Hörspiel/USA: 1981 - 1992

The former page features the cover for the KPFA Folio when the first series of plays and other acoustial works from German radio were translated and broadcast. The date was October 1984, twenty seven years ago. The Bay Area Radio Drama productions are still in our archives and we hope in this new age of reaching out, radio productions such as these may now have a new audience. The German word for 'bridge' is Die Brücke and it represented an acoustical alliance between San Francisco and German radio art. Contemporary American radio art barely exists, but it may now find opportunity to create and distribute for a new world-wide audience. It may have to go the way of the independent-lensed film makers for eventual public and artistic support, but with the expanding listening territory, that opportunity is at hand.

Click here to see our: Hörspiel Photo Album

 

 

 

 

LOCATIONS: 1992 - 1997

A series of original works for radio concentrating on acoustical locations as a basis for the writing and production.  We discovered that writers visiting locations that they chose, often find elements that they wouldn't ordinarily have considered, and that can have a dramatic significance for their play. What we wanted to do was to bring in these locational options for writers and sound designers at the outset. Explore the location, see and hear what it is doing, what the dramatic artist can do with it, in particular to bring in the sound designers not as an afterthought, but for their contribution all along the way.

Click here to see our: Locations Photo Album

 

 

 

 

 

 

THE EUGENE O'NEILL PROJECT: 1986 -1995

The series was funded by the National Endowment for the Humanities in commemoration of the one hundredth birthday (1988) of Eugene O'Neill. Included were the four Glencairn sea plays. BARD's funding was renewed by NEH for the production of four additional works. The series was produced by Erik Bauersfeld, Directed by José Quintero, Sound Design and mixing by Randy Thom. The final play in the series, Lazarus Laughed, was directed by Ed Hastings, with Sound Design by James McKee, Music by Lou Harrison Chorus master: Barney Jones. Artistic consultant for the series was Travis Bogard, preeminent O'Neill scholar and author of Contour in Time. For the series Bogard recorded special commentaries which are heard at the conclusion of each play. The notes below are largely taken from these Bogard texts.

 

 

 

 

 

 

 

FERLINGHETTI: OPEN EYE, OPEN MIND

About two decades ago while the Farmers' Maket was being relocated at the Ferry Building our Gang of Four joined the other gangs on Saturday mornings at a little café across from the market's temporary presence on the Embarcadero. The DeStijl was like a Paris meeting place, art talk with an all-star cast, theatre, poetry, movie making and catchings up from the week's creative set. Radio and film sound people too, with recording machines which began to capture whatever morning things brought. Ferlinghetti was and still is our master of memories and wild plans for coming years. Over a hundred hours of whatever came forth eventually became a story of a life which Maria Gilardin, James McKee, myself and Ferlinghetti himself created: three hour-long episodes taking us back to sea life during the second World War, life recorded in Big Sur and finally Ferlinghetti's insurgent life and poetry on the San Francisco Western Front.