movement and general sounds to match what the characters are saying.

Task 2 Produce 3 x 20 second clips, each clip should emulate the codes and conventions of a specific genre.

Task 3 A Mind Map of your Ideas-Part A

I propose to make a radio drama biased on the fairytale story of Cinderella. I plan however to add creative changes, changing how characters are stereotypically viewed and changing the codes and gestures of the typical fairytale narrative.

My first proposal has a target audience of teenagers and young adults and I plan to change to hero of the prince and covert him into a drug-dealing villain. He will be responsible for the death of Cinderella’s father at the beginning as he provides him with too many drugs, causing him to overdose. There will be other character changes too, such as the fairy godmother being an alcoholic. In terms of narrative, I propose to change the todorov theory of equilibrium, disruption resolution and leave as simply equilibrium, disruption, disruption. Removing the dinsification from the story showing that happy ending are not always the case.

My second proposal will also have a target audience of young adults. In this proposal I will subvert the genre and have a violent scene in the middle. On her way to the ball Cinderella will bump into little red riding hood and have an argument about which fairytale is best. Red riding hood wins the fight and dresses as Cinderella. At the ball she makes a fool of her self purposely to get Cinderella into trouble. The story has a closed ending with the prince having Cinderella arrested, little did he know, it was red riding hood in disguise.

My final proposal is based on subverting the stereotypical character of Cinderella. Instead of an innocent powerless voice, she has a load common outgoing voice and acts like a chav. This will make the audience feel antipathy for Cinderella, which subverts the stereotypical narrative as well, because Cinderella is normally the victim. When at the ball, the prince has no interest in Cinderella, however, he’s interested in the step sister. This creates a happy ending for the step sister but not so much for Cinderella.

Task 4 2 x Proposals briefly stating different ways of presenting your drama; including ideas on narrative, sound fx, locations, characters, music beds etc... part A

Treatment-Task 5 2 treatments based on your proposals using as much relevant media language as possible. Part A

This is a treatment for my first proposal. It has a primary target audience of teenager’s aged 13-19; it also has a secondary target audience of young adults in there 20’s. The structure of the radio drama follows a single strand narrative sticking to the valdmir prop’s theory of hero, villain, damsel in distress and helper. However, I will be subverting the stereotypical character actions, diverting away for how the real Cinderella is portrayed. For example, the hero who is the prince becomes the villain and the villains, who are the stepsister, happen to be friendly, likeable people.

The narrative follows the Todorov theory of equilibrium, disruption and resolution. However I have also made some creative changes in this department. The story has a resolution but, it’s a negative one for Cinderella, therefore it becomes a disruption. This removes the disnification from the story, which connotes that real life doesn’t always have happy ending. This could appeal to my target audience, as teenage life is full of struggles and challenges.

In this drama, the location also changes from the forests and castles, to middle class houses and drug dealer’s penthouses. This removes the culture codes however; it adds personal identity to the piece as it’s set an area, which would relate to normal peoples every day life.

The single stand narrative stats with Cinderella and her father living happily in their middle class home. This is the equilibrium to the story. Cinderella’s father then marries a woman who has two daughters who are successful studying for their A-levels. Cinderella is simultaneously jealous of the two daughters, which creates tension from the start. A non-dagetic music bed would create an ambiance for their initial meet. This will allow the audience to acknowledge this tension. At this stage of the story, the prince is introduced. However in my version of Cinderella he is not actually a price. He’s a Drug dealing gangster who has become successful for the wrong reasons. He sells drugs the Cinderella’s father and her father dies if a overdose. This is the first real disruption in the story.

Cinderella then becomes depressed and looses a lot of her confidence. The death of her father hits her hard and she struggles to cope. This section of the drama makes it clear to the audience that Cinderella is the damsel in distress and also creates a sense of personal relationship as people could relate to loosing a loved one.

I have decided to stick to a fairytale gesture code, giving the damsel a helper. In Cinderella, the helper is the fairy godmother but in my version of the drama, the helper is an alcoholic tramp that is always there for Cinderella. This is an example of the prop’s theory.

In collage, Cinderella’s successful sisters are invited to the drug dealer’s party. In an effort to stay popular, both sisters accept the invite. Cinderella however, doesn’t receive an invite. This is a second disruption. Cinderella feels down hearted about the party at the drug dealer’s penthouse and it takes some support off her the alcoholic tramp, to persuade her to attend the party uninvited. This is in a hope to dress to impress and catch the prince’s attention.

After dressing up she finally arrives at the party, and her ingenious plan worked. She caught the prince’s attention. They were in the penthouse chilling when the clock strikes 12. In true fairytale style Cinderella has to go. This is an example of some stereotypical fairytale gesture codes being used.

The next day, the drug dealer searches for Cinderella, knocking on every door in the estate. After searching he finally finds her house. When he gets there he say’s Cinderella, is your sister in. He then gets with her sister. This is the resolution to the story however, it is a disruption as the audience already see’s Cinderella as a damsel in distress.

The story concludes with Cinderella moving out and living with the alcoholic tramp.

Cinderella- Task 6 You should produce 2 scripts, one for each of the treatments from the previous task-Part A

Opening:

(Opening ambience of Traffic and birds)

Narrator: (Soft, formal voice)

One day in Stanningley, Cinderella and her dad were sat in their middle class home.

(Ambience of Coronation Street playing on the TV)

Cinderella’s dad: (Harsh, deep masculine voice)

Right love, I’m off out, ill be back soon yeah.

Cinderella: (High pitched, innocent voice)

Where are you going?

Cinderella’s Dad:

It doesn’t matter where I’m going. Don’t wait up for me. Your mum will be back soon.

Cinderella:(Shouting)

Don’t call that woman my mum.

(Dramatic sting, as Cinderella sits, baffled about where her father is going. The Sound of Coronation Street fades the scene out)

Narrator:

Where was Cinderella’s dad going, you may wonder. Well, that’s the mystery we’d all like to solve.

(Ambience of a running engine)

Sackib: (Deep masculine, intimidating low pitched voice.)

You got my money G?

Cinderella’s Dad:

As long as you’ve got my gear.

Sackib:

I’m not gunna arrive empty handed. It was 10g grams or coke and a Henry right?

Cinderella’s Dad:

Yeah, Yeah.

Sackib:

Money?

Narrator:

Cinderella’s Dad handed the man a bag of money. He set off in his Mitsubishi Evo, and drove off into the night.

(A wheel screech followed by a sound of a tuned up Mitsubishi fades the scene out)

Narrator:

The drugs were a bad idea, as Cinderella’s dad died that night. Cinderella was unaware of Sackib’s involvement. The following day the news was broke to Cinderella by Day and she was affected deeply.

(Ambiance of breakfast clangs and sound of early morning television)

Cinderella Step Mum: (Soft high pitch feminine Voice)

I’m sorry about your father, but at least you’ve got me and your sisters.

Cinderella:

Yeah well that’s not good enough, and they’re not my sisters just like your not my Mum. I rather live alone than live here with a slapper of a mother and the sisters from hell.

Cinderella’s step Mum:

Well I’m sorry you feel that way.

Cinderella:

You should be!

(Dramatic sting and Cinderella leaves the room for Collage)

Narrator:

The following months were hell for Cinderella. She didn’t get along with her step mum or sisters and she found her self doing the household chores. It was like she didn’t exist.

(Ambience of a collage corridor. Lockers clanging, people speaking)

Stepsister one-Jade: (soft feminine high pitched voice)

You going to Sakib’s 18^th. Everyone’s gunna be there. I can’t wait me, I’m getting mashed. I need a break form schoolwork. 4 A-levels are hard.

Stepsister two- Jessica: (Soft Feminine Low pitched voice)

Yeah man. I’m down. I’m going for it n’all. And will you shut up about you’re A-levels. Your never gunna let it go that I’m only tacking three.

Jade:

True

Jessica:

I can’t wait me, it’s gunna be sick. Shit loads of booze and drugs.

Jade:

I’m not sure about the drugs, Sakib’s that dealer right?

Jessica:

Aww, is miss 4 A-levels scared. You should chill with Cinderella. She daren’t do drugs either. And yeah, he is that dealer.

Jade:

Cinderella. Wunt dare mate. She int invited. He told me he int inviting her. She’s cramp his style.

Jessica:

True. I’m on it with Sakib me.

Jade:

Yeah you wish.

Narrative:

Later that night Cinderella is home alone grieving. Her mum is out and her sisters are on their way to Sakib’s party.

(Dramatic music bed to create tension and to make the audience feel sympathy for Cinderella)

Cinderella (soliloquy)

It’s not fail. No mum no dad and them two popularity hogs rubbing their perfect lives in my face. Cinderella do this, Cinderella do that. I’m sick of it. Why did it have to be me? Why? (Angrily) I hate my life!

Narrator:

Cinderella goes for a walk to cool off. Whilst on her walk, she bumps into an alcoholic tramp that happens to always be there for her.

(Ambience of traffic with a slight breeze and drizzle for the effect of pathetic fallacy)

Alcoholic Tramp: (female, low pitch, grouchy voice)

What are you doing, you must go to this party. Don’t let them beat you. Dress up, liven up and live a bit. I’ve seen you at your best. You’d even catch the eye of Sakib. Now wouldn’t that be great, it’d shut your sister up.

Cinderella:

You know what? Your right! I’m gunna go to this party and I’m gunna dance all night. Thanks a lot.

Alcoholic tramp:

Anytime, my dear.

Narrator:

Cinderella goes home and gets changed, A few hours later she arrives at the drug dealer’s penthouse and gets in without a problem. Everyone is drunk and some are under eh influence of drugs. The night was going well.

(Ambience of people talking and shouting. The sound of baseline playing in the

background. Vibrations form the speakers shaking through the floor)

Sakib:

Cinderella, is that you?

Cinderella:

Yeah it is.

Sakib:

Out mate you look hot. I’m a bit out of It, but who cares. You only live once.

Cinderella:

So, cool party.

Sakib:

Der, there’s never a dull moment at my yard.

Cinderella:

This is a really nice house.

Sakib:

Yeah and?

Cinderella:

I was just saying.

Sakib:

You gunna kiss me or what?

Narrator:

At that point Cinderella kissed Sakib and experienced what was the happiest moment of her life. They drove off into the night and lived happily ever after. Well, not quite. The clock struck 12 and for some reason unknown to either you me, Cinderella left.

Narrator:

The next day Sakib searched for Cinderella, Knocking on every door on the estate. Finally he found her.

(Knock on the door)

Cinderella:

What are you doing here?

Sakib:

Your sister in?

Cinderella:

You what?

Sakib:

Jessica? She in.

Narrator:

At that moment Cinderella fell to the floor in a flourish of tears as Jessica came down and got with Sakib. Cinderella ran away to live with the alcoholic tramp as Jessica enjoyed a nice drive in Sakib’s Evo.

( Scene fade out with soft fairytale music followed by the wheels screeching and a car driving away)

Task 3 A Mind Map of your Ideas-Part B

Task 4 2 x Proposals briefly stating different ways of presenting your drama; including ideas on narrative, sound fx, locations, characters, music beds etc...Part B

My proposal has a target audience of late teenagers and young adults and I plan to use a single strand narrative although I will be using flash backs to subvert from the story line and give the reader a deeper understanding of what’s happening. I will use elements of the Todorov removing the equilibrium, which will create an enigmatic. The basic story line is a boy writing in his diary about a girl and finally telling her. She likes him and they get together.

Task 5 2 treatments based on your proposals using as much relevant media language as possible-part B

My radio drama has a primary target audience of teenagers ages 17 to 19. My secondary target audience is young adults in their early 20’s. The reason for the older audience is that the genre is a romantic comedy and a younger audience may not understand some of the sexual innuendos and jokes with more adult themes.

My drama uses elements of the Todorov theory of equilibrium, disruption and resolution however; I will remove the equilibrium creating an enigmatic start to draw the audience in. To do this in the opening lines, the boy will be rhetorically questioning his own feelings. Why do I feel this way? Why’s this happening to me? The message of the story will reach the audience if they feel this sympathy for the main character. This message being that you have to fight for what you really want.

During my story there will be flashbacks signified by a dramatic sting, maybe created by a harp. These flash back will be times when the boy and girl meet which will give the listener a deeper understanding of the plot. In terms or characters, Prop’s theory isn’t really used to an effect however, the boy could be seen as a damsel in distress as I am trying to create sympathy for him. In terms of a villain, his life as a whole could be the metaphorical villain with fate being the metaphorical hero.

In terms of location, the drama is a diary entry so it’s set in his bedroom. This is a signifier that connotes his loneliness and isolation due to his feelings for this girl. Other locations involved in the flash backs include school corridors and the street. These locations will be distinguished with ambience and sound effects. For example, lockers shutting and people speaking could distinguish a school corridor. The ambience of wind and moving traffic could distinguish a street, out doors. Other techniques can be used. Rain could be used as pathetic fallacy, to show the weather connoting the boy’s mood. When in the bedroom, the sound of pages turning will connote the end of a flash back and the diary continuing.

Finally in terms of characters, the boy will have a soft yet masculine voice that will narrate the story and put everything in his perspective. The girl on the other hand has a voice, which connotes her feminine beauty. Soft, sweet, high pitched and innocent; just like her image, beautiful, easy to fall for. As this is a romantic comedy, we have introduced another character called Tom. Tom’s is the director and his job is to mock the stereotypical codes and conventions of a radio drama. He is very controlling and will speak to the characters and other production crew. His speaking will at first seem like an error but it will become apparent that we have edited him in for a reason. This will add the comedy to the drama, along with some sections of the script.

Task 6 You should produce 2 scripts, one for each of the treatments from the previous task-Part B

Ambience: (Soft peaceful music- overlaps scene)

Boy: I spoke to her again today. Why does she make me feel like this? What is it about her? Is it the way she flicks her hair back, or the way she makes me feel (--) when I see her smile.

S.FX: (Page turning)

Boy: I don’t know what to do; I just want to be with her. (Music fades out)

Tom: (Distant voice) Is someone gonna play the flashback sound!

S.FX: (Cow moo)

Tom: (Distant voice) No that’s the wrong sound you idiots!

S.FX: (Harp- Signifies flashback)

Ambience: (School corridor, people talking, people rushing, sound of lockers opening and closing. Overlaps the scene)

Boy: Hi

Girl: Hi?

S.FX: (Harp to signify flash-forward again)

Ambience: (Soft peaceful music, overlap speech)

Boy: Oh my god, I actually spoke to her, we had our first conversation. A full conversation, a REAL conversation. Well, it may have been short, but it’s a start, she responded, she noticed me. Maybe she loves me, and maybe she has her own diary just like mine, she does carry a lot of books about.. (Ambience fades out)

S.FX: (Harp- Signifies flashback)

Ambience: (School corridor, people talking, people rushing, sound of lockers opening and closing. Overlaps the scene)

S.FX: (Books dropping)

Girl: Oh! Fff- grr! (Angrily)

Boy: Let me help you with them.

Girl: Thank you

Boy: Its okay (--)Wow(--) haven’t you got beautiful eyes.

Ambience: (Music builds up to a romantic sting)

Tom: No no no, not yet, keep the story going a bit first! Don’t you people no anything about love stories!(Angrily)

Ambience: (Music cuts to an immediate Holt. Harp sound Signifies end of flash back.)

Boy: Amazing, I looked straight into her eyes, and she looked straight back into mine. We had a moment, a real moment; it meant something, it was special. (Page Turning) I know it; she’s falling for me just like I have fallen for her. I need to know. I can’t take this anymore.

S.FX: (Harp-signifies flashback)(School Bell)

Ambience:(A soft howling wind overlapping the sound of slow moving traffic. People talking)

Girl: Hi, which way are you walking?

Boy: Th the that way. (Nervously)

Girl: Can I walk with you? I want to talk.

Boy: Yeah sure, c can I carry your books or anything?

Girl: Yeah, that would be nice.

Ambience: (All ambience fades)

S.FX (Harp sound connotes end of flash back)

Boy: Just tell her, I thought to my self. What’s the worst that can happen? She rejects me and I continue my life admiring from a distance. Nothing ventured, nothing gained. I had to tell her. So why was it so hard?

S.FX: (Harp signifies flash back)

S.FX: (Sound of foot steps to show progression of time)

Ambience: (A low level wind and slow moving traffic. Soft romantic music, very quietly overlaps the scene.)

Girl: This is my bus stop right here.

Boy: Shall I wait for the bus with you?

Girl: Yeah that would be nice.

Boy: While were here, I I’ve got something to tell you?

Girl: Yeah sure, what is it?

Music Bed: (Florence and The Machine- Dog Days. 0-25 seconds)

Boy: I love you.

Tom: Are you sure about this, she's not even that pretty!

Boy: Do one Tom! This is my love story, your just the producer. I shouldn't even be able to hear your voice!

Tom: Right. Well, you can edit it yourself then! (Door slams)

Girl: I love you too Connor, but HE is NOT coming to the wedding!

Music Bed: (Music quietens and overlaps the scence)

Boy: Anyway, what a feeling, telling someone you love them is like jumping off a cliff and not knowing if the parachute is going to open. But when she said i love you too the parachute did open and i suddenly floated down sucking in the beauty of the world and all the loveliness below.

Music Bed: (Music level increases)

FIN.

Task 7: Document or record an example of the casting process. Discussions surrounding tone of voice, language register and dialect should be evidenced through completing this task. 

Task 8: Complete a production schedule that documents the processes of production and the time spent on specific tasks. 

Task 8:Production

Task 9- Evaluate your production

My original aim was to create a romantic comedy that would entertain a range of audiences. In my opinion this aim was achieved as the genre is very clear and the audience enjoyed listening to it, based on the feedback that I have received.

I asked three people which were within my primary target audience of 17-19 year old. I played the drama to them and gave each of them a separate question. I asked the first person, what are your initial thoughts on the drama. He replied, “I enjoyed the radio drama and I can see that the genre is romantic comedy. I liked the contrast between romance and comedy and admired how the character of the director was subverted from its stereotype.” I asked the second person what uses and gratifications my drama fits into. She replied, “in terms of use and gratification the radio drama fits into three out of the four categories. It fits into diversion as it’s entertaining and takes you away from your normal life. It fits into personal identity as people can relate relationship issues, and also fits into personal relationship, as after listening people can talk about the drama. Just like we’re doing now” Finally I asked the third person, after reading the criteria, what grade to this piece deserves and why. She replied “somewhere between a merit and a distinction. The story was easy to interpret and the characters feelings were easy to understand but, also enigmatic at times. The downsides were area’s where sound quality could be better but I feel that the positives overpower the negatives.” Overall these comments are very positive as they make me feel like my piece is understood.

In terms of representation issues, my drama gives off positive messages, as it’s a happy ending. This technique is called disnification as it strips the reality of life. The reality being, that endings in life aren’t always happy. In order to achieve this we used two boys and one girl. We used a boy and a girl to create a very normal love affair. We also used a boy as the director as a director is a position of strength and power. I felt that a deep masculine voice fits the role better that high-pitched female one. In terms of ethnic groups, we used all the same ethnic group. This is just because our entire group is of the same ethnicity but, because we were creating a very normal love affair. I feel that a love affair between different ethnic groups doesn’t have the same effect. As this can create future problems; with religion and family values.

The music we chose was very specific. During the times where the boy read from his diary, we used a soft peaceful music bed, as it creates the mood of loneliness and isolation from the world. At the end of the drama where the culmination of the story erupts, the music we used matches the mood indefinitely. The lyrics match the characters feelings. “Happiness hit her, like a train on a track” for instance is a perfect verse for when the boy says he loves her. As happiness does hit her as she feels the same way. Also “the dog days are over” is a description of times to come. Putting aside the lyrics, the music is a strong emotional piece, which matches the mood completely.

The locations used were relevant as it’s set in a school, on the walk home and in the boy’s bedroom. Typically a place where diaries are written. These locations are stereotypical locations where you expect to see teenagers therefore they are relevant to the piece. These locations were easily established with the correct ambience. The school is established with the sound of children as lockers. The street is established with the sound of wind and slow traffic. The bedroom was slightly harder to establish so we used a relatable music bed along with the sound of pages turning. This triggered in the listeners mind to create the awareness off the location.

In terms of technical issues we were lightly affected. After the voices were recorded it was much easier to record additional voices on an external mike. This increased practicality. However as a result of this, we had sections of script at a different volume so we had to adjust all the levels to get them on more of a level bed. The main problem when recording was the fan in the radio studio. This fan made a noticeable sound in the background of the recorded script. That made it harder to get the quality to a near professional standard. Once the voices were in, the ambience and music was easy. It was just a case of cutting at the right time and ensuring the levels of the ambience didn’t overpower the voices. Sound effects were also used and some of these sound effects were actual sounds that we recorded ourselves. This is called actuality.

As previously stated our genre was a romantic comedy. The codes and conventions of a romantic genre are as follows. Romance is established with soft-pitched, peaceful voices and slow paced music. Other quality can involve atmospheric music and human sound effects such as footstep to create enigma and heartbeats to connote passion. The typical conventions of a comedy are basically humors, any effects, any music, any comments that make people laugh. The differences in our product and a professional piece would be things such as the quality of acting, due to professional actors. Also the clarity of the piece will improve due to the use of better equipment. In terms of content the piece would be similar. The main way in which our piece is near professional is the smoothness of the transitions used as each new scene is easily establish able due to new ambience. In terms of narrative, our piece follows a professional structure. We use the todorov theory but we change it slightly to make it our own. Instead of starting with an equilibrium we start with a disruption, with the equilibrium occurring in the middle of the drama. The equilibrium occurs there as the listener comes to terms with the fact that the boy’s pain is actually his normal life. The piece ends in a resolution as the story is solved and the pain ends. In terms of narrative structure our drama is very much a single strand narrative.

When recording the drama I used several skills from past experiences. However, I learnt a new skill. I had never recorded in the radio studio before so this was a first experience for me. After acquiring this new skill I was instructed to teach others. This has made me confident that this skill will be there for time to come.

In order to make this radio drama I had to work as part of a team. My team only had two members so the work was easy to divide. It was difficult at first to find original ideas but when we had the script written then rest went like clockwork. I felt that I was a good team member as I was open to ideas and took on board my partner’s opinions.

Finally, my targets for next time. This section is hard for me as I feel that we have worked well together and created a successful, professional product. My only target would be to take my time and not rush things, as that way I can insure quality over quantity.