RTV Theory and Practice - Special Issue

o f the radio drama, to our mind, creates whatßoman Ingarden calls the metaphysical qualily of an artistic work. In other words, the metaphysical quality of a radio drama is, above all, of a spiritual nature and is formed in the relationships between spoken words, sounds, music and the message. This then would seem to be that elusive feehng similar to that which we find in J ”epiphany” ог in the ”spell” of Wlodimir Yankelevicz. 3. ANALYSIS OF THE COMMUNICATIONAL STRUCTURE OF THE RADIO DRAMA AS A WORK OF ART Finally it remains for us to analyse the main features of the communicational structure of the radio drama as a work of art at the level of organising communication of the message, or ”the semiology of sources”. 22 We obtain the simplestform of communication structure of the radio drama if we look at a radio drama as a simple Sign which must be transmitted through a medium (radio) to the listener. In this case we shall have the simplest form of a semiotic triad which can be shown by usingßichards’ famous triangle. This triangle is mentioned by Umberto E co in his work C ulture, Information, Communication. Thus we have an information source, a medium, and an information receiver. Or, if we use Charles Sanders P ierce’s symbols for the same outline, we shall obtain another trivalent structure: representer, object, and interpreter. However, since the object of our analysis is radio drama, hence, a work of art, things appear differently. F or our remarks up to now have led us to expect a more complex communicational structure in radio drama as a work of art A simple trivalent structure such as proposed by Richards and Pierce does not correspond to what we have discovered to be the aesthetic level of the radio drama. At the moment of concretisation (performance) of a radio drama, the simple informative level of radio drama is

22 Umberto Eco, Kultura, informacija, komunikacija (Culture, Injormation, Communication), Nolit, Belgrade, 197 3.

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