Radio: w stronę oryginalnego języka przekazu

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dc.contributor.authorWójciszyn-Wasil, Aneta
dc.date.accessioned2022-11-21T12:13:02Z
dc.date.available2022-11-21T12:13:02Z
dc.date.issued2011
dc.description.abstractArtykuł prezentujący początkowy okres polskiej radiofonii w aspekcie kształtowania się swoistego dla tego medium języka przekazu i odrębnej dziedziny sztuki.pl
dc.description.abstractRadio is not only effective means of transferring Information, providing entertainment, creating social bonds, but it also contains artistic potential. The tendency to create independent language of art can be observed in the very first years of broadcasting. Materials concerning the activity of radio in Poland till the outbreak of World War II which I analysed allow us to show how an "Innocent toy" as the radio used to be perceived became consciously shaped aesthetic sound space. In its first years radio was described as "blind medium", similarly to the film which was referred to as a "great mute". But the lack of visuality-the most characteristic feature of the radio, ceased to be a problem for radio artists. The sound enabled the creation of completely new projects, such as radio dramas. The first radio drama in Poland was "The Funeral of Kiejstut" by Witold Hulewicz, produced in Vilnius on 17 May 1928. The development of critical reviewing followed the development of radio dramas. Its most interesting example was a periodical article "Art and Antennae" run from 1935 in the weekly magazine "Pion". The basics of radio drama theory and the characteristics of genre were formed there. Two types of radio productions were indicated: focused on the word (of literary and theatrical origins) and focused on the sound (related to music compositions). In radio dramas the following types were distinguished: based on dynamic action and philosophical, based on "dynamism of the thought" and real life dramas contrasting with poetical dramas full of metaphor or absurdity. Dynamic development of radio art and its critical reviews made it possible to define characteristic features of this medium. They were described as "radiophonic features" and comprised cosiness, clarity, strength, understatement and directness. Radio in the interwar period underwent three basic, from the view of sound art, transformations: 1. From the means of communication to one of potential types of broadcasting activity; 2. From live broadcast of theatre productions to creating original Scripts which were radio-oriented; 3. From initial fascination with a technical novelty to conscious application of possibilities of registering, composing and broadcasting the sound. In this way, original radio aesthetics were formed.pl
dc.identifier.citationRadio i społeczeństwo, red. G. Stachyra, E. Pawlak-Hejno, Lublin 2011, s. 243-251pl
dc.identifier.urihttp://hdl.handle.net/20.500.12153/3903
dc.language.isoplpl
dc.publisherWydawnictwo UMCSpl
dc.rightsUznanie autorstwa-Użycie niekomercyjne-Bez utworów zależnych 3.0 Polska*
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/3.0/pl/*
dc.subjectradiopl
dc.subjecthistoria radiapl
dc.subjectsztuka radiowapl
dc.subjectsłuchowiskopl
dc.subjectdźwiękpl
dc.subjectradio historypl
dc.subjectradio artpl
dc.subjectradio dramapl
dc.subjectsoundpl
dc.titleRadio: w stronę oryginalnego języka przekazupl
dc.title.alternativeRadio: towards the Original Media Languagepl
dc.typeinfo:eu-repo/semantics/articlepl
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