Matakuliah
Tahun
: O0372 - Dasar-Dasar Produksi Siaran Radio
: 2010
DRAMA and DRAMATIC ELEMENTS in
RADIO PRODUCTION
Books: “Modern Radio Production” by Hausman, Benoit,
Messere, & O’Donnell: Chapter 11
Pertemuan 8
INTRODUCTION
• A Radio drama creates images in the mind that can
furnish a much more vivid picture that can be
produce by even the most sophisticated television
production company.
• Understanding of radio drama provides an inside
into techniques of inserting dramatics elements into
commercial, news, and Public Affair programs.
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THE STRUCTURE of DRAMA
•Action
– In radio, action must be potrait trough sound. Fighting scenes can be
potrait by the smacking of gloves.
•Dialogue
– Dialogue provides most of the information and meaning in a scene,
and they describe most of the action.
•Plot
– The story line; each scene of action or dialogue must move the plot
along and reinforce the message.
•Beginning, middle, and end
– Drama usually has a sequence of events and a conclusion. This is
known as a denouement, which is the resolution of the conflict.
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THE STRUCTURE of DRAMA
•Conflict
– It doesn’t always have to be a struggle between two people
(melodrama). It can consist of a persons struggle to
overcome something.
•Suspense
– It’s what compels us to keep listening. To achieve
suspense, plot writers refrain from providing conflict and
resolution at the same time.
•Exposition
– Is the process of imparting information. It must be reveal
in a logical and realistic fashion of details.
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ROLE of DRAMATIC ELEMENTS in
COMMERCIAL PRODUCTION
•Capturing attention
– In the radio commercial, a dramatic scene engages the
listeners and drives home a point, because all of us are
interested of how’s life unfold
•Compressing time
– Using SFx to compress time.
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ROLE of DRAMATIC ELEMENTS in NEWS
PRODUCTION
• Although a news producer must be extremely
careful not to mislead listener or to falsify
information for the sake of the dramatic impact,
judicious use of dramatic elements is certainly
acceptable, such as a story on beachfront pollution,
for example, can be bolster with the SFx of the
plantive call of seagulls.
• As long as they are tastefull and not deceiptive, it
can significantly freshen up what might otherwise
be a stale area of radio production.
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TECHNICAL CONSIDERATIONS of RADIO
DRAMA
•Giving the illusion of place
– By place, we mean the location of the actors. The proper
illusion of place is determine by mic technique. The
producer will have to move actors farther from and closer
to the mic to achieve the proper effect.
•Giving the illusion of movement
– By movement, we mean their physical movement trough
space.
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TECHNICAL CONSIDERATIONS of RADIO
DRAMA
•
Making the background a fabric of believability
–
–
•
The sound we hear (or ignore) as everyday background noise would be
far too intrusive for a radio drama.
Have the sounds move in and out of perspective. This weaving of sound
is accomplish by preplanning and careful execution of audio levels, to
make it believable.
Mic techniques to achieve illusions of place and movement
–
The ideal set up for radio drama in which actors much deal with place
and movement is to suspend the mic from a boom and group the actors
around it.
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TECHNICAL CONSIDERATIONS of RADIO
DRAMA
• Sound Design
– Always keep in mind that radio drama is an illusion.
– It doesn’t just happen. It has to be created.
– It consist a certain amount of technical skill and planning
from the producer to make it believable.
– It is a long process and must be planned with the final
product visualize at every stage.
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