RTV Theory and Practice - Special Issue

А RETURN ТО LIFE THROUGH THE DOCUMENTARY The danger of shutting ourselves up in a systematic, paranoically constructed vision of the world, is best offset by continually keeping our eyes open, by thinking about the world in which we Uve, by soaking up a wide spectrum of information, and by constantly weighing up and comparing this mformation. The collage system offers the best way of bringing one vision of the world in contact with another. And the more surprising the turn of events, the greater the achievement in bringing opposites together. In fact, this a greater satisfaction for the modem sensibihty. The Ustener quenches his thirst for knowledge about the world which m its complexity and in the many problems it throws up seems to be shpping away from him, and this gives him the conviction that aU is not yet lost and gone for ever. Therefore, it is not апу wonder that the complex and rather hermetic radio game with effects, sound, and poetry has begun to bring back the »shce of Ufe« using taped reports, documentary matenal, m short the »raw material«. A far сгу from simple reporting and enriched with the dramatic ingriedent, plus the sure hand of the producer and technical engineers, this genre, the new radio play with O-sound or the drama documentary, has at hand ail the pre-requisites to create a synthetic form. Conceived in this way the documentary style can be used to delve into the past. The writer Berislav Kosijer, producer Nada Bjelogrhc and musical editor Vartkes Baronijan succeeded m combimng the feeUngs of those who participated in the famous March on the Igman Mountain, the testimonies of eye-witnesses, hterary reflections and bits of electronic music into a poem of modern sensibihty. The radiopho\iic essay Campo Santo (The Graveyard) offered an opportunity to unite heterogeneous elements into a new pattern. Philosophical and historical documents, news, Uterary records (prose and poetry), phonographic records, musical extracts etc. all joined in a multi-level polyphonic creation. Cutting, quick changes of scene, and changes in rhythm aU formed a kind of multi-current Đow and contributed to a picture of rampant Nazism which used its murderous machinery and pompous distortion of words to crash down like a waterfall upon the helpless individual. COLLAGE In the experimental broadcast Poslanica ptica (The Bird s Epislle) by Ivana Stefanović with sound engineer Marjan Radojčić demonstrated the use of the sound mixing board. The studio process