RTV Theory and Practice - Special Issue

nualitv ol work on the adaptation and total radio production of some theatre plavs is concerned, must be subject to criticism, as such work (studio work in view of nualitv) is not alwavs and enough provided due to both time and technical restrictions, as well as to routine work which sometimes stavs within the correct boundaries ог within domain of magazine abridgment, additional musical illustrations and some oral corrections. When adaptors, directors and sound engineers аге inventive enough and committed in work, and actors ”go out” of their first media - the theatre, where thev had plaved their roles in accordance with the reouests of the stage and indirect communication with the audience - then, not depending on possible similarib' with the previous theatre inspiration, a radio plav, a radio theatre is formed, ”sound dramaturg''” is formed in which radiophonic e\pression gains specific aesthetic values The third form of connection between the radio drama and the theatre art - a direct adaptation of a theatre drama te.\t - is on the border between theatre radio intervention and origjnal radio-drama Actualiv, the adaptor relies on the alreadv formed work which is planned for the theatre and tries to reform and subordinate it to conditions and special repuirements of radio-drama medium The theatre literature is a constant challenge to radio-drama workers; thev trv tc ”translate” in into the language of sound dramaturg\ ; , to provide it with new coherence of this form, new metaphoric characteristics and associative recognizabilib', to eliminate the imaginarv listener. The ouestion is whether this second-stdge radio intervention between a listener and the theatre, i.e. a theatre te.\t, will possess strong marks of the model a theatre drama which had inspired it, in the final result or it will express itself bv a more original radio-drama form This depends on those who participate in its production, on degree of their creativeness, and then on technical devices and other worldng conditions If we suppose that the first tvpe of radio intervention is more ог less unimportant in the form of dramatic

34