Acousmatic sound: A sound which you hear without seeing its source. Examples are: seagull cries (often), traffic outside the window, a bomb in the distance.
Extra-radio world (term coined by AB): The world to which listeners have access through production and broadcast. This is the equivalent of film's 'pro-filmic event' and the 'extra-cinematic world'. It is the world out there at which the microphone points
'Mise en scène' (adapted from film and stage scenography): Locations, spaces and perspectives for all genres of radio, but also including style and mode (as realism, non-realism, etc.). For radio drama, this involves representation of the play scene, its composition, ‘set dressing’ and perspective, and the characters’ behaviour in that environment and style.
Paraproxemics (media studies): Study of the way the media, especially film and TV, simulate the way people handle the space between themselves in real-life dialogue and hence induce a sense of belonging in the viewer/listener. In radio's case, this reproduces the apparent interpersonal distance between radio's performers and the listener.
Standard production (term coined by AB): Convention-bound radio drama directing style with limited use of radio's features. It successfully enables budget-controlled studio production: linear continuity of plot, dialogue- and protagonist-dominated, dialogue mostly in positions two and three, and strictly foregrounded above SFXs. Overall, a much plainer style - neutral acoustic or near-neutral (living-room) is common.
Suturing techniques (term derived from film): These ‘bind in’, ‘stitch in’ or position the listener as the subject addressed and facilitate attentiveness. They also seek to establish the 'the reality of the radio station and the broadcasters themselves' and deny 'absence' (Crisell). Examples: paraproxemic effects, address, station idents, description, narrator (radio drama), voice-over commentator (documentary, feature), the dominating protagonist in plays and phatic communion.
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