Narrative voice, whether first, second, or third person, can radically change the focus of a narrative, argues Dilys Rose, illustrating this with examples from her own work.
Speech radio is ‘bad at abstraction’, Frances Byrnes believes. But with imagination, verve and the example of the finest dance writers to draw on, a radio broadcast could capture even that least verbal of performing arts, ballet. Couldn’t it? That was the task Byrnes set herself when she set out to dramatise Stravinksy and Balanchine’s 1928 ballet Apollo.