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1
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Znaczeniowa funkcja muzyki w słuchowisku.

100%
Bachura J., Pawlik A.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2012
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vol. 17
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issue 3
162-170
EN
Music is one of the aural components of radio drama. The aim of this article is to de-scribe the function as well as the meaning of music in radio drama. Numerous examples used in this paper indicate a dual character of music in radio drama: on the one hand, it is created by a composer as original music, but on the other hand, it constitutes musical background in most radio plays. The paper takes its departure point in semiotic theory and research.
2
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Aktor w teatrze radiowym

88%
Pawlik A.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2012
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vol. 17
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issue 3
81-94
EN
The article focuses on the intricacies of radio drama acting. It shows the similarities and differences between radio and TV drama, and describes the distinctive features of acting in radio drama in relation to other media. The article also focuses on the methodology of the Teatr Polskiego Radia directors’ work with actors during radio drama rehearsals and recording sessions.
3
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Interaktywne słuchowisko „Alicja 0700” jako dzieło po wielokroć otwarte. Analiza i interpretacja

75%
Matusiak E.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2021
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vol. 61
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issue 2
101-111
EN
Radio art evolves due to technological changes. Radio drama is becoming an interactive piece of artwork which exists on the borderland of genres. An interactive audio play uses characteristic features of the classical radio art and unites them with the hypertextual structure. Due to these modifications, there emerges not only a new type of audio play, but also a lot of alternative ways of listening and interpretation. The aim of the article is to present interactive radio drama Alicja 0700, its genre’s determinants in reference to the idea of “the open work”.
PL
Sztuka audialna ewoluuje wraz ze zmianami technologicznymi. Słuchowisko staje się formą interaktywną z pogranicza gatunków. Audialny spektakl interaktywny wykorzystuje język właściwy tradycyjnej sztuce radiowej, który zostaje oparty o hipertekstualny system relacji danych. Pozwala to na stworzenie nie tylko nowego rodzaju dzieła fonicznego, ale także wielu nowych, wariantywnych dróg odsłuchu i interpretacji. Artykuł za swój cel obiera prezentację interaktywnego dzieła audialnego Alicja 0700, jego cech i wyróżników genologicznych w kontekście pojęcia „dzieła otwartego”. Autorka za swą metodę badawczą wybrała analizę.
4
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Moja podróż na Księżyc

75%
Milewska M.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2017
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vol. 39
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issue 1
201-210
EN
The article deals with the complicated fates of my radio drama Podróż na Księżyc [Journey to the Moon]. In it, I write about the inspiration I drew from the work on an article about the subject of death in early silent cinema. Researching the beginnings of world cinema, I could not have ignored the figure of Georges Meliès, the great Cinema Magician. I decided to devote a theatre play to him, in which I confronted his idealistic attitude, which led him to ruin, with that of the rational attitude of the father of cinema, Louis Lumière. I wrote the piece about the immortality that art. confers with the Teatr Atelier in Sopot in mind. The theatre, though, ceased operating and no other theatre was interested in the text. After several years, a coincidence led to me being invited to participate in an invited competition organised by ZAiKS and the radio station Dwójka. The drama Podróż na Księżyc took second place and was magnificently directed by Anna Wieczur-Bluszcz. The roles of these pioneers of cinema were filled by Jan Englert and Jerzy Radziwiłowicz. In 2015 a jury led by Elżbieta Pleszkun-Olejniczakowa awarded the drama the Grand Prix at the “Dwa Teatry” [Two Theatres] Festival in Sopot.
5
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Twórczość Tadeusza Różewicza w radiu

75%
Zwolińska B.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2017
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vol. 39
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issue 1
185-199
EN
In the article I focus on the works of Tadeusz Różewicz presented on Polish Radio, of which the most numerous are the works of dramatic art adapted for radio, such as: Akt przerywany [The Interrupted Act], Białe małżeństwo [White Wedding], Kartoteka [The Card Index], Kartoteka rozrzucona [The Card Index Scattered], Odejście Głodomora [The Starveling Leaves], Pogrzeb po polsku [Polish funeral], Stara kobieta wysiaduje [The Old Lady Sits Waiting], Śmieszny staruszek [The Funny Old Man], Świadkowie albo nasza mała stabilizacja [The Witnesses, or our little stabilisation], Wyszedł z domu [He Left Home]. Apart from this, Różewicz’s one acters have been broadcast as radio dramas titled Teatr niekonsekwencji [Theatre of Inconsistency]. His poetry have been utilised with varying degrees of success, forming the basis for such poetic programmes as Radio w radiu [Radio on radio], based on a selection of poems from the volumes Uśmiechy [Smiles], or Recykling [Recycling]. A separate group is constituted by programmes forming a kind of tribute to poetic masters: Prus (Rozmowy w Alei Zdrowia) or Staff (Tadeusz Różewicz pisze Staffa). Apart from this, I’m interested in programmes presenting the author’s prose in the collected work Matka odchodzi [Mother Leaves], and also the cycle of five interviews Dialogi poetów. Rozmowy o życiu [Poets’ Dialogue. Conversations about life], being the result of the meeting of Tadeusz Różewicz and Czesław Miłosz in the Teatr Słowacki in Kraków in July 1999. Comparing the radio versions of the texts of these dramas, I arrive at the conclusion that in the majority of cases the directors and engineers of these adapted dramas, falling back on the caveat “based on”, made bold choices, shortening individual scenes or omitting them entirely. In addition, I consider that the creators of these dramas were not attempting to excessively modernise Różewicz’s art, maintaining their climate, their specific rhythm, based on their fragmentary nature, the sequence of scenes as well as the poetics of collage and recycling.
6
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Dźwięk przestrzenny jako ekwiwalent misyjnego i komercyjnego modelu artystycznych produkcji audialnych

63%
Łastowiecki J.
Media – Kultura – Komunikacja Społeczna
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2014
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issue 10/1
62-78
EN
The aim of the article is to show the functioning of artistic audio forms – in the commercial and mission medium. The developing and lucrative production of audiobooks using the artificial head (binaural sound) and virtualization of the radio rama in productions of Polish Radio Theatre (Dolby Pro Logic 2) are the different images of convergence culture. Experimental audiobooks and radio spectacles using the Dolby surround system are not only a sign of growing artistic offers for audiophiles. First of all, it is an attempt to promote creative ideas in the more attractive and convergence-marked formula of the new canon in media. The permeation of meanings coming from traditional and modern media has a new aspect which has attracted the attention of audiophiles. Surround sound and the “artificial head” effect are not only the instruments of new audio literature. The article attempts to show how experimental sound forms are derived from the syncretism of modern media and how they produce an autonomous art form which does not copy other forms such as film, theatre or television. To what extent is the freedom of creativity to reflect itself seen in productions of audiobooks and to what extent is this found in the adaptation and direction of radio dramas of Polish Radio? Each of these two proposals shows the different functions of artistic factors and promotes the alternative popularization of audio productions.
7
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Koty to dranie. Obraz kota w wybranych słuchowiskach

63%
Łogożna-Wypych K.
Zoophilologica. Polish Journal of Animal Studies
|
2020
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issue 6
347-372
RU
Непредсказуемые и непонятые кошки продолжают гипнотизировать, привлекать и в то же время пугать людей. В XVI–XVII веках кошки терроризировали людей как помощники ведьм, воплощение Дьявола и его посланников. В наши дни у них все еще есть способность вызывать чувство незащищенности и опасности. Из многих домашних животных, представленных в радиопередачах, кошки являются наиболее популярными. Радиодрама – идеальный способ показать неуловимость и загадочные способности кошек. Будучи «слепыми медиа», радиоспектакль может почти интуитивно передать двусмысленность и представления о кошках. В радиоспектакле Koty to dranie Ежи Яницкого стереотипы о кошках берут верх над человеческим здравым смыслом, и бездумная жестокость по отношению к ним представлена как внезапное и неожиданное действие. В свою очередь, Катажина Грохоля в Kot mi schudł предлагает, с одной стороны, интересное исследование широко распространенного плохого обращения с кошками, бесполезности кошек в человеческих глазах, но с другой стороны, способности кошек изменять человеческую жизнь. Кошки, как правило, довольно убеждены, поэтому они чаще, чем любое другое животное, способны не только изменить ход событий в сюжете, но также могут быть особым мостом между контрастирующими мирами или условностями. Кошка – это не просто кошка. Это начало, развитие и конец невидимого мира радиодрамы, которому приписывается целый ряд свойств.
EN
Unpredictable and misunderstood, felines continue to mesmerize, attract and, at the same time, terrify human beings. In the sixteenth and seventeenth centuries cats were terrorizing humans as witches’ familiars, incarnation of Devil and messengers. Nowadays, they are able to convey the same sense of insecurity and menace with a sole appearance in a story. With a number of pets portrayed in radio dramas, cats are undoubtedly the most frequently depicted ones. Radio drama is an excellent medium to portray cats’ elusiveness and mysterious powers. Being the “blind medium” radio drama is able to convey the misconceptions and beliefs about cats most intuitively. In Koty to dranie by Jerzy Janicki the stereotypes about cats take control over man’s common sense, the thoughtless cruelty towards them being depicted as a sudden and surprising action. Grochola in Kot mi schudł offers an interesting study on much too common ill treatment of felines, the worthlessness of cats in human eyes, and, on the other hand, the ability of cats to change human lives, loneliness being the main focus of the radio drama. Felines tend to be quite persuasive, thus it is the cat, more often than any other animal, that not only is able to change the track of events in the plot, but also provides a particular bridge between contrasting worlds or conventions. Cat is never just a cat. It is the beginning, the main body, and the conclusion in the invisible world of radio drama with all archetypical notions that they may possess.
8
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Analiza materii fonicznej wybranych słuchowisk Andrzeja Waligórskiego

51%
KOŁODZIEJSKA J.
Edukacja Muzyczna
|
2019
|
issue 14
229–263
EN
The study of radio art, whose most representative genres include radio drama is undoubtedly of interest not only to media scholars. Works of art created for the radio, as sound art pieces per se, are also becoming an engaging research ground for such disciplines as theory of music or musicol- ogy. Some of the most fascinating examples of radio dramas that may be found in the archives of Radio Wrocław are those created by Andrzej Waligórski – a distinctive artist whose activity fell on the “golden days” of Polish radio drama art, commonly dated back to the 1960s and 1970s. His works constitute a perfect example of a diverse approach to the phonic material of radio drama employed in order to enhance the presentation of the world depicted in the piece. Words and sounds, including music, become carriers of multiple meanings, which the author of the present article at- tempts to explore.
PL
Twórczość radiowa, której jednym z najbardziej reprezentatywnych gatunków1 jest słuchowisko, to niewątpliwie interesujący materiał badawczy nie tylko dla medioznawcy. Dzieło stworzone dla radia, jako utwór dźwiękowy per se, staje się również ciekawym polem rozważań dla teorii muzyki bądź muzykologii. Jednymi z najbardziej interesujących przykładów słuchowisk radiowych, jakie odnajdujemy w Archiwum Radia Wrocław SA, są te autorstwa Andrzeja Waligórskiego – artysty wyrazistego, którego aktywność przypada na „złoty czas” polskiej twórczości słuchowiskowej, za który powszechnie podaje się lata 60. i 70. XX wieku. Jego utwory to doskonały przykład różnorodnego traktowania materii fonicznej słuchowiska, w celu wykreowania świata przed stawionego. Słowo i dźwięk, w tym muzyka, stają się tutaj nośnikami wielu znaczeń, które próbuje uchwycić autorka niniejszego artykułu.
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