1
ACT1SCENE1
NO!
Radio has no“scenes”in the way a stage play has.A sequence in a radio play might be one line long,or last for 20 pages but no single sequence should go beyond its natural length.Beware of boring the listener.Radio is fatally easy to turn off.
1
第一幕第一场(广播剧爱好者的写法,以下相同)
错!(BBC的评价,以下相同)
广播剧并没有像舞台演出那样的“场景”概念。一个片段在广播剧中可能只有一行长,或者是持续二十多页,但是没有一个单独的片段能够超越它自身的自然长度。千万别招听众烦,广播剧最致命的一点就是很容易被关掉。
2
GEOFF,CAROL,ALICE,ROGER AND RICH ARD ARE IN A CROWED PUB WITH SOME OTHER FRIENDS.
NO!
The only means of establishing a character's presence is to have ' them speak or be referred to by name.If there are too many characters in a scene the listener will lose track.
2
乔治、卡罗、爱丽丝、罗杰和理查德和另外一些朋友在一个拥挤的酒馆里。
错!
角色出场的唯一方法是让他们自己说话或是被别人提到他们的名字。如果一个场景中有太多角色很容易让听众失去头绪。
3
GEOFF(LOOKING ANGRILY AT IRENE,HIS PALE FACE FLUSHED),“I WILL NOT.”
NO!
“Stage directions”for the producer's or actor's benefit are to be avoided.If it is important it should be there in the dialogue.
3
乔治(愤怒地看着艾瑞尼,他苍白的脸变得通红):“我不想。”
错!
“舞台”式的指导内容对于制片人或是演员来说最好省略掉(译者:可能考虑到演员演播时会分神),如果这种“舞台”式的指导内容特别重要,应该把它放在人物的对话里。
4
A CAR DRA WS UP.ENGINE OFF.DOOR OPENS AND SHUTS. FEET WALK TO THE FRONT DOOR.KEY IN THE LOCK.DOOR OPENS.FEET WALK DOWN THE HALL TO THE KITCHEN.“I’M HOME DARLING.”
NO!
Sound effects should be used sparingly.They should work with the dialogue.Out of context they will mean little.Effects are useful in setting a scene but the sign posts must be subtle.
4
一辆汽车停下来。关掉引擎。门打开又关上了。脚步声走到前门。钥匙在锁里转动。门打开了。脚步声穿过大厅走向厨房。“我回来了,亲爱的。”
错!
音效的使用应该非常谨慎,音效首先是服务于对话的。离开了对话的上下文环境,音响就什么也不是。音响效果对于建立一个场景非常重要,但是一定要注意,在什么地方插入音效应该处理得非常精细。
5
GEOFF’S BREATHING IN THE PHONE BOX BECO MESMORE LABOURED,PAINFUL.BEHIND HIM A SYMPHONY ORCHESTRA ,AT FIRST QUIETLY,PLAYS MAHLER’S FIFTH.BRING UP INTERIOR OF ALBERT HALL.
YES,THINK IN SOUND!
Plays which are set mostly in one location with a lot of talk will sound dull on radio without the visual stimulus of the theatre.So a variety of sound is essential for holding the listener’s attention and engaging their imagination.This can be achieved by varying the lengths of scenes,number of people speaking,pace of dialogue,volume of sound,background acoustics and locations.
For example on radio,one room sounds very like another,if they’re about the same size,but the difference between an interior and an exterior acoustic is considerable.Also the contrast between a noisy sequence with a number of voices and effects and a quiet passage of interior monologue,is dramatic and effective.
5
乔治在电话亭中的呼吸变得更沉重,更痛苦了,他之后是一曲交响乐。首先是寂静,然后开始演奏马勒的第五交响曲,将人们带入阿尔伯特演奏厅(7)内部。
对了,这是在用声音思考!
由于没有剧院里那种视觉上的刺激,那种在一个场景里不停地说很多话的剧情在广播中听起来太沉闷了。所以多变的声音形象对于吸引听众注意力、诱发听众想象力就非常重要了。我们可以通过变换场景的长度、说话人物的数量、对话的节奏、声音的音量、背景的声音以及环境音响等方式来实现声音形象的变化。
例如在广播上,一个房间听起来非常像其他同样大小的房间,但是在房间内部和外部的声学特征却会有很大不同。还有就是一个有很多人说话、很多音响的喧闹环境与一段安静的内心独白之间的对比也是颇具戏剧色彩和生动效果的。
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