RTV Theory and Practice - Special Issue

human consciousness: we сал hear a conception of the world, rigged up reflections of extemal events, movements of the spirit, a symphony of emotive sparks, and these all speak of the world that was, the world that is, and the world to come. This kind of radiophony comes to us from the studio control panel, the sound mixing board, multi-track recorders, and sound filters. It is no wonder then that it corresponds to the present time. This radio separates the programme contents and, in parallel with world events, polarises them in human consciousness like a mirror of the world. These аге the elements of a poetic construction. And the similarity between radio expression and public poetry-readings, story-telling, speech-making, and symphony concerts is more than obvious. It is as obvious as the fact that every effort + o »lead the action« ог »the plot«, every effort to imitate a stage event, to emphasise the spectacular, means a clear miss, straining frog-like imitation, the dull clatter of wooden swords, and a pigeon’s egg among those of snakes. SOME REMARKS ON TERMINOLOGT The subject of our discussion lacks clear terminology. The basic idea of the radio play ог the radio drama is purely a conventional working title which has been somehow adopted, for want of something better. When we use the adjective »radio«, we mean something that is broadcast from a radio station. However, the consumer programme trait is not in the least bit important for the aesthetic value and essence of the musical, sound, or spoken material recorded on the tape. If we were to listen to what we call a radio drama in a concert hall equipped with loudspeakers, we should not in апу way be able to call it »radio«. The word »drama« itself is debatable, for it includes (or may exclude) comedy and other »dramatic« branches. The word »play« which figures in the German Horspiel (a play meant to be listened to) analagons to the word Schauspiel (a play meant to be seen) is really the most adequate term for many types of radio drama. The term »the theatre of words«, which has in recent years come to be accepted but which has not been much to the fore, is eminently usable when examining the essence of radio drama. In the expertence of Vugoslav radio stations the difference between a play and a drama has best been seen in the classification of children’s programmes. A radio play for children can mean a number of things: fairy tales, dramatised poems, sound plays and others. A radio drama for children, on the other hand, has always meant something similar to a drama for adults, only with the subject-matter being adapted for children, This »seriousness«, this »dialogical neatness« and similar elements all point to a certain stereotyped, dogmatic orientation among many of those who have contributed to’