RTV Theory and Practice - Special Issue

аге limited bv our title, we shall leave phenomenological investigation of the situation of the receiver (listener) at the moment when he listens to a radio drama for another time. I n anv case, the object we have analvsed on the preceding pages, at least as far as ontological and phenomenoiogical considerations in interpreting a work of art are concerned, and as Umberto Eco points out does cover ”onlv the work itself as a message a source” 27 Put another wav, we have examined the essence, the raison d’štre of the. work and its ”existence” without anv need to ”sav” something to anybody. In conclusion we should like to indicate what has been accomplished so far. It must be admitted that not much has been accomplished and from this point in time we seem still to be discerning the beginning. But, as we see things, that is probably the wav it must be, at least for the present F or the existential and phenomenological approach in interpreting artistic phenomena is bv definition like that it ahvavs seizes hold of the source, the beginning of things, the essence and birth of of phenomena. The existential and phenomenological tendencv within the framework of our studv has, we hope, shown the effect of the existential foundation of the radio drama, the existential question as to how radio drama exists, and tried, at least in broad outlines, to define the constituent parts of the radio drama. We would onlv point out once again that we are aware that this is onlv a beginning. It seems that sum total of our analvsis, an ontological and phenomenological vision of the radio drama as a work of art could be seen from what has been said. It is a vision of acoustic space transcending in the listenehs mind into en Event which in turn with its own ontic existence and Spell conceives its own realitv.

27 Umberto Eco, op. cit

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