Preselected programs in category Drama
10:25 / 24.04.2021.
Objavljeno: 24. travnja 2021., prije 57 dana
Preselected programs in category Drama
"Woyzeck" is one of the most influential and, in this sense, most important dramas in German-language literature. Georg Büchner began to write Woyzeck in 1836, at the same time as his comedy, or shall we better say his political satire "Leonce and Lena", but his Woyzeck remained a fragment, because Büchner died in 1837 at the age of only 23.
Woyzeck is a social drama. Franz Woyzeck is a simple soldier who is physically and psychologically exploited and humiliated by his environment. His captain tortures Woyzeck with moral accusations, Marie, his lover, cheats on him with a drum major, the leader of a marching band, and Franz Woyzeck is abused by a doctor as a medical experiment subject.
Also because Büchner's drama was so radical in content, it was not brought to the stage until the 20th century.
In Woyzeck, Büchner shows how social conditions can deform a person. Woyzeck is sensitive: too much, one might say, because after all, he believes he is hearing inner voices ordering him to kill his unfaithful girlfriend. When Woyzeck is defeated by the drum major in a wrestling match, he gives up: he gives away his belongings and stabs Marie on the shore of a lake ...
Georg Büchner transforms the story of Woyzeck, who became a murderer, into a literary figure to the core and to the extreme, "shattered by fever to the point of orthography," as Heiner Müller put it. The world, even his beloved Marie, presents itself to the thrown man, the man who has been maltreated by society, as - as the text says - "overturned harbour".
In his radio drama version, the experienced theatre and radio drama director and sound designer Stefan Weber shows Büchner's Woyzeck as an empty, post-apocalyptic world.
ORIGINAL TITLE: Woyzeck
AUTHOR: Georg Büchner
PRODUCER / DIRECTOR / SOUND ENGINEER: Stefan Weber
OTHER KEY STAFF: Markus Meyer, Katrin Thurm, W.Hübsch
ORIGINAL LANGUAGE: German
The text of this drama piece is extracted from a book written by Isidore Lucien Ducasse, better known under the pseudonym of Comte de Lautréamont. The book, Les Chants de Maldoror, was published in 1874, after the death of its author at the young age of 24. It was ignored for a long time before being held as a chef-d’œuvre by the Surrealist movement. Today, the appeal of its poetry goes beyond borders.
Our Franco-Romanian-Belgian team first met during The Week of Sound in Brussels in January 2019. We all agreed that Canto II / Stanza 7 (L’Hermaphrodite) was a powerful part of the book, which holds relevance in today’s socio-political climate. Thus, we have decided to revisit it using Ars Acustica while keeping the original text.
There is no single meaning at work in Maldoror: there are continuous metamorphoses, incessant reversals and polyvocality, as well as confusion between narrator and character. We have translated this whirlwind sonically by using several narrating voices (masculine/feminine/neutral, whispers/shouts, sober/delirious tone). We move from one landscape to another as well as from one atmosphere to another: urban/bucolic, loud/quiet, musical/silent… Notwithstanding this sonic treatment, we have not altered the original text in French.
ORIGINAL TITLE: Les Chants de Maldoror : L’hermaphrodite (Chant II / Strophe 7)
AUTHORS: Comte de Lautréamont / Cristian Fierbinteanu and Lucie Robet
PRODUCERS: Cristian Fierbinteanu and Lucie Robet
DIRECTORS: Cristian Fierbinteanu and Lucie Robet
SOUND ENGINEERS: Cristian Fierbinteanu (Recording, Mixing, Editing) and Lucie Robet (Recording)
OTHER KEY STAFF: Alex Bala and Cristian Fierbinteanu (music), Lucie Robet (main voice), Christian Copuse (additional voice), Véronique Lhoir (additional voice)
ORIGINAL LANGUAGE: French
Maša, Olja, Irina and Andrej are our contemporaries. They each live their own unhappiness and hope for a better life. The family house called Little Moscow is the place that brings them together and reminds them of their shared past. But the true nature of that past and who they really are is revealed each time they meet and try to understand and help each other.
Little Moscow by Croatian writer Tomislav Zajec is an inspired paraphrase of Chekhov’s play Three Sisters, carved into neurotic and dehumanised atmosphere of modern world.
ORIGINAL TITLE: Mala Moskva
AUTHOR: Tomislav Zajec (inspired by Anton Pavlovich Chekhov)
PRODUCER: Hrvoje Ivanković
DIRECTOR: Stephanie Jamnicky
SOUND ENGINEER: Marija Pečnik Kvesić
OTHER KEY STAFF: Adriana Kramarić (Music Editor); Hrvojka Begović, Irena Tereza Prpić, Petra Svrtan, Filip Križan (Actors)
ORIGINAL LANGUAGE: Croatian
Virtuoso is an original radio drama by Romanian playwright and director Ilinca Stihi commissioned by Czech Radio and directed by her in Prague (not only in studios but also on location). She was inspired by Gérard de Nerval's Aurelia. “He wrote this poetic novella in 1855 before committing suicide. The manuscript was found in his pocket,” says Ilinca Stihi about her source of inspiration.
The surreal story happens in the main character’s head and concerns the deepest tragedy of the human personality, i.e. its disintegration in death. “We watch the character’s last moments before he dies with his dangerous memories and perceptions which pervade and flood his mind. Real events and fictitious moments blend into one stream absorbing everything,” specifies Ilinca Stihi. An important part of her work, which is colourful in terms of sound, is Max Bruch’s music, which accompanies the listener all the time. Aurelia herself is, according to Stihi, “a number of ways of female presence in the male character’s life. She has different faces but all of them have the same power of enchantment and seduction. They resemble witches pushing men deeper and deeper into the emptiness of death.”
ORIGINAL TITLE: Virtuoso
AUTHOR: Ilinca Stihi
PRODUCER: Kateřina Rathouská
SOUND ENGINEERS: Tomáš Pernický, Jan Trojan
OTHER KEY STAFF: Dana Reichová, Eva Vovesná, Jiří Našinec
ORIGINAL LANGUAGE: Czech
My radio piece Abenteuer deals with certain aspects of a relatively new genre of computer games called “audio games”. Originally conceived as games for people with visual impairments and blind gamers, these games started to gain some popularity also outside of the blind gaming community in the last years. Audio games had their first heyday when, in the mid-1970s, the first computer games ever showed up. These were purely text-based, because computers then could not yet do any graphics. Because one main aspect of audio games is the description in words and sounds of things that the player can not see, they are closely related to sound art and radio drama. Going back in time, I found a fascinating text by the german author Georg Phillip Harsdörffer, a baroque poet, who wrote about onomatopoeisis in 1647.
Another aspect of the piece is the history of computer based speech synthesis. We hear some very rough and quite unintelligible computer generated speech from early community-produced audio games, then some newer examples. But the obvious peak is marked by the new “Google cloud speech synthesis” system which is based on artificial intelligence and produces very naturalistic results. This gets interesting if you choose “artificial speakers” that do not speak the same language as the text that you feed into the system. In the final part of the piece i have the opening sequences of the famous first text-adventure “Colossal Cave Adventure” rendered by the same Google Cloud voices.
ORIGINAL TITLE: Abenteuer
AUTHOR: Udo Moll
PRODUCERS: Udo Moll / Elisabeth Zimmermann (ORF Kunstradio)
DIRECTOR: Udo Moll
SOUND ENGINEER: Udo Moll
ORIGINAL LANGUAGE: German / Pinzgauerisch / English / French
500 years ago Pedro Álvarez Cabral landed on this beach and "discovered" Brazil. The “tree of liars”, the Ponto dos Mentirosos, still stands on the banks of the jungle river. Here people gather to tell each other stories. Like the myth of the mermaid who rose from the Atlantic at night in order to steal fruit. They talk about the fisherwoman, whose house has already been carried away twice by the rising sea. The medicine man remembers his hut that used to stand in the middle of the jungle, the Mata Atlantica, when he was a kid. Over the past 60 years the ancient forest disappeared, the garden with the medicinal herbs has dried up. Where there was forest once, today there is nothing but sand. When the longing for the vanished trees and the song of birds becomes too overwhelming, Jakama, his wife, sings the songs of former times. The young are no longer interested in the knowledge of the plants, but the pharmacy-industry is. And when the full moon emerges from the sea, three hundred Pataxó dance around the fire. They proudly sing, adorn themselves and drum, in the face of climate change and the repressions by the current Brazilian government that is once again threatening to steal their land.
The “atlas of a village” combines stories, songs and sounds from the oldest village of the new Brazil with an opulent sound composition into a hybrid of documentary, drama and ars acustica. It evokes a densly layered place of tropical abundance that is yet again very much at risk.
ORIGINAL TITLE: Ponto dos Mentirosos – Atlas eines Dorfes
AUTHORS: Merzouga & Nina Hellenkemper
PRODUCER: Sabine Kuechler
DIRECTORS: Merzouga & Nina Hellenkemper
SOUND ENGINEER: Eva Poepplein
OTHER KEY STAFF: Felix von Manteuffel, Carlos Lobo, Susanne Barth, Michael Witte, Claudia Mischke (Actors)
ORIGINAL LANGUAGE: German
Certainly, the desire to influence weather patterns is as old as humanity itself. At present, climatologists, poiticians, economists and the military are discussing options to modify the chemical and physical properties of the atmosphere up to the stratosphere on a global scale.
In the age of the Anthropocene, geo-engineering has replaced old-fashioned ritual and religious invocations. Today, in the context of weather manipulation, we are confronted with a jumble of dystopies, concrete plans to save the planet, terror, facts and fake: „whether we like it or not“, as climatologist David Keith puts it, weather has lost its „wildlife“ character.
When weather was wildlife joins historical and up-to-date documents: The ironically poignant „Cloud Songs“ by Bettina Obrecht are spoken by Neville Tranter. The breathless voice of Freddie Wadling quotes Jón Steingrímsson’s description of a volcanic eruption in Iceland in the year 1784, when an enormous amount of sulphuric aerosols released into the atmosphere resulted in the darkening of the entire Northern hemisphere (Fires of the Earth, 1784). Rachel and Becky Unthank are the interpreters of Lord Byrons sombre apocalyptic poem „Darkness“, written in the „Year Without a Summer“ 1816 – also in the context of a big volcanic eruption. Meandering between all of these texts are extracts from a list of patents on the subject of Geo- engineering released by the US Patent and Trademark Office, spoken by Adrian MacNally. They are supplemented by the original sound of David Keith as well as field recordings of the Sant’Agata Procession in Catania, Sicily, where the faithful ritually try to conciliate the Mount Etna volcano. Over and over again, lost idylls meet bizarre soundscapes, apocalyptic storms, iridescent atmospheres and sunsets lost in reverie.
ORIGINAL TITLE: When Weather was Wildlife
AUTHOR: Werner Cee
PRODUCERS: SWR Baden Baden, Manfred Hess
DIRECTOR: Werner Cee
SOUND ENGINEER: Werner Cee
ORIGINAL LANGUAGE: English
From the dawn of human civilization until today, men have dominated in each and every area of life: family, organization of the society, state, work, science, culture, art or religion. Politics, war and conquests – everything was the domain of men. The 20th century was a century of emancipation and awakening. Our era will be the era of women, era of justice, equality and love.
Also theatre has always been the domain of men. In Shakespeare’s theatre, female parts were played by male actors. In “Twelfth Night”, male actors used to play the parts where women were disguised as men. Could it be any more complicated? What a hypocritical and dishonest concept! Olivia, who is a countess, could decide on her own life only because her father and brother, her legal guardians, were gone. Even in the last century, the profession of an actor was not one to be pursued by self-respecting women. Those days are gone forever. The need to act, to have fun and to emotionally experience extreme situations is hidden inside every human being. Women are great actresses. That is why we decided to present Shakespeare’s “Twelfth Night, or What you will...” in the radio theatre in a “female way”. What a fun it turned to be! We could witness many excellent improvisations, linguistic acrobatics, positive energy as well as the magic of theatre. The radio play is a record of that experience. Turn on your imagination and listen...
ORIGINAL TITLE: Wieczór Trzech Króli (Królowych?!) albo Co zechcecie...
AUTHOR: William Shakespeare
PRODUCER: Polish Radio Theatre
DIRECTOR: Waldemar Modestowicz
SOUND ENGINEER: Maciej Kubera
OTHER KEY STAFF: Jarosław Gawlik (Music)
ORIGINAL LANGUAGE: Polish
This fictional drama with biographical elements narrates the inner world of famous Serbian female writer from the first half of 20th century, Isidora Sekulić - a witty intellectual, a cosmopolite She earned a nickname „an apostle of solitude“ due to her ascetic life.
This radio drama with fragmented structure features some of the motives from Isidora's work – her first collection of intimate prose „Fellow Travellers“ in 1913. and her travelogue „Letters from Norway“. Those recurrent motives - isolation, solitude and contemplation are truly universal yet very rare with Balkan female writers. Isidora’s writings were described as „dance of the words“ by the fellow Croatian poet A. G. Matoš.
This narrative is told from Isidora's point of view. She suffered from severe headaches which sometimes distorted her perspective. In imaginary level of the story she communicates with the 19th century authors she never met but whose work she admired – Njegoš, August Strindberg and Hans Christian Andersen. She also communicates to herself as a little girl who found her sanctuary in a small wooden barrel in the backyard of her home.
ORIGINAL TITLE: Isidora Sekulić – apostolka samoće
AUTHOR: Vesna Perić
PRODUCER/ EDITOR: Melina Pota Koljević
DIRECTOR: Sladjana Kilibarda
SOUND ENGINEER: Milan Filipović
OTHER KEY STAFF: Performers: Tamara Krcunović, Ivan Tomić, Dubravko Jovanović, Petar Mihailović, Nenad Radović, Nebojša Kundačina, Bojan Žirović and child actor Mina Ivanović; Music editor and vocal: Marija Ćirić
ORIGINAL LANGUAGE: Serbian
Elena Maróthy Šoltésová ranks to authors who have actively engaged themselves in women movement at the end of 19th and begin of 20th century. Thanks to her partly pragmatic decision to marry a trader she entered the world of culture and literature which impressed her. As an active member and chair of famous women´s association Živena and engaged writer, impacted by early literary realism, she significantly affected both cultural and literary life in Slovakia. The literary realism is manifest in her diary records which have been published under the title My Children – a collection composed of two time-and-content different parts. The adaptation by M. Zakuťanská focuses on part I where the author attempts to capture ephemeral moments from the life of her children which she as mother had to deal with during hard times. The work offers more than just traditional diary records, there are strong personal contemplations and reflections. Both the novel and its radio version with children in active role address issues like relation between mother and child, understanding of responsibility, reflections of patriarchal society in common family and complex creation contra simple dailiness. The tragedy as point of part I of the novel is thus a sad but at the same time deeply purifying story closing a difficult period in life of a big personality of the Slovak literature.
ORIGINAL TITLE: Moje deti (prvá časť)
AUTHORS: Elena Maróthy Šoltésová (original), Michaela Zakuťanská (author of radio adaptation)
PRODUCERS: Alena Rumanovská, Ľudmila Sabová
DIRECTOR: Adam Hanuljak
SOUND ENGINEER: Dušan Kozák
OTHER KEY STAFF: Dramaturgy: Peter Pavlac; Musical dramaturgy: Matúš Wiedermann; Cast: Zuzana Porubjaková, Peter Kadlečík, Katarína Olle, Gregor Šimko
ORIGINAL LANGUAGE: Slovak
A little background... Gudrun's Saga is based on the famous Icelanders' saga known as The Laxdoela Saga. Written in the 13th century, it tells of people in the Breiðafjörður area of Iceland from the late 9th century to the early 11th century. The saga particularly focuses on a love triangle between Gudrun, Kjartan and Bolli. Kjartan and Bolli grow up together but the love they both have for Gudrun causes enmity between them and, in the end, their deaths. The Laxdæla saga remains popular and appreciated for its poetic beauty and pathetic sentiment. Since the saga has often been regarded as an unusually feminine saga, it has been speculated that it was composed by a woman.
Gudrun has been a popular returning programme, and is approaching its seventh and final series. The episode we have included is both typical of the work, and unusual, in that it has only three characters, Gudrun, Freija (the goddess, who narrates) and a man that Gudrun in her delirium thinks may be Jesus. It is a simple love story, but also comes at the crux of Gudrun's religious crisis, when she is thinking of abandoning the old gods in favour of the new.
ORIGINAL TITLE: Gudrun
AUTHOR: Lucy Catherine
PRODUCERS: Jessica Dromgoole & Sasha Yevtushenko
DIRECTORS: Jessica Dromgoole & Sasha Yevtushenko
SOUND ENGINEER: Peter Ringrose
OTHER KEY STAFF: Samantha Dakin, Kate Philips, Paul Hilton
ORIGINAL LANGUAGE: English
The festival was always a place she liked to wonder. She could be there in full view and no-one thought she was more than a performer. She could catch people out; half-drunk some of them would do anything, go anywhere. And she took them. She used it as a time to cross over, let them have some of the songs she kept, some of the stories she knew. But this man, this one she wanted to keep.
'This Changeling Self' by Linda Marshall Griffiths is a magical story of love and loss recorded on location at the Edinburgh Festival inspired by the Scottish myth and ballad 'Tamlin and the Fairy Queen'. Directed by Nadia Molinari with sound design by Steve Brooke. Performed by Christine Bottomley, Sacha Dhawan, Rupert Hill and Kay McAllister.
ORIGINAL TITLE: This Changeling Self
AUTHOR: Linda Marshall Griffiths
PRODUCER: Nadia Molinari
DIRECTOR: Nadia Molinari
SOUND ENGINEER: Steve Brooke
ORIGINAL LANGUAGE: English
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