1932-04-14 — Page 2

Page

HONG KONG DAILY PRESS THURSDAY, APRIL 14, 1932.

PRESENTATION PROBLEMS.

[BY VAL QIELOUD)

The prosent situation of the bronderat play is rather a curious oney On one side there is acertain amount of cvidener tú prove that

RADIO

FEATURES

ignored or simply not tenlised. The SHORTWAVE CONVERTERS

broadcast play as a medium for the l expression of drama has, with all its faults, given a certain amount! of entertainment, provided a ceri tein aniount of familiarity with | ertain classics, "and provoked" a certain degres of controversy; and all these things are in their way : good.

"Fregented by

118 A

there is a steadily inercising, num. But the broadcast pay has made ber of listeners who listen and en- ona contribution of the most vital joy hatening to radio drama, and a | importance to programmes corresponding tendency in hread-whole. I suggest this it is to the enst programines to aliot more time development of the broadcast play to and to enlarge upon the import that an appreciationy of the import. ance of broadenst play production.ance of "presentation "as applied 10 most broadenst work is dhe. "Why Try?".

Let me explain,a little further. On the other, there whains a Do not for

a moment suppose very large number of people, in that I am claiming that this contri- duding many intelligent people and bution, is due to any outstanding many constant listeners who per-brilliance, capacity or even common hist in trenting the broadenst play sense on the part of the members either a very indifferent sub of the department most immediate, 'stitute for the theatre or-still more concerned. It has nothing to do discouraging-who say flady that it is ridiculous to try to broadenst plays, draman sannot be broadcast, and why do we continue to attempt the impossible!

In various talks and articles, I have done my best to deal with the point of view which regards the broadcast play

an. secondate then,

tra.

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LET US HAVE ROBUST STUFF ON THE RADIO

--SAYS CAPT. P. P. ECKERSLEY.

family,, ing set which does not hear him

nets should welcome this opportu-elauges in life of controversy I can always hear Stone. Besides,

nity to increase the range of their set with this adaptor, especially during the summer season when static to often troublesome to long

Wave reception;

45

the same thing in a theatre you got an extremely unsatisfactory result.

The eavesdropping method simply did not do, and therefore it was necessary to transfer the whole i problem of broadcasting drama away from the eavesdropping merok phone in the theatre and to put it into a studio. with individuals. It merely has to From that point the following do with inevitable circumstances. stages of two studios, a dramatic Any student of broadcast pro-control panel, effects, and all the grammes will realise what I am rest of the elaborate apparatus talking about at once when he which now makes up the art of thinks of certain programme items that appear in the lists of B.3. output that cannot, by any flight of fancy, be called plays, and yet owe not only the Bocess they may achieve but even the framework on which they are built, to this word "presentation."

The questionnaire, flickor op. May I be aflewed one word more?

I believe in the scientific outlook. ann can survive only by his brain, It is unscientifle to generalise from Atatistics. if these refer to minorities. in type as well as number.

I do not think the average per son will fill up the form. Bo the form, being useless, becomes comie, And once one starts hughing cao cannot stop.

for

Perhaps you ought to par more your heence if you are to hear really creative work.

But there is more to this than just money The B.B.C. consists of too many amateur, charaile making people. Too often one Ands there the thor puerile cast-offs who would fail in stage and film work over if manor were lavished on them. They are afraid of the professional. Ho too robust, too vulgar, as they would say He won't play little Christopher Robin gamos round the microphone..:

Grown-up Chlidren,

ATWATER KENT RADIO.

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I fear to tread that dangerous, exactices of electricity when buni aloppy ground concerned with the the station you desire. children, but I wonder very much,Atwater Kent has always aimed if adult support of a Children's to make available to the public

radio as nearly perfect As The dear bearties who mines be possible to produce. Expert en- fore the microphone may be deleo,gineering, painstaking testing, un- table for these big boys and girls hurried manufacture, world-famous who find thein, best years. past one precision methods, and in every gone, but what of the children activity, the vast knowledge of the whose quite. natural desire it is to entire Atwater Kent laboratory and be treated as adults? It's make manufacturing organizations have believe" again; it's the charade boon used. atmosphere once more.

what a joy it is to have someone to change the records for one!

I repeat that most of modern creative broadcasting is an im pertinence. So much of this "airy nothinga and nothing' serious stuff is the refection of i

nayco. charade. It is intended by titles such as "airy nothings,” to aug- gest subtlety. In fact, it is imper-Hour is very valuable. tinently trivial.

It might be welcomed as an. It is perhapa unfair to: Siri amateur Christmas. production in William Beveridge, who is trying the squire's barn. Its memory very hard to collect extremely in- would be kept green by greener teresting information, to postulate lemonade, and littie Bessie failure in advance. But if one is Bowdle was so good, really it quite aware of a fet it is scientific to reminded

a professional give that fast due weight.

The show," fact is people will not fill up the And this stuff is broadcast to form-average people, that is, a

millions as the production of a cor from this failure? Will they realise come and a house of Portland stone Will the authorities learn a lesson poration with a million-pound in- that while broadcasting penetrates in Portland-placs! into every home, it ought first to knock at the door!

j

An Impertinence.

me of

ولا

When I was young my stars were i real hearty professional people forsideration until someons is found radio drama, followed perfectly

George Formby, and George Robey, complex. It is that, and that done, instance, Dan Leno, Marie Lloyd, who forgets the amateur whimsy" naturally, simply and inevitably,"

for the music-ball: José Collins..I want to drive home. Drama, in short, came to be specially presented to the micro.

Perhaps this amateurism is neces-Alfred Lostor, Gartie Millar, for The BBC has two functions--- sary. Perhaps the economics of musical comedy; Lewis Waller and creative and roflective. For in- phone because in no other way could drama be Broadcast satisfne-

broadcasting are all wrong. Fred Terry for the legitimato "*; torily. All this happened, I repeat,

adore the talkies-but,

of and Sir Herbert Tree, magnificent stance, it treates plays and is re

flects music. not because the people responsible

course, I choose carefully. Think of at His Majesty's. No nonsense, no the airy nothings of Noot Coward's fooling Oxford undergrads with exceptionally well done. Here the The music part of the B.B.C is for broadcast drama were unusually There is a certain impertinence in intelligent, but because unless some the very existence of broadcasting might think them superficial Butninnies posing through a part as created a fine orchestra because in "Private Lives." The superficial contortionist limbs, no purely pretty professionals have won. They have solution of this sort had been dis- If every speaker felt that he was there is no chhrade atmosphere seems the fashion today. covered their job could not here invited to talk to us rather than there. The actors are as slick as

the end they inculcated the true- been done at all.

Broadcasting gives one the idet spirit into their bosses. I believe, given mandate (and a cheque) only trained professionals can be..

that some ladies and gentlemen in time, it will be realised that the to lecture at us, our attitude to There are wit and skill in every dave just dropped in and will go so devoted dew who stuck to the pro modern broadcasting would be very move, every pose, every word. far as to play the guarded fool tofessional viewpoint in music deserve different.

amuse the grown-up children for from all music lovers the vory while before they are sent to bed.highest praise and thanks. I say it is an impertinenes that we The should submit to their vapourings. learn from this, if, of course, they other departments night To make my point clearer, let me want to. In talks there is still too

"

The Taste for Drama.

For.

I have never been one to tremble when I faced the aerophone. I never felt I was talking to millions, although I knew million listened.

not only the centre of the world, It" can be seen from these ex- however fascinating and however I was talking to two or three people It is deep and moving; and it is so remind you that the high-water much of the amateur educator who

Light But Not Empty. There is, to those who look, real tragedy behind the superficiality. mostly because it is the product of professional entertainers. The Love Lieutenant," and "Monte Carlo

Parade," The Smiling

are all light," but they are also strong.

Why, then, are the talkies so

The broadenst play is not an at tempt to compete with the stage. Producers at Savoy Hill are not trying a fall with Mr. Cochran or

Songs from the Shows." Sir Gerald du Maurieron their own. grounds. And for the most part As examples, I might quote the writers and producers of radioConversations in the Train" drama are not aiming at the same which HTB "presented." talks, audience which visits the theatre. Songs from the Shows which are "presented" programmes of popálar The Die Hards.

songs and, of course, such special"

But if this matter of presentation: The dia hard opponents of the programmes Rs, thosd which cele had stopped "short is achieving ita broadenst play in all its forms are brute New Year's Eve, Empire Day and I may advisedly its for the most part to be found and Armistice Day, or programmes

limited success-vita

broadcast Among those people who believe of the type of "Crisis in Spain" plays, its contribution to broadest

ing would have been 'kma!}, that the West End of Lordon is or "The Hundred Days

really. but also the world itself, and who amples that there is a contionally interesting the broadcast play may

That there were a great many forget that there are very many increasing tendency for this "pre be, it is doubtful if it can ever

groups of two or three was beside persons, leaving out of account in sentation which is simply one appen to the majority of Ecence-the reint. I was a guest at some

holders. valida, elderly people and the very aspect of the technique of produc-

one's house a welcome guest, I A taste for drama is by no means hoped. young, who live in circumstances tion, the technique of showmanship, to spread from the rehim of the

universtil, as from which prevent them.

thefriend managere Very few of the broadcast of going near theatre, and whose simple straightforward broadcast hos renton, ble formadest motto-day seem to approach the micro-supremely better thin brondenat sxperience of drama, apart from play into many other felds of broad those responsible for broadcast prophone with the idea of sitting down ing? Perhaps partly because of the broadcasting, must be confined to cast output.”

"grammes 25 a whole, have been in the best archair and talking relative economics of the two arts. the reading of plays.

Why should this ides of presents quick to realise that this art of interestingly. Stone of the gramo They can afford to pay real money I might perhaps argue that the tion have originated with the brand. Presentation is one that need by no phone fecord. does it. The only to the talkie stars. fact that the audience for radio cast play. The answer is extremely drama; that not only is the broad-criticism made about him is the cannot attract talent for a

means of confined" to broadenst. Reation for their production or it was naturally not considered, casting of plays a special medium, be inaudible. I criticise the receiv beard simultaneously by millions. plays in increasing is sufficient insti- simple. When brondensting began

he is so informal as sometimes tonight brandcasting performance alternatively, I might maintain that in tha "first instance. as a

but that the broadcasting of ome practice in this particular medium, medium at all.

fically everything is The microphone non only in its production by these was thought of simple as a way of medium, and that if it is worth who handle it, but also in listen eavesdropping upon other mediums, while to treat drama in a porti- ing to it by those who hear it, is

eular way because it is being con- veyed to its audience through the improving the standard of broad-! cast plays a considerably that If you are broadcasting a concert, microphone, it is probably also or a speech form "public banquet,sound to consider whether other

eVer

Just Eavesdropping.

a pecini

cvery day they are getting Weaver to the point at which they can, the idea of any speciel presentation items do not require and deservo purely as a form of entertainment of that programme item to the Apecial treatment of the same kind issue a direct challenge in their own microphone is, on the face of it, on their long road from the brain line, either to the films or to the quite unecessary. You are, after of the programme huikler to the stage.

all, only hearing in your own home cars of the listening audience what you would, but for a change

I think that, to some extent, this last contention is true, but I am difident about insisting upon when the inevitable implication is that Fm crying my own

wares and even possibly blowing my own

trumpet.

of place, be hearing in the concert hall or the banqueting room.

Punning Commentaries.

It would, of coure, be nonsense

And in the first instance the same pretend that some of the great- method was applied to the radio eat successes achieved by broadcast play. Microphones were put closing are not those that arise from to a atage, and the audience heard bringing the listener into the closest

that is actually happening. Trophy, the Ceremony of the Keys, The Cup Final, the Schneider the relays from Covent Garden, or

I would prefer to say something what it could. It was, however, Possible contact with something here about a contribution to broad soon discovered that while, by put- casting which, in my view, has been ting a microphone into a concert made by broadcast drama, and hall, provided your technicians which is, for the most part, either knew their job, you could hear your (Continued an 'next "anlumn.) Queert perfectly well, if you did

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speech by the Prince of Wales, have an immediate appeal and '& programme value which need a minimum of qualifention by pré- sentation however skilful; though in parenthesis one might refer to various types of ruining commen- taries as one' rather elementary method of special presentation,

But once FL progrumine tent leaves the sphere of actuality and onters that of a studio, it is not only ndvisable, but almost impera tive, that "presentssion " should. tako a band and broadenst 'show- manship, in the best scrise of those words, bo called upon to give that programme item its best opporta- nity and its widest appeal."

The Hew Art. The opera

or concert that is broadcast from the audio, the talk or the discussion that in broadcast from a studio, uro in this senso affected by the same circumstances an the play which is broadcast from a studio. They are in the first place, handled not for the beneft of people looking on and listening in the same room, but for people who are hearing at a distance, and it is the duty of those who present | any programme item broadcast from

studio to think of that item in. those terms.

Plays had to be treated thus, and that they were a compelled is their principal contribution to the whole art of brondinating, in so far that they have brought special presentation into the limelight and proved its value.-Popular Wire 「きれ

HAVE YOU HEARD THESE?

N.

Here are sta of long-wave aud short-wave stations which' should be picked up by anyone

in Hong Kong who has a mode- intely good sot suitable for re- colylag guch signals. Success in pleking up there stallons also depends very largely upon fav-. curable atmospheric conditions. Readers are invited to add to this list should they succeed in picking up any station not in- cluded in either of these lista.

10 12

*09

Perhaps you

one.

LONG-WAVE STATIONS.

Call Kilo Sign cyclo K.ZI.B. 1,158 K.S.M.S. 1,083 J.O.A.K. 8170.

Wzva length (Metres) Station

260 Manila 277 Shanghai 345 Tokyo

353 Hiroshima J.O... 850. 356 Hong Kong Z.B.W. '846. 35.1 Bombay V.U.B. 840 301 Supporo J.O.I.K. 830

J.O.D.K. 370. Nagoya J.O.UK. 810 370.4 Calcutta V.U.C. 800.9 350 Kumamoto J.O.G.E.

790 300 Sendai

300 Keijo

290

JO.H.K. 770 305 Dairen JQ.A.K. 760 J.O.B.K. 750 C.M.B. 732 K.Z.R.M. 025

400 Oenka

110. Canton 480. Manila

SHORT WAVE STATIONS.

Trần (Hong Kora)

OF WORKING

CTCLES

4,434 Mon, Wed.& Fri., 6 p.in, & 3 ‘6.2 4,990 0-10 p.m.

8,000 Tue, Thurs,, Sat. & p.m,

7,310 Not regulár

7,780 Daily 11 p.10.

8,108 Thas, & Fri, 0p.m.-1 a

9,280 Not regular

9,608 Not regular

9,680 Dally 7 Am

8,020 Fri 3. B 8 am, & 10 am.

STATION

CALL BIGN

Mosco

67.65 Dobints (Germany).F.K. Khabarovsk (Rusia) (R.A.97, Надеди 68.7

B.F.H.

A.GH.

5.201 Not regulas

48.6

Roine

Preth

1.M.A BOLA.G.20

8,896 Bunday midnight

7162 Daily 6:30pm

11pm..

41.9

Singapore

VST.A.E.

88,8

Kootwijk (Holland)

P.C.L.

37.

Bangkok (Sam)

H.S.&P.J.

85.2

Sydney

2.B.L..

81.88 Melbourne

8.10.

81.48 Schenectady

W.2.XA.

31.30 Eindhoven (Holland) | P.C.3. 81.28 Sydney

Malboul (Kenya), BI.

"

2.F.0.

23.5 27.8

Bydney Bandoerg 25,58 Chelmsford (England); 5;8.W.

FILMBE,

10,520 Nat regular

P.EB

Manila 245 22.88 Schenectady 18.88 Bandoeng

Kootwijk (Holland) '18.4

17(4-Bandong

Bangkok 16.9

Kootwijk (Holland) 16.8

Bandoeng .18,74

15.5 Nancy (France), 10.08 Pittsburg

K.1.X.E.

W.2.1.0.

F.L.G.

P.O.L.

P.LY

HELPI

P.C.I

P.LE.

10,851 Dally 8

W.8.X.X.

11,540 Not regalar

ין

9,800 Not regular.

9,877 Midnight daily

11,00 Midnight .m. daily 11,781 7.30 p.m. & sm. daily, groupt

Saturday and Baaday

19240 Nightly

13,850 4.m. Wody, Fri, Sat.

10,102 Dally 8.80p.m. to midnight 18,204 Da77 pul

17,280 Dally 8 pm to midnight

17,751 Bunday 2p.m & midnight 18,404 Each afternoon.

19,290 Dally 480p

........ [Allowanos must be made for "* sommer-time * most Baro pean countries, which is, one hour; abend of tree-tima.]

It

mark of intelligent broadcast play sees humanity as something to be production was achieved when bludgeoned into intellectual har Compton Mackenzio produced his mony instead of persuaded into first edition of Carnival." There common senie. Only the profes- was a depth and sweep about the sional proselytiser knows how naces- whole thing, light as the story maysary it is to give and to share frat have, been. nothing, albeit it was relatively and in the things which can be call

was intelligently before he can thereafter lead. professional. It was not an "airy Fa drama, in the Children's Hour, light. It did not cost a vast amounted creative, there is a terrible gap of money.

set between attempt and chiave- A Good Example.

ment. It would be better to sticke: «

who know their business to the often professional, than to try to Perhaps if money were wisely to variety, where each unit is at apent we might attract more people any rate something in itself and

microphone.

push these kittish little effluents

There are certain types of story into our homes. Only when the which lend themselves very well robust and-if you will read the pe to dramatic broadcast treatment, word rightly-vulgar people can be Cocil Lewis, when he was still at allowed their way will this deadly the B.B.C., made various courage"airy nothings" stuff perish. Cous attempts to dramatise dramatic stories. His ideas might be follow. ed up

But no idea will be worth con-

(Continued on" nem Çolumn.)

You may have gathered that this

I listened to two sketches which wore "nothing serious" and "siry nothings" and that "we were not. amused""'!-The Daily Mail. K

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