RTV Theory and Practice - Special Issue

consisted of carefully arranging the material on a vertical plane, creating a new ambiance for it, mixing, dissolving in transition, combining and building up along the vertical. The birds’ song which served exclusively as a sound basis at no moment lost its authenticity, although the independent musical whole was in the pure suite form. An important characteristic of the radio play is the sculpting of a specific musical sentence by altemating music and the fest of the sound material. The basic radiophonic characteristic of Hydrodialectics is in the fast editing of the sound material which tells the story of »the inevitability of seismic movements of the earth« which cause earthquakes (in this case, water cascades) and which moves from one historical period to another. Man, wishing to conquer the forces of nature (here water is a symbol of nature) fails to remove his reflection from the water, the reflection in turn symbolising his desire to take from himself that which nature has already taken. And so he steps forth into a hydrogen bomb catastrophe with the sweet hope that he will be able to start all over again, from one waterdrop to »heavy« water. During the editing process great саге was taken of the possibilities for polyfocal perception. A selection of recognisable, high-school associations and light music made this programme light and gay and situated the subject, which was otherwise caricatured, in the popular genre. The philosophical premise gave rise to a game which clearly was not aimed at a serious or critical view of the world. CONCLUSION The development of technology and its discovery of new ways of recording, have had an important influence on the development of the radio play. They offer unlimited possibilities of combination. They have allowed the radio drama to become independent, to form a specific genre. The radiophonic work cannot be read. It must be listened to. Every script to be performed presents in principle an opportunity for creation and that creative process unfolds in the studio itself. The contrast between the creative process and the everyday programme requirements is increasing ah the time. This is mainly because the life of a sound creation does not finish after the broadcast is over; instead it begins with the broadcast and is interrupted! The basic aesthetic postulate, as we have shown, takes radio drama away from the theatre and brings it nearer to the book. The future of the magnetic speech play lies in the transcript which