You are very wonderfully intelligible, Tim. I remember the first time I heard most of your plays. I always understood everything even when I was laughing over you! And, I think the students noticed that without putting it into those words. One student once asked me if you were English because your delivery sounded so much clearer than normal. She looked shocked when I said you were an American from the Chicago area! 😘 Great job!
I agree whole-heartedly with your points on enunciation. Often times a missed word or phrase that buries important exposition can take you out of the experience as you play catch up while interpretting lesser subsequent clues. Please allow me a pointed barb for the dramaturg who insists on 100% authentic period and locale pronunciation without regard to burden placed on the modern audience. A pox on such pedants. I don't agree with your disdain for the microphone. The inverse square law requires that an actor projecting adequately to the back wall exposes the front row to a rather more intense experience. Speakers placed throughout the auditorium ensure a more even decibel level. A good audio engineer can also balance the varied projection strengths of the actors to create a more natural sound for the audience.
You are very wonderfully intelligible, Tim. I remember the first time I heard most of your plays. I always understood everything even when I was laughing over you! And, I think the students noticed that without putting it into those words. One student once asked me if you were English because your delivery sounded so much clearer than normal. She looked shocked when I said you were an American from the Chicago area! 😘 Great job!
Hear, hear! (Get it?) I agree completely with your views on miking actors in plays. Good chapter.
I agree whole-heartedly with your points on enunciation. Often times a missed word or phrase that buries important exposition can take you out of the experience as you play catch up while interpretting lesser subsequent clues. Please allow me a pointed barb for the dramaturg who insists on 100% authentic period and locale pronunciation without regard to burden placed on the modern audience. A pox on such pedants.
I don't agree with your disdain for the microphone. The inverse square law requires that an actor projecting adequately to the back wall exposes the front row to a rather more intense experience. Speakers placed throughout the auditorium ensure a more even decibel level. A good audio engineer can also balance the varied projection strengths of the actors to create a more natural sound for the audience.