RTV Theory and Practice - Special Issue

Darko Tatić

a producer in Radio Belgrade

TECHNICAL CONDITIONS AS THE ESSENCEOF DRAMATISATION OF THE MODERN RADIO PLAY

On the poetics of the radio play

Nietzsche s aesthetic dichotomy between the Apollonian and the Dionysian is probably nowhere as significant as in identifying the essence of the radio play, and especiaUy the »new radio plav« as understood by Birgit Lermen. We have in mind the balance of the play s elements - words, sound proper, and music. What state of mmd đ » they best express? We could say that they express the essence of the action - that which makes its internal structure If we were to pursue Hartman’s idea, these elements could be said to turmsh a comparison with painting, that is, a fresco - painting vision of the world m relation to the plastic conception. which attempts to conjure up all the dimensions of the phenomenon to express its external mtegrity. Where does the root of this ascendine hne he. Its root most certainly hes in the word as the being of the w°rld, the word which precedes the work, and this is in direct contrast to the Faustian solution after Biblical hestitation. Between Apollonian and spacial art there can be no sign of equality nor can there be between Dionysian and time art, unless we succumb to vidgar simplification. For Apollonian art we understand as tlie art or the phenomenal be it in both time and space. And it is still more obvious that Dionysian art means internal essence whether or not this is ш terms of expression or space. It is very important to underlme this difference both in our theory and dramatic practice. We should separate the words and hnes which convey movement the spectacular element, from those which register the course of phenomenal events. Can we imagine one of Plautus’s comedies as a radio play? Through their plot, situation and action, his comedies , аге shaped for the stage, or even better, for the scene, but they аге clearly the antipodes of the radio play as a specific form. The essence of the radio play, however, does арреаг in Classical tragedy, ' m the theatre of words spoken under masks. It is precisely the works ol Eunpides which seem to us to be the turning point. His plays (where the whole course of events is narrated in epilogue) corresponds to the premises of the modern radio play. Modern radiophony is based on showing man’s internal emotional vibrations,,.. on analysmg his levels of consciousness. Using the stereo technipue we can listen to many internal currents, many sound and tone disturbances worked into sentences which conjure up the broken i

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