Full Article: PDF
Scientific Object Identifier: http://s-o-i.org/1.1/TAS-05-157-43
DOI: https://dx.doi.org/10.15863/TAS.2026.05.157.43
Language: English
Citation: Topuria, M. (2026). Radio play as dramaturgical narrative (Zurab Kandelaki's radio plays). ISJ Theoretical & Applied Science, 05 (157), 459-467. Soi: https://s-o-i.org/1.1/TAS-05-157-43 Doi: https://dx.doi.org/10.15863/TAS.2026.05.157.43 |
Pages: 459-467
Published: 30.05.2026
Abstract: The excellent playwright of the radio play, Maia Sarishvili, refers to it as a chamber genre. Critic Nana Kutsia writes that the genre excludes the show/visual element and ultimately relies on and trusts the word, the voice, the uniqueness of which was noted by Marina Tsvetaeva in the era of the interrupted project (modernism) - Голос, самый внутренний из наших внутренностей, недаром по-французски - Organ (Цветаева М., 2, 1988: 167) (The voice is the most internal of our innermost feelings, it is no coincidence that the French name for the voice is organ/organic). Radio play is a relatively new field of dramaturgy, the abundance of expressive means of which has aroused the interest of such great masters of dramatic narratives as S. Beckett, H. Boll, B. Brecht, F. Durrenmatt, M. Frisch, I. Bachmann, and J. Cocteau, as noted by the famous Georgian writer-dramatist and director Zurab Kandelaki.
Key words: radio, critic, dramatic.
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