The promise of performance: True Love/Real Love

Boon, Richard; Plastow, Jane; Soyinka, Wole

doi:10.1017/cbo9780511554209.011

Cited by 5 publications

(3 citation statements)

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“…2. Developed through the 1960s, and pioneered by directors and playwrights such as Ken Loach, John Osborne and Alan Sillitoe, the approach is heavily improvisational and adheres to strict realist goals (Heritage, 1998). The approach influenced domestic British television production, especially melodrama, yet the extent to which it resonates with the expectations of the Nepalese audience remains a moot point (cf.…”

Section: Fundingmentioning

confidence: 99%

Radio sound and social realism

Skuse

2011

International Communication Gazette

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This article explores the use of sound in the context of two BBC World Service development-focused social realist radio drama productions in Afghanistan ( New Home, New Life) and Nepal ( Sweet Tales of the Sarangi). It examines the various ‘sound strategies' employed to enhance the realist aspirations of the productions, while examining the ‘creative labour’ employed in crafting discrete ‘acoustic environments' or ‘soundscapes'. It argues that sound helps to index narrative, but in doing so suggests that too specific a rendering of sound environment may confound the abilities of listeners to construct a satisfying sense of place and therein affect any sense of social realism derived.

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Section: Fundingmentioning

confidence: 99%

Radio sound and social realism

Skuse

2011

International Communication Gazette

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“…the production is realist because it is authentic employs the 'tags' of social realism) by dramatists but Katha Mitho Sarangika approaches its craft from a radically alternative angle. It is inspired by traditions of British TV 'kitchen sink' social realism that developed through the 1960s, and pioneered by directors and playwrights such as Ken Loach and John Osborne, combined with the improvisational and participatory methods of forum theatre (Heritage 1998). 6 Whether the use of such improvisation and non-professional actors in Katha Mitho Sarangika adds to the sense of realism generated by audiences remains a moot point.…”

Section: 'On Location': Capturing Voices Sound and Social Realismmentioning

confidence: 99%

Sweet tales of the Sarangi: creative strategies and ‘cosmopolitan’ radio drama in Nepal

Skuse

2010

South Asian Diaspora

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This paper examines the production of a development-oriented BBC World Service Trust Nepal radio drama entitled Katha Mitho Sarangika (Sweet Tales of the Sarangi). It positions this drama as an example of cosmopolitan cultural practice in that its writers and editors engage explicitly in a negotiation or a 'working through' of cultural differences as they strive towards their twin drama and development goals of communicating 'positive' social and behavioural change, such as conflict reduction, good governance and the observance of human rights. The paper identifies a range of creative strategies employed by the producers in their attempts to link a wide range of culturally, linguistically and geographically distinct locales and situations deemed representative of contemporary Nepal. It is suggested that such 'linking strategies' mobilise transnational cultural capital and a range of professional competencies, the most notable of which is a willingness to interpret and represent diverse castes, cultures and ethnicities.

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“…I begin to describe the work that I have been doing for 10 years in the Brazilian prison system. Starting with a poem by a prisoner that formed the basis of a series of theatre projects that I set up in Brasília (see Heritage 1998a:31 -43) through to a performance of Romeo and Juliet with a Brazilian soap opera star and a group of juvenile offenders in Rio de Janeiro (see Heritage 2002). There is genuine incomprehension among the prison directors.…”

Section: Project Proposal Staging Human Rightsmentioning

confidence: 99%