radiotesla im juni - juli:
hörspiel, feature, radiokunst aus vergangenheit, gegenwart und zukunft des mediums

in 1928, karel teige developed a new system for classifying poetry according to the senses. besides poetry 'to be seen', 'to be smelled', or 'to be tasted', he suggestes sub-categories of 'poetry to be heard', such as 'noise music' and 'jazz', also using the terms, 'telephonic radio', 'radiogenic poetry', or 'radio poetry' for teige, this meant an art of sounds and noises which was as distant from literature as it was from music. his poetismus invents a new radiogenic poetry, whose auditorium is the universe and whose audience are the international masses. teige describes radio poetry as 'composition of sound and noise, recorded in reality, but woven into a poetic synthesis'. in the early days of german broadcasting, hans flesch demanded that radio plays should be neither theater, nor novel, nor epic, nor lyric. nevertheless, both the broadcasters' radio play departments and the listening public held literary radio plays to be the 'real' radio plays until the early 1960's. the neue hörspiel ['new radio play'] offers compositions comprised of various acoustic elements, either in pure form or technically manipulated. the development of this new genre is only distantly linked to the literary radio play which preceded it.

accordingly, at the international radio play conference in 1968, paul pörtner explained:
'when i, as an author with a literary background, approach the radio play, i do not only experience a medium which can convey literature, but also the possibility to produce acoustic-poetic composition. i trade the author's desk for a seat at the sound engineer's mixing console, my new syntax is the cut, my recording is achieved using microphone, tape recorder, controls, filter; the completed work is a montage of several hundred particles.'

until the summer break in mid-july, radiotesla will dedicate six evenings to the broad range of approaches to poetry for the radio.

wed. 06. june 2007 | 8:30 pm

radio play

dylan thomas: under milk wood, bbc, 1954.
dylan thomas: unter dem milchwald, nwdr, 1954.

under the llareggub mountain, at the mouth of the devi river, between sea and milkwood, dylan thomas describes the business of a city morning, seen through a number of eyes, perceived by countless voices, followed by the endless boredom of the afternoon, the many faces of the evening, and the heavy stillness of the night.
this 'play for voices' was commissioned by the bbc and received the prix italia in 1954. the first german-language production of the radio play appeared in the same year and is among the greatest works of the radio play repertoire.
radio tesla presents the english and german plays simultaneously. visitors can choose which version they listen to, using a switch on their headphones.

wed. 13. june 2007 | 8:30 pm


andreas ammer: orbis auditus - das lautlexikon, br, 1990.

in the old days, the abc's were drilled and beaten into school children's heads. in contrast, the author uses playful methods to instruct us in the ways of his sound encyclopedia. using the format of the abc's, he intersperses informative excerpts from the history of sound poetry, with surprising, cabaret-like interludes and curiosities: who knew that goethe also played with sounds ['pirli, pirli, parli'], or that the first poetic beat - a triple 'koax' - was put down by aristophanes?

wed. 20. june 2007 | 8:30 pm


franz mon: das gras wies wächst, sr/br/wdr, 1969.

...did you know? did you already know? did you already know that? did you already know that it was pointless?
did you already know that a bachelor loses his hair faster than an adoptive emperor? ask! ask the conductor! ask ms.brigitte! ask anyone!

mi. 27. juni 2007 | 20:30 h


shelley hirsch: for jerry ... in memory of childhood dancing, livemitschnitt aus der akademie der künste, sfb-orb / br, 1999.

welche wurzel einem 'bunt schillernden paradiesvogel des gesangs' [sfb-pr, 1999] die farben gab und wie es sich anhört, wenn sich die paradiesische zum flug erhebt, das thematisiert shelley hirsch in zwei produktionen, die sie zwei 'jerrys' widmete: jerry hunt [1943 -1993], dem pionier der interaktiven gesangsperformance und ihrem vater, der ihr ihre stimme auszubilden half. for jerry part I und II.

in anwesenheit von shelley hirsch.

wed. 04. jule 2007 | 8:30 pm

radio play

hermann bohlen: gräser fliegen nur noch selten, swr, 2005.

in this retro-futuristic radio play, achim tells of his secret decision one morning, to escape from the city in which a terrorizing regime reigns. under the leadership of the man with the red pants, the population is controlled by fields running through the ground; the air is artificially mixed in city factories, entertainment is offered daily on the main square. at the edge of town, the 'comb' stands ready to search the surrounding woods for fleeing refugees.

in dialogue with karl sczuka's audio compositions from the 1950's, achim's direction and tempo change abruptly. although he is not particularly slow himself, the orchestra often passes him by. sczuka suggests moods which do not necessarily belong on achim's path. the violins intrude, slow the action, and join the percussion an about-face.

in the presence of hermann bohlen.

wed. 11. july 2007 | 8:30 pm


andreas hagelüken: knowing is an uneducated form of doubt - lautpoesie und dekonstruktivismus - die vokalkünstlerin amanda stewart, wdr, 2004.

the disintegration of language and its meaning is the focal point of author and performer sound poetry. her motivation and methods can be described as literary deconstructivism. she uses her own voice and variously organized scores in parallel to track the speakers' individual experiences of that which they speak.

radio tesla presents programs, fragments and impressions from the past, present and future of radio.  as an integral part of the schedule at tesla im podewils'schen palais, the series explores the artistic and historical dimensions of the medium of radio, which was, after all, invented by nikola tesla himself.

radio tesla is presented every wednesday evening at eight-thirty, admission is free.  each month is dedicated to a specific theme, and each evening concentrates on one genre: on the first wednesday of the month, a radio play or other fictional work is offered. the following week, the focus is on features and other non-fiction.  the third wednesday is reserved for ars acustica and radio art, and on the fourth wednesday of the month, labeled "grenzen" ("borders"), unconventional, uncensored independent forms will be offered.  In months which have a fifth wednesday, a "bonus track" will take the month's theme one step further.
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