Getting the scene boundaries right ( and with music)
You have to answer these following questions - creatively! What follows are recommendations - you make these techniques work for yourself.
1. How does this scene end and how does the new scene begin?
Does the new scene establish itself immediately - a 'hard' into? Or slowly - a 'soft' into?
RULE: If the new scene is a 'soft' into - then you nearly always do NOT have a silence between scenes, but a crossfade. Try out alternatives - and you decide.
2. What is the design of the play and this sequence overall?
Am I building up the energy towards an exciting climax? Do I need to have a silence at a scene boundary?
RULE: You probably need a silence (fade to silence) after a scene if you have brought something to a temporary conclusion, or if something very significant and exciting has happened. And you want your audience to have a little rest before the new scene.
Would it be too much if you pushed on too swiftly? And your listeners need some little time to catch up.
All of this is a matter of your creative judgement and design - try out alternatives. That is what radio drama is about!
3. Do I use a music bridge? It depends on the genre of the play, and copyright for music.
You should try out witty and ironic music bridges - they are a great way of adding that entertaining extra.
Examples from Alan Beck's soap projects (Radio Production course, University of Kent, UK) - (plot situation) after a date has gone wrong - 'It's raining men'.
DJ Smooth, a character in 'The Canterbury Vampires' soap - (music bridge) 'Smooth Operator' - and as a character he was very much not a smooth operator!
You might build your scripting around these music bridges.
If you use underscoring music, this could come to a climax at the end of a scene, and then the next scene is a 'hard' into.
CONTINUING THROUGH THIS SITE: scene boundaries - more
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