FN Showoffs

Ar ben mynydd anghyfanedd, ynghanol Prydain yr oesoedd Tywyllwch, mae’r brenin Clydog ap Arthwys yn gwynebu Aelor Gawr, cawr olaf y wlad. Mae Clydog yn angen mynyddoedd Aelor i amddiffyn yn erbyn y llu Sacsonaidd sy’n tresmasu.

Ond ni fydd Aelor yn barod i ymadael ei gartref môr rhwydd a hyny, ac felly yn gorfodi Clydog i ddewis rhwng ei anrhydedd a’i deyrnas.

Aelor Gawr gan Mark Lewis Jones

Brenin Clydog gan Glyn Pritchard

Lladarn gan Geraint Rhys

Cafodd ei ysgrifennu a'i gyfarwyddo gan George Pritchard

Gyda dyluniad sain gan Cai Gwilym Pritchard

Cyfieithiad gan Ioan Gwyn

Cherddoriaeth a meistroli gan Ollie McAuley

Oedd Y Cawr Olaf Cynhyrchiad gan Backchat Productions

Atop a desolate mountain, in the midst of Dark Age Britain, King Clydog ap Arthwys confronts Aelor Gawr, the last giant of the land. Clydog seeks Aelor’s mountain range to help defend against the encroaching Saxon hordes. However Aelor will not part with his home so readily, and Clydog is forced to choose between his honour and his kingdom. 

Aelor Gawr - Mark Lewis Jones

King Clydog - Glyn Pritchard

Lladarn - Geraint Rhys

Written and directed by George Pritchard.

Sound design by Cai Gwilym Pritchard

Music and mastering by Ollie McAuley.

The Last Giant was a Backchat Production.

Abstract

By looking into alternative listening practices within the context of Modern Scripted

Audio Drama, both as a medium as well as a contemporary sonic culture, this Audio

paper will attempt to analyse the material qualities of Audio Drama and theorise ways

that these practises may be applied. As well as give insight into how the culture of Audio

Drama can be steered in a more open, accessible, experimental and radical direction.

There is not much of a crossover between sound arts and Audio Drama. By making

these analyses and interpretations, This audio paper will attempt to bridge that gap, and

provide some practical directions and ideas.

Much of the research was done through analysis of relevant sources and interviews with

several figures who work within Audio Drama who each provide a different perspective

on the medium.

The ultimate conclusion is an encouragement to the Audio Drama community, both

listeners and producers, to learn to love and intentionally use “bad” audio and to seek

out productions made by newer creators. The hope being that more marginalised voices

will use audio drama to create politically radical productions and audio drama as a

whole will begin to be made in more experimental ways.

This Audio Paper Included audio from interviews with:

Lee Tomaneli

Marisa Ewing

Amber Devereux

Ella Watts

Quotes read by:

Gregory Carrobis

Avalon Willowbloom

Joe Cruz

Bibliography

Brandon Labelle, Bulut , Z., Chattopadhyay, B., Kanngieser, A., Frahm , O., Vrhovec Sambolec,

T.G., Stjerna, Å. and Raimondo, A. (2016). Dirty Ear Report #1. sound, multiplicity, and radical

listening

Brooks, A. (2015). 'Glitch/Failure: Constructing a Queer Politics of Listening', Leonardo Music

Journal (2015), 25, pp. 37-40. Available at: https://doi.org/10.1162/LMJ_a_00932.

Chion, M. 2019. Audio-Vision: Sound on Screen. New York Chichester, West Sussex: Columbia

University Press.

Heptonstall, G. (1988). NEW DIRECTIONS FOR RADIO DRAMA. RSA Journal, 136,

pp.273–275.

Jackson, D. (2020). Earwitnessing the Queer Acoustics of Public Space: Law, Sex and Nature

in Ultra-red’s Second Nature. Law Text Culture, [online] 24, pp.328–363. Available at:

https://ro.uow.edu.au/cgi/viewcontent.cgi?article=1406&context=ltc.

Ultra-Red. (2011). Five Protocols for Organised Listening. Available at:

http://www.ultrared.org/uploads/2012-Five_Protocols.pdf [Accessed: 6 November 2023].

Ultrared.org. (2024). Ultra-red: Mission Statement. [online] Available at:

http://www.ultrared.org/mission.html [Accessed 24 Jan. 2024].

Watts, E. (2018). Drama Podcasts An overview of the US and UK drama podcast market.

[online] Available at:

http://downloads.bbc.co.uk/radio/commissioning/Drama-Podcast-Research-Dec2018.pdf.

Watts, E. (2018). Audio Drama and the Art of the Invisible Wall. [online] IPM. Available at:

https://www.internationalpodcastmonth.com/blog/the-art-of-the-invisible-wall [Accessed 6 Nov.

2023].

Watts, E. (2020). The Gays Destroy Capitalism in Space: the Radical Imagination of Audio

Fiction. [online] IPM. Available at:

https://www.internationalpodcastmonth.com/blog/the-gays-destroy-capitalism-in-space

[Accessed 6 Nov. 2023].

CW: Controlling behavior and Violence

For the intended experience, please listen with headphones.

This audio contains an example of gameplay for the game BrutalStar, and an additional section of instruction for running the game as a Star Monarch. Step off of your Star Treader and quest to defeat the wicked Galaxitron, in an adventure that YOU CAN REALLY PARTICIPATE IN!

Written and Performed by Greg Carrobis. Edited and sound designed by Greg Carrobis with Creative Commons 0 sounds from Freesound.org. Music by Jolene Cotnoir.

Greg's podcast, Ghosts on a Train- https://www.faustiannonsense.com/ghosts-on-a-train

Jolene's podcast, PSST: Paranatural Support Services Team- https://podcasters.spotify.com/pod/show/psstcast6

(Submitted by Megan Gwen Davies)

CW: Tories, homophobic language, sexism, brief references to cultural events and tragedies, reference to racism and xenophobia, British politics, reference of suicide, propaganda, brief reference to police brutality, reference to real political figures

M@beth is a radio play written by Megan Gwen Davies during her Masters degree while lamenting about the state of British politics. Taking inspiration from The Thick of It and Accidental Death of an Anarchist, they produced this piece of work that Faustian Nonsense kindly offered to put into the world. It was produced in her tiny flat during lockdown with minimal access to things like actors, so they're very grateful to the friends and family she dragged into it.

Credits:

Knitter One - Liza Holmes

Knitter Two - Cait Gallagher

Knitter Three - Nicole Wainwright

ACTOR ONE (Macbeth, Malcolm, Caplan) - Harri Davies

ACTOR TWO (Lady Macbeth, Banquo, Duncan, Mcduff) - Megan Gwen Davies

Written, directed, edited, and icon by Megan Gwen Davies

transcript here

A spontaneous experiment over a voice call one day. Cai Gwilym Pritchard, Lee Tomanelli, and Dante Brown each took a random play off their shelves and combined the three of them, each reading one characters side of the conversation. It's very silly.

Some minor edits and sound design have been added

Mentioned in this episode:

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What happens when a lost dog story meets a folk horror tale? This atmospheric short will take you deep into the forest to find out.  

Drawing inspiration from Welsh folklore, The Wild Hunt was written, read and produced by member's of Welsh cosy mystery series, Gather The Suspects.

Gather The Suspects is part of the Faustian Nonsense network - find their show on our website (link).

Writing: Jonathan Evans

Reading: Edward Llewellyn

Music and Audio production: Luke Wilhelm

Want to submit something to FN Showoffs? send a file, title and short description along with your name and any links you want to go along side it to: [email protected]

we are looking for interesting and unique sonic experiences, these can be stories, documentaries, experiments etc. Please try your best as we do expect a certain level of quality and any hateful content will automatically be rejected, obviously.

Mentioned in this episode:

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(Submitted by Freddie Churchill)

"I get very bored very quickly, I made these very short stories for those people who don’t have 5 hours plus to get through a whole narrative arch. These evocative and concise stories touch on all parts of life, fantasy and fiction. see the short Tableau’s of other peoples lives unfold before you."

Writing, Narration, and Sound Design: Freddie Churchill

Want to submit something to FN Showoffs? send a file, title and short description along with your name and any links you want to go alongside it to: [email protected]

we are looking for interesting and unique sonic experiences, these can be stories, documentaries, experiments etc. Please try your best as we do expect a certain level of quality and any hateful content will automatically be rejected, obviously.

Mentioned in this episode:

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The modes of narration in an audio based storytelling format can take many forms, these may be specific to a genre or type of story but each takes a slightly different form each with different implications. The world of actual play podcasts, also, take a different approach to narration in the role of the GM acting as actor, conveyor of the story and as themselves. I intend to explore how exactly these forms of narration affect the concept of the fourth wall and the relationship between the podcaster(s) and the listener.

An audio essay written, read and sound designed by Cai Gwilym Pritchard who you can find on twitter @mynameisnotcai

Featuring the folks from actual play podcast Ghosts on a Train who you can find on twitter at @ghosts_train

Want to submit something to FN Showoffs? send a file, title and short description along with your name and any links you want to go along side it to: [email protected]

we are looking for interesting and unique sonic experiences, these can be stories, documentaries, experiments etc. Please try your best as we do expect a certain level of quality and any hateful content will automatically be rejected, obviously.

Mentioned in this episode:

Patreon Ad 1

Support us on Patreon! https://www.patreon.com/faustiannonsense