This study provides an in-depth exploration of the dramaturgical
practices of radio drama and their underlying philosophical
assumptions. By presenting an analytical model drawn from
phenomenology, it challenges the current understanding of the
medium, instead focusing on the bodily and aural aspects of radio
drama, while offering a critique of the conventions of
dramaturgical practice for neglecting these affective sonic
aspects. Tracing these conventions through the history of the
development of radio drama, it proposes that a more bodily,
resonant mode of radio dramaturgy is best placed to meet the
demands of the current era of digital production and distribution.
The book also examines a number of approaches to creating a more
embodied experience for the listener. -- .
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