Panáček v říši mluveného slova stránky přátel rozhlasových her a mluveného slova vůbec

Vesna Perić. Rozhlasová hra. Produkce a editor Melina Pota Koljević. Režie Sladjana Kilibarda. Zvukový mistr Milan Filipović. Hudební spolupráce a zpěv Marija Ćirić.

Účinkují Tamara Krcunović, Ivan Tomić, Dubravko Jovanović, Petar Mihailović, Nenad Radović, Nebojša Kundačina, Bojan Žirović a v dětské roli Mirjana Mina Ivanović.

Natočeno 2018. Premiéra 23. 11. 2018 (Radio Beograd 2, 31 min).

Pozn.: Nominace na Prix Marulić 2021 v sekci Drama.

Lit.: anonym: Zvezdani časovi. Vesna Perić: ISIDORA SEKULIĆ – APOSTOLKA SAMOĆE. In web RTS.sr, 23. 11. 2018 (článek + nahrávka k poslechu). – Cit.: U ovoj drami Vesna Perić psihološki i dramski pronicljivo prodire u manje poznati, ali možda najbitniji sloj Isidorine ličnosti, u povezanost između stvarnog narativa njenog ličnog života i njene okrenutosti određenim istorijskim i književnim figurama. Događanja, psihološka, emotivna, lične osetljivosti kojima je njen život usmerio ka određenim temama njene proze pronalazimo u suptilno tkanom tkivu ove drame. Tajanstvena i jaka ličnost književnice, koju su privlačili samo izuzetno jaki umetnički prethodnici i savremenici, postaje jasnija i pojavljuje se pred nama u onom što je nju suštinski odredilo. (…)

Lit.: anonym: Serbia / RTS /Radio Belgrade – Isidora Sekulic- Apostle of Solitude. In web Prix Marulić, květen 2021 (článek + nahrávka k poslechu + scénář v ENG). – Cit.:  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. (more…)

Wiliam Shakespeare. Klasická komedie. Překlad Stanisław Barańczak. Rozhlasová úprava a režie Waldemar Modestowicz. Zvukový mistr Maciej Kubera. Hudba Jarosław Gawlik.

Účinkují Jadwiga Jankowska-Cieślak, Katarzyna Dąbrowska, Justyna Kowalska, Anna Chodakowska, Marta Masza Wągrocka, Monika Węgiel-Jarocińska, Olga Sarzyńska, Wiktoria Gorodeckaja a Ewa Prus.

Natočeno 2018. Premiéra 6. 1. 2019 (Polskie Radio Jedynka, 21:00 h.; 59 min.).

Pozn.: Nominace na Prix Marulić 2021 v sekci Drama.

Lit.: anonym: Wiliam Shakespeare „Wieczór Trzech Króli… Królowych“. In web Polskie Radio, 4. 1. 2019 (článek) – Cit.:  6 stycznia 2019 o godz. 21.00 zapraszamy do radiowej Jedynki na słuchowisko Wiliama Shakespear’a „Wieczór Trzech Króli… Królowych“ w adaptacji i reżyserii Waldemara Modestowicza. (…)

W czasach elżbietańskich scena należała do mężczyzn. Tylko oni byli aktorami, a co za tym idzie – występowali zarówno w rolach męskich, jak i żeńskich. W słuchowisku Waldemara Modestowicza tym razem sceną zawładnęły, na przekór szekspirowskim standardom, kobiety. Reżyser nie tylko oddał im głos, ale także, pierwotnie męskim bohaterom, kazał mówić przez kobiece ciało. I tak oto powstał „Wieczór Trzech Króli… Królowych”, w którym wystąpiły znakomite: Jadwiga Jankowska-Cieślak, Katarzyna Dąbrowska, Justyna Kowalska, Anna Chodakowska, Marta Masza Wągrocka, Monika Węgiel-Jarocińska, Olga Sarzyńska, Wiktoria Gorodeckaja oraz Ewa Prus.

„Wieczór Trzech Króli … Królowych” to błyskotliwa  sztuka o miłości.  Zachwyca galerią nie biało-czarnych charakterów, dzięki czemu możemy docenić Shakespear’a za autentyzm oraz ogromną wiedzę o człowieku i jego niedoskonałej naturze.

Lit.: anonym:  Poland / Polish Radio Theatre – Twelfth Night, or What You Will… In web Prix Marulić, květen 2021 (článek + nahrávka k poslechu + scénář v ENG). – Cit.:  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. (more…)

Werner Cee. Rozhlasová hra. Režie Werner Cee. Produkce a střih Manfred Hess. Zvuk David Keith, klimatický vědec. Hudba Alf Terje Hana, Eivind Aarset a Stian Westerhus (elektronická kytara), Peter Hollinger (bubny) a Werner Cee (bass, e-bass, e-ch’in a elektronika)

Účinkují Neville Tranter: Cloud Songs by Bettina Obrecht; Freddie Wadling: Jón Steingrímsson (Fires of the Earth); Adrian McNally: List U.S. Patent and Trademark Office (List of Patents ref. Geo-engineering) Rachel and Becky Unthank: Darkness by Lord Byron.

Nastudoval ARD Südwestrundfunk (SWR) v roce 2020. Premiéra 20. 2. 2020 (SWR, 44 min.).

Pozn.: Nominace na Prix Marulić 2021 v sekci Drama.

Lit.: anonym: When Weather was Wildlife by Werner Cee 2020. In web SoundCloud, květen 2020 (článek + nahrávka k poslechu). – Cit.:  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.

Lit.: anonym: Germany / SWR Baden Baden – When Weather was Wildlife. In web Prix Marulić, květen 2021 (článek + nahrávka k poslechu + scénář v ENG). – Cit.:  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. (more…)

Merzouga & Nina Hellenkemper, Udo Moll. Produkce Sabine Kuechler. Režie Merzouga & Nina Hellenkemper. Zvukový mistr Eva Poepplein.

Účinkují Felix von Manteuffel, Carlos Lobo, Susanne Barth, Michael Witte, Claudia Mischke.

Natočeno 2019. Premiéra 16. 5. 2020 (Deutschlandfunk, 20:05 h.; 60 min.).

Pozn.: Nominace na Prix Marulić 2021 v sekci Drama.

Lit.: anonym: HörspielPonto dos Mentirosos – Atlas eines Dorfes. Von Merzouga & Nina Hellenkemper. In web Deutschlandfunk, květen 2020 (článek). – Cit.: Vor 500 Jahren ist Pedro Álvarez Cabral an diesem Strand gelandet und hat Brasilien „entdeckt“. Noch immer steht der Lügenbaum, der Ponto dos Mentirosos, am Ufer des Dschungelflusses. Hier erzählen die Menschen sich Geschichten. (…)

Geschichten wie die von der Meerjungfrau, die nachts aus dem Atlantik stieg. Oder von der Fischerin, deren Haus schon zweimal vom Meer davongetragen wurde. Die Hütte des Medizinmannes stand früher mitten im Urwald, der Mata Atlantica. Der Wald ist verschwunden, der Garten mit den Heilkräutern vertrocknet. Wenn die Sehnsucht nach den Vögeln zu groß wird, nach dem Wald, dann singt Jakama, seine Frau, die Lieder von früher. Das Wissen um die Pflanzen interessiert die Jungen nicht mehr. Aber wenn der Vollmond aus dem Meer auftaucht, tanzen 300 Pataxó ums Feuer. ,Atlas eines Dorfes’ verbindet Geschichten, Gesänge und Geräusche aus dem ältesten Dorf des neuen Brasilien mit einer opulenten Klangkomposition und evoziert einen tropischen Ort von dunkler Schönheit. (more…)

Udo Moll. Rozhlasová hra. Produkce Udo Moll a Elisabeth Zimmermann. Zvukový mistr a režie Udo Moll.

Nastudovalo ORF Kunstradio v roce 2020 (29 min.).

Pozn.: V této hře se hovoří anglicky, německy, francouzsky a v dialektu Pinzgauerisch.

Pozn. 2: Nominace na Prix Marulić 2021 v sekci Drama.

Lit.: anonym: Germany / Austria / ORF Kunstradio & Udo Moll – Abenteuer. In web Prix Marulić, květen 2021 (článek + nahrávka k poslechu + scénář v ENG). – Cit.:  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. (…)

Tomislav Zajec. Chorvatská rozhlasová hra inspirovaná dramatem Tři sestry (Anton Pavlovič Čechov). Produkce Hrvoje Ivanković. Režie Stephanie Jamnicky. Zvukový mistr Marija Pečnik Kvesić. Hudební spolupráce Adriana Kramarić.

Účinkují Hrvojka Begović, Irena Tereza Prpić, Petra Svrtan, Filip Križan.

Natočeno 2020 (60 min).

Pozn.: Nominace na Prix Marulić 2021 v sekce Drama.

Lit.: anonym: Croatia / HRT – Little Moscow. In web Prix Marulić, květen 2021 (článek + scénář v ENG + nahrávka k poslechu). – Cit.:  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.

Comte de Lautréamont, Cristian Fierbinteanu a Lucie Robet.  Produkce Cristian Fierbinteanu a Lucie Robet. Režie Cristian Fierbinteanu and Lucie Robet. Zvuk, střih a mixáž Cristian Fierbinteanu. Záznam Lucie Robet. Hudba Alex Bala a Cristian Fierbinteanu.

Osoby a obsazení: hlavní hlas (Lucie Robet), další hlasy (Christian Copuse, Véronique Lhoir).

Natočeno 2020 (25 min.). K poslechu zde.

Pozn.: Nominace na Prix Marulić 2021 v sekce Drama.

Lit.: anonym: Belgium / Cristian Fierbinteanu and Lucie Robet – Maldoror (Canto II /stanza7: The Hermaphrodite). In web Prix Marulić, květen 2021 (článek + scénář v ENG). – Cit.:  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. (…)