RTV Theory and Practice - Special Issue

Paul Pignon abandoned his post-graduate studies in physics and devoted himself to music. Together with the composer, Vladan Radanović, he founded the Electronic Studio, and now composes music, sound effects and transformations. While serving on a literary јигу he came across the text of the poetess, Marija Čudina, entitled Zelena kuća (The Green House) and, realising the stereo possibilities of this drama, decided to produce it in stereo. The drama deals with the difficulties of human communication. The poetess, as an offspring of civilisation, furnishes her characters with modern radio means of communication. They communicate only through the air and strive to meet in »the green house«, which represents an elusive Kafkaesque goal. The voices search frantically, but, being et the same time obstacles to each other, they аге constricted in their desire and do not arrive at the right time at the object of their search. As a producer, Pignon created a symbolic space in the form of concentric circles. Two voices from speakers firat locate the room space in the centre. Dramatic time elapses and the producer (who at thet time only disposed of filtering to colour the voices managed to indicate a much larger space by introducing proper sounds, outside the first desribed circle. Later is created a space outside the room, a kind of boundary space, which is symbolically linked with the original central circle in a vertical, all-encompassing misunderstanding. The subject of Vladan Radovanović’s stereo drama Odlazak (Departure) belongs, according to the author, to the group ot »eternal themes«. For him, »The continuation of life in another person does not compensate for the death of the individual. The fact that the second man dies later than the first does not mean that the life of the second man has been in апу way extended. For all past, present, and future individuals, nothing would be changed ii they were all to die at the same time«. The dramatic text is organised like a musical score, with marked vocal interruptions, space changes, clearly marked pronunciation. and marked approximate duration and dynamics. If we expenenced space as a hemisphere - a dome or arch, - then the lines of the text wou!d remind us strikingly of galaxies of stars on a carefully woven backcloth of dreams. The characters arranged in space аге extinguished one by one. This slow disappearance is suggested by having one character »speak more sofdy«; the others »barely hear him«. This fading in depth is no mere abstract space decoration; it has the clear function of symbolising departure. The lines ol the text sound vertically аге joined by assonances. The origins of this kind of drama can be found in some mono recorded dramas of a few years back, One of these was David Stanković’s play Ulica Danijelova (Daniet Street). m which the hunted main character wanders through the corndors of his own