Literature in English

Key Unit Competence: 

To be able to analyze radio and television dramas with regards to their dramatic techniques, and the themes and messages.

Introductory Activity

7.1. Radio drama

Activity 7.1 

Listen to the audio clip of the following excerpt from The Crucible by Arthur Miller and answer the questions that follow.

Questions

Reverend Parris: Is praying now, and, though we cannot hear his words, a sense of his confusion hangs about him. He mumbles, then seems about to weeps; then he weep, then prays again; but his daughter does not stir on the bed.

The door opens, and his negro slaver enters. Tituba is in her forties. Parris brought her with him from Barbados, where he spent some years as a merchant before entering the ministry. She enters as does who can no longer bear to be barred from the sight of her beloved, but she is also very frightened because her slaver sense has warned her that, as always, trouble in this house eventually her lands on her back.

TITUBA: (already taking a steep back word); My Betty be hearty soon?

PARRIS: Out of here!

TITUBA, (backing to the door): My Betty not goin’ die…….

PARRIS, (Scrambling to his feet in a fury): out of my sight! (She is gone). Out of my – (he is overcome with sobs. He clamps his teeth against them and closes the door and leans against it, exhausted). Oh, my God! God help me! (Quaking with fear, mumbling to himself through his sobs, he goes to the bed and gently takes Betty’s hand). Betty. Child. Dear child. Will you wake, will you open up your eyes! Betty, little one…...

He is bending to kneel again when his niece, ABIGAIL WILLIAMS, Seventeen, enters- a strikingly beautiful girl, an orphan, with an endless capacity for dissembling. Now she is all worry and apprehension and propriety.

ABIGAIL:  uncle? (He looks to her). Susanna Walcott’s here from doctor Griggs.

PARRIS: Oh? Let her come, let her come.

ABIGAIL, (Leaning out the door to call Susanna, who is down the hall a few steps): come in Susanna. 

SUSANNA WALCOTT, A little younger than Abigail, a nervous, hurried girl, enters.

PARRIS, (eagerly): what does the doctor say, child?

SUSANNA, (craning around Parris to get a look at Betty); he bid me come and tell you, reverend sir, that he cannot discover no medicine for it in his books.

PARRIS, then he must switch on.

SUSANNA:  Aye, sir, he has been searchin’ his books since he left you, sir. But he bid me tell you, that you might look to unnatural things for the cause of it.

PARRIS, (His eyes going wide): no-no. there be no unnatural cause here. Tell him I have sent for Reverend Hale of Beverly. And Mr. Hale will surely confirm that. Let him look to medicine and put out all thoughts of unnatural causes here. There be none………

Note: Radio Drama/Audio drama is a play that is read by actors for radio broadcast rather than performed on the stage. There is no visual component, radio drama depends on dialogue, music, and sounds effect to create the images in your mind, to develop the characters and plot, to indicate the passage of time.“It is auditory in the physical dimension but equally powerful as a visual force in the psychological dimension.”

It is very common for radio to exploit sounds and music effects to enhance values of their products. Radio in particular purely depends on voices and sound effects. It hardly has another way through which it could communicate to listeners. 

7.1.1 Sound effects in Radio/Audio drama

Activity 7.2 

Listen to the audio clip of the following extract from The Crucible and answer questions that follow. (Audio Clip-The Crucible, Act 2A. p41-45)

Questions

Note: Sound effects are the sounds that are created artificially to make a play more realistic, especially a radio play. Some of the examples of sound effects could be actions such as; footsteps, door slamming, animal sounds, gunshots, the sound of a car, music, e.t.c.  Sound effects are artificially created or enhanced sounds that are used in artistic works to emphasize or express an action, mood, or feeling. 

Sound effects were initially used in radio dramas, but can be observed more often today in podcasts, theatre, films, and television shows. Sound effects may also be used in the background of a scene to create anticipation or other emotions.

In addition there are other few sound effects, like a car the sound of a car, footsteps, the sound of keys, the door opening, it is possible to inform the audience that he has driven up to the house, parked his car, walked to the door, and used his key to unlock the door. It was an illusion created with effects. 

Mood: Different sound effects bring out different moods in drama. For example, anticipation, possible danger, fear, joy, etc. 

Application Activity

Activity 7.3

Listen to the audio clip of the extract below from The Crucible and answer the questions that follow.(Audio clip: The Crucible Act 1. p7-p10…)

Questions

7.2. Television drama 

7.2.1. Visual effects

Activity 7.1: 

Watch the video clip from Julius Caesaract III, Scene 1 line 58-95 and answer the questions that follow.

Questions

Digital Effects: It covers the various processes by which imagery is created or manipulated with or from photographic assets. Digital Effects often involve the integration of still photography and computer generated imagery (CGI) to create environments which look realistic but would be dangerous, costly, or impossible to capture in camera.  

Application activity 7.2 

Watch the video clip from   Julius Caesar by William Shakespeare Act III, Scene ii and answer the questions that follow.

Questions

Romans, countrymen and lovers, hear me for my cause, and be silent, that you may hear. Believe me for mine honor, and have respect to mine honor, that you may believe. Censure me in your wisdom, and awake your senses, that you may the better judge. If there be any in this assembly, and dear friend of Caesar’s, to him I say that Brutus ‘s love to Caesar was no less than his. If then that friend demand why Brutus rose against Caesar, this is my answer: not that I loved Caesar less, but that loved Rome more. Had you rather Caesar were living, and die allslaves, than that Caesar were dead, to live all free men as Caesar loved me, I weep for him, as he was fortunate,I rejoice at it, as he was valiant, I honor him, but, as he was ambitious, I slew him.There is tears, for his love,joy,for his fortune,honor, for his valor, and death, for his ambition. Who is here so base, that would be a bondman, if any, speak, for him have offended. Who is here so rude, that would not be a Roman? If any, speak; for I offended. Who is here so vile, that will not love his country? If any, speak; for him have I offended. I pause for a reply.

All. None. Brutus. None! 

Brutus. Then none have I offended. I have done no more to Caesar than you shall do to Brutus. 

The question of his death is enrolled in the capitol; his glory not extenuated, wherein he was worthy, nor his offenses enforced, for which he suffered death. 

(Enters Mark Anthony, with Caesar’s body.) 

Here come his body, mourned by Mark Anthony, who, though he had no hand in his death, shall receive the benefit of his dying, a place in the commonwealth, as which of you shall not? With this I depart, that, as I slew my best lover for the good of Rome, I have the same dagger for myself,when it shall please my country to need my death. 

All.Live,Brutus, live, live! 

First Plebeian. Bring him with triumph home unto his house. 

Second Plebeian. Give him a statue with his ancestors. 

Third Plebeian. Let him be Caesar. 

Fourth Plebeian. Caesar’s better parts Shall be crowned in Brutus. 

First Plebeian. We’ll bring him to his house with shouts and clamors.

Brutus. My countrymenSecond Plebeian. 

Peace! peace! Peace! Second Plebeian. 

Peace, oh! Brutus. Good countrymen, 

let me depart alone, And,for my sake, 

stay here with Anthony. Do grace to 

Caesar’s corpse’s glories, which 

Mark Anthony by our permission, is allowed to make. 

I do entreat you, not a man depart, 

Save I alone, till Anthony have spoke.  

(exit) First Plebeian. Stay,ho! And let us 

hear Mark Anthony. Third Plebeian. 

Let him go up into the public chair; 

We’ll hear him. Noble Anthony,go up. 

Anthony for Brutus’sake, I’m beholding to you. 

Fourth Plebeian. What does he say of Brutus? 

Third Plebeian. He says for Brutus’sake, 

He finds himself beholding to us all. 

Fourth Plebeian. Twelve best he speaks 

no harm of Brutus here! Third plebeian. 

Nay, that’s certain. We are blest that 

Rome is rid of him. Second plebeian. 

Peace! Let us hear what Anthony can say. 

Antony.You gentle romansAll: Peace, ho! 

Let us hear him. Antony. Friends, Romans, 

countrymen, lend me your ears; I come to bury 

Caesar, not to praise him. The evil that men do 

lives after them, The good is oft interred with their 

bones; So let it be with Caesar. The noble Brutus 

Hath told you Caesar was ambitious. If it were so, 

it was a grievous fault, And grievously hath 

Caesar answered it. Here, under leave of Brutus and the rest

(for Brutus is an honorable man, So are they all, all honorable men), 

Come I to speak in Caesar’s funeral. He was my friend,

faithful and just to me; 

But Brutus says he was ambitious, 

And Brutus says he was ambitious, 

And Brutus is an honorable man. 

He hath brought many captives home to Rome, 

Whose ransoms did the general coffers fill; 

Did this in Caesar seems ambitious? 

When that the poor have cried, 

Caesar hath wept; Ambition should be 

made of sterner stuff. Yet Brutus says 

he was ambitious; And Brutus is an 

honorable man. You all did see that 

on the lupercal I thrice presented him a 

kindly crown Which he did thrice refuse. 

Was this ambition? Yet Brutus says 

he was ambitious; And sure he is an honorable man. 

I speak not to disprove what Brutus spoke, But here 

I am to speak what I do know. You all did love him once,

 not without cause, What cause withholds you then to mourn for him? 

O judgement thou art fled to brutish beasts, 

And men have lost their reasons! Bear with me; 

My heart is in the coffin there with Caesar, 

And I must pause till it come back to me. 

First Plebeian methinks there is much reason in his sayings. 

Second Plebeian. If thou consider rightly of the matter, 

Caesar has great wrong. Third plebeian. Has he, masters?

I fear there will a worse come in his place. Fourth Plebeian. 

Marked ye his words? He would not take the crown, 

Therefore’tis certain he was not ambitious. 

First Plebeian. If it be found so, some will dear abide it. 

Second Plebeian. Poor soul, his eyes are red as fire with weeping. 

Third Plebeian. There’s not a nobler man in Rome than Anthony. 

Fourth Plebeian. Now mark him, he begins again to speak. 

Antony. But yesterday the word of Caesar might Have stood 

against the world, now lies he there And none so poor to do 

him reverence. O masters! If I were disposed to stir Your 

hearts and minds to mutiny and rage, I should do Brutus 

wrong and Cassius wrong, Who you all know, are honorable men. 

I wil not do them wrong; I rather choose To wrong the dead, 

to wrong myself and you, Than I will wrong such honorable men. 

But here’s parchment with the seal of Caesar; I found it in his closet; 

tis his will Let but the commons hear this testament, Which, pardon me, 

I do not mean to read, And they would go and kiss dead Caesar’s wounds, 

And dip their napkins in his sacred blood; Yea, beg a hair of him for memory, 

And dying, mention it within their wills, Bequeathing it as arich legacy 

Unto their issues. Fourth Plebeian. We’ll hear the will; read it, Mark 

Antony All. The will, the will! We will hear Caesar’s will! Antony. 

Have patience, gentle friends, I must not read it. It is not meet you 

how Caesar loved you.

You are not wood, you are not stones, but men; 

And being men, hearing the will of Caesar, 

It will inflame you, it will make you mad. 

‘tis good you know not that you are his heirs; 

For if you should, O, what would come of it? 

Fourth plebeian: Read the will the will! We, ll hear 

it, Antony! You shall read us the will, Caesar’s will. 

ANTONY: will you be patient! Will you stay a while? 

I have O’ershot myself to tell you of it. I fear I wrong the 

honorable men Whose daggers have stabbed Caesar; 

I do fear it. Fourth Plebeian: they were traitors. Honorable men! ALL.  

The will! The testament! Second Plebeian. They were villains, 

murderers! The will! Read the will! Antony:   

you will compel me then to read the will? 

Then make the ring about the corpse of Caesar, 

And let me show you him that made the will. Shall I descend? 

And will you give me leave? ALL.   Come down. Second Plebeian. 

Descend. [Antony comes down] Third Plebeian.You shall have leave. 

Fourth Plebeian. A ring! Stand round. First Plebeian. 

Stand from the hearse, stand from the body! Second Plebeian. 

Room for Antony, most noble Antony! Antony. Nay, 

press not so upon me; stand far off. All.  Stand back! 

Room! Bear back Antony. If you have tears, prepare to 

shed them now. You all do know this mantle; I remember 

The first time ever Caesar put it on: ‘Twas on a summer’s evening, 

in this tent, That day he overcome the Nervii.

Look, in this place ran Cassius dagger through; 

See what a rent the envious Casca made; 

Through this the well-beloved Brutus stabbed, 

And as he plucked his cursed steel away, Mark how the blood of 

Caesar followed it, As rushing out of doors, 

to be resolved If Brutus so unkindly knocked, or no; 

For Brutus, as you know, was Caesar’s angle. Judge, 

O you gods, how dearly Caesar loved! This was the 

unkindest cut of all; For when the noble Caesar saw him stab, 

Ingratitude, more strong than traitors’ arms, Quite vanquished him. 

Then burst his might heart; And, in this mantle muffling up his face, 

even at the base of pompey’s statue (which all the while ran blood) 

great Caesar fell. O’ what a fall was there, my countrymen! Then, 

I and you, and all of us fell down, Whilst bloody treason flourished 

over us. O’ now you weep, and I perceive you feel The dint of pity; 

these are gracious drops. Kind souls, what weep you when you 

but behold Our Caesar’s vesture wounded? Look you here, 

Here is himself, marred as you see with traitors. First Plebeian.  

O’ piteous spectacle! Second Plebeian. O’ Noble Caesar! Third Plebeian. 

O woeful day! Fourth Plebeian.  O traitors, Villains! First Plebeian. 

O most bloody sight! Second Plebeian. We will be revenged. All. 

Revenge!  about! Seek! Burn! Fire! kill! Slay!

Let not a traitor live! Antony:  stay, countrymen.

 First Plebeian.   Peace there! Hear the noble Antony. 

Second Plebeian.  We’ll hear him, we’ll follow him, 

we’ll die with him! Antony. Goods friend, sweet friends, 

let me not stir you up To such a sudden flood of mutiny. 

They that have done this deed are honorable. 

What private griefs they have, alas, I know not, 

What made them do it. They are wise and honorable, 

And will, no doubt, with reasons answer you. 

I come not, friends, to steal away your hearts: 

I am no orator, as Brutus is; But (as you know me all) 

a plain blunt man That love my friend, and that they 

know full well That gave me public leave to speak of him. 

For I have neither writ, nor words, nor worth, Action, 

nor utterance, nor the power of speech To stir men’s blood; 

I only speak right on. I tell you that which yourselves do know. 

Show you sweet Caesar’s wounds, poor poor dumb Mouths, 

And bid them speak for me. But were I Brutus, And Brutus 

Antony, there were an Antony Would ruffle up your spirits, 

and put a tongue In every wound of Caesar’s that should 

move The stones of Rome to rise and mutiny. All. We’ll mutiny. 

First Plebeian. We’ll burn the house of Brutus. Second plebeian. 

Away, then! Come, seek the seek the conspirators. Antony. 

Yet hear me, countrymen. Yet hear me speak. All.Peace,ho! 

Hear Antony, most noble Antony!

Antony. Why, friend, you go to do you know not what: 

Wherein hath Caesar thus deserved your loves? 

Alas, you know   not; I must tell you then: 

You have forgot the will I told you of. 

All. Most true, the will! Let’s stay and hear the will. 

Antony. Here is the wil, and under Caesar’s seal. 

To every roman citizen he gives, To every several man, 

seventy-five drachmas. Second Plebeian. Most noble 

Caesar!we’ll revenge his death! Third Plebeian. 

O royal Caesar! Antony. Hear me with patience. 

All. Peace, ho! Antony. Moreover, he hath left you 

all his walks, His private arbors, and new planted orchards, 

On this side Tiber; he hath left them you, And to your heirs 

forever: common pleasures, To walk abroad and recreate 

yourselves. Here was a Caesar! When comes such another/ First Plebeian. 

Never, never! Come, away, away! We’ll burn his body in the holy place, 

And with the brands fire the traitor’s houses. Take up the body. 

Second Plebeian. Go fetch fire. Third Plebeian. Pluck down benches. 

Fourth Plebeian. Pluck down forms, windows, anything! 

(exit Plebeians with the body) Antony. Now let it wok; mischief, thou 

art afoot, Take thou what course thou wilt. (enter Servant.) 

How now, fellow?

Servant. Sir, Octavius is already come to Rome. 

Antony. Where is he? Servant. He and Lepidus 

are at Caesar’s house. Antony. And thither will 

I straight to visit him; He comes upon a wish. 

Fortune is merry, And in this mood will give us anything. 

Servant. I heard him say, Brutus and Cassius Are rid like 

madmen through the gate of Rome. Antony. Be like they 

had some notice of the people, How I had moved them. 

Bring me to Octavius. (exit).

End Unit assessment activities

Read and answer the questions below. 

1. Compare and contrast radio and T.V drama according to their characteristics. 

2. Listen to some episodes of Soap Opera “Urunana” and then,discuss its messages to the society of Rwanda. 

3. Using your own words, demonstrate the purpose of Soap Opera. 

4. From your experience, compose your own sketch which contains sound and visual effects, and then perform it in the class. 

5. Watch the clip video of “An enemy of the people” ( Act I) by Henrik Ibsen, and  then answer the following questions: 

        a. Explain its main theme. 

        b. Discuss techniques that the writer used to convey his/her message to theaudience. 

        c. Why do you think this literary work is still important to the society?