Radio drama
The examples and perspective in this article may not represent a worldwide view of the subject. (December 2020) |
Radio drama (or audio drama, audio play, radio play,
Radio drama achieved widespread popularity within a decade of its initial development in the 1920s. By the 1940s, it was a leading international popular entertainment. With the advent of television in the 1950s radio drama began losing its audience. However, it remains popular in much of the world.
Recordings of OTR (
By the 21st century, radio drama had a minimal presence on terrestrial radio in the United States, with much American radio drama being restricted to rebroadcasts of programmes from previous decades. However, other nations still have thriving traditions of radio drama. In the United Kingdom, for example, the BBC produces and broadcasts hundreds of new radio plays each year on Radio 3, Radio 4, and Radio 4 Extra. Like the US, Australia's network the ABC has abandoned broadcasting drama but in New Zealand on RNZ, continues to promote and broadcast a variety of drama over its airwaves.
Thanks to advances in digital recording and Internet distribution, radio drama experienced a revival around 2010.
The terms audio drama
History
The Roman playwright Seneca has claim as a forerunner of radio drama because "his plays were performed by readers as sound plays, not by actors as stage plays... [I]n this respect Seneca had no significant successors until 20th-century technology made possible the widespread dissemination of sound plays."[5]
1880–1930: early years
Radio drama traces its roots back to the 1880s: "In 1881 French engineer Clement Ader had filed a patent for 'improvements of Telephone Equipment in Theatres'" (
An important turning point in radio drama came when Schenectady, New York's WGY, after a successful tryout on August 3, 1922, began weekly studio broadcasts of full-length stage plays in September 1922,[12] using music, sound effects and a regular troupe of actors, The WGY Players. Aware of this series, the director of Cincinnati's WLW began regularly broadcasting one-acts (as well as excerpts from longer works) in November.[13] The success of these projects led to imitators at other stations. By early 1923, original dramatic pieces written specially for radio were airing on stations in Cincinnati (When Love Wakens by WLW's Fred Smith),[13][14] Philadelphia (The Secret Wave by Clyde A. Criswell)[15] and Los Angeles (At Home over KHJ).[16] That same year, WLW (in May) and WGY (in September) sponsored scripting contests, inviting listeners to create original plays to be performed by those stations' dramatic troupes.[13][17]
Listings in
Serious study of American radio drama of the 1920s and early 1930s is, at best, very limited. Unsung pioneers of the art include: WLW's Fred Smith; Freeman Gosden and Charles Correll (who popularized the dramatic serial); The Eveready Hour creative team (which began with one-act plays but was soon experimenting with hour-long combinations of drama and music on its weekly variety program); the various acting troupes at stations like WLW, WGY, KGO and a number of others, frequently run by women like Helen Schuster Martin and Wilda Wilson Church; early network continuity writers like Henry Fisk Carlton, William Ford Manley and Don Clark; producers and directors like Clarence Menser and Gerald Stopp; and a long list of others who were credited at the time with any number of innovations but who are largely forgotten or undiscussed today. Elizabeth McLeod's 2005 book on Gosden and Correll's early work[20] is a major exception, as is Richard J. Hand's 2006 study of horror radio, which examines some programs from the late 1920s and early 1930s.[21]
Another notable early radio drama, one of the first specially written for the medium in the UK, was A Comedy of Danger by
In 1951, American writer and producer Arch Oboler suggested that Wyllis Cooper's Lights Out (1934–47) was the first true radio drama to make use of the unique qualities of radio:
Radio drama (as distinguished from theatre plays boiled down to kilocycle size) began at midnight, in the middle thirties, on one of the upper floors of Chicago's Merchandise Mart. The pappy was a rotund writer by the name of Wyllis Cooper.[24]
Though the series is often remembered solely for its gruesome stories and sound effects, Cooper's scripts for Lights Out were later recognized as well written and offered innovations seldom heard in early radio dramas, including multiple first-person narrators,
The question of who was the first to write stream-of-consciousness drama for radio is a difficult one to answer. By 1930,
There were probably earlier examples of stream-of-consciousness drama on the radio. For example, in December 1924, actor Paul Robeson, then appearing in a revival of Eugene O'Neill's The Emperor Jones, performed a scene from the play over New York's WGBS to critical acclaim. Some of the many storytellers and monologists on early 1920s American radio might be able to claim even earlier dates.
1930–1960s: widespread popularity
Perhaps America's most famous radio drama broadcast is
In Britain, however, during the 1930s BBC programming, tended to be more high brow, including the works of Shakespeare, Classical Greek drama, as well as the works of major modern playwrights, such as
Producers of radio drama soon became aware that adapting stage plays for radio did not always work, and that there was a need for plays specifically written for radio, which recognized its potential as a distinct and different medium from the theatre. George Bernard Shaw's plays, for example, were seen as readily adaptable.[29] However, in a lead article in the BBC literary journal The Listener, of 14 August 1929, which discussed the broadcasting of 12 great plays, it was suggested that while the theatrical literature of the past should not be neglected the future lay mainly with plays written specifically for the microphone.
In 1939–40, the BBC founded its own
Initially the BBC resisted American-style 'soap opera', but eventually highly popular serials, like
The BBC continued producing various kinds of drama, including docu-drama, throughout
Following World War II the BBC reorganized its radio provision, introducing two new channels to supplement the BBC Home Service (itself the result of the fusion in September 1939 of the pre-war National and Regional Programmes). These were the BBC Light Programme (dating from 29 July 1945 and a direct successor to the wartime General Forces Programme) and the BBC Third Programme (launched on 29 September 1946).
The BBC Light Programme, while principally devoted to light entertainment and music, carried a fair share of drama, both single plays (generally, as the name of the station indicated, of a lighter nature) and serials. In contrast, the BBC Third Programme, destined to become one of the leading cultural and intellectual forces in post-war Britain, specialized in heavier drama (as well as the serious music, talks, and other features which made up its content): long-form productions of both classical and modern/experimental dramatic works sometimes occupied the major part of its output on any given evening. The Home Service, meanwhile, continued to broadcast more "middle-brow" drama (one-off plays and serializations) daily.
The high-water mark for BBC radio drama was the 1950s and 1960s, and during this period many major British playwrights either effectively began their careers with the BBC, or had works adapted for radio. Most of playwright Caryl Churchill's early experiences with professional drama production were as a radio playwright and, starting in 1962 with The Ants, she wrote nine productions with BBC radio drama up until 1973, when her stage work began to be recognised at the Royal Court Theatre.[35] Joe Orton's dramatic debut in 1963 was the radio play The Ruffian on the Stair, which was broadcast on 31 August 1964.[36]
Other notable radio dramatists included Henry Reed, Brendan Behan, Rhys Adrian, Alan Plater; Anthony Minghella, Alan Bleasdale, and novelist Angela Carter. Novelist Susan Hill also wrote for BBC Radio, from the early 1970s.[39] Henry Reed was especially successful with the Hilda Tablet plays. Irish playwright Brendan Behan, author of The Quare Fellow (1954), was commissioned by the BBC to write a radio play The Big House (1956); prior to this he had written two plays for Irish radio: Moving Out and A Garden Party.[42]
Among the most famous works created for radio, are Dylan Thomas's Under Milk Wood (1954), Samuel Beckett's All That Fall (1957), Harold Pinter's A Slight Ache (1959), and Robert Bolt's A Man for All Seasons (1954).[43] Beckett wrote a number of short radio plays in the 1950s and 1960s, and later for television; his radio play Embers was first broadcast on the BBC Third Programme on 24 June 1959 and won the RAI prize at the Prix Italia awards later that year.[44]
Robert Bolt's writing career began with scripts for Children's Hour.[45] A Man for All Seasons was subsequently produced on television in 1957. Then in 1960, there was a highly successful stage production in London's West End and on New York's Broadway from late 1961. In addition there have been two film versions: in 1966 starring Paul Scofield and 1988 for television, starring Charlton Heston.[46]
While
1960–2000: decline in the United States
After the advent of television, radio drama never recovered its popularity in the United States. Most remaining CBS and NBC radio dramas were cancelled in 1960.[50] The last network radio dramas to originate during American radio's "Golden Age", Suspense and Yours Truly, Johnny Dollar, ended on September 30, 1962.[51]
There have been some efforts at radio drama since then. In the 1960s,
Thanks in large part to the National Endowments for the Arts and Humanities, public radio continued to air a smattering of audio drama until the mid-1980s. From 1986 to 2002, NPR's most consistent producer of radio drama was the idiosyncratic Joe Frank, working out of KCRW in Santa Monica. The Sci Fi Channel presented an audio drama series, Seeing Ear Theatre, on its website from 1997 to 2001. Also, the dramatic serial It's Your World aired twice daily on the nationally syndicated Tom Joyner Morning Show from 1994 to 2008, continuing online through 2010.
2000–present: radio drama's "new media" revival
Radio drama remains popular in much of the world, though most material is now available through Internet download rather than heard over terrestrial or satellite radio.[54] Stations producing radio drama often commission a large number of scripts. The relatively low cost of producing a radio play enables them to take chances with works by unknown writers. Radio can be a good training ground for beginning drama writers as the words written form a much greater part of the finished product; bad lines cannot be obscured with stagecraft.
The BBC's sole surviving radio soap is The Archers on BBC Radio 4: it is, with over 18,700 episodes to date,[55] the world's longest-running such programme. Other radio soaps ("ongoing serials") produced by the BBC but no longer on air include:
- Mrs Dale's Diary (1948–69)
- Westway on the World Service (1997–2005)[56]
- Silver Street (2004–10) on the Asian Network
In September, 2010 Radio New Zealand began airing its first ongoing soap opera, You Me Now, which won the Best New Drama Award in the 2011 New Zealand Radio Awards.
On KDVS radio in Davis, California there are two radio theater shows, Evening Shadows, a horror/fantasy show paying tribute to classic old-time radio horror, and KDVS Radio Theater which commonly features dramas about social and political themes.
The audio drama format exists side by side with
The lack of visuals also enable fantastical settings and effects to be used in radio plays where the cost would be prohibitive for movies or television. The Hitchhiker's Guide to the Galaxy was first produced as radio drama, and was not adapted for television until much later, when its popularity would ensure an appropriate return for the high cost of the futuristic setting.
On occasion television series can be revived as radio series. For example, a long-running but no longer popular television series can be continued as a radio series because the reduced production costs make it cost-effective with a much smaller audience. When an organization owns both television and radio channels, such as the BBC, the fact that no royalties have to be paid makes this even more attractive. Radio revivals can also use actors reprising their television roles even after decades as they still sound roughly the same. Series that have had this treatment include Doctor Who, Dad's Army, Thunderbirds[dubious ] and The Tomorrow People. In 2013 BBC Radio 4 released a radio adaptation of Neverwhere by Neil Gaiman, featuring a cast of well known television and film actors.[58] Neil Gaiman has said he was excited about the radio drama adaptation as it allowed the work to be presented with a greater deal of special effects than was possible on television.[59] In the United States, an adaptation of The Twilight Zone aired to modest success in the 2000s (decade) as a syndicated program.
Regular broadcasts of radio drama in English can be heard on the BBC's
In the United States, contemporary radio drama can be found on broadcasters including ACB radio, produced by the
A growing number of religious radio stations air daily or weekly programs usually geared to younger audiences, such as
In addition to traditional radio broadcasters, modern radio drama (also known as audio theater, or audio drama), has experienced a revival, with a growing number of independent producers who are able to build an audience through Internet distribution.[3] While there are few academic programs in the United States that offer training in radio drama production, organizations such as the National Audio Theatre Festival teach the craft to new producers.
The digital age has also resulted in recording styles that differ from the studio recordings of radio drama's Golden Age. Not from Space (2003) on XM Satellite Radio was the first national radio play recorded exclusively through the Internet in which the voice actors were all in separate locations. Other producers use portable recording equipment to record actors on location rather than in studios.[3]
Podcasts are a growing distribution format for independent radio drama producers. Podcasts provides an alternative to mainstream television and radio which does not necessarily require a pitching process to be made and distributed (as these aspects of production can be learned by the creator) and which have no restrictions regarding programme length or content.[54]
Radio drama around the world
Australia
In Australia, as in most other developed countries, from the early years of the medium almost every radio network and station featured drama, serials, and soap operas as staples of their programming; during the so-called "Golden Years" of radio these were hugely popular. Many Australian serials and "soapies" were copies of American originals (e.g., the popular soap
In this period radio drama, serials and soap operas provided a fertile training ground and a steady source of employment for many actors, and this was particularly important because at this time the Australian theatre scene was in its infancy and opportunities were very limited. Many who trained in this medium (such as Peter Finch) subsequently became prominent both in Australia and overseas.
It has been noted that the producers of the popular 1960s
The effect of the introduction of television there in the late 1950s had the same devastating effects as it did in the US and many other markets, and by the early 1960s Australian commercial radio had totally abandoned radio drama and related programming (including comedy, soapies, and variety) in favour of music-based formats (such as Top 40) or talk radio ("talkback"), and the once-flourishing Australia radio production industry vanished within a few years. One of the few companies to survive was the Melbourne-based Crawford Productions, which was able to make the successful transition into TV production.
Despite the complete abandonment of drama and related programming by the commercial radio sector, the government-funded Australian Broadcasting Corporation (ABC) maintained a long history of producing radio drama. One of its most famous and popular series was the daily 15-minute afternoon soap opera Blue Hills, which was written for its entire production history by dramatist Gwen Meredith. It featured many well-known Australian actresses and actors, ran continuously for 27 years, from 28 February 1949 to 30 September 1976, with a total of 5,795 episodes broadcast, and was at one time the world's longest-running radio serial. It was preceded by an earlier Meredith serial The Lawsons, which featured many of the same themes and characters and itself ran for 1299 episodes.
In the 1960s and later, the ABC continued to produce many original Australian radio dramas as well as works adapted from other media. In recent years original radio dramas and adapted works were commissioned from local dramatists and produced for the ABC's Radio National network program Airplay, which ran from the late 1990s until early 2013. In late 2012 ABC management imposed budget cuts and axed a number of long-running arts programs, thereby ending the national broadcaster's decades-long history of producing radio drama (as well as its equally long history of providing daily serialised book readings).
Cyprus
Since around the early sixties the Cyprus Broadcasting Corporation (RIK) features radio plays in the Cypriot Greek dialect. They are called Cypriot (radio drama) sketches and they are mainly about Cyprus's rural life, traditions and customs, its history and its culture. The works are written by established writers, but also from new writers through the Writing Contest of Cypriot Sketches issued annually by CyBC (RIK) [63]
Germany
The first German radio drama was produced in 1923. Because of the external circumstances in postwar Germany in which most of the theaters were destroyed,[
Berlin's Prix Europa includes a Radio Fiction category.[citation needed]
India
Vividh Bharati, a service of All India Radio, has a long running Hindi radio-drama program: Hawa Mahal.
Republic of Ireland
RTÉ Radio Drama is one of the oldest audio theatre departments in the radio world.[65]
Japan
Radio dramas began in Japan in 1925, and enjoyed a great level of popularity after the hit of Tankou no Naka.[66][67][68] This resulted in the NHK hiring famous writers to write radio drama scripts for 500 yen, which in 1930 was equivalent to 1 million yen in the present day.[69]
Due to
Norway
Radioteatret (Radio drama in Norway) has existed since 1926.[71]
Poland
In
Romania
Radio theatre (Teatru Radiofonic [7]) has a long tradition in Romania. The first piece was played in 1929. The 7000+ piece repertoire includes radio adaptations of both Romanian and international books/plays across many genres interpreted by the greatest Romanian actors of the time.
South Africa
Radio broadcasting began in South Africa in 1924 and remained the dominant broadcast medium in the country until the late 1970s. Created by an act of Parliament in 1936, the South African Broadcasting Corporation (SABC) aired radio dramas along with news and British content in Afrikaans and English. Radio drama became more prominent with the launch of Springbok Radio, an English and Afrikaans commercial station operated by SABC between May 1950 and December 1985.
The SABC launched Radio Bantu in 1960s, broadcasting first in isiZulu and soon followed by other African languages, intended to serve as the apartheid state's propaganda channel. However, radio drama broadcast in African languages contributed to subverting the apartheid government by shaping culture and identity while challenging apartheid ideologies. Radio dramas were not subjected to the same level of apartheid editorial scrutiny, and therefore provided a forum for ideas without openly addressing politics.[77] Radio drama evolved with changing socio-economic contexts. Female characters began to feature more prominently.[78]
Radio drama continues to be a mainstay of South African radio. SABC's drama studios in each of the country's 9 provinces produce dramas for all 19 SABC radio stations.[79] Recognizing radio's reach, some private sector entities have also invested in radio drama, such as Standard Bank's 5-minute Iketsetse Zenzele radio drama which aired for 8 years to raise awareness about financial literacy, fraud, and cybercrimes.[80] Non-governmental organizations widely use radio drama as part of campaigns for health awareness and rights activism, such as the long-running Soul Buddyz series focused on adolescent health,[81] Masiphephe Radio Drama addressing gender-based violence,[82] and the Plague in the Time of King Kapital and Queen Corona focused on Covid-19 awareness.[83]
Thailand
A low power radio station "M.C.O.K. Radio 2" (formally Pira FM) introduces a new programming block called M.C.O.K. Television – aims to replace the regular evening music programmes. The programming block is composed of British radio dramas and an Audio-Described version of British TV programmes such as Doctor Who, EastEnders and Horrible Histories.
Since 1 November 2021, Radio dramas were scrapped and replaced with more (Audio-Described) programmes – All At Sea, Dad's Army, Mrs. Brown's Boys and The Outlaw. The radio station broadcasts on 87.2 MHz every evening / late night. Due to the nature of low-power VHF propagation, the coverage is very limited, the radio station can be heard only in Lat Luang (Bangkok / Samut Prakan area). It is the first radio station in Thailand to broadcast both English radio / TV programmes on FM.
Mainland China
Before 2010, radio dramas on mainland China were usually performed by organisations associated with the Chinese Communist Party, such as the Central Radio Drama Troupe (Chinese: 中央广播剧团), which was founded in 1954.[84] Their content was also deeply related to the historical events of the corresponding period and they largely served as propaganda. 10,000 Pieces of Clipboards (Chinese: 一万块夹板), produced by the China National Radio in 1950 to commemorate the Feb 7 General Strike (Chinese: 二七大罢工), is considered to be the first radio drama after the CCP established the regime in mainland China. Similar radio dramas include The North Korean Zoya - Kim Yu Ji (Chinese: 朝鲜丹娘——金玉姬) and Thanks to Stalin (Chinese: 感谢斯大林).[85]
With the development of the Internet and the spread of Japanese ACG culture, ACG fans on mainland China began to independently produce radio dramas at around 2010. These radio dramas are usually not broadcast on radio stations, but uploaded to online audio platforms like MissEvan.[86]
See also
- Amateur voice acting
- BBC Radio 4
- BBC Radio 4 Extra
- Books on the radio
- Closet drama
- Full cast audiobook
- List of BBC Radio programmes adapted for television#Television to radio transfers
- List of films based on radio series
- List of radio soap operas
- Performance art
- Pingshu (Chinese performing art often heard on radio)
- Podcasts
- Radio comedy
- Radio programming
- Saturday Night Theatre
- Television play
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- ^ 李奕. "剧动广播——中国广播剧发展历程大事记". 中国广播剧研究会. Retrieved 2023-11-15.
- ^ 肖映萱 邹梦云. "中文广播剧进化史:从"为爱发电"到"声音经济"". 澎湃新闻. Retrieved 2023-11-15.
Further reading
- Tim Crook, Radio Drama: Theory and Practice. London; New York: Routledge, 1999.
- Armin Paul Frank, Das englische und amerikanische Hörspiel. München: Fink, 1981.
- Stephen G. Eoannou, Yesteryear: SFWP, 2023. ISBN 9781951631192
- Walter K. Kingson and Rome Cowgill, Radio Drama Acting and Production: A Handbook. New York: Rinehart, 1950.
- Karl Ladle: Hörspielforschung. Schnittpunkt zwischen Literatur, Medien und Ästhetik. Wiesbaden: Deutscher Universitäts-Verlag, 2001.
- Sherman Paxton Lawton, Radio Drama. Boston: Expression Company, 1938.
- Peter Lewis (ed.), Radio Drama. London; New York: Longman, 1981.
- Dermot Rattigan, Theatre of Sound: Radio and the Dramatic Imagination. 2nd edition. Carysfort Press, 2003.
- Neil Verma, Theater of the Mind: Imagination, Aesthetics, and American Radio Drama. Chicago: University of Chicago Press, 2012.
External links
- Audio-Drama.com A directory of audio drama websites.
- The Audio Drama Production Podcast Instructional podcast on the production of audio drama.
- The Well-tempered Audio Dramatist Treatise on writing, producing, performing and directing audio plays in the 21st century.
- Necrology of Old Radio Personalities (archived at the Wayback Machine)
- National Audio Theatre Festivals Radio drama workshop.
- MissEvanLargest online radio drama platform in Mandarin
- Classics Radio DramaRadio drama produced by RTHK in Cantonese and English