RTV Theory and Practice - Special Issue

interval of its existence, it function is only possible in the form of »feedback« in the communication of collective awareness with the existing moment of reality. Television also occurs as an integral part of the integration of individual awareness into the collective consciousness. It is actually instrument which corrects it. The nature of TV communication is determined by this. The communication must be total, complete, starting from all human communicative ехрепепсе and disregarding different languages, styles and media. Television communication is achieved on the basis of the overall, communicative, perceptive and articulating ability of the men. b) Starting from reality in order to go back to reality, television has a specific situation in comparison with literature, the cinema, theatre ог апу other creative medium in view of the material which is obtained. While all other media have from the very beginning a »white, blank« place into which the material is to be brought in and work done, the television situation is quite opposite. It has crowded, chaotic space which must be brought to order and tidied; meaning must be given to it. This is especially obvious during the most authentic television, i. e. during a direct broadcast. The message is imminent only to the production of the TV picture. In this way the question regarding the control and orientation of the TV picture and not the question of its production, is raised. ReaHty is necessarily broader than the TV event. The TV event is one form of reality, one possible meaning. c) Television dramaturgy is determined by the nature and meaning of the medium, It is obtained by a method of reduction and ehmination, by the selection of already existing and present meanings. The television message is given by fragments of reality which аге premisses of the TV act. This is done in ап implicit way. The message is often weak so it cannot penetrate from the TV screen. It must be expressed in a clear way. However, not depending on this and although it is not explicit, it is present and it makes its own »semantic sound«, which changes the primary message and not only disturbs it. d) The subjects of television dramaturgy аге the meanings of the possible structure of a new work, being analogous to the event which they share and to which they give meaning.

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