Radio Drama Unit

Radio Drama Unit

By Anne Flinders

Level of Experience: Beginning

[This unit has Sections that were planned to be taught in lessons or lesson segments to accommodate a 45-minute daily class schedule. The segments can be separated and/or combined as needed.]

Unit Objective

Students will be able to identify and use projection, diction, and vocal variations of rate, pitch, tone, inflection and emphasis by performing a radio drama for their classmates.

NationalContent Standard #2:

Acting by developing basic acting skills to portray characters who interact in improvised and scripted scenes
b) Students demonstrate acting skills (such as sensory recall, concentration, breath control, diction, body alignment, control of isolated body parts) to develop characterizations that suggest artistic choices
c) Students, in an ensemble, interact as the invented characters

State Standard Objective 2:

VOICE Develop expressive use of the voice. a) Demonstrate a clear voice when communicating in performance. b) Explain the elements of voice and speech production; e.g., intensity, pitch, rhythm, volume.

District I CANS: Stage VoiceI CAN:

Define the vocal qualities of: projection, rate, diction, and expression.
Demonstrate correct use of my voice when performing.
Utilize my voice to further develop my character.

During Performance I Can:

Speak clearly, using good articulation.
Control the rate of my speech.
Demonstrate vocal variety for my character.

Big Idea:

Vocal variety is a major part of creating a believable character.

Essential Questions:

How does the way we use our voices help others understand what we are trying to communicate?

Enduring Understanding:

We can convey a variety of meanings to the same words using vocal variety in many settings outside of theatre practice.

Unit Introduction

Lesson Objective

Students will be able to discuss what they can learn from radio drama performance that can be useful to stage acting.

Hook

Play the following clip to 5:15. [Inform the students that the clip was recorded live, and is old, so they will have to listen carefully.]

[The Shadow: He Died at Twelve]

Ask the students to describe what they heard. [Some prompt questions might be: What were the actors doing with their voices? What besides voices was used to tell the story? What kind of story do you think this is? What were some things the actors could not use to tell the story?]

Discussion

Build a discussion with the students around the following questions and answers:

Ask the students what radio drama is. [A story told on the radio. A few actors perform the voices of all the characters; usually one actor will perform two or more characters. Radio dramas were the television of their time. Families would sit around a large radio in a prominent area of the home and listen to radio dramas. Often dramas were 30 minute stories, or a continuous series of stories. Radio drama actors were almost as popular as film stars. A modern example might be a podcast.]
Ask students if they know when radio dramas were popular. [Height of popularity was 1930s – mid 1950s.]
Ask students what some popular radio drama genres were. [Mysteries, soap operas, comedies.]

Essential Question

What can we learn from radio drama performance that can be useful to stage acting? [How to use the voice to create characters.]

Introduce the Upcoming Unit

Inform the students that in the next several days they will be learning about creating characters by using vocal variations. They will be introduced to several vocal variations, and will choose at least 2 of those variations to portray characters in radio dramas. Some of them will perform larger roles that will require distinct vocal characteristics, and some of them will perform more than one role, which will require them to use vocal variety to make the voices sound different from each other.

Lesson 1, Segment I: Projection

Lesson Objective

Students will be able to use projection by performing a brief recitation in a large performance space.

Pre-assessment

Ask the students to raise their hands if they know what projection is. Invite a student to define projection. [Using the vocal apparatus—diaphragm, lungs and air specifically, and not centering sound on the vocal chords—to produce vocal sound that can be heard in a large (performance) space.] Prompt students as needed to give the correct definition by asking clarifying questions such as, “What parts of the body do I use to project?” Emphasize that projection is not yelling (using the throat and vocal chords to make sound); it is producing sound by using your diaphragm and lungs to produce air that moves through the vocal chords.

Guided Practice

Invite the students to stand in a circle facing inward. Ask them to listen to and practice the following instructions to explore breath control and centering projection in the body rather than the vocal chords:

Inhale through the nose slowly on a count of 4.
Exhale through the mouth while pushing the air out using your diaphragm.
Repeat 3 times.

[During this part of the exercise, encourage students to be aware of how their bodies operate. Encourage them to keep their shoulders down, to relax the shoulders, neck and face, and to pretend when they are exhaling they are saying a silent “huh” sound.]

Inhale through the nose slowly on a count of 4.
Exhale through the mouth while quietly making the sound “Haaaa”. Remind students to continue to relax the upper body while inhaling and exhaling. Model a supported and non-supported sound if needed.
Repeat 3 times.

Ask students if they notice a difference in the sound they produce when doing so “on the breath” (speaking by pushing air from the diaphragm to support sound through the vocal chords). Invite the students to share their observations.

Inhale through the nose quickly, filling the lungs to capacity as quickly as possible.
Exhale through the mouth while projecting to the opposite side of the room the sound “Haaaa” on the breath. [Model a supported and non-supported sound if needed.]
Repeat 3 times.
Inhale quickly again, and this time on the exhale recite the phrase, “Mary had a little lamb.”
Do NOT inhale deeply, and repeat the phrase without breath support.

Ask students what differences they noticed between the first and second recitation. [Some answers may include that the sound didn’t travel as far; it was harder to support the sound without relying on the vocal chords, etc.]

Do NOT inhale deeply, and recite the following without taking a breath:

Mary had a little lamb,

It’s fleece was white as snow.

And everywhere that Mary went,

The lamb was sure to go.

Inhale deeply and quickly through the nose and repeat the phrase again, this time on the breath.

Assessment

Dependent on time, invite the students to individually or in groups recite Mary Had a Little Lamb (or The Pledge of Allegiance or other short quote). [Move the class to a large space such as an auditorium or cafetorium if one is available.] The goal for each student is to be heard on the opposite side of the space.

Closure

Ask the students, “Is projection shouting?” [No.] Ask the students what projection is and accept/restate a couple of definitions. Ask for a couple of examples from volunteers.

Lesson 1 Segment II: Diction

Lesson Objective

Students will be able to use projection and diction by performing a brief graded recitation in a large performance space.

Materials

Projection/Diction Rubric

Pre-assessment

Invite the students to sit down. Ask them to raise their hands if they know what diction is. Invite a student to define diction. [Using the vocal apparatus—lips, teeth, tongue specifically—to produce vocal sound that can be heard clearly and distinctly; hitting consonants and opening vowel sounds in words, sometimes referred to as “chewing your words.”] Prompt students as needed to give the correct definition by asking clarifying questions such as, “What parts of the body do I use for diction?” “How do I use those parts of the body? What should I emphasize in my speech to have good diction?”

Guided Practice

Invite the students to stand again to recite Mary Had a Little Lamb. This time ask them use diction as well as projection: to emphasize consonants like T’s and D’s, and to open their mouths wide on vowels so words have a good opportunity to be understood. Recite the nursery rhyme together as a class.

Ask the students what they noticed. Did they notice any trouble spots in projection and/or diction? What things should they be thinking about as they recite? [Speaking on the breath, hitting consonants, opening up on vowels.] If desired, repeat the recitation again, encouraging students to try to improve their projection and diction.

Assessment

Invite the class to sit down again. Ask the students to define diction and accept/restate a couple of definitions. Ask for a couple of examples from volunteers. Ask the students what the goal is when they speak in a performance space. [To be heard and understood.]

Performance/Assessment of Projection and Diction

Share the following instructions with the students:

Show the students a copy of the Projection/Diction Rubric [Example below and master copy included in supplements.]. Point out that S/E/G/F stand for Superior/Excellent/ Good/Fair, and that they will have an opportunity to again recite for the class. Using the rubric, they will be graded on their ability to project and use diction while giving a brief recitation; they may recite individually, in pairs or groups of three. They will stand at one end of the room and recite something of their choosing from preselected familiar choices. [Some suggestions might be The Pledge of Allegiance, Mary Had a Little Lamb, Jingle Bells, etc., or they may use something brief they already have memorized. It may be helpful for some students if one or two of these are already written on the board.]

Invite students to choose small groups if desired. They may volunteer, sign up on the board to recite in order, or the teacher may choose another means of selecting students for recitation.

Invite students to give their recitations. Use the rubric to give brief feedback after each recitation. Invite the performers’ classmates to also give brief feedback.

Lesson 2: Rate and Pitch

Lesson Objective

Students will be able to use rate and pitch to alter/disguise their voices by playing the game, “Master, Master, Who Am I”

Re-assessment/review

Ask students to define projection and diction. Ask for volunteers to demonstrate examples. Call on a few students if needed to encourage demonstrations. Allow as many students as desire to give an example. Side coach those who made need a little encouragement.

Hook/Discussion

Show the first 30 second-segment of the following video of an auctioneer chanting:

Ask the students what they observe in this clip. [Auctioneer talks very fast.] Ask students to raise their hands if they know the definition of rate [the speed—fast and slow—at which a person talks]. Ask for a couple of students to share their definitions. (These can be written on the board.)

Show the following video clip of Lina Lamont from Singin’ in the Rain:

Ask the students what they observe in this clip. [Actress speaks very high and a little slow.] Ask students to raise their hands if they know the definition of pitch. [How high or low a sound is produced]. Ask for a couple of students to share their definitions. (These can be written on the board.)

Discussion/Guided Practice

Ask the students how rate and pitch might be used to create a character. Discuss possibilities, and prompt with some examples if necessary. [How might rate and pitch be used to create the character of an elderly man? A young child?An anxious or frightened person?Someone in authority? Use other examples, and accept examples suggested by students.] During the discussion ask students to demonstrate their own and/or their classmates’ suggested examples. Allow as many students as desire to give demonstrations of characters that are created vocally through rate and pitch.

Game/Assessment

Play the game Master, Master Who Am I?

Invite the students to stand or sit in a circle. Select one student to be Master; blindfold that student and lead them to the center of the circle. Tell the Master he/she is to listen carefully and try to identify the owner of the mysterious voice. Choose another student to be the Voice. He/she says the words “Master, master, who am I?” in a voice that is disguised by altering pitch, rate and/or diction. The blindfolded Master guesses who is speaking. When the student guesses correctly, the student who was the Voice becomes the Master. Play the game for a pre-determined time limit, allowing about five minutes to end the class with a follow-up discussion.

[Variation: All the students close their eyes. One student is selected to be Voice and disguises his/her voice to say “Master, master, who am I?” Students raise their hands and offer guesses until the correct guess is made. The student who guesses correctly is the new Voice. This variation allows more students to participate as listeners who try to determine the disguised voice and the vocal variations that are used as the disguise.]

When the game is over ask the students how they disguised their voices and/or what vocal variations they heard used for disguises. What did they do specifically to alter the sound of their voices? Were there some vocal variations that were more effective than others for “disguising” voices? If so, what were some of those? How effective was combining variations?

Closure

Let the students know that during the following class they will learn about inflection, tone and emphasis. This may take one - three days to cover. Also let them know they will be receiving their radio drama scripts and casting assignments the following day. They will begin rehearsing when they receive their scripts.

Lesson 3: Inflection

Lesson Objective

Students will be able to use inflection by using rising and falling inflection in a sentence.

Hook

Begin the class by addressing different students, saying, “Hello, how are you?” When addressing some students, inflect your voice down at the end of the question. With other students inflect your voice up. Repeat a few times, making the up or down inflections more pronounced, less pronounced, and monotone (no inflection).

Discussion/Practice

Ask the students to raise their hands if they know what inflection is. [Some answers might be: Raising the pitch of the voice up or down to change the meaning of a phrase or sentence.The modulation/change of pitch in the voice; the voice rises and falls. Bending a sentence up or down to give more specific meaning to it.]

Inform the students there are two types of inflection they will learn about in this class. They are rising inflection and falling inflection.

Ask the students if they know or can guess what falling inflection is. Prompt/coach as needed. [Falling inflections end most sentences with a note of authority and finality.] What are some characters or circumstances that might use falling inflection?

Ask the students if they know or can guess what rising inflection is. Prompt/coach as needed. [Rising inflections are used to express doubt, suggest an unfinished idea, or ask a yes or no question.] What are some characters or circumstances that might use rising inflection?

Assessment

Invite the students to demonstrate some examples of how “Hi, how are you?” (or a sentence of their choosing) might be said with rising inflection. Ask the students to demonstrate some examples of how “Hi, how are you?” (or a sentence of their choosing) might be said with falling inflection.

Lesson 3-A: Introduce the Radio Drama Scripts/Casts’ Read-throughs

[This lesson can be a continuation of Lesson 3, or a separate lesson.]

Lesson Objective

Students will begin a read-through of their radio dramas.

Materials

Scripts of radio dramas and prepared cast lists.

Hook

Announce to the students that today they will receive their radio drama scripts and learn what role(s) they are playing. Ask students what the first thing a director/actor/designer does when they receive a new script. [Read through the script to become familiar with the story and the characters.] When reading a script is done as a cast, it is called a read-through.

Discussion

Ask the students to wait until all the casts have been announced and they have received their scripts, and then separate into their cast groups for a first read-through of their radio dramas. Let them know that for the next few days class will be organized similarly: a brief introduction and practice of a vocal variation technique followed by a cast reading/rehearsal.