Jane Austen on RadioJane Austen on Radio

Medium-specific characteristics of Medium-specific characteristics of radio playsradio playsConventions of a Jane Austen radio Conventions of a Jane Austen radio adaptationadaptationHow the above determine the ways How the above determine the ways in which a novel is rewrittenin which a novel is rewritten

Radio Drama’s Medium-Specific Radio Drama’s Medium-Specific CharacteristicsCharacteristics

a) Language: Emphasis on dialogue a) Language: Emphasis on dialogue to create and sustain situations to create and sustain situations

b) Voice – used to cover the idiolect b) Voice – used to cover the idiolect of a character; hence emphasis of a character; hence emphasis given to intonation, given to intonation, pronouncing: verbal ‘music’pronouncing: verbal ‘music’

Radio Drama’s Medium-Specific Radio Drama’s Medium-Specific Characteristics (2)Characteristics (2)

c) Noise – sound-effects assume more importance, c) Noise – sound-effects assume more importance, as well as a way to denote settingas well as a way to denote setting

d) Music – not only connoting an atmosphere but d) Music – not only connoting an atmosphere but suggesting certain emotionssuggesting certain emotions

e) Cutting and Fading – helping to structure a e) Cutting and Fading – helping to structure a radio piece as well as denoting changes of settingradio piece as well as denoting changes of setting

f) Mixing – the use of different acoustic signals to f) Mixing – the use of different acoustic signals to generate meaning, for example, when footsteps get generate meaning, for example, when footsteps get louder to denote the approach of a character into louder to denote the approach of a character into the scenethe scene

Listen to this extract from Listen to this extract from EmmaEmma

Note the use of Note the use of soundssounds to set the occasion to set the occasion CuttingCutting and and FadingFading to denote the arrival of to denote the arrival of

the horse and cartthe horse and cart MusicMusic to define Emma’s accomplishments to define Emma’s accomplishments MixingMixing behind Mr. Woodhouse and behind Mr. Woodhouse and

Emma’s dialogue – the crackle of the fire, Emma’s dialogue – the crackle of the fire, the rustle of clothingthe rustle of clothing

What can radio drama do that What can radio drama do that television and film cannot?television and film cannot?

Focus listeners’ attention on the voices Focus listeners’ attention on the voices and/or wordsand/or words

Create situations with a minimum of sound-Create situations with a minimum of sound-effectseffects

Create an atmosphere of intimacy which is Create an atmosphere of intimacy which is especially useful in one, two or three-especially useful in one, two or three-character exchanges (the basic structure of character exchanges (the basic structure of any radio adaptation)any radio adaptation)

Listen to an extract from Listen to an extract from Pride and Pride and PrejudicePrejudice::

Note the overlapping soundNote the overlapping sound Note also the use of ‘Jane Austen’ as a Note also the use of ‘Jane Austen’ as a

narrator. She becomes a character in her narrator. She becomes a character in her own drama; listeners can either trust or own drama; listeners can either trust or question what she tells us. Hence radio question what she tells us. Hence radio drama is very good at stressing ‘point of drama is very good at stressing ‘point of view technique’view technique’

What radio drama cannot doWhat radio drama cannot do

Create large crowd scenesCreate large crowd scenes Focus on nuances of character through Focus on nuances of character through

nonverbal means (cf. the close-up on film)nonverbal means (cf. the close-up on film) Suggest a change of time-location (e.g. Suggest a change of time-location (e.g.

updating updating Pride and PrejudicePride and Prejudice to to CluelessClueless))

What strategies can adapters employ What strategies can adapters employ instead?instead?

An emphasis on contrasting tones of voice An emphasis on contrasting tones of voice to denote character, to show differences of to denote character, to show differences of age, experience, interior reflection, etc.age, experience, interior reflection, etc.

An emphasis on what is NOT said as well An emphasis on what is NOT said as well as what it is said – emphasis on pauses, as what it is said – emphasis on pauses, silences, caesuras: as in this extract between silences, caesuras: as in this extract between Elizabeth Bennet and Darcy in Elizabeth Bennet and Darcy in Pride and Pride and PrejudicePrejudice

Why are classic novels adapted for Why are classic novels adapted for radio, especially on the BBC?radio, especially on the BBC?

Since 1922 the Home Service (now Radio Since 1922 the Home Service (now Radio 4) has regularly broadcast the Classic 4) has regularly broadcast the Classic Serial, as part of the BBC’s wish to inform, Serial, as part of the BBC’s wish to inform, educate and entertain.educate and entertain.

Books are adapted into 3, 4, or even 8 Books are adapted into 3, 4, or even 8 episodes & broadcast in 60-minute episodes & broadcast in 60-minute segments on Sundays at 3 p.m. and with a segments on Sundays at 3 p.m. and with a Saturday repeat at 9 p.m. (currently)Saturday repeat at 9 p.m. (currently)

CastingCasting

Theatre actors and stars in leading rolesTheatre actors and stars in leading roles Members of the BBC Radio Drama Members of the BBC Radio Drama

Company (founded 1940), with specific Company (founded 1940), with specific ‘radio voices,’ appearing in different ‘radio voices,’ appearing in different adaptationsadaptations

Hence listeners are offered the pleasures of Hence listeners are offered the pleasures of familiarity when they hear actors in an familiarity when they hear actors in an Austen adaptation Austen adaptation

StyleStyle

Classic Serials are intended for middlebrow Classic Serials are intended for middlebrow audiences – unlike material on BBC Radio audiences – unlike material on BBC Radio 3, the arts and culture channel – like 3, the arts and culture channel – like Masterpiece TheatreMasterpiece Theatre

Writers should focus on “story, story, story, Writers should focus on “story, story, story, with characters who follow through from with characters who follow through from episode to episode.” Hence the decision to episode to episode.” Hence the decision to create ‘Jane Austen’ as a specific charactercreate ‘Jane Austen’ as a specific character

ModeMode

Passages lifted verbatim from Austen’s text Passages lifted verbatim from Austen’s text spoken direct by the narrator to listeners – spoken direct by the narrator to listeners – as in this extract from as in this extract from Mansfield ParkMansfield Park::

These are used to set the scene as well as These are used to set the scene as well as comment on the preceding actioncomment on the preceding action

Most exchanges conducted as one- or two-Most exchanges conducted as one- or two-person dialogue: partly for the sake of person dialogue: partly for the sake of economy & partly to focus attention on economy & partly to focus attention on character and story, as in this extract from character and story, as in this extract from Sense and SensibilitySense and Sensibility

Sound-effects set the sceneSound-effects set the scene

OutcomesOutcomes

Classic Serials should be narrative-driven, Classic Serials should be narrative-driven, “getting the audience to fall in love with a “getting the audience to fall in love with a character is as important as getting them gripped character is as important as getting them gripped by the story” (BBC Guidelines)by the story” (BBC Guidelines)

By this means classic serials can prompt reflection By this means classic serials can prompt reflection on the relationship between characters and their on the relationship between characters and their author, especially in Austen. “We want the listener author, especially in Austen. “We want the listener to be able to see how characters affect their to be able to see how characters affect their creator” (Michelene Wandor). creator” (Michelene Wandor).

Or sometimes, we are asked to reflect on Or sometimes, we are asked to reflect on the character’s status as narrator/ the character’s status as narrator/ communicator to listeners, as in communicator to listeners, as in EmmaEmma, , where the eponymous central character where the eponymous central character advances the story after having accepted advances the story after having accepted Mr. Knightley’s suit:Mr. Knightley’s suit:

Radio drama lets you fall in love Radio drama lets you fall in love with a character, but also prompts with a character, but also prompts

questioning of their motives and/or questioning of their motives and/or actions. This is why Austen proves actions. This is why Austen proves so enduringly popular as a subject so enduringly popular as a subject

for commissioners & listeners alikefor commissioners & listeners alike