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I feel that radio broad casting does have power over the audience as acting or faking something does not necessarily have to include actions or facial expressions as, how you speak, takes an important role. Words can impact how well we imagine and I feel that without verbal expressions any act would be completely blank and you would not feel the emotions and that sense of you being in that situation. Just like in the “War of the Worlds” radio broadcasting, many really thought that Martians had come to earth because of the realistic voice expressions and the noises made using different materials. Other than that, radio also caters promoting things. People get attracted to anything once they hear a celebrity or famous person talk about it. These days, people still listen to radios because now it has become handier as there are smaller radios. Audience enjoys entertainment like songs, weather forecast, news. Strong expression in words makes the listener image what is happening in the situation, just like living in it. There is a variety of topics which are aired on the radio for different likes of viewers. Though radio drama is difficult, it does get a lot of attention from viewers and does have power over the audience.

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Broad casts are very strong and can make you imagine and understand. They have power over the audience and let you go in the character

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I feel broad casts have a power over the audience  Because it improves your imagination skills and you would also understand it better and think it in your own version.you will actually feel like you are over There or sometimes you go into the character.

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I feel broad casts have a power over the audience  Because it improves your imagination skills and you would also understand it better and think it in your own version.you will actually feel like you are over There or sometimes you go into the character.

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Broadcasts have power over the audience because the help the audience imagine things and use persuasive language.
Radio Drama- It is a form of drama that is played over the radio and has no visuals

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Yes, because you are not seeing something on a screen you are imagining it. It's staying in your memories and you can feel what is going on. Instead of watching you imagine

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I feel that radio broad casting does have power over the audience as acting or faking something does not necessarily have to include actions or facial expressions as, how you speak, takes an important role. Words can impact how well we imagine and I feel that without verbal expressions any act would be completely blank and you would not feel the emotions and that sense of you being in that situation. Just like in the “War of the Worlds” radio broadcasting, many really thought that Martians had come to earth because of the realistic voice expressions and the noises made using different materials. Other than that, radio also caters promoting things. People get attracted to anything once they hear a celebrity or famous person talk about it. These days, people still listen to radios because now it has become handier as there are smaller radios. Audience enjoys entertainment like songs, weather forecast, news. Strong expression in words makes the listener image what is happening in the situation, just like living in it. There is a variety of topics which are aired on the radio for different likes of viewers. Though radio drama is difficult, it does get a lot of attention from viewers and does have power over the audience.

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Tiya Chopra                            Yes, Radio Broadcasts do have power over an audience as was displayed in the war of the world. Various features such as the background noises can help bring realism to the play such as that found in plays.  

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Tiya Chopra                            Yes, Radio Broadcasts do have power over an audience as was displayed in the war of the world. Various features such as the background noises can help bring realism to the play such as that found in plays.  

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Radio broadcast expresses the feelings through the their emotions in words and helps you imagine better.

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Do radio broadcasts have a power over the audience

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Do radio broadcasts have a power over the audience

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it is a question with no particular answer because they have to imagine what's going on instead of simply being shown what is going on, it will be crazier and wilder in your imagination compared to what a screenplay or film could possibly show you, all at a cheaper price, however, some broadcasts are extremely long, and impatient people like me wouldn't enjoy it much.

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Radio drama is a form of drama without visuals. Radio drama was very popular as a source of entertainment because it was fast-paced. Radio drama is also known to hook on its listeners.

I think radio drama has power over its audience as it was very popular and people believed what it was saying. An example is the “War Of The Worlds” radio drama episode. The listeners believed the announcer or presenter. A lot of them went into their cars and fled the “Invasion” area.

I also think people believe in radio commercials as a lot of people buy what is advertised. I think people trust the radio because of the number of people listening to it.

I think in about ninety years ago people would believe the radio as it is a major source of entertainment and a way to communicate with the world around.

Personally, I also at times believe the radio. In conclusion the radio has a lot of power over a person’s believes and can easily change a person’s perspective. The radio is powerful and an exelent entertainment source.

Thank you, Oh, and don't forget to listen to the radio!

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Radio drama is a form of drama without visuals. Radio drama was very popular as a source of entertainment because it was fast-paced. Radio drama is also known to hook on its listeners.

I think radio drama has power over its audience as it was very popular and people believed what it was saying. An example is the “War Of The Worlds” radio drama episode. The listeners believed the announcer or presenter. A lot of them went into their cars and fled the “Invasion” area. 

I also think people believe in radio commercials as a lot of people buy what is advertised. I think people trust the radio because of the number of people listening to it.

I think in about ninety years ago people would believe the radio as it is a major source of entertainment and a way to communicate with the world around.

Personally, I also at times believe the radio. In conclusion the radio has a lot of power over a person’s believes and can easily change a person’s perspective. The radio is powerful and an exelent entertainment source.

Thank you, Oh, and don't forget to listen to the radio!

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Radio Drama has a control over the audience because it helps you imagine and think all the sounds going on in the movie.

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Radio drama has control over the audience. It helps you imagine different things and also creates suspense about what is going to happen next.

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Radio drama has a control over the audience. It helps you imagine different things and also creates a susoence about what is going to happen next thankyou.

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Radio Broadcast gets attention from the from the audience cause of its faccinating sounds.

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Do broadcasts have power over the audience?  

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Do broadcasts have power over the audience?  

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Lavanya Bahri

Yes, I definitely agree. Radio broadcasts gives us a glimpse  of what is happening. It is not compulsory that you have to show yourselves in drama, you can express your emotions even by your words. There are some people who might be too shy to act by showing themselves so they prefer radio drama, although there may be people who don’t like  radio drama, but that is their opinion. We can show are feelings through speaking, for example, you want people to know that you are sad so, in that case, you can maybe pretend that you are crying and maybe speak in a sad tone. Another example could be that you are exited, then you can shout or speak in a happy tone, maybe even throw a little giggle. There are different ways you can express your feelings through radio drama.

Thank you!

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‘Do Radio broadcasts have a power over audience’?

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ℕ𝕒𝕪𝕥𝕚𝕜 𝕁𝕒𝕚𝕟‘Do R

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ℕ𝕒𝕪𝕥𝕚𝕜 𝕁𝕒𝕚𝕟
‘Do Radio broadcasts have power over audience’?
I think that radio drama does have power over the audience and can also be easy to do as you just need to change voices and display different sound effects. The drama should have a great storyline and should be as descriptive as possible because you are not enacting it. However, the story should not be complicated with many scenes, characters, plotlines or else the listener will get perplexed.

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Yes, Radio Broadcasts do have power over an audience as was displayed in the war of the world. Various features such as the background noises can help bring realism to the play such as that found in plays.  As per https://born2invest.com/articles/ways-radio-broadcasters-can-gain-more-audience-and-stay-relevant/,  To keep an audience engaged, you need to deliver a targeted approach. If you keep your audience engaged, there will be an eventual turnaround where they will start to understand and comprehend stuff in the same way that they would in a stage play where you have visual supports as well... You have to ensure that the audience can envision the scene, and as long as that is true, it will have a similar impact to that of a normal play and can change the audience's opinion and perspective...

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Arnav Agarwal -

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Haphsa Rather
The background sounds make it way more easy to understand what is going on. When the people herd the broadcast War of the Worlds, the people doing the broadcast were so good that later on people thought that this was real and they stayed in their houses. This shows how much power did the broadcast have on the audience

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Kaustab Mehta, yes radio does appeal the audience because it is special for ex. this generation is intrested in screens and a place in a show or movie already made up but radio broadcast gives you a chance to imagine .

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Ayaan KediaThe editing must be very precise, and it would be very beneficial to the play if the emergency/act was interrupting a normal show or performance.

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Yokeshwaran

Radio Drama                                                                                                                                                                            In my opinion Radio drama has a power over audience because it is not only our expressions and body movements that help in showing a story but also their tone and pitch.

EG:

Horror movies are not that scary when you listen to it without any sound.

When you listen to music or songs you only listen.

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Yokeshwaran

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Drama impacts lives because of all the people who believe in things said around them

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Aryan Boruah

Drama Homework

Debate on the topic ‘Do radio broadcasts have power over audience?’

Good morning/ afternoon everyone. I am Aryan from grade 6C. Today’s topic of the debate is ‘Do radio broadcasts have power over audience?’, and I am for the motion.

Radio broadcasts started in the early 20th century and might be a bit old, but they are still very popular across the world, providing  listeners around the world with music, news, talk shows, ads, and more. Some might feel that radio is too old-fashioned to be liked by to modern people, but that is not correct.

Let’s look at it more closely:

1.    Radio has evolved over the years, with multiple channels for entertainment, information and news. Listening to music and news is still an important part of our lives, particularly while driving in cities and metros.

2.    It is also true that there are still people in the rural areas of India who might not have TV. For them, radio continues to be an important source of news and information. It is still a fast and economic medium of taking news to the masses – it could be on politics, sports, farming or weather, or even election and health programs such as vaccination drives.

3.    Radio hosts or Radio Jockeys also use radio programs to send out social messages on topics affecting the society.

In the earlier days, radio broadcasts also had educational programs for children. In fact, I feel in the current times, radio broadcasts can also be used for organizing lessons for government school children who cannot afford to have online classes. They will not be 2-way, but at least the students will be able to hear what the teacher discusses.

With these points I will have to say that radio broadcasts do have a big impact over the audience, and can also be used in different ways for important and meaningful messages.  Thank you for listening to my presentation and have a great day ahead.

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Shubh Kakkar

‘Do Radio broadcasts have a power over audience’?
Yes it does because Radio was source of entertainment also and people get information of the different things happening in the world. It is important to hear a radio because a person feels very happy when he hears songs and the voice modulation of the speaker makes a person more  interested. The most interesting thing in this radio broadcast was when there were explosions  on  the planet Mars.

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I agree that the fact that the radio drama has a power the audience as it gives you the imagination and glimpse about the topic as well as you are attracted.

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I agree that the fact that radio drama has a power the audience as it gives you the imagination and glimpse about the topic as well as you are attracted.

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radio drama has a power over audience because it helps you imagine but a movie gives you the picures

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I agree with the fact that radio drama has a power over the audience as it gives you the imagination and glimpse about the topic as well as you are attracted to the story also it has a suspense to catch your attension in between. The thriller will get you more interested in to the story even the next scene you might have an idea about.

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Manmeet Singh
I disagree because by the person’s expressions and the way person explains people that can influence people but the radio it doesn’t have screen so we can see what is getting broadcasted and if the people doesn’t see his expressions and feelings the people will feel that he is just giving a speech . So, the radio broadcast is basically wastage of time.

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Advay Patwa-                                                          I think that Radio Broadcasters have Power over the audience as they choose what they want to show, like an example the radio broadcast "War Of The Worlds". The Radio Broadcast industry is different radio channels which show different things to attract more people, In which they decide what to make though if the audience doesn't like it they go to a different channel and see the show they like and the goal of the these broadcasters is to make content which everybody likes. The Industry is like a competition as Everybody is making better and better content trying to get as much of the Audience they can get by making content everyone might like some fail and some don't, There also nowadays some broadcasters are not competing as they want to attract a specific kind of audience that is why this Kind of Industry is very unique. So in conclusion, The Radio Broadcast industry has power over audience, there are some broadcasts specially made for some kind of people which some might not like and other broadcasters make content which everybody might like, this kind of broadcasts have mixed variant of content on different timings they put each of the content, and that is it with my thought on 'Do Radio Broadcasters Have Power Over Audience'.

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Yes, radio broadcasts get full attention from the audience because of it’s melodious and creative sounds. Making sounds from dad to day objects is the special part of a radio broadcast worldwide.

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Aryaman Goyal-- Radio Broadcasts have a power over the audience. It makes a image in the mind of the audience and helps them to understand better. Radio drama is a very difficult task because you need to make so many sounds and also say words.

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Lavanya Singla -I strongly agreed that Radio has power over the audience. It has a great influence on people ideas and their way of thinking. Radio is playing very important roles in our everyday life. People can listen to the radio anywhere and everywhere. Nowadays compact version is also there to take in your pockets. Mass media like radio affects people with advertisements, world news, trends, fashion, finance weather reports, and many more. People also change themselves some celebrities speak and talk on the radio, they get attracted by their talks and start thinking and adapt accordingly. Radio plays a very important role in shaping one's own ideas for e.g weather conditions - people plan the day accordingly after the weather forecast. It hs more influenced in people mind. Public to enjoy listening to music, weather, cricket match scores, and news during traveling in the car, home, offices, and during free time. In the past, people were only dependent on radio for news in different areas and even in world war people gather all the information through the radio. It gives a strong message to people and is also a very fast communication mode of media broadcast. for e.g ANNE FRANK and her family during world war 2 listen to the radio about what was happening around the world. I totally agree that radio changes our mood according to the situation.

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Anshuman Goyal                                                                                                                                                                                       Radio drama has a control over the audience. It helps you imagine different things and also creates a susoence about what is going to happen next

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Anshuman Goyal

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Arnav mangla    -  I THINK SO THAT RADIO DRAMA DOES HAVE A POWER OVER THE AUDIENCES AS IT EXPANDS YOUR IMAGINATION ABOUT THE DRAMA SCENE AND IT GIVES YOU GOOD GOOSEBUMPS, WHILE IT IS A SUSPENSE OR SOMETHING THRILLER AS WELL IT GIVES YOU AND IDEA ABOUT THE NEXT SCENE TOO.

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Radio drama (or audio drama, audio play, radio play, radio theatre, or audio theatre) is a dramatised, purely acoustic performance. With no visual component, radio drama depends on dialogue, music and sound effects to help the listener imagine the characters and story: "It is auditory in the physical dimension but equally powerful as a visual force in the psychological dimension." Radio drama includes plays specifically written for radio, docudrama, dramatized works of fiction, as well as plays originally written for the theatre, including musical theatre and opera.

Radio drama achieved widespread popularity within a decade of its initial development in the 1920s. By the 1940s, it was a leading international popular entertainment. With the advent of television in the 1950s, however, radio drama began losing its audience, however, in most countries it remains popular.

Recordings of OTR ( old-time radio) survive today in the audio archives of collectors, libraries and museums, as well as several online sites such as Internet Archive.

By the 21st century, radio drama had a minimal presence on terrestrial radio in the United States, with much American radio drama being restricted to rebroadcasts of programmes from previous decades. However, other nations still have thriving traditions of radio drama. In the United Kingdom, for example, the BBC produces and broadcasts hundreds of new radio plays each year on Radio 3, Radio 4, and Radio 4 Extra. Like the US, Australia ABC has abandoned broadcasting drama but in New Zealand RNZ continues to promote and broadcast a variety of drama over its airwaves.

Thanks to advances in digital recording and Internet distribution, radio drama experienced a revival around 2010. Podcasting offered the means of inexpensively creating new radio dramas, in addition to the distribution of vintage programs.

The terms "audio drama" or "audio theatre" are sometimes used synonymously with "radio drama"; however, audio drama or audio theatre may not necessarily be intended specifically for broadcast on radio. Audio drama can also be found on CDs, cassette tapes, podcasts, webcasts as well as broadcast radio.

The Roman playwright " Seneca has been claimed as a forerunner of radio drama because his plays were performed by readers as sound plays, not by actors as stage plays; but in this respect Seneca had no significant successors until 20th-century technology made possible the widespread dissemination of sound plays."

Radio drama traces its roots back to the 1880s: "In 1881 French engineer Clement Ader had filed a patent for 'improvements of Telephone Equipment in Theatres'" ( Théâtrophone). English-language radio drama seems to have started in the United States. A Rural Line on Education, a brief sketch specifically written for radio, aired on Pittsburgh's KDKA in 1921, according to historian Bill Jaker. Newspaper accounts of the era report on a number of other drama experiments by America's commercial radio stations: KYW broadcast a season of complete operas from Chicago starting in November 1921. In February 1922, entire Broadway musical comedies with the original casts aired from WJZ's Newark studios. Actors Grace George and Herbert Hayes performed an entire play from a San Francisco station in the summer of 1922.

An important turning point in radio drama came when Schenectady, New York's WGY, after a successful tryout on August 3, 1922, began weekly studio broadcasts of full-length stage plays in September 1922, using music, sound effects and a regular troupe of actors, The WGY Players. Aware of this series, the director of Cincinnati's WLW began regularly broadcasting one-acts (as well as excerpts from longer works) in November. The success of these projects led to imitators at other stations. By the spring of 1923, original dramatic pieces written specially for radio were airing on stations in Cincinnati ( When Love Wakens by WLW's Fred Smith), Philadelphia ( The Secret Wave by Clyde A. Criswell) and Los Angeles ( At Home over KHJ). That same year, WLW (in May) and WGY (in September) sponsored scripting contests, inviting listeners to create original plays to be performed by those stations' dramatic troupes.

Listings in The New York Times and other sources for May 1923 reveal at least 20 dramatic offerings were scheduled (including one-acts, excerpts from longer dramas, complete three- and four-act plays, operettas and a Molière adaptation), either as in-studio productions or by remote broadcast from local theaters and opera houses. An early British drama broadcast was of Shakespeare's A Midsummer Night's Dream on 2LO on 25 July 1923

Serious study of American radio drama of the 1920s and early 1930s is, at best, very limited. Unsung pioneers of the art include: WLW's Fred Smith; Freeman Gosden and Charles Correll (who popularized the dramatic serial); The Eveready Hour creative team (which began with one-act plays but was soon experimenting with hour-long combinations of drama and music on its weekly variety program); the various acting troupes at stations like WLW, WGY, KGO and a number of others, frequently run by women like Helen Schuster Martin and Wilda Wilson Church; early network continuity writers like Henry Fisk Carlton, William Ford Manley and Don Clark; producers and directors like Clarence Menser and Gerald Stopp; and a long list of others who were credited at the time with any number of innovations but who are largely forgotten or undiscussed today. Elizabeth McLeod's 2005 book on Gosden and Correll's early work is a major exception, as is Richard J. Hand's 2006 study of horror radio, which examines some programs from the late 1920s and early 1930s.

Another notable early radio drama, one of the first specially written for the medium in the UK, was A Comedy of Danger by Richard Hughes, broadcast by the BBC on January 15, 1924, about a group of people trapped in a Welsh coal mine. One of the earliest and most influential French radio plays was the prize-winning "Marémoto" ("Seaquake"), by Gabriel Germinet and Pierre Cusy, which presents a realistic account of a sinking ship before revealing that the characters are actually actors rehearsing for a broadcast. Translated and broadcast in Germany and England by 1925, the play was originally scheduled by Radio-Paris to air on October 23, 1924, but was instead banned from French radio until 1937 because the government feared that the dramatic SOS messages would be mistaken for genuine distress signals.

In 1951, American writer and producer Arch Oboler suggested that Wyllis Cooper's (1934-47) was the first true radio drama to make use of the unique qualities of radio:

Radio drama (as distinguished from theatre plays boiled down to kilocycle size) began at midnight, in the middle thirties, on one of the upper floors of Chicago's Merchandise Mart. The pappy was a rotund writer by the name of Wyllis Cooper.

Though the series is often remembered solely for its gruesome stories and sound effects, Cooper's scripts for Lights Out were well written and offered innovations seldom heard in early radio dramas, including multiple first-person narrators, stream of consciousness monologues and scripts that contrasted a duplicitious character's internal monologue and his spoken words.

The question of who was the first to write stream-of-consciousness drama for radio is a difficult one to answer. By 1930, Tyrone Guthrie had written plays for the BBC like Matrimonial News (which consists entirely of the thoughts of a shopgirl awaiting a blind date) and The Flowers Are Not for You to Pick (which takes place inside the mind of a drowning man). After they were published in 1931, Guthrie's plays aired on the American networks. Around the same time, Guthrie himself also worked for the Canadian National Railway radio network, producing plays written by Merrill Denison that used similar techniques. A 1940 article in Variety credited a 1932 NBC play, Drink Deep by Don Johnson, as the first stream-of-consciousness play written for American radio. The climax of Lawrence Holcomb's 1931 NBC play Skyscraper also uses a variation of the technique (so that the listener can hear the final thoughts and relived memories of a man falling to his death from the title building).

There were probably earlier examples of stream-of-consciousness drama on the radio. For example, in December 1924, actor Paul Robeson, then appearing in a revival of Eugene O'Neill's The Emperor Jones, performed a scene from the play over New York's WGBS to critical acclaim. Some of the many storytellers and monologists on early 1920s American radio might be able to claim even earlier dates.

Perhaps America's most famous radio drama broadcast is Orson Welles' The War of the Worlds (a 1938 version of H. G. Wells' novel), which convinced large numbers of listeners that an actual invasion from Mars was taking place. By the late 1930s, radio drama was widely popular in the United States (and also in other parts of the world). There were dozens of programs in many different genres, from mysteries and thrillers, to soap operas and comedies. Among American playwrights, screenwriters and novelists who got their start in radio drama are Rod Serling and Irwin Shaw.

In Britain, however, during the 1930s BBC programming, tended to be more high brow, including the works of Shakespeare, Classical Greek drama, as well as the works of major modern playwrights, such as Chekhov, Ibsen, Strindberg, and so forth. Novels and short stories were also frequently dramatised. In addition the plays of contemporary writers and original plays were produced, with, for example, a broadcast of T. S. Eliot's famous verse play Murder in the Cathedral in 1936. By 1930, the BBC was producing "twice as many plays as London's West End" and were producing over 400 plays a year by the mid-1940s.

Producers of radio drama soon became aware that adapting stage plays for radio did not always work, and that there was a need for plays specifically written for radio, which recognized its potential as a distinct and different medium from the theatre. George Bernard Shaw's plays, for example, were seen as readily adaptable. However, in a lead article in the BBC literary journal The Listener, of 14 August 1929, which discussed the broadcasting of 12 great plays, it was suggested that while the theatrical literature of the past should not be neglected the future lay mainly with plays written specifically for the microphone.

In 1939-40, the BBC founded its own Drama Repertory Company which made a stock of actors readily available. After the war, the number was around 50. They performed in the great number of plays broadcast in the heyday of BBC radio drama of the 40s-60s.

Initially the BBC resisted American-style 'soap opera', but eventually highly popular serials, like Dick Barton, Special Agent (1946-51), Mrs Dale's Diary (1948-69) and The Archers (1950- ), were produced. The Archers is still running (October 2017) and is the world's longest-running soap opera with a total of over 18,400 episodes. There had been some earlier serialized drama including, the six episode The Shadow of the Swastika (1939), Dorothy L. Sayers's The Man Born To Be King, in twelve episodes (1941), and Front Line Family (1941-48), which was broadcast to America as part of the effort to encourage the US to enter the war. The show's storylines depicted the trials and tribulations of a British family, the Robinsons, living through the war. This featured plots about rationing, family members missing in action and the Blitz. After the war in 1946 it was moved to the BBC Light Programme.

The BBC continued producing various kinds of drama, including docu-drama, throughout World War II; amongst the writers they employed were the novelist James Hanley and poet Louis MacNeice, who in 1941 became an employee of the BBC's. MacNeice's work for the BBC initially involved writing and producing radio programmes intended to build support for the US, and later Russia, through cultural programmes emphasising links between the countries rather than outright propaganda. By the end of the war MacNeice had written well over 60 scripts for the BBC, including Christopher Columbus (1942), which starred Laurence Olivier, The Dark Tower (1946), and a six-part radio adaptation of Goethe's (1949).

Following World War II the BBC reorganized its radio provision, introducing two new channels to supplement the BBC Home Service (itself the result of the fusion in September 1939 of the pre-war National and regional Programmes). These were the BBC Light Programme (dating from 29 July 1945 and a direct successor to the wartime General Forces Programme) and the BBC Third Programme (launched on 29 September 1946).

The BBC Light Programme, while principally devoted to light entertainment and music, carried a fair share of drama, both single plays (generally, as the name of the station indicated, of a lighter nature) and serials. In contrast, the BBC Third Programme, destined to become one of the leading cultural and intellectual forces in post-war Britain, specialized in heavier drama (as well as the serious music, talks, and other features which made up its content): long-form productions of both classical and modern/experimental dramatic works sometimes occupied the major part of its output on any given evening. The Home Service, meanwhile, continued to broadcast more "middle-brow" drama (one-off plays and serializations) daily.

The high-water mark for BBC radio drama was the 1950s and 1960s, and during this period many major British playwrights either effectively began their careers with the BBC, or had works adapted for radio. Most of playwright Caryl Churchill's early experiences with professional drama production were as a radio playwright and, starting in 1962 with The Ants, she wrote nine productions with BBC radio drama up until 1973, when her stage work began to be recognised at the Royal Court Theatre. Joe Orton's dramatic debut in 1963 was the radio play The Ruffian on the Stair, which was broadcast on 31 August 1964.

Tom Stoppard's "first professional production was in the 15-minute Just Before Midnight programme on BBC Radio, which showcased new dramatists". John Mortimer made his radio debut as a dramatist in 1955, with his adaptation of his own novel Like Men Betrayed for the BBC Light Programme. However, he made his debut as an original playwright with The Dock Brief, starring Michael Hordern as a hapless barrister, first broadcast in 1957 on BBC Third Programme, later televised with the same cast and subsequently presented in a double bill with What Shall We Tell Caroline? at the Lyric Hammersmith in April 1958, before transferring to the Garrick Theatre. Mortimer is most famous for Rumpole of the Bailey, a British television series which starred Leo McKern as Horace Rumpole, an aging London barrister who defends any and all clients. It has been spun off into a series of short stories, novels, and radio programmes.

Giles Cooper was a pioneer in writing for radio, becoming prolific in both radio and television drama. His early successes included radio dramatisations of Charles Dickens's Oliver Twist, William Golding's Lord of the Flies, and John Wyndham's classic science fiction novel Day of the Triffids. He was also successful in the theatre. The first of his radio plays to make his reputation was Mathry Beacon (1956), about a small detachment of men and women still guarding a Top Secret "missile deflector" somewhere in Wales, years after the war has ended. Bill Naughton's radio play Alfie Elkins and his Little Life (1962) was first broadcast on the BBC Third Programme on 7 January 1962. In it Alfie, "[w]ith sublime amorality... swaggers and philosophises his way through" life. The action spans about two decades, from the beginning of World War II to the late 1950s. In 1964, Bill Naughton turned it into a stage play which was put on at London's Mermaid Theatre. Later, he wrote the screenplay for a film version, " Alfie" (1966), starring Michael Caine.

Other notable radio dramatists included Henry Reed, Brendan Behan, Rhys Adrian, Alan Plater; Anthony Minghella, Alan Bleasdale, and novelist Angela Carter. Novelist Susan Hill also wrote for BBC Radio, from the early 1970s. Henry Reed was especially successful with the Hilda Tablet plays. Irish playwright Brendan Behan, author of The Quare Fellow (1954), was commissioned by the BBC to write a radio play The Big House (1956); prior to this he had written two plays for Irish radio: Moving Out and A Garden Party.

Among the most famous works created for radio, are Dylan Thomas's Under Milk Wood (1954), Samuel Beckett's All That Fall (1957), Harold Pinter's A Slight Ache (1959), and Robert Bolt's A Man for All Seasons (1954). Beckett wrote a number of short radio plays in the 1950s and 1960s, and later for television; his radio play was first broadcast on the BBC Third Programme on 24 June 1959 and won the RAI prize at the Prix Italia awards later that year.

Robert Bolt's writing career began with scripts for Children's Hour. A Man for All Seasons was subsequently produced on television in 1957. Then in 1960, there was a highly successful stage production in London's West End and on New York's Broadway from late 1961. In addition there have been two film versions: in 1966 starring Paul Scofield and 1988 for television, starring Charlton Heston.

While Alan Ayckbourn did not write for radio many of his stage plays were subsequently adapted for radio. Other significant adaptations included, dramatised readings of poet David Jones's In Parenthesis in 1946 and The Anathemata in 1953, for the BBC Third Programme, and novelist Wyndham Lewis's The Human Age (1955). Among contemporary novels that were dramatised were the 1964 radio adaptation of Stan Barstow's A Kind of Loving (1960); there had also been a 1962 film adaption.

In Australia, as in most other developed countries, from the early years of the medium almost every radio network and station featured drama, serials, and soap operas as staples of their programming; during the so-called "Golden Years" of radio these were hugely popular. Many Australian serials and "soapies" were copies of American originals (e.g., the popular soap Portia Faces Life or the adventure series , which featured future Australian TV star Leonard Teale in the title role), although these were typically locally produced and performed live to air, since the technology of the time did not permit high-quality pre-recording or duplication of programs for import or export.

In this period radio drama, serials and soap operas provided a fertile training ground and a steady source of employment for many actors, and this was particularly important because at this time the Australian theatre scene was in its infancy and opportunities were very limited. Many who trained in this medium (such as Peter Finch) subsequently became prominent both in Australia and overseas.

It has been noted that the producers of the popular 1960s Gerry Anderson TV series Thunderbirds were greatly impressed by the versatility of UK-based Australian actor Ray Barrett, who voiced many roles in Anderson's TV productions. Thanks to his early experience on Australian live radio (where he often played English and American roles), Barrett was considered better than his English counterparts at providing a convincing Mid-Atlantic English ("transatlantic") accent, and he could perform a wide range of character voices; he also impressed the Anderson team with his ability to quickly and easily switch from one voice/accent to another without the sound engineers' having to stop the recording.

The effect of the introduction of television there in the late 1950s had the same devastating effect as it did in the US and many other markets, and by the early 1960s Australian commercial radio had totally abandoned radio drama and related programming (including comedy, soapies, and variety) in favour of music-based formats (such as Top 40) or talk radio ("talkback"), and the once-flourishing Australia radio production industry vanished within a few years. One of the few companies to survive was the Melbourne-based Crawford Productions, which was able to make the successful transition into TV production.

Despite the complete abandonment of drama and related programming by the commercial radio sector, the government-funded Australian Broadcasting Corporation (ABC) maintained a long history of producing radio drama. One of its most famous and popular series was the daily 15-minute afternoon soap opera , which was written for its entire production history by dramatist Gwen Meredith. It featured many well-known Australian actresses and actors, ran continuously for 27 years, from 28 February 1949 to 30 September 1976, with a total of 5,795 episodes broadcast, and was at one time the world's longest-running radio serial. It was preceded by an earlier Meredith serial The Lawsons, which featured many of the same themes and characters and itself ran for 1299 episodes.

In the 1960s and later, the ABC continued to produce many original Australian radio dramas as well as works adapted from other media. In recent years original radio dramas and adapted works were commissioned from local dramatists and produced for the ABC's Radio National network program Airplay, which ran from the late 1990s until early 2013. In late 2012 ABC management imposed budget cuts and axed a number of long-running arts programs, thereby ending the national broadcaster's decades-long history of producing radio drama (as well as its equally long history of providing daily serialised book readings).

After the advent of television, radio drama never recovered its popularity in the United States. Most remaining CBS and NBC radio dramas were cancelled in 1960. The last network radio dramas to originate during American radio's "Golden Age", and Yours Truly, Johnny Dollar, ended on September 30, 1962.

There have been some efforts at radio drama since then. In the 1960s, Dick Orkin created the popular syndicated comic adventure series Chicken Man. ABC Radio aired a daily dramatic anthology program, Theater Five, in 1964-65. Inspired by The Goon Show, "the four or five crazy guys" of the Firesign Theatre built a large following with their satirical plays on recordings exploring the dramatic possibilities inherent in stereo. A brief resurgence of production beginning in the early 1970s yielded Rod Serling's The Zero Hour for Mutual, National Public Radio's , and veteran Himan Brown's CBS Radio Mystery Theater and General Mills Radio Adventure Theater. These productions were later followed by the Sears/Mutual Radio Theater, The National Radio Theater of Chicago, NPR Playhouse, and a newly produced episode of the former 1950s series . Works by a new generation of dramatists also emerged at this time, notably Yuri Rasovsky, Thomas Lopez of ZBS and the dramatic sketches heard on humorist Garrison Keillor's A Prairie Home Companion. Brian Daley's 1981 adaptation of the blockbuster space opera film for NPR Playhouse was a notable success. Production costs on this serial were mitigated by the support of Lucasfilm, who sold the rights to NPR for a nominal $1 fee, and by the participation of the BBC in an international co-production deal. Star Wars was credited with generating a 40% rise in NPR's ratings and quadrupling the network's youth audience overnight. Radio adaptations of the sequels followed with The Empire Strikes Back in 1983 and Return of the Jedi in 1996.

Thanks in large part to the National Endowments for the Arts and Humanities, public radio continued to air a smattering of audio drama until the mid-1980s. From 1986 to 2002, NPR's most consistent producer of radio drama was the idiosyncratic Joe Frank, working out of KCRW in Santa Monica. The Sci Fi Channel presented an audio drama series, Seeing Ear Theatre, on its website from 1997 to 2001. Also, the dramatic serial It's Your World aired twice daily on the nationally syndicated Tom Joyner Morning Show from 1994 to 2008, continuing online through 2010.

Radio drama remains popular in much of the world, though most material is now available through internet download rather than heard over terrestrial or satellite radio. Stations producing radio drama often commission a large number of scripts. The relatively low cost of producing a radio play enables them to take chances with works by unknown writers. Radio can be a good training ground for beginning drama writers as the words written form a much greater part of the finished product; bad lines cannot be obscured with stage business.

The BBC's sole surviving radio soap is The Archers on BBC Radio 4: it is, with over 18,700 episodes to date, the world's longest-running such programme. Other radio soaps ("ongoing serials") produced by the BBC but no longer on air include:

In September, 2010 Radio New Zealand began airing its first ongoing soap opera, , which won the Best New Drama Award in the 2011 New Zealand Radio Awards.

On KDVS radio in Davis, California there are two radio theater shows, Evening Shadows, a horror/fantasy show paying tribute to classic old-time radio horror, and KDVS Radio Theater which commonly features dramas about social and political themes.

The audio drama format exists side-by-side with books presented on radio, read by actors or by the author. In Britain and other countries there is also a quite a bit of radio comedy (both stand-up and sitcom). Together, these programs provide entertainment where television is either not wanted or would be distracting (such as while driving or operating machinery). Selected Shorts, a long-running NPR program broadcast in front of a live audience at Symphony Space in New York, originated the driveway moment for over 300,000 people listeners each week during readings of contemporary and classic short stories by well-known professional actors.

The lack of visuals also enable fantastical settings and effects to be used in radio plays where the cost would be prohibitive for movies or television. The Hitchhiker's Guide to the Galaxy was first produced as radio drama, and was not adapted for television until much later, when its popularity would ensure an appropriate return for the high cost of the futuristic setting.

On occasion television series can be revived as radio series. For example, a long-running but no longer popular television series can be continued as a radio series because the reduced production costs make it cost-effective with a much smaller audience. When an organization owns both television and radio channels, such as the BBC, the fact that no royalties have to be paid makes this even more attractive. Radio revivals can also use actors reprising their television roles even after decades as they still sound roughly the same. Series that have had this treatment include , , Thunderbirds[dubious ] and The Tomorrow People. In 2013 BBC Radio 4 released a radio adaptation of Neverwhere by Neil Gaiman, featuring a cast of well known television and film actors. Neil Gaiman has said he was excited about the radio drama adaptation as it allowed the work to be presented with a greater deal of special effects than was possible on television. In the United States, an adaptation of The Twilight Zone aired to modest success in the 2000s (decade) as a syndicated program.

Regular broadcasts of radio drama in English can be heard on the BBC's Radio 3, Radio 4 and Radio 4 Extra (formerly Radio 7), on RTÉ Radio 1 in Ireland, and RNZ National in New Zealand. The Canadian Broadcasting Corporation produced notable radio plays in Calgary and Toronto in the postwar decades, from which many actors and directors proceeded to international careers, but abolished its radio drama department in the 1970s (and in 2012 amalgamated its TV drama and comedy departments into the "scripted prime time department.") BBC Radio 4 in today noted for its radio drama, broadcasting hundreds of new, one-off plays each year in such strands as The Afternoon Play, as well as serials and soap operas. Radio 4 Extra broadcasts a variety of radio plays from the BBC's vast archives and a few extended versions of Radio 4 programmes. The British commercial station Oneword, though broadcasting mostly book readings, also transmitted a number of radio plays in instalments before it closed in 2008.

In the United States, contemporary radio drama can be found on broadcasters including ACB radio, produced by the American Council of the Blind; on the Sirius XM Book Radio channel from Sirius XM Satellite Radio (previously Sonic Theater on XM); and occasionally in syndication, as with Jim French's production Imagination Theater. Several community radio stations carry weekly radio drama programs including KBOO, KFAI, WMPG, WLPP and WFHB.

A growing number of religious radio stations air daily or weekly programs usually geared to younger audiences, such as Focus on the Family's Adventures in Odyssey (1,700+ syndicated stations), or Pacific Garden Mission's Unshackled! (1,800 syndicated stations - a long-running radio drama), which is geared to adults. The networks sometime sell transcripts of their shows on cassette tapes or CDs or make the shows available for listening or downloading over the Internet. Transcription recordings of many pre-television shows have been preserved. They are collected, re-recorded onto audio CDs and/or MP3 files and traded by hobbyists today as old-time radio programs. Meanwhile, veterans such as the late Yuri Rasovsky ( The National Radio Theater of Chicago) and Thomas Lopez ( ZBS Foundation) have gained new listeners on cassettes, CDs and downloads. In the mid-1980s, the nonprofit L.A. Theatre Works launched its radio series recorded before live audiences. Productions have been broadcast via public radio, while also being marketed on compact discs and via download. Carl Amari's nationally syndicated radio series "Hollywood 360" features 4 old-time radio shows during his 4-hour weekly broadcasts. Amari also broadcasts old-time radio shows on "The WGN Radio Theatre" heard every Saturday night beginning at 10 pm on 720-WGN in Chicago.

In addition to traditional radio broadcasters, modern radio drama (also known as audio theater, or audio drama), has experienced a revival, with a growing number of independent producers who are able to build an audience through internet distribution. While there are few academic programs in the United States that offer training in radio drama production, organizations such as the National Audio Theatre Festival teach the craft to new producers.

The digital age has also resulted in recording styles that differ from the studio recordings of radio drama's Golden Age. Not from Space (2003) on XM Satellite Radio was the first national radio play recorded exclusively through the Internet in which the voice actors were all in separate locations. Other producers use portable recording equipment to record actors on location rather than in studios.

Podcasts are a growing distribution format for independent radio drama producers. Podcasts provides an alternative to mainstream television and radio which does not necessarily require a pitching process to be made and distributed (as these aspects of production can be learned by the creator) and which have no restrictions regarding programme length or content.

Since around the early sixties the Cyprus Broadcasting Corporation (RIK) features radio plays in the Cypriot Greek dialect. They are called Cypriot (radio drama) sketches and they are mainly about Cyprus's rural life, traditions and customs, its history and its culture. The works are written by established writers, but also from new writers through the Writing Contest of Cypriot Sketches issued annually by CyBC (RIK)

The first German radio drama was produced in 1923. Because of the external circumstances in postwar Germany in which most of the theaters were destroyed,[citation needed ] radio drama boomed. Between 1945 and 1960 there were more than 500 radio plays every year. The German word for radio drama or audio play is 'Hörspiel'. Today Germany is a major market for radio plays worldwide. In particular, audio plays on CD are very popular. A popular audio play serial of Germany and of the world is "Die drei ???" ( Three Investigators).

Berlin's Prix Europa includes a Radio Fiction category.[citation needed ]

Vividh Bharati, a service of All India Radio, has a long running Hindi radio-drama program: Hawa Mahal.

RTÉ Radio Drama is one of the oldest audio theatre departments in the radio world.

Audio dramas are popular in Japan. They began as radio dramas with the first radio broadcasts in 1925, and continue to be relevant as a medium in which storylines from TV series, comics, novels or video games are continued or expanded.

Before the advent of videocassette recorders, drama recordings were the only way to revisit an animated television series. Recordings often featured recapitulations of plotlines along with theme songs from anime series. Audio dramas are often used to expand or detail the plotlines of videogames. Before the advent of disc-based and mass-media games and the internet, the "universes" in certain video games were fully developed and explained within such CD audio dramas, especially during the era of arcade games. One notable example is TwinBee Paradise, a radio drama spinoff of Detana!! TwinBee that lasted for three seasons and established the names of the game's protagonists.

Radioteatret (Radio drama in Norway) has existed since 1926.

Tim Crook, Radio Drama: Theory and Practice. London; New York: Routledge, 1999.

Armin Paul Frank, Das englische und amerikanische Hörspiel. München: Fink, 1981.

Walter K. Kingson and Rome Cowgill, Radio Drama Acting and Production: A Handbook. New York: Rinehart, 1950.

Karl Ladle,: Hörspielforschung. Schnittpunkt zwischen Literatur, Medien und Ästhetik. Wiesbaden: Deutscher Universitäts-Verlag, 2001.

Sherman Paxton Lawton, Radio Drama. Boston: Expression Company, 1938.

Peter Lewis (ed.), Radio Drama. London; New York: Longman, 1981.

Dermot Rattigan, Theatre of Sound: Radio and the Dramatic Imagination. 2nd edition. Carysfort Press, 2003.

Neil Verma, Theater of the Mind: Imagination, Aesthetics, and American Radio Drama. Chicago: University of Chicago Press, 2012.

The BBC Story - The Written Archives: [8]

Radio Plays & Radio Drama webpage (England): [9]

British Radio Drama- A Cultural Case History by Tim Crook: [10]

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Radio drama (or audio drama, audio play, radio play, radio theatre, or audio theatre) is a dramatised, purely acoustic performance. With no visual component, radio drama depends on dialogue, music and sound effects to help the listener imagine the characters and story: "It is auditory in the physical dimension but equally powerful as a visual force in the psychological dimension."

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ARNAV MANGLA

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ARNAV  MANGLA

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Rajveer Bedi

In my opinion radio broadcasting does not

have any power over audience as you can only hear

and not see their facial expressions. For some listeners it

becomes boring as they cannot see how the speaker

reacts while he/she is speaking. Most of the people will

forget what the speaker has said as the speaker will not

show any emotions while speaking. It also becomes confusing and irritating

as a person cant keep listening to someone for a long time and not see them.

sometimes the voice doesn’t reach the listener properly and the listener will

not be able to make out what the speaker is saying.

In conclusion radio broadcasting wont make an impact over the listener

as it will be boring and confusing for the listener.

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Saurish Bindals -                                                                                                                                                                                        I disagree that radio broadcasts have a power over audience because in that case that people or the narrators are just having their voice and not showing their face and their facial expressions.  If the won't show their face and facial expressions then how will people get to know that are the saying their particular dialog in which mood. The radio drama is not only negative but it is also positive for the people who like hearing and not seeing a particular movement or an act.  Radio drama has a negative impact because if the information is confusing or if you miss a point, it is  difficult to get clarification in your queries. Radio drama dialogs and the reports need to be clearly and simply written. The radio presenters and the reporters must take extra care to speak distinctly. Radio drama also becomes irritating and confusing at times because the voice breaks and also cracks while delivering at times. Radio drama is not that  connected with the listener in a way that is immediate and relevant. It becomes hard to understand what the speakers or the reporters are saying or presenting. This was my viewpoint about this debatable question.

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Kaashvi pandey                                                                                                                                                                                     In my point of view  Radio broadcast does have a power over audience, because in drama its not necessary that we have to show ourselves, we can express ourselves through only talking  and more. We just need to have the power and the emotions, and we can express our emotions through words, through talking which the radio broadcast do. Some people may not like it but obviously its their opinion and many other people may like it a lot, but we have to have the power and the emotions, so that the people can feel it and they can imagine everything that is happening. Radio broadcast has helped people a lot over the world before and is still helping them. Radio broadcast expresses the feelings through the their emotions in words they don't show there faces they put that power in they words and that's why radio broadcast is so famous, not only does it impacts the audience but it also gives a strong message. This is why I think that radio broadcasting does have a power over the audience.