Long before television, people got their entertainment from radio shows. They’d gather to listen to “The Shadow,” or “Abbott & Costello,” “Gunsmoke,” or “Superman”. Today’s radio shows like “A Prairie Home Companion” still use the basic format of the early radio shows.
SFX (or Sound Effects) are used in these shows to create characters, setting, and genre. The SFX are performed by a Foley Artist who specializes in creating these sounds. Foley Artists got their name after Jack Foley who was a pioneer of sound effects in the first films with sound. The same process is used for films when SFX are dubbed-in in post-production.
What do we do?
In groups you will create short pieces for radio. You’ll need to use correct radio format, dialogue, SFX, and music to make your story come alive in the genre of your choice. The draft of your piece is due December 1 and we’ll hear these scenes in class on December 11 and 12. After Winter break, we will revise, rehearse, and perform these pieces for a live audience. Remember that as you create your piece that it must be performed LIVE.
Who does what?
While everyone in the group must contribute to the creation and performance, one will take the lead in each of these areas:
DIRECTOR Takes the lead in directing the scene.
HEAD WRITER Takes the lead in the writing of the piece.
FOLEY ARTIST Performs mostly SFX. Organizes all SFX making sure everything is in place for the live performance.
HEAD OF MUSIC Takes the lead in finding and bringing in music for the piece. Music may be performed live or recorded, but must be rehearsed into the performance with attention to cues and sound levels.
Timeline
Nov 29-Dec 4 Intro, samples, sound stories, radio script format
Dec 6-1 Writing
Dec 13-15 Complete scenes by 12/10 read in class12/10 & 13
Dec 14 Field Trip to Cygnet Theatre for Foley/SFX workshop with Scott Paulson
WINTER BREAK!!!
Jan 3 & 4 Review/Revision
Jan 5 & 6 Rehearse
Jan 7 Performances
RADIO PLAY RUBRIC
The score for the writing of your Radio Play will be the same for the group. Individual grades will be assessed for the performance and the combined scores will make the final grade. Each category below will be scored out of 10 possible points.
Writing Rubric
- Conflict - One central conflict drives the story. The characters work hard to overcome the problem and the story ends once the
conflict is resolved.
- There is one main character who is the center of the story.
- Character names are used early in the piece to establish which voice belongs to which character.
- The role of each character is clear.
- Each character has a clear objective and is necessary to the story.
- Language is distinct to individual characters. We hear them and know immediately which character they are.
- Personal details are included that reveal different personalities.
- Genre - Uses character voices, SFX & music to establish the style.
- Setting - Use dialogue and SFX to clearly establish time & place.
- Action - Uses dialogue and SFX to indicate what is happening physically.
- Dialogue - Moves the story forward and sounds realistic.
- Plot - The story progresses with LOGIC. Scenes build to a climax as the Main Character tries to overcome the conflict.
- Format - Correct format is used. See handout.
- Presentation - Spelling, punctuation, emphasis and stage directions are accurate.
- Revision - Suggestions for strengthening the play are included or otherwise addressed.
Performance Rubric
- Actors are focused and on top of all cues and SFX.
- Voice performance requires great energy.
- Characters are created through sound only so each character must sound distinct.
- All aspects (SFX, Walla Walla, Dialogue) are well-rehearsed and the performance is smooth.
Radio Play Format
Pay close attention to the way your radio play looks on the page.
Follow the guidelines below carefully.
Episode Title Goes Here 1.
INTRO:
1. MUSIC: THE PROGRAM THEME. ESTABLISH.
CONTINUE UNDER BUT DUCK FOR VOICES.
2. ANNOUNCER: It’s time for….etc…Today’s story:
“Episode Title Goes Here”
3. MUSIC: ACTION THEME. UP FULL. FADE.
SCENE ONE: EXT. TRAIN STATION – DAY
4. SOUND: SOUND EFFECT GOES HERE.
5. ANNOUNCER: Blah blah blah – use underline for
emphasis. Start the next line under where
the first started. (note how Blah, emphasis,
the and the line up under each other here.)
6. SFX: FOOSTEPS RUNNING. SFX IS
SHORT FOR SOUND EFFECTS.
7. CHARACTER#1: (DIRECTION TO ACTOR) Blah
blah, blah. Do use the character’s name.
8 SOUND: SWORDS UNSHEATHED, REPORTERS
GASP.
As you start a new page, the numbers along the left margin begin again. The format continues below as if it were page 7
7.
SCENE NINE: INT. MUSIC HALL – MOMENTS LATER
1. MUSIC: EXOTIC THEME. CONTINUES UNDER.
2. ANNOUNCER: Blah, blah, blah…. Please note that each new page
restarts the numbering scheme for ALL CUES.
This allows quick reference to “page 4, cue 2”
when rehearsing.
3. MUSIC: WAIT UNTIL EXOTIC THEME CONCLUDES.
4. SOUND: APPLAUSE. AUDIENCE WALLAWALLA.
CONTINUE UNDER.
5. CHARACTER#3: Blah blah blah. (FADING)
6. MUSIC: CLOSING THEME. CONTINUE UNDER.
7. ANNOUNCER: Join us again next week for another exciting adventure
of “The Program Name Goes Here.” This has been a
production of the Fabulous Student Radio Network.
Book Fair Wish List for Drama
We would love to have multiple copies of any/all of the titles below.
Oxford English Dictionary
Webster's Dictionary
The Complete Works of William Shakespeare - The Riverside Edition is preferred but others are great too!
Audition by Michael Shurtleff
Fox in Socks by Dr. Seuss - read this out loud for articulation exercize!
Plays - any and all plays
Musical Scores & Soundtracks
Glee - vocal selections
Our Town Project – 7th Grade 2010
For our biggest project this semester, we will study, re-imagine, and perform scenes from “Our Town” by Thornton Wilder.
What will we do?
- Read the play in class.
We will do exercises along the way to identify devices and conventions. We will journal to make personal connections and brainstorm ideas.
- Write our versions of the play.
Each student will choose two selections from specific parts of the play and write their version. One piece will be in monologue form, the other a scene.
- Perform!
Once the scenes are finished, we will put the play together using our writing and segments from the original play to create our version of the play. The final product will come together in performance when both classes from each team perform together.
Timeline
Week One – Reading & Journaling
Week Two – Complete readings, Begin writing scenes
Week Three – Review & Revise scenes. Begin writing monologues
Week Four – Review & Revise Monologues.
Week Five – Auditions & Production meetings
Week Six – Blocking & Rehearsals
Week Seven – Rehearsals
Week Eight – Final rehearsals incorporate all elements
Week Nine - Performances
Grading
Grades will be based on writing assignments, deadlines and performance.
Carpe Diem!
Below are scripts for each team as of 10/20/10. The Stage Manager's sections have been inserted where they fit in the script.
If you need any copies of your script please print from here.
Note that page numbers will not be the same as the working scripts we have in class.
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10.31Elizondo_Alli.doc Size : 178 Kb Type : doc |
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10.31Strong_Zimmer.doc Size : 200.5 Kb Type : doc |
Below is a pdf of the original script by Thornton Wilder.
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Our Town.pdf Size : 0.422 Kb Type : pdf |
Notes:
We decided that we would use a basic costume and add simple pieces to help indicate which character each actor is playing.
The Gibbs family pieces will be BLUE.
The Webbs family pieces will be GREEN.
All other characters' pieces should be any other color.
COSTUME PIECES SHOULD BE IN THE DRAMA ROOM BY TUESDAY, 10/26
Scene Breakdown for Group A & Group B.
Please write scenes from your assigned section. If you want to write a
second section, you can earn extra credit. Focus on scenes. The Stage
Manager’s long speeches will be a separate assignment.
Group A – period 2 & period 5
Section A1 – Page 1- 13
From Stage Manager: This play is called “Our Town.”
To Stage Manager: Thank you Mr. Webb.
Section A2 – Page 19 – 23
From Mrs. Soames: Goodnight Martha.
To Stage Manager: That’s the end of the first act folks. You can go
and smoke now, those that smoke.
Section A3 – Page 32 – 37
From STAGE MANAGER: Thank you very much, Mr. and Mrs. Webb
To GEORGE: (Taking up the books from the counter.) I'm ready.
Section A4 – Page 43 – 50
From STAGE MANAGER: This time 9 years have gone by, friends,
summer, 1913.
To STAGE MANAGER: We'll begin at dawn. You remember it had
been snowing for several days; but it had stopped the night before,
and they had begun clearing the roads. The sun's coming up.
Group B – period 3 & period 4
Section B1 – Page 13-18
From Stage Manager: Now we’ll go back to the town
To George: Yes Pa.
Section B2 – Page 24- 31
From Stage Manager: Three years have gone by.
To MR. WEBB: Since the cave man: no bridegroom should see his
father-in- law on the day of the wedding, or near it. Now remember
that.
Section B3 – Page 37 – 42
From STAGE MANAGER: Well, Now we're ready to get on with the
wedding.
To STAGE MANAGER: That's all the Second Act, folks. Ten minutes'
intermission.
Section B4 – Page 51 – 56
From EMILY: (With a cry; rising.) There's Main Street... why, that's
Mr. Morgan's drugstore before he changed it!... And there's the livery
stable.
To end of play.
Group A Group B Section 1 Section 2 Section 3 Section 4
Writing inspired by Our Town – Preparation
Your reimagined scenes will fit together with the other class’ scenes to create your team’s version of Our Town. To make this work we must make sure that the information from each section of the play matches what we create. Dig deep into the original scene for the following information. Use the back or attach another page as needed.
1) Who is in this scene? List all characters
2) What is the setting?
3) What information is revealed in this scene? This information must be included in your version.
4) What conventions did Thornton Wilder use in the original? Give at least one example.
5) How will you use these conventions in your re-imagining of the scene? Be specific.
6) List imagery found in the original scene.
7) What imagery will you include in your version?
You gotta love life to have life and you gotta have life to love life. Stage Manager Act 2
Format
We’ll use the same format that the script uses with one exception. Please pay close attention to the example below.
Act # Section # Replacing pages # to #
By, Name & Period #
Characters: List ALL Characters in the scene. Use the same names as in the original
play for continuity.
Setting: We will use the spare settings that Thornton Wilder described in the
original script so you can use a table and chairs or a ladder to show the
upstairs but most props are mimed. Do describe where & when the scene
takes place in this part of the script.
At rise: What is happening when the scene begins.
CHARACTER: Start the line of dialogue on the same line as the CHARACTER’s
name.
(Stage directions should be in parentheses.)
CHARACTER: Remember to write dialogue in the way the characters speak.
There’s a space between the end of a line of dialogue and where
the next character speaks.
Remember to write all CHARACTER NAMES in all capitals unless it’s in a line of dialogue.
If your section changes locations, include a stage direction.
Number the pages.
SUPER IMPORTANT!!!
Name and Save your scene as :
P#LastnameAct#Section#pgs#_# For example: P3LibbyA1pgs1_5
Use the same Neosmart every time and use the file # that is your class period.
Example: You use Room #8, Neosmart #4. You have Drama 5th period so your work is on file #5.
Save your work on the class computers.
There is a folder on the desktop of each class computer. Open the folder and then open the Word document. Save your file at the end of the previous scene. Remember to save your file exactly as above on the word document.
