RTV Theory and Practice - Special Issue

are missing. They would enable a non-standard way ol of work Therefore, the third programme "destruction” of conventional drama expression on the radio, will be produced basically in the domain of literature; more or less, this breakage of conventions was parallel to som-e new phenomenons in the literature. This does not mean thatvarious other researches were not effected, especially in the production of electronic sound. Radioßeograd Electronic studio helped this in a considerable measure. From general point of view,RadioßeogradDrama Programme proved itself in the smallest measure in the domain of documentary radio-drama, in the sense of coherent orientation and first-class achievements. There were some individual attemptsjvhich had various values and applied various procedures: a combined usage of historical documents, a method of discussions with participants in important social events was also applied, some plays were broadcasted outside the studio, in the authentic places, etc. However, these attempts remained somehow isolated, sometimes at the edge of a reporl; there was no skillful criticism to evaluate and encourage them. The experiment was distinguished and there were no suitable synthesis and programme consequences. If we understand the phenomenon of documentary radio-drama in the broadest sense, then the programme called ’The starlight hours of the mankind”, the programme about distinguished historical persons, is the on!y exception of conclusive incorporation of historic documents into the drama structure. However, the essence of this precious programme is less obvious in the search for specific radio-drama forms and more obvious in cultural and educational function. This is actually the basic purpose of this programme, the form is borrowed in order to саггу out the function as plastic as possible. This does not mean that up-to-date experience in the production of this programme has no influence in both current production and in possibly deeper research penetrating into the nature of document with the aim to discover its dramatic tensions and meanings. On the contrary, ’The starlight hours of the mankind” remains an important indication in all further reflections about documentary drama and one