RTV Theory and Practice - Special Issue

interwoven conveys the psychologically disturbed state of the conderrmed man who is being taken out to be hanged. Literary and other historical reflections are also inserted, each with their own particular acoustic characteristic, and contribute to the final nightmare. »The Electronic Studio of Radio Belgrade examined the nature of vocal, instrumental and other sounds. Although, with a certain number of compositions, this technique resulted in the sounds seeming to be placed right next to the already familiar sounds of the models it did at least allow a selection of various distances from the same models. The greater this distance the more the electronic medium is able to maintain its independence and offer a more lively sound. Decreasing the distance from 'he models the electronic sounds come to life more expressively, but at the same time another possibly undersirable effect is obtained: sound synthetized at the cost of great efforts may seem to be identical with the model (The programme of C.1.M.E., Belgrade). Marjan Radojčić used this duality in very creative way when he produced and recorded the sound for Dušan Ilić’s drama Sve je manje kišobrandžija (There aren’t so Мапу Umbrella-Menders now). Неге he achieved an expansion of internal dramatic time and simplified the transition from realism to fantasy. Every sound picture had its own atmosphere according to the requirement for either realistic or synthetized sound (done by the Electronics Studio). Ву reducing ог increasing the diameter of the roller over which the magnetic tape comes into contact with the tape head, by estimating the acceleration, and by re-recording the material and slowing it down, sound engineer Milosav Mitrović achieved ап excellent vocal transformation in several of his programmes - Vučja riznica - Luvr. (The Wolf.s Treasure - ihe Louvre) Ostrvo sporih i ostrvo hitrih (The Island of the Slo\v and the Island of the Quick) - and in the children’s play Izlet na čudno zeleno (Trip onlo the Strange Green) by Slobodan Stanišić, produced in cooperation with Paul Pign of the Electronic Studio. This kind of transformation from the poetic and dramatic viewpoint offers untold possibilities for recognizmg relationships and events in the tissue of radio drama. Thus we succeeded in recording the introductory text of the programme dealing with the Louvre museum as a character itself on two channels with different distortions, and we were able in this way to indicate the drama of duality inherent in the very conception of the Louvre as an seen as и historical institution. We created an creature, sexually polarised, which uses words to join its two parts into a pre-historic whole.

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