RTV Theory and Practice - Special Issue

well, after having enteres do to speak into the service of the creative wiU (if we may continue to use the language of old romantic artistic theory) which - in the attempt to use them for the realization of its own artistic conception - completely alters them, awards them a new role, a new function, a new meaning, elevates them to a new level which could not exist at all without this creative wih. And thus, through all the elements mentioned, a certain artistic act begins to be realized; through all the elements mentioned, a certain artistic act begins to be realized; through these elements meaning begins to be lent to its aesthetic essence which separates all these elements one by one from actual reality, awarding them new dimensions of significance and new possibilities of existence. In this way the aesthetic is implemented in a radio drama, and at the same time radio drama receives its autochthonous artistic expression which gives every work of art the fmal stamp of the aesthetic. Both fundamental concepts which make up the subject of our reflection, the aesthetic and the technical, have just this relationship in principle within the radiophonic medium, and their real inner content is геаИу like this. This constehation, however, changes and rotates the very moment that we reahze that the abstract concept ot the creative will (used intentionally until now in its meaningful connection) conceals the subject, the individual, which is to say someone who has the opportunity to plan and form the creative process by himself and because of himself, both fundamental constituents of a particular artistic genre (which we have ћеге defmed as radio drama), to create the very artistic act as he imagmed it himself, in doing which it is not in the slightest important whether this subject conceals the author, the director, the interpreter, the composer or the recording technician. In that moment, then, a completely new set of questions and problems opens up. in whose framework our reflection is no longer bounded by the determmation and discovery of one or more outcomes in principle, but it is given the possibility of more concretely dealing with the creative processes themselves, through which the individual's creative will can but does not have to be revealed. From that moment, the relationship between the technical and the aesthetic in the radiophome medmm should be observed from a new angle, from the angle of productivity and reproductivity, from a viewpoint which permits interpretadon ot the problems themselves, but not their qualitative evaluahon as well. WHAT, IN FACT, DO PRODUCTIVITV AND REPRODUCTIVITV ON THE RADIO, IN RADIOPHONICS, MEAN? We have arrived at probably the most significant question on which debate has already been under way for a long time. The first to raise

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