RTV Theory and Practice - Special Issue

radio drama we shall see that almost all the individual elements of plays - words, music and sound effects - were and still аге represented in them, although the latter two elements have always been, and still аге, absolutely subordinated to the word, as the agent of the basic message and it has been considered that the message reaches the Ustener just through the word. This has no longer been so, lately: all the individual elements have become completely equal, not one of them has a prevalent role, and each by itself can be a constitutent of the essence of the radio play, mentioned have acpuired, so to speak, complete independence from »Uving reality«, by which their Uving, actual reality, if we slightly modify Schwitzke's term, has become purely and simply acoustic reahty which, as we have aiready tried to whow, we can equate with the technical conditioning of radio drama. Up to now, this has been capable of giving new meaning and significance only to the word, notwithstanding its idiomatic and semantic dimensions, while now this is also given to music and sound effects, by which these two elements not only join into another system of functioning, but, in their source, in their very origin, they аге no longer vitaUy connected to living, actual reality in which they were bom in their original form. From now on they too can acquire every formal and expressive function on the level of acoustic reality, they can onginate mit and Uve in it and through it. This means that in their selection and origins the elements of radio drama, as a new, autochthonous genre of art, аге no longer alienated from its technical conditionmg, through which they have succeeded in acquiring completely specific creative characteristics and features as well as the completely new constituent capabilities which we mentioned a little earlier. The question of productivity and reproductivity on radio are now exposed to us in a completely new Ught, since it is posed and becomes serious even with that form which, in the first phase of the historical development of radio, was almost the only one recognized as absolute productivity. All at once, a conflict, quite suppressed, but no less terrible, and dialecticaUy no less founded, can be observed within productivity between the old and the new, the progressive and the retrogressive forces. The basic goal of this conflict is to establish a new relationship between the technical and the aesthetic in the radiophonic medium, which is to say; the central theme of this dissertation. From now on, the concept of the aesthetic can no longer be restricted to what it represented for the theoretical founders of the classical type of radio play because, thanks to the manipulative or manipulated creative consciousness, the significance and content of the aesthetic were then brought forth by the application of creative elements alienated from the technical conditioning of radio drama. Only when this alienation is abolished and destroyed does the creative wUI present separately in every individual creator act and create, without using manipulation as one

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