FULL[Play]Importance of Being Earnest (version 5) - thw

Plays and other dramatic works
ktaylor07
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Post by ktaylor07 » November 22nd, 2020, 7:22 am

realisticspeakers wrote:
November 22nd, 2020, 12:49 am
I would like to do the stage directions please.
Okay! Welcome to the cast!

ktaylor07
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Post by ktaylor07 » November 22nd, 2020, 7:24 am

Thanks for getting this in so quickly!


realisticspeakers
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Post by realisticspeakers » November 23rd, 2020, 2:06 am

https://librivox.org/uploads/toddhw/importanceofbeingearnest_stage-directions_1_128kb.mp3

As this is my first dramatic reading and uncertain of what I'm doing I took the liberty of adding articles like "the" and "an" to some of the directions to make it sound more listener friendly.
I've also added (appropriately I believe) the name of the character performing the action when not mentioned in the stage direction just to add clarity.

Open to criticism, comments, complaints, customizations, and counsel.
Truth exists for the wise, Beauty for a feeling heart: They belong to each other. - Beethoven
Disclaimer:
"Kind reader, if this our performance doth in aught fall short of promise, blame not our good intent, but our unperfect wit."

ktaylor07
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Post by ktaylor07 » November 23rd, 2020, 6:43 am

realisticspeakers wrote:
November 23rd, 2020, 2:06 am
https://librivox.org/uploads/toddhw/importanceofbeingearnest_stage-directions_1_128kb.mp3

As this is my first dramatic reading and uncertain of what I'm doing I took the liberty of adding articles like "the" and "an" to some of the directions to make it sound more listener friendly.
I've also added (appropriately I believe) the name of the character performing the action when not mentioned in the stage direction just to add clarity.

Open to criticism, comments, complaints, customizations, and counsel.
Thanks for getting this in so promptly!

No, you don't need to add anything. Just read what is on the page. Stage directions can sound a bit bizarre and bare-bones when you read them in isolation. However when the listener hears them in the final form, they will be mixed with other readers performing the dialogue that will make what's going on abundantly apparent.

ToddHW
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Post by ToddHW » November 23rd, 2020, 8:05 am

I've also added (appropriately I believe) the name of the character performing the action when not mentioned in the stage direction just to add clarity.
I do this in all the plays I run. The audience in a theater can see who performs an action; a listener can not. So a stage direction for a line by character XYZ that is printed "XYZ: Picks up the book" benefits by having the "XYZ" added to the "Picks up the book" direction when recorded. And we have always allowed this.

We also allow moving stage directions that are printed in the "wrong" place. For example. "aside" is often printed after the character words that should be said "aside", which is not useful. So we move "aside" to precede the words.

However, it is your project and as BC you decide what you want to do here.

Thanks, Todd

(Also: Moved us out of the Launch Pad to the Dramatic Works forum.)

TriciaG
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Post by TriciaG » November 23rd, 2020, 8:23 am

Elizabethan Poetry: The Psalmes of David
Boring works 30-70 minutes long: Insomnia Collection 5
Short essays: Elia, and The Last Essays of Elia
Bulwer-Lytton novel: The Caxtons

realisticspeakers
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Post by realisticspeakers » November 23rd, 2020, 8:26 am

ToddHW wrote:
November 23rd, 2020, 8:05 am
The audience in a theater can see who performs an action; a listener can not. So a stage direction for a line by character XYZ that is printed "XYZ: Picks up the book" benefits by having the "XYZ" added to the "Picks up the book" direction when recorded. And we have always allowed this.

We also allow moving stage directions that are printed in the "wrong" place. For example. "aside" is often printed after the character words that should be said "aside", which is not useful. So we move "aside" to precede the words.

This is exactly what I was conscientious of while recording, having listened to the previous versions and perusing a few other plays.
Truth exists for the wise, Beauty for a feeling heart: They belong to each other. - Beethoven
Disclaimer:
"Kind reader, if this our performance doth in aught fall short of promise, blame not our good intent, but our unperfect wit."

RobMarland
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Post by RobMarland » November 23rd, 2020, 9:06 am

Here is Algernon, act 1
https://librivox.org/uploads/toddhw/importanceofbeingearnest_algernon_1_128kb.mp3

I made myself a cucumber sandwich (verdict: overrated). People vary in their tolerance for eating noises, but I've edited out the most objectionable and think it sounds OK. Feel free to edit around them if you prefer.
Rob Marland reader section | website

realisticspeakers
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Post by realisticspeakers » November 23rd, 2020, 9:56 am

RobMarland wrote:
November 23rd, 2020, 9:06 am
I made myself a cucumber sandwich
That's commitment! :thumbs:
Truth exists for the wise, Beauty for a feeling heart: They belong to each other. - Beethoven
Disclaimer:
"Kind reader, if this our performance doth in aught fall short of promise, blame not our good intent, but our unperfect wit."

ktaylor07
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Post by ktaylor07 » November 23rd, 2020, 10:19 am


ktaylor07
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Post by ktaylor07 » November 23rd, 2020, 10:23 am

RobMarland wrote:
November 23rd, 2020, 9:06 am
Here is Algernon, act 1
https://librivox.org/uploads/toddhw/importanceofbeingearnest_algernon_1_128kb.mp3

I made myself a cucumber sandwich (verdict: overrated). People vary in their tolerance for eating noises, but I've edited out the most objectionable and think it sounds OK. Feel free to edit around them if you prefer.
Thanks for getting this in so quickly! ...And for your devotion to culinary verisimilitude! :D

ktaylor07
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Post by ktaylor07 » November 23rd, 2020, 12:10 pm

ToddHW wrote:
November 23rd, 2020, 8:05 am
I've also added (appropriately I believe) the name of the character performing the action when not mentioned in the stage direction just to add clarity.
I do this in all the plays I run. The audience in a theater can see who performs an action; a listener can not. So a stage direction for a line by character XYZ that is printed "XYZ: Picks up the book" benefits by having the "XYZ" added to the "Picks up the book" direction when recorded. And we have always allowed this.

We also allow moving stage directions that are printed in the "wrong" place. For example. "aside" is often printed after the character words that should be said "aside", which is not useful. So we move "aside" to precede the words.

However, it is your project and as BC you decide what you want to do here.

Thanks, Todd

(Also: Moved us out of the Launch Pad to the Dramatic Works forum.)
Thanks for moving us!

It would be nice to have a short "Best Practices" type write-up on Stage Directions for first-time readers (and editors) posted somewhere.

I'd never paid much attention to them before, but I'm discovering there's a lot more variation in the way stage directions are given in scripts than I'd ever noticed. Sometimes it can be unclear what needs to be preserved and what can be left out.

Also, with the dramas I've been picking recently, it would be handy to have a short guide to interpreting Victorian stage notation available to point readers to -- since it's not exactly the same as the terms we use today.

realisticspeakers
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Post by realisticspeakers » November 23rd, 2020, 1:05 pm

Truth exists for the wise, Beauty for a feeling heart: They belong to each other. - Beethoven
Disclaimer:
"Kind reader, if this our performance doth in aught fall short of promise, blame not our good intent, but our unperfect wit."


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