| |
Programme |
| | Friday 6 June 2003 Participants will be divided
into rotating groups and will be invited to attend the four
different sessions running in parallel. |
| Session A:
Dolby 5.1 - New dramatic and aesthetic possibilities for radio
drama |
| | | Coordination: Wolfgang
Schiffer, WDR (Germany) |
| | | Contributions by Benedikt Bitzenhofer (WDR, HF
Studiotechnik), Markus Hassler (WDR, HF Studiotechnik), Thomas
Werner (WDR, Head of Production Dept.) (Germany) |
| | | A presentation of this new surround-sound
technology with different examples to demonstrate its potential and
problems. |
| | Session B:
"Whose hand am I holding?" |
| | | Coordination: Solveig Mattsson, YLE (Finland) |
| | | Contributions by Nils Nordberg, producer, NRK
(Norway) |
| | | Things that go bump in the night: the sound of
suspense in radio drama. Crime, detection and horror: knowing the
difference. Cliffhangers and cold shivers: keeping the listener
glued to the radio. |
| | Session C: Rhythm as ritual (of radio drama) |
| | | Coordination: Ms Vanda Feriancová, SR (Slovakia)
and Tamur Tohver, ER (Estonia) |
| | | Contributions by Viktor Lukac, director, Andrej
Zmecek, sound designer (Slovakia) |
| | | Rhythm as a ritual tribal dance of radio drama creators, or
how an exciting play with words, music and sounds becomes a unique
work of art, with rhythm as king. Who are the dancers in this
ritual and whose steps do they follow to create a new dance? Who is
the shaman, and is the human voice the lead instrument? Are
listeners also invited to dance with the tribe? Viktor Lukac and Andrej Zmecek will ask more questions and give
some answers. |
| | Session D: Fake
documentary and real fiction: the absurd striving for
perfection |
| | | Coordination: Daniela Manolova, BNR
(Bulgaria) |
| | | Contributions by Antonii Dontchev, director
(Bulgaria) |
| | | What does authenticity mean in a feature documentary? What
does authenticity mean in fiction? What is to be gained by trying
to make things sound "perfect"? Does the concept of "real fiction"
mean anything? Excerpts from fictions, features, docu-dramas, film soundtracks,
etc. |
| | Open
session |
| | | This session will be an opportunity for
participants to speak about their activities and initiatives, to
share practices and to discuss professional matters. |
| | Saturday 7June 2003 Participants will attend
specialized sessions of their choice. It will be an opportunity to
focus on professional skills, either going deeper into some of the
previous day's topics or discussing new concrete and practical
subjects. |
| | Specialized
session 1: The edge - new voices, new stories, new
styles |
| | | Coordination: Polly Thomas, BBC (UK) and Tibor
Solténszky, MR (Hungary) |
| | | Contributions by Johanna Langhorst, writer, Manuel
Cubas, director (Sweden), Kate Rowland, creative director of new
writing, BBC (UK), Attila Balázs, playwright/editor, MR
(Hungary) |
| | | When radio drama producers and writers from
different cultures collaborate, can you hear the difference?
Championing talent and diversity – an innovative approach to
finding the next generation of radio drama writers. How writers
envisage radio/radio drama worth listening to. |
| | Specialized session 2:
Adapting Classics |
| | | Coordination: Daniela Manolova, BNR
(Bulgaria) |
| | | Contribution by Darko Tralic, director, HRT/Prix
Marulic (Croatia) |
| | | Is it true that our written heritage is a
thing of the past? Is it compatible with a modern medium like
radio? How to approach this field while avoiding an "educational"
reflex? How to look at it as more than a "butterfly under
glass"? |
| | Specialized session 3: Audio
books: friend or foe? |
| | | Coordination: Polly Thomas, BBC (UK) and Wolfgang
Schiffer, WDR (Germany) |
| | | Contributions by Jan Paterson, publishing
director, BBC (UK) and Bruno Letort, head of audio productions and
publishing, Radio France |
| | | Are audio books a threat or an opportunity?
Which of the different models already in existence work best? How
does radio drama make the most of the new commercial market? How
can audio books combine old and new work? |
| | Specialized session 4:
Enhanced radio drama: a crossover between many
platforms |
| | | Coordination: Tamur Tohver, ER (Estonia)
Moderator: Inge Faarborg, DR (Denmark) |
| | | Contributions by Sebastian Orlac, writer/director
(Germany), Marie Louise Hjerrild, DR (Denmark) |
| | | Focusing on fictional/dramatic storytelling concepts while
allowing for different degrees of interaction, this session offers
suggestions for, and examples of, successful projects and works in
progress mixing radio, print media, mobile phones and even
television and teletext. What are the potential benefits and problems of such mixes
in attracting new audiences, developing radio drama and providing
incentive for creative programme strategies in public service
broadcasting as a whole? |
| | Sounds playground: going
deeper into 5.1 |
| | | Starting at 09:15 and finishing at 12:30, this
special session will be an opportunity to assess practically the
potential of the technique. It will take place in a radio drama
studio, which will be equipped with surround-sound listening and
production facilities. |
| | | Chairmen: Eero Aro and Niko Ingman, YLE
(Finland) |
| | | Contributions by: Mark Decker, programme manager, BBC Pebble Mill (UK) -
Aesthetics in recording and mixing surround sound; competition in
the consumer market between radio and other media.
David Wood, head of new technology, EBU (Switzerland) -
Broadcasting and other means of delivery of surround sound: FM
radio, digital radio, recorded media, CD, DVD.
Lars Mossberg, research engineer, SRTU (Sweden) - Experiences with
Internet and direct satellite broadcasting. SR's activities related
to the "spatialization of sounds".
(www.sr.se/multikanal/english/e_index.htm)
Bo Ternström, sound engineer/producer, SRP3 Drama (Sweden)
Fredrik Stĺlne, sound engineer/producer, SRP3 Drama (Sweden)
Benedikt Bitzenhofer (WDR, HF Studiotechnik), Markus Haßler (WDR,
HF Studiotechnik), Thomas Werner (WDR, head of Production
Dept.) |
| | | 12:30 - 13:30 Scripts
Fair |
| | | EBU Members are invited to send scripts translated
in English and/or French. If a full translation is not possible, a
synopsis in English and/or French will be accepted. |
