• Athena Ebrahimi Moayer



Abstract. The present study has been performed aiming at adopting a novel approach towards the sound aesthetics of radio dramas based on narrative analysis. In this regard, there is a question raised as to how can the audio elements be applied in order to maximally beautify the radio dramas based on the narratives they deliver? By narrative, the linear and nonlinear recounting of events is intended in the present study. The linear narrative is the one told based on the order and sequence of the events and the nonlinear narrative is the one in which the temporal and special constituents have been displaced. The contents of six radio drama were purposively selected and investigated based on narrative
analysis method. The present study presents analyses of two radio dramas. The dramas utilized herein are inter alia the narratives told based on a nonlinear recounting of the events. Three indicators, i.e. Genette’s theory of order, continuation and repetition, have been combined with the aesthetical audio elements like repetition of sound, sound perspective and the speed with which sound is broadcasted. The sound design can make use of each of the audio design elements, like effect, music, voice and silence, based on the temporal and spatial components of the narrative. That is to say that the retrospective and futuristic approaches of the narratives should be firstly determined and then
the aesthetical components of the audio elements can be taken into consideration based on the narrative’s timing. Also, the settings of the events are associated with the perspective’s aestheticism. The audio elements helped by the temporal disorders, repetition of the events and the duration which every incident lasts can add to the creation of new concepts. Based on perspective as an audio element in radio dramas, a sort of abstract location and also an actual locality should be taken into account for the temporal disorders. The perspective elements associated with the creativity of the designer and his or her perception of the elements’ arrangement (effect, music, voice and silence) are
employed to create a type of locus that can be completely existent in the outside world and/or be completely symbolic. Moreover, the repetition of the sound, musical and verbal effects can provide for the spatial container of the retroactive narratives.
Keywords: narrative, sound aesthetics, sound design, radio drama.


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