[COMPLETE] The Blue Poetry Book- icequeen

Solo or group recordings that are finished and fully available for listeners
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icequeen
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Post by icequeen »

I do wonder, Ann - If we classify this project as a Quartet, even though we're preparing it the same way as a DR, we still just present it like a regular book, right? As in, we don't make a cast list or anything - just put the four names on each finalized section?

Yes, that is the way that I would do it. Since there are only four of you reading, that would be the easiest.
Ann

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LCaulkins
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Post by LCaulkins »

Hi, J. :)

If you can do a Scots accent well, go for it! If it's unnatural, it's far better to read in your own accent.

Regarding working in dramatic reading style, let me try to explain for you how those beasts work - hopefully in an understandable fashion!

It feels really strange, when compared to recording a normal LV section, to not do an intro/outro, but they would be completely superfluous in our color-code recordings here.

All of our recordings that we turn in will get chopped up and spliced into a new, cohesive, sound track. Picture the editor working with two Audacity windows open: One is for the "Master File," and the other holds all the "roles" turned in for that section, imported and stacked into one window. The editor will also have the script window open. Carefully following the script, the editor can move along on the Master File, cutting the appropriate portions from the roles in the stack window, and pasting them into the Master File as s/he builds that new track. The Master File will present a smooth stream of the poems as presented in the book, with our four voices rotating as the section is played (and it's all on one track). This Master File is what becomes the "real" section for the audiobook.

The splicing step is done visually, rather than aurally, which is why we need to leave empty space between "lines" (poems, in our case). Normally, that space should fall between 3 and 5 seconds. With these poems, where we'll have pauses here and there for stanzas, it would be helpful for the editing stage if we leave a good 6 or 7 seconds between our poems.

When we are finished, and Ann is doing the cataloging work, all our individual recordings will get deleted. Their entire purpose is to provide the working material to create the real sections for the audiobook. Thus, no need at all for intro/outros on them - we don't even need to announce who's recording or what section/division it is for!

All that's needed in our recordings is to read only what the script says each time our color comes up. We'll read the title, the poem, and then the poet name. Then we leave 6 seconds of silence, and start in on the next Title-poem-poet . . . and so forth until the end of that script, where we just stop. It's really weird at first. :)

(It does bug me that Lang only used first initials instead of complete names, but I'm pretty sure we can't change that in our readings. I'm going to ask Ann after I submit this response.)

P.S. Dramatic readings or plays can be quite fun - you might like trying a few bit parts out to see if you like it. Play projects typically leave you to pick out your lines from the play itself, while Dramatic Reading projects put up scripts that are usually color coded.
~Lynette * -
Fancy some fun character recording? Small parts needed in these dramatic novels: Clouds of Witness | Ivanhoe (DR)
LCaulkins
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Post by LCaulkins »

Question for Ann:

Am I correct in thinking we have to strictly stay with what the text says when we read the poet accreditation after each poem?

Lang listed every poet in the Table of Contents, using their complete names. But then he only used their first initial at the end of each poem, like this:

NURSE’S SONG

When the voices of children are heard on the green
And laughing is heard on the hill,
. . .
The little ones leap’d and shouted and laugh’d;
And all the hills echoèd.

W. Blake.


We have to read, "W. Blake." Correct? We cannot see from the Table of Contents that it's William Blake and read the full name? Or can we do that in this situation?
~Lynette * -
Fancy some fun character recording? Small parts needed in these dramatic novels: Clouds of Witness | Ivanhoe (DR)
JVoxMachina
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Post by JVoxMachina »

That helps immensely! I've got it. Thank you for the clarification!
- J.T.
icequeen
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Post by icequeen »

LCaulkins wrote: September 16th, 2021, 2:54 pm Question for Ann:

Am I correct in thinking we have to strictly stay with what the text says when we read the poet accreditation after each poem?

Lang listed every poet in the Table of Contents, using their complete names. But then he only used their first initial at the end of each poem, like this:

NURSE’S SONG

When the voices of children are heard on the green
And laughing is heard on the hill,
. . .
The little ones leap’d and shouted and laugh’d;
And all the hills echoèd.

W. Blake.


We have to read, "W. Blake." Correct? We cannot see from the Table of Contents that it's William Blake and read the full name? Or can we do that in this situation?

I think it would be fine to have the whole author's name. It makes more sense if you do that than to leave the listener wondering who in the world W. Blake is. It isn't like you are adding something new, or an taking out something that is objectionable to you, that is completely different. Having the whole author's first name instead of just the initial is for clarity.
Ann

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LCaulkins
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Post by LCaulkins »

Super!

OK, guys, I've filled in the full names on the 1st script, so we don't have to look up anything we aren't already familiar with. I'll hit the remaining scripts tomorrow.
~Lynette * -
Fancy some fun character recording? Small parts needed in these dramatic novels: Clouds of Witness | Ivanhoe (DR)
JVoxMachina
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Post by JVoxMachina »

LCaulkins wrote: September 16th, 2021, 7:53 pm Super!

OK, guys, I've filled in the full names on the 1st script, so we don't have to look up anything we aren't already familiar with. I'll hit the remaining scripts tomorrow.
Awesome! That will help a ton! Sorry, another quick question for you: where stanzas are numbered (I, II, III, etc.), I assume we wouldn't narrate the number of the stanza. Is that correct? Just want to make sure I do this right. :mrgreen:
- J.T.
LCaulkins
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Post by LCaulkins »

I really don't know - does anyone else?

Barring a recognized convention regarding this, my tendency would be to evaluate whether reading the stanza number adds to or detracts from the feel of the poem.
~Lynette * -
Fancy some fun character recording? Small parts needed in these dramatic novels: Clouds of Witness | Ivanhoe (DR)
Ciufi
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Post by Ciufi »

That is an interesting question (about reading stanza numbers). There doesn't seem to be a rule. I would tend to go ahead and read it.
And in reference to the conversation about Scottish accent, I also have a few poems like that, and if I try to do the accent, I will sound like a complete idiot and wreck the poem. SO I am going to have to stick with the Northern California thing.
silverquill
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Post by silverquill »

My two cents on stanza numbers:

I usually omit them. I feel they interrupt the flow of the reading, and add nothing of significance to the poem when it is read. Visually, it may help the printed page.

The exception are longer poems where there are actual divisions or parts consisting of many verses, Even there, I have to ask if they are needed for clarity.

Accents: Yes, if it is appropriate and one can do it naturally and authentically. Otherwise, ones normal accent is best.
~ Larry
Ciufi
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Post by Ciufi »

I could not resist taking a break from those essays to do the first pink section (16:31):


https://librivox.org/uploads/icequeen/bluepoetry_1st_pink_128kb.mp3

Now, I am noticing in the notes here that a few changes were made in the Google docs. I think my titles are correct, but if you want me to go patch in the poets' full first names, I can do that.
LCaulkins
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Post by LCaulkins »

You are fast! Wow! :)

I couldn't resist doing my first poem today, either. But I'm not doing more than one poem a day, so it'll be next week when I get my first green section finished up.

Didn't change any titles - but if you don't mind doing it, that would be great to get the full names.
~Lynette * -
Fancy some fun character recording? Small parts needed in these dramatic novels: Clouds of Witness | Ivanhoe (DR)
Ciufi
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Post by Ciufi »

I’ll do that! 8-) I can get to that this weekend.
Ciufi
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Post by Ciufi »

Okay, here it is with the full names. 16:21. I am perplexed as to why it should be shorter, rather than longer, than the first, but I did give it a check-over, so maybe I had the time wrong on the first.


https://librivox.org/uploads/icequeen/bluepoetry_1st_pink_128kb.mp3
LCaulkins
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Post by LCaulkins »

Ciufi wrote: September 18th, 2021, 3:57 pm Okay, here it is with the full names. 16:21. I am perplexed as to why it should be shorter, rather than longer, than the first, but I did give it a check-over, so maybe I had the time wrong on the first.


https://librivox.org/uploads/icequeen/bluepoetry_1st_pink_128kb.mp3
Funny!

Our first file!! It's loaded for erieston :)
~Lynette * -
Fancy some fun character recording? Small parts needed in these dramatic novels: Clouds of Witness | Ivanhoe (DR)
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