Titlebook: Radio Drama; Ian Rodger Textbook 1982Latest edition Macmillan Publishers Limited 1982 drama.film and television.radio drama

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The Conflict between Theatre and Radio,e theatre could and did presume his audience to be possessed in common of certain received opinions and prejudices. This audience with its shared experience of life could be relied upon to appreciate the dimensions of the dilemma of a tragic hero who enjoyed or endured similar options and circumstan

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The Revolution in Diction,d the theatre. But radio’s need to provide entertainment for the mass audience also required a style of literary and dramatic diction and of performance which was closer to the idiom of ordinary speech. It could not support a style of diction which was too refined or socially remote. The caricatures

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The Arrival of the Poets,ion of radio as a market for literary and dramatic talents was diminished. But during the war, radio had become a great cultural force and the focus of attention of any thinking man or woman. It had not merely become the national theatre, offering under Gielgud’s direction a repertoire which include

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The Influence of Features,of conscious intention on the part of the writers or of deliberate policy on the part of the BBC. During the period from 1945 until 1953, when television at last superseded radio as the mass entertainer, most of the important inventive work was written for features rather than drama. Peter Black rem

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