RTV Theory and Practice - Special Issue

B oth parts of the syntagm ”radio drama” represent a denotation which contains nothing more than it signities by itself. It stands by itself as on ontic foundation at the very moment of its concretisation (performance) As we can cee, the syntagm ”radio drama” itself embodies the ontic problem of radio drama. When determining the ontological dominant of radio drama as an artistic form we must, if we wish to remain in the realm of the arts, apply two types of analysis, constitutive and modal Constitutive analysis demands that the researcher go deep into the structure of the work, into its ”construction”, in order to answer the questiom what is radio drama as a work of art in itself? M odal analysis, on the other hand, would investigate ”the modes of existence of a work of arf’ 1 , in this case, radio drama as a work of art In so doing we shall primarily be answering the questioa how does it exist? But we shall also be determining, inasmuch as this is possible, its differentia specifica,that is, what distinguishes it from all other forms of art THE MODE OF EXISTENCE (SEINWEISE) OF THE RADIO DRAMA AS A WORK OF ART AMODAL ANALVSIS Within the framework of modal analysis of the radio drama as a work of art, we must determine, as mentioned earlier, its mode of existence. To this end we consider it useful to apply the analvsis Roman I ngarden used in his essay ”The Identitv of the Musical Work”.* In the chapter entitled ”The Musical Work and its Performance” 2 the great Polish philosopher and pbenomenologist Roman Ingarden, points out six

1 Cf. I. Focht, Uvod u estetiku (Introduction to Aesthetics, Zavod za izdavanje udžbenika, Sarajevo, 1972, p. Чд, 4 Itis no concidence thatanalvsis of the identih' of amusical work canalso be applied to a radio drama. Paraphrasing Nietzsche we can sav that ”the radio drama is born out of the spirit of music”. 2 Roman Ingarden”ldentitetmuzičkogdela”, (’The Identitv of theMusical Work”i, Rađio Belgrade, Treći program, Autumn 1971, pp. 471-595.