RTV Theory and Practice - Special Issue

Sava Trifković

ON THE NATURE OF THE TELEVISION COMMUNICATION: PROBLEMS OF DRAMATURGV

I Ап interpretation of the reality, and not the reality itself, is the essence of the TV medium; the reality of expressiveness against the author’s outstanding expression. We аге forced to watch the interpretation of the reality on IV, and not the reality itself. This happens even when authentic TV is in ouestion, i. e. when a direct broadcast is on. Even then, the choice of the fragments of reality which аге shown on the Г\ , and not the whole reahty is in question. A TV camera and a TV screen intervene betvveen an event and a remote viewer. The visual reality is reduced to the rectangular surface of the screen in front of a camera, i e it is limited within the frame of the picture. Regardless of the dimensions of the area of vision, a camera always takes part and not the whole event. Therefore, there is a choice already m the premise of the TV act; whether to choose this or that position for the camera, whether to choose this or that shooting plan, the angle ot observation, the motion of the picture? Each TV picture has these elements. Even in the case where a direct broadcast consists ot only one shooting plan, guaranteeing that the broadcasting ol the real event is authentic and trustworthy to the maximum extent, the subjective determination of the elements of the TV shooting plan cannot be avoided. This impUes a choice of more possibiUties. The problem of choice is increased by the use of two ог more cameras which take part in the broadcasting. A new element of the choice occurs then; picture editing; how to replace one picture with another? This is also a subjective choice, regardless of some »X, 4» MSa, ite we must remember Ла. «e second i. e. every camera, has its own elements of the picture, as the S camera haa If we change the term shot with the group of elements which make it and remember that the event is beu JB , broadcast by means of more than one camera, then ‘t is hat the reduction of the reality to the TV screen represents actuaUy its translation into a TV language. Therefore, we are presented m watching the TV programme, with the process ol expressmg a reality. We do not watch the reality of the objective world. That i statement, that the subject of the TV programme is the author s outstanding talent for expression. On the contrary. Th

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