Practical 2 Talks and Discussions: Structure

PRACTICAL 2 TALKS AND
DISCUSSIONS
Structure
2.0 Intr~duction
2.1 Objectives
2.2 Exercises at Home
2.3 Planning and Production of Talks
2.3.1 Vetting of Scripts
2.3.2 Rehearsing
2.3.3 Recording
2.3.4 Post Production
2.4 Production of Discussion
2.5 Announcements
2.6 Let Us Sum Up
2.0 INTRODUCTION
You have read in Unit 1, Block 1 of Course MJM-002 that Radio
broadcasts comprise spoken-word programmes, news and music
programmes. Most of the educational and informative content of public
service broadcasting lies in spoken-word programmes. These employ a
variety of formats viz., talks, discussions, interviews, magazines,
commentaries, plays, features, documentaries etc. We have discussed in
Unit 3 of the same block that Talk is the basic format and the principles
governing the talk format, apply to the other formats of spoken-word as
well. Discussions are in the nature of an extension of the talk format. 'This
unit is designed to help you to acquire the skill of planning and producing
talks and discussions.
2.1 OBJECTIVES
After completing the practical, you would be able to:
plan talks and discussions;
record talks and discussions; and
undertake post-production.
2.2 EXERCISES AT HDXE

Read Unit 3, Course MJM-001 on Spoken-word Programmes
thoroughly.
Listen to at least 5 talks on radio. Try to grasp the key issaes of the
talk and analyse the presentation (whether the words used were
Practical Manual conversational, sentences were short and the pace a~jpropriate-etc.as
described in the theory unit). Write the details in Worksheet 2 and
bring to the programme-centre for evaluation.
a Write a talk on a topic of your choicc as discussed in section 3.3 of the
theory Unit 3 Block 1, Course MJM-002. You may choose a topic
from a featurelarticle publislled in a newspaper and rewrite it as a talk.
Bring the draft script to the work centre for refining and recording.
a Identifj 5 topics for discussion on which there ]nay be divergent views
which deserve to,be debated for a better con~prehensionof the issue.
List the topics in the last column of Work Sheet-2 and bring to the
programme-centre for evaluation. -
-
2.3 PLANNING AND PRODUCTION OF TALKS
~roductionof talks includes vetting of scripts, rehcarsal, recording and post
production. During the practical, the students will be divided into several
pairs, each pair will comprise a talker and a producer. Each student will do
the role of a talker as w l l as a producer by turns.
2.3.1 Vetting of Scripts
Vetting means careful scrutiny. A script is vetted from three main angles:.
a it is in conformity with the scope of the programme as conceived by the
producer; . .
a it is in the nature of spoken-word- s'llnple. lucid far from long winding

words and compound sentences; and
0 it does not infringe the broadcast code and the law of the country.
2.3.2 Rehearsing
After carrying out vetting, discuss the draft script with the counsellor and
make necessary modifications. Reduce or"e1ongatethe script depending on
the time taken to read the script. Identi& t116 live side of the microphone
and ask the talker to speak into the 'Live' side.'You should seat liimlher
18" away from the microphone. The engineer'or the production assistant at
the control booth will check the recording levels. Ask the talker to "speak
through" the script in full before the microphone. Ai-range the pages in a
way that there is no rustling of papers while 'speaking'. Check the
following:
a the time, with reference to the time allotted;
a the pace of delivery - 120 words pcr minute is the normal pace; and
a modifications the script needs taking into account the difficulties
experienced.
The talker may commit mistakes while delivering the talk. Advise that in
case slhe fumbles or has to clear throat slhe needs to reread the entire
sentence or passage. This-helpsyou in maintainit~guniform level of recordiilg
at the time of post-production. .
2.3.3 Recording Talks and D;scussions
Ask the talker to begin the talk on getting red light in the studio. Begin the
recording and listen attentively. Mark out in the second copy of the script
wherever editing is required. Note the time when the talk ends. Keep a cue
sheet inside the tape carton. List down the time and date of broadcast, date
of recording, duration, details of the talk and the talker. Play back the recording
and listen to it attentively and identify the portions which need editing. The
talk should sound natural, if there are fluffs which sound natural, ignore them.
2.3.4 Post Production
Post production must be avoided as far as possible while producing straight I
talks. If you devote enough time and attention to rehearsals, it will obviate
the need for post-production.
?he editing room will have two tape decks - one of which will be a \ ,
recorder and both would be inter-connected. Load the tape containing the ,
recording to be edited on one deck and a blank (bulk-erased or new) tape

on the recorder. Start the 'dubbing' i.e. the transfer of recording from one :
magnetic tape to another. Stop the recorder where something is to be
edited. Let the faulty portion pass by in the tape deck. Cue the point from ;
which the dubbing has to recommence. There must be some 'pause' while
you transfer the recording after editing to avoid jerks in dubbing. Listen to
the final dubbed recording carefully to see that it is perfect and the levels at a
the edited points merge naturally. Mark out the final tape, make entries in
the tape cue sheet giving complete details of the programme.
2.4 PRODUCTION OF DISCUSSION

The methodology followed in planning of discussion is the same as that of
t
planning talks. The essential difference between the two is that you can take
up any subject for a talk whereas for discussion you have to choose only
those subjects on which there are divergent views which deserve to be
debated for a better comprehension of the issue. Once the topic is finalised,
the counsellor will form groups of five students of whom three will be
participants, one will be a moderator and the fifth will be a producer.
If you are chosen as a producer, your role will be to brief the participants
and the moderator about their roles and the scope of the programme. Invite
them to the discussion studio and make them seated around a circular1
hexagonal table with an Omni-directional microphone placed on it. Invite
them to do a prelimiilary round of discussion so that the recording levels
can be adjusted and if necessary, the seating positions can be<hanged. The
moderator then takes over and jou exercise remote contypl. P~sSTvritten
advice on slips to the moderator if the discussion is going off b t a n g e n t or
an lsignificant point gets over-emphass. Show gestures to the or
a ; ~t the time to wind up.
Post Production of Discussion

You may record the discussion for longer duration than required s o that you
can edit it to the required duration. However, editing must bafrom the point
of view of presenting a honlogenous programme that interests the listener.
Practical Manual Once the discussion is recorded, listen to the recording carefully. Identify
the pointslplaces, which need editing. As in editing Talks, follow the
procedure for editing. Listen to the edited'version and analyse involving the
other members of the group.
Producers very often write the text of the announcements which is read out
by the announcer. This serves as a background for the presentation to make
live announcements. Write out the announcement for the talk you have
recorded tracing the content of the talk, the talker and hisher background
etc.
2.6 LET US SUM UP

Production of talk and discussion includes:
identifying the topic
vetting the script;
briefing and rehearsing the talker;
recording the programme; and .
post-production.
Production of a discussion. ;n addition to the above involves:
identifying and briefing the moderator and participants; and
specifying the scope of the programme.

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PRACTICAL 2 TALKS AND

2.2 EXERCISES AT HDXE

a it is in the nature of spoken-word- s'llnple. lucid far from long winding

recording to be edited on one deck and a blank (bulk-erased or new) tape

2.4 PRODUCTION OF DISCUSSION

Post Production of Discussion

2.6 LET US SUM UP

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