RTV Theory and Practice - Special Issue

transmited from Radio Beograd. D uring this period, which is verv short for the development of a genre, Belgrade radio-drama succeeded in making itself conventional, proving a high literary and production ievel. It also removed from both the theatre and its own conventions bv making a series of notable expenments, especiallv in the domain of poeticai imagination. From time to time, it reached such results which had supported the idea that further researches and tendencies to new synthesis аге necessary. The above mentioned would remove both a theatre inter-sign ”hyphen” and a general presign, the existing literature which is to be recorded more of less well. Relativelv reliable technical epuipment and extraordinary technical expertness of a part of staff enabled versatile and contradictorv creative affirmation of radio-drama expression in both mediatorv and original drama trends and in the domain of research experiments. With such experiments and at such levels unity from the organizational point of view, Radio Beograd Drama Programmes enter the stage when the passed wav is to be criticalv considered with chances to prove and further develop its orientation and with real perspectives to achieve even larger research penetrabilitv and programme diversitv. 111 While the cherishing of original radio-drama (previouslv finished literarv form) in the narrow sense in Radio Beograd developed as a consepuence of certain determinations and aimed programme policv, although drama programmes were parted, discrepancies from that practice which had become organized as the time went on, were more the result of separate research and wants than the result of programme orientation, in the sense of preferring experimental and research aids. Drama programmes of the 'Third channel, formed to encourage the experiment, contradict to this conclusion to some extent However, in the frame of this general determination more known, special programme directions as well as necessary operative assumptions