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Audionarratology: Lessons from Radio Drama de Lars Bernaerts

Audionarratology: Lessons from Radio Drama: THEORY INTERPRETATION NARRATIV

Editat de Lars Bernaerts, Jarmila Mildorf
en Limba Engleză Hardback – 21 iul 2021
Radio drama has been around for more than one hundred years and is still vibrant in many countries. A narrative-dramatic genre and art form in its own right, radio drama has traditionally crossed medial and generic boundaries and continues to do so in our age of digitization. Audionarratology: Lessons from Audio Drama, edited by Lars Bernaerts and Jarmila Mildorf, explores radio drama from a narratological angle. The contributions cover key questions surrounding audiophonic meaning-making, storyworld creation, mediation, focalization, suspense, unreliability, and ambiguity as well as the relationship between script and performance, seriality, antinarrative tendencies, and radio drama’s political implications now and in its early days. The book thus explores the interplay between sound, voices, music, language, silence, electroacoustic manipulation, and narrative structures. Providing examples from American, Australian, British, Dutch, and German radio drama—such as I Love a Mystery, The War of the Worlds, and The Hitchhiker’s Guide to the Galaxy—this book has important insights for scholars working in transmedial narratology, media studies, literary and cultural studies, theatre and performance studies, and communication studies as well as for practitioners and lovers of radio drama alike.
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Specificații

ISBN-13: 9780814214725
ISBN-10: 081421472X
Pagini: 248
Ilustrații: 2 b&w illustrations
Dimensiuni: 152 x 229 x 23 mm
Greutate: 0.48 kg
Editura: Ohio State University Press
Colecția Ohio State University Press
Seria THEORY INTERPRETATION NARRATIV

Recenzii

“Audionarratology is an innovative volume that opens up an exciting new field in the rapidly expanding area of transgeneric and transmedial narrative theories. If you don’t yet know what such concepts as auricularization, earwitnessing, or soundscapes mean, read this collection of original essays and you’ll find out what interesting lessons can be learned from the study of radio drama.” —Ansgar Nünning
“Edited by two authorities of aurality in narrative, Audionarratology asks how a fictional world can be projected by the sole means of voice and sound. The essays in this book intervene in topical debates within transmedial narratology and introduce audiodrama to the affordances of narratological analysis. A must-have for radio play afficionados.” —Monika Fludernik, co-editor of Postclassical Narratology: Approaches and Analyses 

Notă biografică

Lars Bernaerts is Associate Professor at Ghent University in Belgium.
Jarmila Mildorf is Associate Professor at the University of Paderborn in Germany.
 

Extras

The crystal-clear sound of water being poured into a glass. Someone whistling on his or her fingers. Then, a voice, asking a question: “Can you recover from a scare like that?” Someone answers: “They buttoned up my jacket and pulled it down over my shoulders, so I couldn’t move my arms anymore” (Handke 1991: 197). The experimental radio play Hörspiel (1968) by the Austrian playwright Peter Handke showcases and at the same time undermines the way the audiophonic, dramatized narratives we call “radio play” or “audio drama” can conjure up a setting, characters, actions, and events. The display already starts in the self-conscious title “Hörspiel” (“radio play”) and is continued in the use of sound, voice, and dialogue in the opening lines. Still, the picture painted by these auditive signs is not coherent: Is the person whistling also the one who pours the water? Is the whistle associated with fear, as the subsequent question intimates? The male character testifies about a violent cross-examination, which forms the central narrative anchor point in the piece. Although the listener is eager to learn why this man is interrogated and tortured (with language being one of the weapons used), the radio play offers little explanation. It strings together seemingly random familiar sounds, fragments of music, voices of interrogators, and the answers by the interrogated man. We hear the sound of a toy trumpet, breaking glass, someone biting an apple, and a variety of musical instruments without a direct connection to the cross-examination, which itself is already fragmented. Still, all these sounds have a narrative potential, as they suggest actions, events, objects, agents, and affects in a story world. This radio play emphatically demonstrates the narrativity of audio drama. The metanarrative reflection starts with the title and its link to the central narrative situation: The “Hörspiel” (radio play) contains a “Verhör” (interrogation) and requires a “Hörer” (listener). Although there is no extradiegetic voice, the aural mediation of the narrative can be understood as ironic, since it deploys the typical armamentarium of a radio play without the narrative coherence one would expect. In the script, the irony surfaces in the frequent use of “Hörspiel” in the stage directions describing the sounds: “audio-dramatic sound for water,” “audio-dramatic sound for distant wind” (Handke 1970: 87), “audio-dramatic children’s crying” (“Hörspielkindergeschrei”; 91), and so on. The English translation by Robert Goss (Handke 1991) spells out the nature of these sounds in the initial stage directions: “All sorts of radio-drama sound effects used briefly and abruptly—they are never complete” and “sound effects are always used musically rather than realistically—to surprise, not to explain” (197). Indeed, listening to the piece, one forms the impression that these sounds are artificial and stereotypical for the genre. We are alerted to the fact that the curiosity, suspense, and surprise that are part and parcel of narrativity (Sternberg 1992), the tensions in the narrative discourse and the instabilities in the character relations (Phelan 2007), and the gappy, fragmented “unnatural” narration (Richardson 2006) all emerge from audiophonic choices. As this example suggests, narrative theory is well placed to provide basic tools that allow us to investigate the form and functioning of dramatized audiophonic narratives. One could of course raise the question: Why not use drama-analytical tools instead since radio drama, as the name suggests, is a form of drama? It is true that radio drama, especially in its early days, adopted stage drama and followed many of its conventions (see the following). However, in the course of its development, radio drama has also borrowed conventions from film and literary narrative and has brought forth its own media-specific affordances. It can therefore be considered under the aspect of remediation (Bernaerts 2019). Narrative as a feature pervading all these media and genres thus constitutes a perfect conceptual framework within which to analyze radio drama.

Cuprins

Introduction    When Sounds Make Stories: Lessons for Narrative Theory from the Study of Radio Drama
            Lars Bernaerts and Jarmila Mildorf
1          The Audio Dramatist’s Critical Vocabulary in Great Britain
            Tim Crook
Part I Narratological Challenges in Theory and Practice
2          “Stage” Directions in Audio Drama: A Transgeneric Narratological Approach
            Janine Hauthal
3          Narrative Mediation and the Case of Audio Drama
            Lars Bernaerts
4          Earwitnessing: Focalization in Radio Drama
            Siebe Bluijs
5          Simultaneity and the Soundscapes of Audio Fiction
            Caroline
Part II  Narrative Genres and Narrative Experiments in Audio Drama
6          “There Ain’t No Sense to Nothin’”: Serial Storytelling, Radio Consciousness, and the Gothic of Audition
            Harry Heuser
7          Auricularization and Narrative-Epistemic Stance in Louis Nowra’s Echo Point
            Jarmila Mildorf
8          “Arthur Lolled”: Audiophony and Humor in The Hitchhiker’s Guide to the Galaxy
            Olivier Couder
9          Gargantuan Adaptations: Narrative and Non-Narrative Soundscapes in English and German Radio Plays and Radio Operas Based on François Rabelais and Johann Fischart
            Till Kinzel
10        Music, Voice, and (De)Narrativization in Samuel Beckett’s Radio Play Cascando
            Pim Verhulst
Coda  Radio Drama between Mimetic and Diegetic Presentation
            Marie-Laure Ryan
Appendix        List of Radio Plays
 

Descriere

Explores how radio dramas construct narrative through sound, music, language, and voice.