Research On Broadcasting Of Radio Drama From The Perspective Of "Affect"

This paper takes the radio drama "The Magician","The Wolf","The General","The Silent Reader" and "The Three Bodies",which are highly broadcasted and talked about,as the objects of this study,using the theory of "affect" and related theories of psychology.It is expected that this paper will enrich the application of "affect" in new fields,expand the research horizon of radio drama performance,and open up new horizons for the application of "affect" theory,as well as provide theoretical guidance for radio drama performance and improve the level of radio drama performance.The text is divided into six parts.The first part is the introduction,which discusses the origin of the study,the current situation of the research on the theory of "affect"and radio drama acting at home and abroad,and uses three research methods: literature analysis,case study and in-depth interview."This paper uses three research methods: literature analysis,case studies and in-depth interviews.The innovation of this paper lies in the new research object and new research angle.The second part of the paper is an overview of the theories related to radio drama and broadcasting,from an ontological perspective.The second part of the study begins with a psychological perspective from the audience’s point of view,analysing the process of their emotional experience.The audience’s emotional experience when listening to radio dramas accumulates at the instinctive and behavioural levels,and finally reaches the reflective level,resulting in a value choice with unique feelings.External reinforcement and internal triggering,of course the most important is the internal triggering process,where emotions experience accumulation,followed by multi-sensory mobilisation to stimulate emotional convergence,experience triggering and reach the apex,thus generating emotions.The third section is the focus of this thesis,and builds on the previous research by looking at the strategy of radio drama,where the actor’s ’emotion’ is everywhere,and the actor has to actively ’emote’ and generate the other.An in-depth analysis of the active’emotion’ from the perspective of both the listener and the actor generates infinite reverie,explaining the ’emotion’ as an imaginative orientation.Both the ’pre-emptive’and the ’hidden cabinet’ strategies prove that the logic of broadcasting has changed,from a rational logic to an emotional one.Acting follows the properties of emotion,which is ever-changing and continuous,and pays attention to the legitimacy of emotion.The fourth part proposes a path to enhance specific radio drama acting by analysing acting techniques.The article suggests that the actor should strengthen breath control,especially weak breath control;try to create a vivid sound picture for the audience through "emotional" acting.The article also proposes a balance between authenticity and artistry,vocal line and voice fit,technique and emotion,and proposes rationalisation based on this,which is always guided by the theory of ’emotion’.In the fifth part,based on the previous study,we propose an outlook on the future development of radio drama.In a media-infused environment,radio drama should keep up with the trends of the times,constantly upgrade its communication technology,and gradually improve the management of radio drama content,using the ’emotive’ economy to gain a place for radio drama in the industry.The sixth part is the conclusion.Emotional movement is a reality that is itself in a process of production,constantly producing itself,as Deleuze defines it in its most basic terms-"Emotional movement: the continuous flux of the force of being or the capacity to act".Radio drama,as an art,cannot be without a continuous flow of emotions,and the addition of ’affect’ makes it possible to appreciate radio drama better.