PRIX MARULIĆ 2014 - Old Texts Revisited -

18th International Festival of Radio Plays and Documentary Radio Dramas

HRT - CROATIAN RADIOTELEVISIONDRAMA DEPARTMENT

Prisavlje 3, 10000 Zagreb, Croatiaweb: http://www.hrt.hr/prix-marulic/ | e-mail: PrixMarulic@hrt.hr

tel: (+) 385 1 634 44 33 | fax: (+) 385 1 634 44 32facebook: www.facebook.com/PrixMarulic | twitter: @PrixMarulic

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SCHEDULE

SATURDAY, May 17th

THE MUNICIPAL LOGGIA

21:00h Opening of the 18th Prix Marulić 2014 + 22 ARKANA Ars Acustica Piano performance by Franka Meštrović

SUNDAY, May 18th

THE RED SALON (Hotel Palace)

09:00h JURY MEETING – the founding of the Jury

THE HANIBAL LUCIĆ’S GARDEN *In case of rain, all sessions will be held in the Theatre

10:00h MAYAN MUSIC OF CHIAPAS MEXICO (49’) – Australia |doc|

11.00h FAMILIES ON THE GRASSLAND (24’08’’) – China |doc|

11.30h X (30’) – Italy |drama|

12:15h TIME COURIER EXTRA – PART 2 (55’) – Hungary |doc|

ST. MARK’S *In case of rain, all sessions will be held in the Theatre

16:00h VOICES (30’) – Serbia |doc|

16:40h KRISHNA’S BRIDE (47’) – Finland |doc|

17:40h THE CHURCHING OF HAPPY CULLEN (32’) – Ireland |drama|

THE MUNICIPAL LOGGIA

18:30h Discussion about presented works

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MONDAY, MAY 19th

FORTICA, THE TOWN FORTRESS*In case of rain, all sessions will be held in the Theatre

09:00h LIKE A WRITING DESK (42’) – Australia |drama|

10:00h ICAROMENIPPUS (30’) – Croatia |drama|

10:40h KUNG FU (21’10’’) – China |drama|

11:15h META DRAMA (32’30’’) – Iran |doc|

THEATRE

15:00h A PAINFUL EMBRACE (7’) – Finland |short|

15:10h SALOME – THE LIBERATION OF A STAGE CHARACTER (49’40’’) – Germany |doc|

16:15h THE DATE ACCORDING TO FREUD (1’52’’) – Czech Republic |short|

16:20h ROUNDABOUT DANCE ABOUT DAYS OF THE WEEK (4’) – Croatia |short|

16:30h HAMLET II: EXIT GHOST (29’19’’) – Sweden |drama|

17:10h CONSCIENTIOUS CLEANING LADY (1’58’’) – Czech Republic |short|

THE MUNICIPAL LOGGIA

17:30h Discussion about presented broadcasts

THEATRE (ARSENAL)

21:00h An evening with Ilinca Stihi, Romania

TUESDAY, May 20th

VENERANDA*In case of rain, all sessions will be held in the Theatre

09:00h ARTHUR IN THE UNDERWORLD (27’12’’) – UK |doc|

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09:30h IGNATZ AND KRAZY KAT (6’40’’) – Australia |short|

09:45 DRY HAZE – THE YEAR WITHOUT A SUMMER (46’41’’) – Germany |drama|

10:45h SOUND JOURNEY TO VOLTA’S LAB (3’35’’) – Spain |short|

10:50h LOVE TUNNELS: MARRIED IN LAS VEGAS – RADIO ROAD MOVIE (44’41’’) – Australia |doc|

11:45h Discussion about presented broadcasts

FROM THE CITY HARBOUR

14:00h Excursion to Palmižana, part of the Pakleni Islands (lunch included)

WEDNESDAY, May 21st

VENERANDA*In case of rain, all sessions will be held in the Theatre

09:00h THE METAMORPHOSIS (35’) – Romania |drama|

09:45h THE COURIER OF BUCHNER (53’03’’) – Germany |drama|

11:00h CIRCUS MAXIMUS (47’) – Austria |drama|

12:00h THE ECHO OF BROKEN STRINGS: THE PATHS OF UKRAINIAN KOBZARS (30’42’’)– Ukraine |doc|

THE ISLAND OF GALEŠNIK*In case of rain, all sessions will be held in the Theatre (Arsenal)

16:00h ECO REQUIEM (5’24’’) – Serbia |short|

16:10 THE HUNT FOR U-534 (44’) – Denmark |doc|

17:00h ZAGHOOR (7’51’’) – Iran |doc|

17:15h WE WENT TO KORNATI ISLANDS AND WASHED OUR FACES IN THE SALT SEA (7’)- Croatia |short|

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THE MUNICIPAL LOGGIA

18:00h Discussion about presented broadcasts

THURSDAY, May 22nd

THE FRANCISCAN MONASTERY*In case of rain, all sessions will be held in the Theatre (Arsenal)

09:00h TRAM: THE STORYTELLER (25’) – Romania |doc|

09:30h RETURN FROM THE HUNT (9’40’’) – Bosnia and Herzegovina (Rep. Srpska) |drama|

09:45h TVRDALJ, A WORLD BETWEEN WALLS (34’) – Croatia |doc|

10:30h DECODING SIGNS OF LOVE – THE POYA BOOK OF PICTOGRAPHIC SONGS (7’)– China |short|

10:45h INSIDE QIVITTOQ.VON MERZOUGA (49’39’’) – Germany |doc|

11:45h WAGNER OPERATALES IN SHORT: TWILIGHT OF THE GODS (4’55’’) – Hungary |short|

THE TERRACE OF THE ABANDONED CHILDREN’S RESORT*In case of rain, all sessions will be held in the Theatre (Arsenal)

15:00h THE GOLDEN BOY (41’) – Poland |doc|

15:50h COUNTDOWN (6’03’’) – Romania |short|

16:00h THREE MEN IN A BOAT (60’) – UK |drama|

THE MUNICIPAL LOGGIA

17:30h Discussion about presented broadcasts

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THEATRE

21:30h STORI LETRAT Presented by the Hvar Public Theatre (Hvarsko pučko kazalište)

FRIDAY, May 23rd

ST. MARK’S*In case of rain, all sessions will be held in the Theatre (Arsenal)

09:00h MANOLE, THE MASTER (29’) – Poland |drama|

09:40h THE LADY OF CAMELLIAS (43’04) – Germany |drama|

10:40h THE PAST AND PRESENT OF GURU SONGS (7’) – China |short|

10:40h THE MORPETH CAROL (44’) – UK |drama|

11:40h Discussion about presented works

THE RED SALON (Hotel Palace)

15:00h JURY MEETING – 1st Round

17:30h JURY MEETING – 2nd Round

THE THEATRE

*In case of rain, the performance and the closing ceremony will be held in the Theatre (Arsenal)

20:30h CONCERTO FOR A LAYZBONES AND A DEADBEAT

Presented by Mate Matišić and Rajko Pavlić

&

Announcing the Winners

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EVENINGPROGRAMMES

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SATURDAY, May 17th

+ 22 ARKANA Ars Acustica Piano performance by Franka Meštrović * THE MUNICIPAL LOGGIA, 21:00h

The title of the work ‘22 Arcana’ points to 22 major tarot cards which in this case served only as a programming guiding principle for an attempt to portray a spiritual, transcendental journey of an individual, i.e. all of us, through sound and music. The piece was commissioned for Ars Acustica programme series and was first broadcasted in January 2014.

During the ‘journey’ which began with miniature zero, i.e. the card named

0. The Fool - through cards:1. The Magician2. The High Priestess3. The Empress4. The Emperor5. The Hierophant6. The Lovers7. The Chariot8. Justice9. The Hermit10.Wheel of Fortune11.Strength12.The Hanged Man13.Death14.Temperance15.The Devil16.The Tower,

we pass through different states of consciousness while spirally rising to arrive to cards 17.The Star, 18.The Moon, 19.The Sun, 20.Judgment, and reach higher states of consciousness, simplicity, spiritual purity, music (Mozart, Beethoven), the sound of classical piano, namely Prelude No1 in C Major BWV 846 by J. S. Bach, which ends the last miniature, last card 21.The World which symbolizes the Universe, Unis Versus - one verse, our belonging to ONENESS.

Franka Meštrović was born in 1978 in Zagreb where she graduated at the "Elly Basic" Music School and later majored in piano at the Music Academy. During her musical education she had a large number of notable public performances (in Croatia, Switzerland and in the USA), and also participated in many piano competitions where she won first prizes (Zagreb, Varazdin, Saporo, Turin).

In 2002, Franka graduated with honors in the class of Professor Sretna Mestrovic. She has been working as a Piano professor at the "Elly Basic" Music School since 2003, and in 2005 was engaged as a musical dramaturge in the Drama Department of Croatian Radio where her dedicated work resulted in winning prizes at various radio drama international festivals (Prix Marulic, Prix Europa and Prix Italy). In 2008, she took over direction of the creative music workshops "Improvisation on the piano" at the "Elly Basic" Music School and became a member of the Presidency of the Society for the Promotion of Functional Music Pedagogy.

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In 2013, her successful piano concert tour across Croatia was crowned with a notable concert at the Croatian Music Institute.

MONDAY, MAY 19th

An evening with Ilinca Stihi, Romania

* THEATRE (ARSENAL) at 21:00h

ILLUSION – A MAP

We live in a world where abstraction conquers and even defines reality. From the Internet to the abstraction of the traffic signs of everyday streets/highways/airports, our world melts into a virtual one. Our ego takes center as the only authority that will gather all these symbols and build out of them its own personal universe. One life – one illusion.

Taking this starting point I invite you to discuss the different values of my personal illusion map. It can be both fulfilling and deadly. It develops an addiction, and the poison is sound. By traveling through my own very subjective works I invite you to contrast the faces of our illusory subjectivities and see if we can find our common ground- the sensuous shape of an idea in its perfect beauty- the art form.

Ilinca Stihi is a graduate of The Bucharest Academy of Theatre and Film, the film directing department. Since 2005 she has been a director at the Romanian Radio Broadcasting Corporation. She directed and signed the script for several radio dramas for adults and children. In 2013 she initiated, alongside the Head of the Radio Drama Department and colleagues, the Grand Prix Nova International Radio Drama Festival. She is the author of several Romanian radio productions which were given awards by International Radio Festivals such as Maldoror - The Sentimental Biography of a Serial Killer(2010), original script based on „The Songs of Maldoror” by The Count of Lautreamont (Prix Ex Aequo, Bratislava, Prix Marulic), Argentina(2011), original script (The Gold Award at New York International Radio Festival, Premios Ondas at the International Radio and Television Festival Premios Ondas in Barcelona, Prix Marulic), Suzana(2012) original script inspired by Werner Herzog and Novalis (UNITER Prize - The National Theater Union) for Best Radio Drama of 2012 Bronze Medal at the New York International Radio Festival, 3rd place Prix Marulic). She also directed the Swedish version of the radio drama Maldoror - The Sentimental Biography of a Serial Killer for Radio Sweden.

In 2013 and 2014 she was a member of the New York International Radio Festival. As a stage director she directed several plays for adults and children in Bucharest and other cities. Brand by Henrik Ibsen (2005) was selected to represent Romania at the Ibsen Festival in Oslo.

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THURSDAY, May 22nd

STORI LETRAT, Presented by the Hvar Public Theatre (Hvarsko pučko kazalište) * THEATRE at 21:30h

THE HVAR PUBLIC THEATRE - Hvar, Croatia

The Hvar Public Theatre was established for the first time in the season 1969/70 when students from Hvar came together in Zagreb. For a number of years before that, and almost 20 years after the season 1971/72, members of the theatre perform as a part of the Cultural Artistic Society (KUD) Dr. Orest Žunković. The Theatre became independent once again during the war in 1991. After performing at festivals of Croatian theatre amateurs (Čakovec - 1992, Varaždin - 1993, Pula - 1994, Murter - 1996, and Stari Grad - 1998), the Hvar actors-amateurs received a number of awards and their performances were declared the best. The Theatre treasures the folk expressions that come from the rich traditions and heritage of the Hvar literary circle from the Renaissance period. Members of the Theatre (clerks, doctors, pensioners, fishermen, school children, caterers, professors and craftsmen) convincingly and enthusiastically perform simple and sweet - sounding verses in archaic Hvar dialect, inherently showing that they truly love the theatre and heritage. The main building of the Hvar Public Theatre is one of the oldest municipal theatres in Europe (built in 1612).

LUCIJA RUDAN-PERINIĆ: STORI LETRAT [Old Photograph]Director: Marin Carić

Musical Accompaniment: Ivica Tomičić-TajnikovDance Coach: Mirjana Kolumbić

Lighting: Mili ZaninovićActors: Tanja Miličić, Vinka Sedlar, Maja Budrović, Nikolina Ostojić

- Premiered on February 9th, 1992- “Stori letrat” originates from “Bruške pisme” [Poems from Brusje] by Mrs. Lucija Rudan-

Perinić

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Comments about the performance:

1. I doubt that any future event of this year’s Books of the Mediterranean will get into the heart of the theme like this dramaturgical transformation of “Bruške pisme” by Lucija Rudan-Perinić to “Stori letrat” under the direction of Marin Carić. The exceptional bringing of words and feelings to life as done by the four ladies from Hvar, whose skills to transfuse the intimacies of an old and humble world into scenic speech, could not have been done any better by professional actresses.

Anatolij Kudrjavcev, Theatre Critic

2. The performance we saw, directed by Marin Carić, is more in Bergman’s style than folk. I would like to express my admiration for the high quality that this performance reached…the poetry and modesty of the text, language, faces, movements- speaking about the safe haven of the past, when meaning was still palpable, living was simple and felt secure, a theme that is therapeutic in today’s time. I haven’t seen such beautiful faces, glowing with peace, restraint and concentration on the scene in a very long time. It was a performance that exceeded amateurism in all aspects.

Ranka Mesarić, Director

3. The performance “Stori letrat” is a real little pearl of poetic theatre…it is a captivating composition of four women’s voices and a harmonica, achieving an orchestral fusion of the past and present…

Mira Muhoberac, Dramaturge / Theatrologist

4. …and that poetry with its warm, softly shadowed verses talks about vintages and festivals, when the sea is clam and storms, selling fish and shoes that are too tight, grandma and the attic, encompassing the “Stori letrat” photograph from the album that is already yellow and old, beloved and smiling, full of scents of the soil and echo of the sea.

Jakša Fiamengo, Author / Theatre Critic

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FRIDAY, May 23rd

CONCERTO FOR A LAYZBONES AND A DEADBEAT presented by Mate Matišić and Rajko Pavlić

* THE THEATRE (ARSENAL) at 20:30h

CONCERTO FOR A LAZYBONES AND A DEADBEAT

We are aware of the fact that at this very moment some people, somewhere far way in the solitude of the backwoods, may be playing a small, peculiar instrument or dancing or privately singing as they herd sheep or weed potatoes in some gloomy valley. Some of them have a magical and inborn artistic intuition which, unfortunately, by a quirk of fate, they will never be able to present to the rest of us. We dedicate this concerto to them, humbly asking them to accept us into their “private group of chosen ones”, to which we too would like to belong.

Authors and performers: Mate Matišić and Rajko Pavlić Characters: Lazybones and a Deadbeat

* Tamburitza samica (loner), danguba (lazybones), kuterevka or cindra is a solo instrument with three or four strings. It was played by shepherds for their own fun, wasting time in solitude. It often accompanies dancing or singing.

Mate Matisic - Danguba / Lazybones Born on January 17th 1965 in the village Ricice (municipality Imotski). In his early childhood he discovered his great love for ganga, samica (tamburitza) and fiddle, which was later reflected in his composing. The nickname Danguba (Lazybones) was given to him out of love by his uncle when he was seven years old, because he refused to acquire working habits. He performed on Zlatne zice Slavonije [Golden Strings of Slavonia] Festival. Lately he plays and dances flamenco. Mate is a father of three children. He lives and works in Zagreb.

Rajko Pavlic - Zgubidan / Deadbeat Born on June 26th 1958 in Sestinski Kraljevec 10/I, which used to be a village and now it is an elite neighborhood in Zagreb. Since his early age he was attracted to body movement and played football/soccer in Dinamo Football Club (juniors), while at the same time he was a member of the dance group Elementary School Sestine. Being in a tight spot between football and dance, he decided to continue dance. He acquired his first experiences as a self taught, dancing to the radio and record player, and also on popular dancing parties. He got the nickname Zgubidan (Deadbeat) because he used to spend his days dancing and playing football. He is not married, but he has a girlfriend Branka, his great support in life. He lives and works in Zagreb.

The performance was supported by the City Office for Culture of the City of Zagreb and the Ministry of Culture of the Republic of Croatia. The premiere was at the Zagreb Puppet Theatre on December 10th 2006. He had a guest performance at the Dance Week Festival in Zagreb on June 10th 2007, in Histrionski dom and on June 6th 2007, in Filodrammatica Hall in Rijeka. The same year, he had a guest performance at Split Summer Festival: July 23rd in Trogir, July 24th in Split, and July 25th in Kaštel. They won the Croatian Theatre Award for Best Choreography in 2008.

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PROGRAMME SUMMARIES

2014

16 Documentaries

15 Dramas

12 Short Forms

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AUSTRALIA

ABC - AUSTRALIAN BROADCASTING CORPORATION and FALLING TREE PRODUCTIONS

Ignatz and Krazy Kat | Short Forms |6'40''

original title: Ignatz and Krazy Katoriginal language:Englishauthor: Natalie Kestecherproducer: Natalie Kestecherdirector: Natalie Kestechersound engineer: Timothy Nicastri

The newspaper comic, Krazy Kat, was written and drawn by American cartoonist George Herriman and first published in 1913 in the New York Evening Journal. The publisher, William Hearst, loved Krazy Kat so much that he gave Herriman a lifelong contract so the comic ran for 31 years until Herriman's death.The basic premise of the old comic was the love/hate relationship between Krazy Kat and a nasty mouse named Ignatz. Krazy Kat is completely in love with Ignatz but Ignatz claims to despise Krazy Kat. Krazy Kat is oblivious to this and is constantly seeking out Ignatz’s love. Ignatz responds by throwing bricks at Krazy Kat yet Ignatz can’t seem to live without Krazy Kat.The relationship between Krazy Kat, and Ignatz triggers satirical ponderings and performances by producer Natalie Kestecher (and her human partner) on unrequited love and other relationship dysfunctions. Not only does their behavior resemble that of the animals, their nicknames for each other do as well. You'll also hear from the comic expert, Roger Morrison, and the New York poet, Monica Youn, who recently wrote a book of adult love poems based on Ignatz the mouse. Sound from the 1960s TV cartoon based on the old comic strip is included in the story as is the music of Theremin legend, Clara Rockmore and her piano playing sister playing sister, Nadia.This particular version was originally broadcast on 360 Documentaries, ABC in July 2012 and was written and produced by Natalie Kestecher. The sound engineer was Timothy Nicastri. The original version which is slightly different was produced for Falling Tree Productions and broadcast on the BBC.

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ABC - AUSTRALIAN BROADCASTING CORPORATIONLike a Writing Desk | Drama |42’00’’

original title: Like a Writing Deskoriginal language: English author: Aden Rolfproducer: Jane Ulmandirectors: Jane Ulman, Russell Stapleton, Aden Rolfsound engineer: Russell Stapleton

Why is a raven Like a Writing Desk? (Alice in Wonderland, 1885)Taking its title from the Mad Hatter’s famous dictum, the piece itself opens up puzzles and timeless questions about the connections and hierarchy of animals. It’s a dark comedy, a parody about human frailty, the power of myth and our inability to control our surroundings. And it’s about crows, their intelligence…and humor.Since ancient times crows and ravens have been found throughout the world. They appear in the histories and mythologies of all cultures and, in many guises, they are deeply embedded in the human psyche.

One for sorrowTwo for joy

Three for a girlFour for a boyFive for silverSix for gold

Seven for a secret, never to be toldEight for a wishNine for a kiss

Ten for a bird you must not miss(Children’s Nursery Rhyme Predates 1840)

Like a Writing Desk draws on texts which evoke the age old reputation and importance of crows and ravens and weaves those texts into a contemporary story which reflects current interest in corvid sentience and cognition. The play follows two threads: that of Bella Radcliffe, a curator assembling an exhibition entitled True Crow for city Galleries; and that of Charles and Grace Brenner, whose house is being overrun by a flock of crows.

There came a tapping,As of someone gently rapping, rapping at my chamber door.`'Tis some visitor,' I muttered, `tapping at my chamber door -

Only this, and nothing more.'16

(The Raven 1845, Edgar Allan Poe)

The link between the two plots is Derek Castaneda, Bella’s guest speaker. He offers to augur a solution for the Brenners before the crows force them out of their house altogether. But he’s soon gone missing, on the trail of a mythical crowchild, Reagan Ayres. The play culminates in the opening of True Crow, with Derek’s dramatic return from the wild – more knowledgeable, perhaps, but not necessarily wiser.And it came to pass at the end of forty days, that Noah opened the window of the ark which he had made: And he sent forth a raven, which went forth to and fro, until the waters were dried up from off the earth(King James Bible, Genesis, Chapter VII)

Like a Writing Desk is a radio mocumentary that unfolds over four days, intersecting on the third and fourth day. The characters alternate between being unobtrusively observed and speaking directly to the microphone. There is no framing device of a narrator-interviewer, but the action is augmented by an academic, Roberta Cunningham, who offers insights into crow intelligence.It exploits the creative possibilities of radio, bending the listener's ear to imagine a house full of ravens, a unique crow-call sound work and an art gallery with biblical plumbing issues.

We all have a story about crows and this piece combines both old and new ones.

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AUSTRALIA

ABC - AUSTRALIAN BROADCASTING CORPORATIONMayan Music of Chiapas Mexico | Documentary | 49’00”

original title: Mayan Music of Chiapas Mexicooriginal language: Englishauthor: Hal Cannonproducers: Sherre Delys, Hal Cannondirector: Hal Cannonsound engineer: Timothy Nicastri

When the Spanish Conquistadors conquered the New World, they destroyed most of the texts and codices, which were a key to understanding one of the most extraordinary civilizations in the history of the World, the Mayan.Today, we are beginning to understand the complexity of the Mayan legacy. Musicologist, Hal Cannon went to Chiapas Mexico, believing that music is one of the most enduring aspects of culture. With that in mind, he decided to investigate if the texts, both oral and written, in today’s Mayan music, hold keys to an ancient past.Many do not realize that Maya peoples never disappeared. Today, they are a sizable population in southern Mexico and parts of Central America. This radio documentary records song texts, prayers, and incantations that survived the Spanish Conquest and are still vital to contemporary Mayan life. Also through the study of historical Spanish texts, the documentary captures the sound of instruments that would have been heard during the Classic Mayan period which ended in the Tenth Century AD.

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AUSTRIA & GERMANYWDR - WESTDEUTSCHER RUNDFUNK

Circus Maximus | Drama | 47’

original title: Circus Maximus original language: Germanauthor: Krok & Petschinkaproducer: WDR director: Petschinka sound engineers: Jean Boris Szymczak, Petschinkaother key staff: Thomas Thieme, Andre Jung, Jule Böwe, Ulrich Voss, Norah Abdel Maksoud, Sebastian Rudolf, Franz Hartwig, Luise Wolfram

there are two directors of the circus maximus in romewho feelthat there has to be something NEW in their circus

its not the "quotes of audiences“but their tongues, who scream out for the new.

and they invite two different groups of theatre-people.

one director - called RIENZO - invites a bunch of megaphon-anarchists, who just nailed a manifesto on the doors of holy circus maximussaying: we have to start form ZERO etc. (we all know these ZERO-punks)

and he makes them a proposal:to write and direct "a mouthful of spit into the emperors face"called :  JULUIS CAESAR.

(sure they will suffer a crucifixion after the premiere evening)

the other director invites a womanspeakswoman of a consortium of investorsto present their ideas.and these ideas are quit different

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these investors want to close the circusmaybe burn it down, and tell the public: the megaphon-anarchist did this crimeand then hunt them and hunt them down

so: close the circus maximusand invent TV and facebook and mobilephonesand do the real great and big things

as one example for BIG THINGS:the war on terrorand a trial against lynndie englandwho is famous for her torture-fotos of abu ghraib

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BOSNIA AND HERZEGOVINA

RADIO REPUBLIC OF SRPSKAReturn from the Hunt | Drama | 9' 40''

original title: Povratak iz lovaoriginal language: Serbianauthor: Dragan Pajićproducer: Ivana Frankdirector: Dragan Pajićsound engineer: Dragan Pajić

To offer the listeners a story without words, using sounds and instrumental music, is an attempt inspired by the painting of a famous Dutch painter, Pieter Bruegel, Return from the Hunt, from the 16th century. A group of hunters goes to hunt a wolf with their dogs – dogs and wolves are killing each other like beasts, the hunter is worried about his dogs, the wolf-beast dies... The hunters call each other, the flute of joy and triumph is heard, the dogs return to the hunter and they are about to return to the village. The hunters and dogs approach the village, and you can hear the church bells and the babble, and a woman singing in the distance. The hunter comes out on the village road, comes across a horse-drawn carriage and then comes close to an ice rink, where children are playing. He continues towards his house, it is night-time (owl), you can hear characteristic sounds of the village (cows, pigs). The hunter opens the garden doors and goes in, there is a cat in the garden, and then he comes to the house doors. He opens it, goes through a drawer, kindles fire, sits on the bed and falls asleep. In his dream he hears a sad cry of the wolves. He wakes up from this traumatic dream and after that continues to sleep.

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CHINACNR - CHINA NATIONAL RADIO

Decoding Signs of Love - The Poya Book of Pictographic Songs | Short Forms | 7’

original title: 坡芽歌书 爱情密码original language: Cantoneseauthor: Zhou Weiqiproducer: Liang Weihaodirector: Li Hongsound engineer: Wang Minother key staff: Wang Bingyue, Li Zhifeng, Li Jianfei

The name of the village, Poya, in the ancient language of the Zhuang people, means “a place covered by flowers.” The Poya Songbook is a hand-woven yellowish cloth with a total of 81 red pictographic signs including the moon, bamboo, birds, flowers and human figures. Each sign represents a love song. The villagers said they consider it their “book of love.”

Poya Village is a village in Yunnan Province that has a history of more than 2,000 years. Most of its residents are from the Zhuang ethnic group.

Nong Fengmei is a 44-year-old woman. When she was a little kid, her grandma taught her how to weave cloth using hemp. She also taught her to write pictographic characters with the juice from cactus, and to sing songs. Her grandma said that she would not be able to find a good husband if she could not sing.

Like her grandma, Nong Fengmei fell in love with her future husband when they sang in antiphonal style. “When I finish singing, he would continue. If he got stuck, he wouldn’t have won my heart.” Nowadays, most of the young people in the village have left the village to find work in the cities. When they date, they prefer to use their cell phones and popular social media like wechat. Few of them sing folk songs as before. Nong’s second son is 24 years old and is now working in a city. He has yet to find a girl-friend. Her eldest son is married but his wife lives with her parents. This year, the local government has provided funding to the villagers to refurbish their old houses that have been handed down through generations. Nong Fengmei hopes that when her house is renovated, her daughter-in-law will come back to live in Poya village.

Nong Fengmei is proud that her nephew Nong Jianmin, a high school graduate, is now the head of the village. He encourages young people in neighboring villages to learn to sing folk songs from Nong Fengmei. They have added attractive new elements of contemporary life to their songs. Their performance of folk songs was broadcast on the country’s Central Television Station and they were awarded a prize.Nong Fengmei loves to teach the children folk songs using the songbook made of hand-woven cloth written in ancient Zhuang characters. On Valentine’s Day of the Zhuang people (the third day of the third month on the Zhuang calendar), the village is filled with the singing of folk songs.That is the happiest moment in Nong Fengmei’s life.

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CHINA

CNR - CHINA NATIONAL RADIOFamilies on the Grassland | Documentary | 24’08’’

original title: 草原人家 original language: Mongolianauthors: HUBUQIN, NARENGERILE producers: Zhao Lianjun, Tian Shanchuan, BILIGEdirector: Li Hongsound engineer: Wang Minother key staff: Wang Ling, Ding Shuorui, GERILETU, BAOLIDE

On the grasslands of Xilin Gol League in Inner Mongolia, two families live in different lifestyles. Wu Liji’s family keep raising five kinds of livestock: horses, camels, cattle, sheep and goats through traditional ways. Since less and less herdsmen raise camels nowadays, all neighbors who need camel hair can only go to Wu’s yurt. In another village not too far away, 40-year-old herdsman Erdun has made her fortune in response to the market needs. She built up a modern yurt for her family, which looks like a yurt outside, but a modern apartment inside, even more fashionable and luxurious than urban houses.The two families operate different ways of herding. Wu Liji inherits traditional herding methods from his ancestors. Herdsmen on the grassland often seek advice from him; Erdun is good at using national project fund to build infrastructure to improve the risk resistance ability of grassland farming. Young herdsmen admire her very much. Wu Liji’s children have all grown up. While learning ancestral skills from their father, they also seek the secret of Erdun’s success and think about their future. The two families also share a lot in common. Yurts, Mongolian boiled lamb, Mongolian long tune and Nadam Fair are all their favorites.

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CHINACNR - CHINA NATIONAL RADIO

Kung Fu | Drama | 21’10’’original title: 功夫original language: Chineseauthor: Quan Shengproducer: Qian Linlindirector: Quan Sheng sound engineers: Fang Dawen, Chu Xi, Li Xiaodongother key staff: Liu Yifei

Chinese Kung Fu is neither just martial arts nor simple fist movements. Its breadth and depth lie in its traditional Chinese culture continuity and its unique philosophical thoughts.

Kung Fu emphasizes external and internal cultivation with both vigorous and beautiful configuration，elegant and profound connotation. It contains ancient Chinese philosophers' understanding of the life and the universe.

The drama tells a story of Kung Fu. The protagonist of the drama is named Nan'er, who was apprenticed to a Taoist in order to avenge his father. The Taoist imparted the wisdom to Nan'er by asking him to catch mosquitoes, chop the tree and meditate in front of the wall that Kung Fu should be the result of following the law of Nature. In the end, the destiny of Nan'er was not changed by Kung Fu, but by the passing of time instead.

Kung Fu is like a human being, whose conscience is toward the good. The ending of the drama is smartly constructed. It tries to explain the truth to the audience from a unique perspective that Kung Fu is like a life time with its four seasons and reincarnation cycle. The hatred will fade away as the clouds in the sky, but Kung Fu will ever last as time goes by.

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CHINACNR - CHINA NATIONAL RADIO

The Past and Present of GurRu Songs | Short Forms | 7’

original title: 古如歌的前世今生original language: Mongolianauthors: Yu Xiao, BURENWULIJI, Hu Yanzheproducers: Zhao Lianjun, Tian Shanchuan, BILIGEdirector: GERILETUsound engineer: HUBISIGALATUother key staff: Wang Fei, BAOLIDE

GurRu Songs are songs sung on official occasions in the old times, which passed on from more than 800 years ago by Hangjinqi Mongolian of Ordos in Inner Mongolian Autonomous Region. Though few records can be found in history books, not much has been passed on. The value of GurRu Songs shows not only in musicology, study of art and literature, language, but also in anthropology, ethnology and folklore. It is also regarded as "living fossil" of Mongolian classical music and “live specimens" of Mongolian ancient civilization.

In Ordos of Inner Mongolian Autonomous Region, in order to protect the ancient cultural heritage, experts and scholars have conducted a lot of research on GurRu Songs and the local government provides funds to encourage the learning of it. Our reporters got the chances attending seminars, observing contests and interviewing people related.

Rich sound effects are used to reflect this unique Mongolian cultural heritage in the program. By interviewing folk artists, experts and scholars, the producers try to introduce GurRu Songs and make this ethnic cultural heritage known by more people.

This program is vivid in description and rich in content. With the theme focused, it is fully reflected the characteristics of ethnic minority culture, and easy in listening. It is very helpful to promoting, popularizing, enhancing and passing on the Mongolian art and culture heritage.

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CROATIA

HRT - CROATIAN RADIOTELEVISIONTvrdalj, a World Between Walls | Documentary | 34'

original title: Tvrdalj, svijet među zidovimaoriginal language: Croatianauthor: Miro Pijacaproducer: Ljubo Pauzindirector: Miro Pijacasound engineer: Miro Pijaca

The spirituality of the Renaissance poet Petar Hektorovic (1478-1572) apart from being expressed through writing and translating was also expressed in construction. The idea of creating a countryside complex nestled in a park and including a fish pond in Stari Grad on the island of Hvar began hatching in 1514, just after his father, a descendent of an aristocratic family, died. The idea had ‘captivated and unusually intoxicated’ the poet, so that he worked on the construction of Tvrdalj, the family countryside resort until the end of his life and was still convinced he had not completed all that he planned.

The poetic and construction concept he had in mind for this fortified Renaissance villa was of a unique style of the view of the world which depicts the world being ruled by harmony and meaning which a person should live by. Apart from the architecture of the building, this was also suggested by several dozen inscriptions in stone in Latin, Croatian and a single one in Italian all of them suggesting a moralist approach and the spirit of Humanism. The complex is dedicated to the Creator of Everything (OMNIVM CONDITORI). The inscription on the entrance door claims that the complex was built for the poet and friends, but other records denote that travelers and paupers alike were welcome. Over the centuries, Tvrdalj had undergone reconstruction, but even the way it looks right now, it represents a particularly exciting cultural and historical monument.

The radio microphone which has entered it today, encounters two residents behind the stone walls. One of them is Mrs. Rita Politeo, an elderly lady deeply worried by the thought of what will happen with Tvrdalj once she is gone. Mrs. Politeo is immersed in memories of how she and her now late husband scrimped and saved in order to preserve and keep this unique flash of history. The other resident of Tvrdalj is Mrs. Politeo’s nephew, Toni Politeo, a gallery owner, a man very much part of the current era, who has made it his task to make Tvrdalj a part of the current times and even of the future, by building a time capsule into one of the walls, which is awaiting those who are yet to come.

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And what are Petar Hektorovic’s views on all this? What does Tvrdalj say? Apart from the words found on the stone inscriptions, answers can also be found in the quotes from the poet’s most important work, the thought-provoking and educational poetic idyll titled Fishing and Fishermen’s Tales staged by amateur thespians of the Hvar Public Theatre [Hvarsko pučko kazalište]. This poem was inspired by travel the author undertook probably in autumn of 1555, in a bid to escape the problems he was having with the construction of Tvrdalj. He went fishing with two fishermen and a boy and was intoxicated by the beauty of the surroundings and inspired by the wisdom and the vitality of his travel companions, thus creating the inspired verses, all 1,200 of them.

The stone inscriptions are messages and warnings not only to the residents, but also to us, the passers-by, who have crumbled under the impact of the superficiality of the present times.

One of them reads:YOU NEED TO KNOW THAT IT IS NOT WEALTH OR WORLD FAME OR BEAUTY OR AGE THAT WILL SAVE YOU, AS DEATH GRABS ALL

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CROATIA

HRT - CROATIAN RADIOTELEVISIONIcaromenippus, an Aerial Expedition | Drama| 34'

original title: Ikaromenip ili Letač iznad oblakaoriginal language: Croatianauthor: Lucian of Samosataproducer: Nada Zoričićdirector: Jasna Mesarićsound engineer: Miroslav Pijacaother key staff: Nada Zoričić (dramatization)

Apart from legendary tales concerning extra-terrestrial exploits of the Greek Hermes and daring mortals such as the architect Daedalus, the earliest accounts of journeys through space which have come down to us are those of Lucian of Samosata, a second-century Assyrian satirist (c. 120 – 180 AD) and prose writer who wrote in the Greek language.

There are more than 70 surviving works attributed to Lucian. He wrote in a variety of styles which included comic dialogues, rhetorical essays and prose fiction.

Lucian was also one of the earliest novelists in Western civilization. In A True Story, a fictional narrative work written in prose, he parodies some of the fantastic tales told by Homer in the Odyssey and also the not so fantastic tales from the historian Thucydides. He anticipated "modern" fictional themes like voyages to the moon and Venus extraterrestrial life and wars between planets, nearly two millennia before Jules Verne and H.G. Wells. His novel is widely regarded as an early, if not the earliest science fiction work.

In his Icaromenippus the hero of the tale, Menippus, conceives the idea of paying a visit to Zeus and the story opens with a friend observing Menippus walking in the Street of the Tombs at Athens, talking to himself. From what he is saying, it appears that to assist him in his endeavor, the adventurer, like Icarus and his father before him, placed his reliance on a pair of wings, which he himself fashioned by taking one member from a vulture and another from an eagle. With this hybrid organ of flight buckled about him, he made a number of practice ascents and then set out for his destination from the summit of Mount Olympus. In the vicinity of the moon, finding himself not a little tired, he decided to attempt a lunar landing so as to obtain some relief from his exertion. As a result, he encountered the philosopher Empedocles, who described how, after accidentally falling into the crater of the volcano Mount Etna, he was hurled so high into the air by its smoke that he found himself on the moon!

In this radio adaptation, the hero ends in the Earth orbit instead of landing back to the Earth. He keeps moving around like waste material, thus anticipating modern times.

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CROATIA

HRT - CROATIAN RADIOTELEVISIONRoundabout Dance about Days of the Week | Short Forms | 3'38''

original title: Kolo od danaoriginal language: Croatianproducer: Nada Zoričićdirector: Jasna Mesarićsound engineer: Marija Pečnik Kvesićother key staff: Nada Zoričić (dramatization)

Every day of the week has its own meaning and power of its own. Man should act according that law which perpetuates our lives. This program is an adaptation op popular beliefs and it is said by the dancers in a roundabout movement. This movement mimics the movement of time and movement of life.

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CROATIA

HRT - CROATIAN RADIOTELEVISIONWe Went to Kornati Islands and Washed Our Faces in the Salty Sea

|Short Forms | 7'

original title: U Kornate smo hodile, u slanom se moru umivaleoriginal language: Croatian authors: Miro Pijaca, Jasna Mesarić producer: Željka Turčinović other key staff: Smiljka Mudronja, Anka Mudronja, Neda Juraga

The program is a part of the cycle called Our Daily Bread, which is a number of short documentaries from the Dalmatian island of Murter, consisting of research about the phenomenon of bread and food that marked that period of time and the key role that it has in our lives.We wished to record the elders' memories of poor, agricultural life on the island, but also the days when life was so close to its elementary simplicity and wisdom, because everything in human lives is represented either by the abundance of or more often the complete lack of bread.

“Wealth is hard to come by but poverty is always at hand.” Sumerian proverbs from Ki-en-gir, c. 2000 BC

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CZECH REPUBLIC

CZECH RADIOConscientious Cleaning Lady | Short Forms | 01’58’’

original title: Svědomitá uklízečkaoriginal language: Czechauthor: Jan Hladík producer: Kateřina Rathouskádirector: Petr Mančalsound engineer: Dominik Budil, Jan Trojanother key staff: Kateřina Rathouská (Dramaturge)

Minute plays are short audio drama units in the broadest sense. They cover a wide span of topics, despite their duration of 1 - 2 minutes. Czech Radio started broadcasting them on a regular basis in October 2012, when it also launched a contest for listeners aspiring to write their own minidramas. In a couple of months' time, Kateřina Rathouská , the dramaturge gathered about 1000 scripts and subjects, out of which 19 dramas for adults, and 1 drama for children (written by the youngest, 10-year-old contestant) have already been produced.The author of the Conscientious Cleaning Lady is also one of our listeners. Jan Hladík, born in 1975, works as an architect and designer. His play is set in the aftermath of World War I, when Alexander Fleming began his research, which brought him to the discovery of penicillin in 1928. In 2-minute play, the author looks into possible reasons why the breaking discovery in the scientist's laboratory couldn't have been achieved earlier. All Minute Plays of the project as well as authors' biographies, snaps from the recording and further information are available at a special website www.minutovehry.cz. The visitors to the website can choose the best play of the week and "give it a like". 

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CZECH REPUBLIC

CZECH RADIOThe Date According to Freud | Short Forms | 01’52’’

original title: Rande podle Freudaoriginal language: Czech author: Jiří Kaspar producer: Kateřina Rathouskádirector: Petr Mančalsound engineers: Tomáš Gsöllhofer, Tomáš Perglother key staff: Kateřina Rathouská (Dramaturge)

Minute plays are short audio drama units in the broadest sense. They cover a wide span of topics, despite their duration of 1 - 2 minutes. Czech Radio started broadcasting them on a regular basis in October 2012, when it also launched a contest for listeners aspiring to write their own minidramas. In a couple of months' time, Kateřina Rathouská , the dramaturge gathered about 1000 scripts and subjects, out of which 19 dramas for adults, and 1 drama for children (written by the youngest, 10-year-old contestant) have already been produced.The author of The Date According to Freud is also one of our listeners. Jiří Kaspar, a student of English Studies at Palacký University in Olomouc, was born in 1990. His play goes back to 1913 and features Sigmund Freud who is trying to estimate what a date of a man and a woman might look like in a hundred years' time.All Minute Plays of the project as well as authors' biographies, snaps from the recording and further information are available at a special website www.minutovehry.cz. The visitors to the website can choose the best play of the week and "give it a like".

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DENMARK

THIRD EARThe Hunt For U-534 | Documentary | 44’

original title: “Jagten på U-534”original language: Danishauthor: Krister Moltzen producer: Tim Hinman director: Krister Moltzen sound engineer: Tim Hinman

In May 1945, during the last days of WWII a German U-Boat is sunk by an English spitfire, just off Anholt, a small island off the coast of Denmark. For half a century the submarine would lie untouched in the mud hiding, possibly, one of the best kept secrets in all of history. At least that is what the two Danish treasure hunters 'Dynamite' Aage Jensen and 'Indiana' Stig Thornson thought when they began their search for it in 1986.

This is the story about two treasure hunters and their quest for lost treasure. A quest that takes on epic proportions as the rumors and stories of lost relics, mystical conspiracies and magical powers, all begin to point towards the lost U-boat. A quest that will cost millions and which - perhaps - threatens to overthrow history itself.

What will Dynamite Aage find as the sunken U-boat is raised up to the surface and he opens the captains locked cabin, for the first time in 50 years? Who has offered any price he cares to ask for the contents of that cabin? And who else knows the secrets of U-534?

This fast and furious radiophonic adventure story spans two millennia and is brilliantly told by Prix Europa and Prix Marulic winning documentarist Krister Moltzen with editing and sound design by Tim Hinman, in an entertaining, dynamic and sound rich style - representing the highly contemporary approach to the genre of radio feature as practiced in Denmark for the digital radio features show Third Ear.

As for the theme of Prix Marulic “old texts revisited” this program revisit the greatest “old text” of them all – The Bible.

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FINLAND

YLE - FINNISH BROADCASTING COMPANYKrishna’s Bride | Documentary | 47’

original title: Krishnan morsianoriginal language: Finnishauthor: Jenny Stammeier producers: Hannu Karistodirector: Jenny Stammeiersound engineer: Jyrki Häyrinenother key staff: Nina Naakka, Tiina Harpf, Emma Vainio, Erkki Määttänen

The documentary takes us to India, Vrindavan, the city of widows. Almost 20,000 widows have ended up there. In ancient Hindi tradition female widows are impure and their destiny is to go on a pilgrimage to the sacred city of Krishna to seek for salvation. In the radio documentary we meet 70-year-old beggar Tulsi Ma and 30-year-old single mum Kanchan, who try to make it in the city of widows.

In India child marriages are common and thus there are many young widows. The documentary follows the struggle of Kanchan, a single mum of two children who was widowed at 21. Ancient and modern values clash in contemporary India. What are the options for a young widow, if she is a respectable Brahmani, i.e. of the highest caste?

The documentary considers breaking the traditional role of a woman through the life story of the Indian female mystic, Mirabai. Vrindavan, near Delhi, is known as the sacred city of Krishna. Especially in eastern India, in West Bengal, people still believe that the death of a man is his wife’s fault. Widows are no longer expected to immolate themselves on their husband’s funeral pyre. Nevertheless a conservative family can drive away the widow who is considered a disgrace. People believe that the widows have a hope for salvation only if they dedicate themselves to spiritual life and die in a sacred city.

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FINLAND

FINNISH RADIO BROADCASTING COMPANYA Painful Embrace | Short Forms | 7’

original title: Satuttava Syleilyoriginal language: Englishauthor: Taina Riikonenproducers: Soila Valkama, Taina Riikonendirector: Taina Riikonensound engineer: Taina Riikonen

A Painful Embrace explores the socio-historical modification of the female body through the sound realm of a corset. The material of the works consists of sounds of the corset’s laces, strips, buttons and metal parts, as well as of both female and male breathings. The spoken quotes are from the early 20th century medical text where the use of corset was interestingly both defended and questioned. Today, a large amount of women are wearing corsets in order to shape their bodies, but the biology-based medical arguments have changed to commercialized self-control mantras. The old medical text is re-interpreted in the work through the sound processes that change from realism to more symbolic realms (e.g. the point of view of the unborn baby).

A Painful Embrace is a tactile sound story on the intersection between the controlled historical and current body.

The quotes in the work:“It is impossible to determine the degree of constriction.” “Primarily, corsets were hammered out by the castle armorer, and worn with more fortitude than wisdom by the chatelaine for their cosmetic effect. They emphasized the fact, so to speak, that women were not men.” (Source: California State Journal of Medicine, Vol. X, No.1, 1912).

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GERMANY

DEUTSCHLANDRADIO KULTURDry Haze – The Year Without a Summer | Drama | 46’41’’

original title: Dry Haze – das Jahr ohne Sommer original language: Englishauthor: Werner Cee producer: Marcus Gammeldirector: Werner Ceesound engineers: Werner Cee, Martin Englerother key staff: Rachel Unthank, Becky Unthank, Adrian McNally, Neville Tranter, Alf Terje Hana

In 1816, a volcanic eruption in Indonesia has blown immense ash clouds all the way to Europe. Dry haze covers the continent for months on end. The summer season fails. At this time, artist William Turner starts painting his famous blurred sunsets. Poets Lord Byron, Mary and Percy Shelley spend their summer vacation on Lake Geneva. Considering the dark weather, they start a competition who would write the best horror story. Mary Shelley comes up with Frankenstein, and Lord Byron composes his poem Darkness. This apocalyptic text is the basis for Werner Cee's radio piece Dry Haze.Dry Haze is the second part of a triptych by Werner Cee about the “anthropocene“. This term was coined by the Dutch meteorologist Paul Crutzen. He claims that in the 19th century, the earth has entered a new geological age. In this new period, man has become the core factor of the earth's development. According to Crutzen and his followers, man should take this role seriously and start exercising active influence on the planet's fate. Scientists all over the world have started developing methods of geo engineering, in order to control weather and climate phenomena. Their techniques are modelled after historic events, such as the “year without a summer“ 1816. Therefore, Werner Cee combines Lord Byron's poem Darkness with excerpts from the US Patent Register on geo engineering. A third component is the poem Cloud Songs by Juna Robin. The texts are interpreted by the English folk group The Unthanks, and the Australian puppeteer Neville Tranter.

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GERMANYDEUTSCHLANDFUNK

Inside Qivittoq. by Merzouga | Documentary | 49’39’’

original title: Inside Qivittoq. Von Merzougaoriginal language: Germanauthor: Merzougaproducer: Sabine Küchlerdirector: Janko Hanushevsky

Greenland. Vast landscapes. Empty skies. Icebergs that seem to float on the water. People who feel at home in this cold solitude, and who love to spend long winter nights telling each other stories. “How old are the stories? We don’t even remember!” says Greenland’s prime-minister Aleqa Hammond when I talk to her about Qivittoq-stories, an ancient oral Inuit tradition that people still love to indulge in today. Aleqa points out that some of the stories might go back to the beginnings of their culture some 10.000 years ago. Is it possible that Greenlanders still know stories that the first humans on the planet used to tell their kids?But let me start from the beginning: In May 2011 I met Greenlandic radio-artist Inga Hansen at Prix Marulić. We spent a whole day together in Split waiting for our flights home. “If we were in Greenland now, this would be the moment to tell scary Qivittoq-stories”, says Inga. I learn that it is not unusual for strangers in Greenland to engage in hour-long storytelling while waiting for a plane or for a ship to leave. It turns out that the tradition of Qivittoq-stories is one of the last intact Inuit traditions, that it has mysteriously survived 300 years of Christian missionary work and Danish colonization. In May 2013 my duo-partner Eva Pöpplein and I embark on a four week radio-expedition along Greenland’s west-coast and into an overwhelmingly alive oral culture. We accumulated more than 24 hours of fieldrecordings of Arctic nature and interviews with hunters and fishermen, film-producers and rock-stars, actors, teachers, and the prime-minister. They all share one passion: Their love of Qivittoq-stories. “Whether or not a story is true, is of little interest to us”, explains Aleqa Hammond. “A story is true if it is well told.”In our radio-program we took that approach to the letter. We revisit the stories, some of them ancient, some of them more recent in the context of contemporary radio (a modern “oral” medium, maybe even the technology that comes closest to story-telling in our culture!) and weave them into a contemporary electroacoustic composition. We don’t try to interpret the stories that we have been told, but we retell and revisit them in our individual radiophonic language using our genuine creative means of expression. In the 50-minute composition that we created we can hear ice melting, crackling, sighing, breaking, but also trucks, machines, industrial noise. This reflects how we encountered Qivittoq stories: not so much in wooden cabins in remote corners of the island, but in the middle of modern Greenlandic live. For a tiny moment a window opened to us into an ancient tradition of story-telling that is deeply connected with core values and issues of Inuit identity today. We want to share the small glimpse that we got on our journey and would like to invite the international radio-community in Hvar to listen to the stories that way up north, on the roof

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of the world, people like to tell each other on long winter nights, when the storms are coming.

GERMANY

RBB - RUNDFUNK BERLIN BRANDENBURGSalome – The liberation of a Stage Character | Documentary | 49’40’’

original title: Salome - Die Befreiung einer Theaterfiguroriginal language: Germanauthor: Evelyn Doerrproducer: RBBdirector: Elelyn Doerrsound engineer: Kaspar Wollheim other key staff: Evelyn Herlitzius, Valery Tscheplanowa, Barbara Schnitzler, Winfried Wagner, Lars Rudolph, Alina Mohaupt, Evelyn Dörr, Rainer Kohlmayer, Peter Konwitschny, Gert Rienäcker, Ulf Schirmer

Salome - the Liberation of a Stage Character is a playfully acoustic study of the opera by Richard Strauss. The author explores the world of sounds and thoughts which surround this fascinating theatrical figure, investigating her emancipatory energy and uncovering hidden layers in her biography. The outcome is an acoustic record of Salome’s awakening consciousness: the skilful blend of layered sound results in a composition where – dream-like – the stuff of which Salome is made, the myths and projections, interweave with elements of the real world and its ideologies to create a disconcerting synthesis. The feature draws on excerpts from rehearsals of Salome at the Semperoper.(Theatre play of Oscar Wilde, 1891Opera of Richard Strauss, 1905)

About the feature Salome – The Liberation of a Stage Character By Ebelyn DörrWhat does it take to achieve a liberation – in life or in art? It takes courage, insight, strength, intuition and intelligence: and so we got down to work. We: that was Evelyn Herlitzius, the soprano who tumbled five octaves in the studio from Salome’s jubilation into her dark dirge; the actress playing Salome, Valery Tscheplanowa, with her fascinating sonic constructs of “hysteria as a gateway”: cries

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combined with the galloping violins of the Black Angels. Wolves, whales and a strange hissing beast play their part: as hubs of animal energy and visual expressions of the feelings composed by Richard Strauss in his operas Salome and Elektra, where they are amassed, layered, condensed into an acoustic design with instrumental shading, then – here in the feature – dissected into detailed musical themes and re-arranged with the two instrumentalists Maria Held (violin) and Nina Mohaupt (piano). The feature hears from Rainer Kohlmayer and Gert Rienäcker, scholars of literature and music; there are live interludes with actors Barbara Schnitzler and Lars Rudolph, and comments from the author.The production began – not just chronologically – with the highly poetic interpretation of Salome by Peter Konwitschny, whose Salome and Jochanaan leave the stage as lovers to find their freedom.When a structure takes shape over a thousand sound tracks, forged from a thousand little things, intuitions, knowledge and dreams, and when we can navigate around the unknown, aided by the excellent musical grasp of sound technician Kaspar Wollheim, then the many layers of Salome begin to emerge: the biography of the character and the political dimensions of the material.Dusk was falling as I left the broadcasting centre. The street glowed in the darkness, sparsely lit in the darkness by gentle rain in the yellow light from the porter’s lodge. I stood there a moment, relishing the silence and the light. And then something quite unexpected happened: a young man stood suddenly before me, and he was made entirely of sound. I could still make out the traces of the fingers that had shaped him. His limbs were long and gawky, and he was considerably taller than me. His eyes shone with the wonder one usually sees only in newborn babies. He gazed at the street and said: “What actually goes on here among you people – in this world?” It was probably a liberation of a very special kind – freely interpreting Nietzsche: a ‘birth from the spirit of feature’.

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GERMANY

SÜDWESTRUNDFUNKThe Courier of Büchner | Drama | 53’03’’

original title: Büchners Bote original language: Germanauthors: Hermann Kretzschmar, Georg Büchnerproducer: Manfred Hess director: Hermann Kretzschmarsound engineers: Roland Grosch, Melanie Imdenother key staff: Jens Harzer, Werner Wölbern, Wolfram Koch, Rho-Mei Yu and others

The radio piece is an adoption in speech and music of Georg Büchner’s politicial text The Hessian Courier (1834) and Georg Büchner’s Letter of Fatalism (1834). With quotations of Wilhelm Müller’s poem Path to Decide in Franz Schubert’s Winter Journey (1827), Henry David Thoreaus’ essay On the Duty of Civil Disobedience (1849) and

Nicolas Chamforts Guerre aux chateaux, paix aux chaumières (1789) as well as quotations of the political text The Upcoming Revolt by The Invisible Committee (2007) as well as free adaption of sentences by Paolo Freire and the poet Rolf Dieter Brinkmann, using historical recordings of old Black, Sephardian and Navajo Music.. The central musical focus is provided by a brass quartet which on the one hand evokes the world of popular revolt with march-like pieces, while on the other hand carrying forward Schubert’s Song as a kind of hidden message of the time. Thus Schubert’s Song accompaniment suddenly turns into a setting for the chant of oppressed American Sephardic Jews or Navajo Indians or early oppressed Black Music. The actors adopt the text in a playful way, sung or in the style of recitation of works of concrete poetry. My work references agitprop learning plays of the 1920s, but only as one of many ways of textual transmission to create irony, break or reinforce the text through distancing and quotation – depending on whether it calls upon Biblical themes, transports the serial listing of government expenditure figures, undertakes historical reviews and national comparisons, or, indeed, demands the urgency of a popular revolt. “Not primarily a literary text as such, The Hessian Courier was revised several times. I have used the first printed version. As I read it, I became aware of its rhythmical structure which subsequently determined the music and its overall form. In doing so, I asked myself the questions: do social conditions such as are described in the ‘Courier’ still exist today? Is this piece still relevant after an almost 180-year-long history of emancipation from state and authority? Can this text be more today than merely a historical document from the German prerevolutionary period of the “Vormärz” of 1848? For this reason I quoted as well field recordings of the Occupay Manifestation 2011 as well as a free adaption of a

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short poem of the Pop Poet Rolf Dieter Brinkmann and a sentence of the Brazilian essayist Paolo Freire concerning revolution” (Hermann Kretzschmar) Georg Büchner (17 October 1813 – 19 February 1837) was a German dramatist and writer of poetry and prose. Born in Goddelau in Hesse, in 1831, at age 18, he began to study medicine in Strasbourg and he immersed himself in literature and political thought. In July 1834, with the help of evangelical theologian Friedrich Ludwig Weidig, he published the leaflet The Hessian Courier, a revolutionary pamphlet critical of social injustice in the Grand Duchy of Hesse. The authorities charged them with treason and issued a warrant for their arrest. Büchner managed to flee across the border to Strasbourg where he wrote most of his literary work: the novel Lenz and the theatre pieces Leonce and Lena, Woyzeck and Danton’s Death. In October 1836, Büchner relocated to Zurich where he spent his final months until his death from typhus at the age of 23.

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GERMANY

WDR - WESTDEUTSCHER RUNDFUNKThe Lady of the Camellias | Drama | 43’04’’

original title: Die Kameliendameoriginal language: Germanauthor: Clemens Schönborn producer: Westdeutscher Rundfunk – WDRdirector: Clemens Schönbornsound engineers: Jean Boris Szymczak, Christoph Richterother key staff: Max Knoth (Composer), Sophie Rois (Leading Actress)

Who was the Lady of the Camellias – a self-sacrificing lover or a grabby businesswoman? What was the origin of her greed for money – business sense or cultic extravagance? Clemens Schönborn restages a play from the dawn of capitalism, when the glamour of money still was captivating – and thinks it further.

Schönborn combines motives from Alexandre Dumas’, fils novels, passages from Giuseppe Verdi’s opera La Traviata, interviews and snatches of companions’ memories to an acoustic portrait of the great courtesan Marguerite Gautier.

Played by the famous German actress Sophie Rois, this Lady of the Camellias is a reflection on money and love – and their interdependencies. Moreover it reenacts the myth– and traces the sound of a legend.

Clemens Schönborn, born in 1967 in Duisburg, Germany is a film-maker, theatre-director and author. The Lady of the Camellias is his first radio-play.

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HUNGARY

MTVATime Courier Extra - part 2. | Documentary | 55’

original title: Időfutár extra - 2. részoriginal language: Hungarianauthors: Dóra Gimesi, Viktória Jeli, István Tasnádi, Andrea Vészits producer: Dorka Gönczidirectors: Monika Bognár, András Salamonsound engineers: Péter Kulcsár, Károly Liszkai, Tamás Tánczosother key staff: Otília Cseicsner (Dramaturge), Ágnes Palotás (Dramaturge), Ambrus Tövisházi (Music), Márton Hó (Music), Ferenc Markovits (Editor-Reporter)

Time Courier, a fantasy series was launched in March 2012 in Radio Kossuth’s family-time, i.e. 7.30 PM every day.  The third season will be concluded in March 2014, after 210 episodes the popular series comes to an end. After the closing episode a two-part feature was aired which gave the listeners a ‘sneak-peek’ into the secrets of making the series: how the historical parts were made, how the producers gathered data and information, in other words, how the initial idea was finally turned into a finished product. 

Hanna, the 12 year-old teenage girl is just starting her new life in Budapest, together with her parents who always move from one place to another. She keeps in touch with her best friend Zsófi, left in Szeged, by an almost continuous chatting and talking on Skype, and we, listeners can follow all the important events of their life through these talks. Right on the first day, Hanna takes possession of a mysterious old pair of compasses which is lost by a rubbish sifting old man at a clearing out, when he is forced to escape from his pursuers. The Latin text that can be read on the compasses draws her attention to a Masonic plot devised 200 years ago. While she throws herself into historical researches, several strange things disturb the order of their life. The new housemates, who were very friendly at the beginning, now do not return their greeting, disguised people of the National Public Health and Medical Officer Service (ÁNTSZ) nose around them, at the school her gym locker is forced open, her computer starts to live its own life, and the usual chatting with Zsófi is interrupted by unknown voices, then the old man seen on the first day appears suddenly, sticking to her like her shadow, and she finally ventures to go to his old curiosity shop in Mozsár Street. 

Hanna and her friend eventually take on a time-travel trip: first they get to Vienna in the 18th century, home to Wolfgang Amadeus Mozart. After spectacular adventures they travel on to Paris, ancient Rome, Egypt and Greece. Meanwhile their families and friends at home make huge efforts to bring them home somehow, and with the help of an extraordinary gadget they are able to get in touch with the time travelers through the

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centuries…Two books were created on the basis of the radio drama and a prestigious high-school in Budapest is using these as part of the curriculum.

In the extra features of Time-courier the emphasis falls on the peculiar connection between past and present that is also determined by Facebook and Skype. We also get to know how numerous citations from the Bible, or sayings and classic texts turn into a component in the series’ structure.  Numerous schools are featured in the extra-episodes and a reader meets the author event is also included. We are informed of the result of the Magic-flute Papagena Rap Contest presented in the series and we can experience the best moments of the fan club meeting.  We also hear Hanna and Zsófi chatting with the fans on Skype. We can understand why certain historical events, i.e. battles, coronations, real or imaginary actions are so very popular among teenagers while hearing quotes from the series.

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HUNGARY

MTVAWagner Operatales in Short: Twilight of the Gods | Short Forms | 4’55’’

original title: Wagner operamesék röviden: Istenek alkonyaoriginal language: Hungarianauthor: Sándor Kovácsproducer: Dorka Gönczidirector: Monika Bognársound engineer: Károly Liszkai other key staff: Eszter Szalai (Editor)

The bicentenary of Verdi and Wagner inspired the creative minds of Radio Bartók to present the most popular operas of the masters in a fresh and somewhat extraordinary manner: in abridged form. The particular aim of these miniatures was to catch the imagination of non-opera-fans as well (e.g. children and adolescents). Six ‘zipped’ operas have been produced so far including the following examples: Wagner: Twilight of the GodsGutrune Gibichung turns up at the psychiatrist. The tale of Gunther, Gutrune, Hagen, Siegfried, Brünhild and the doom of Walhalla slowly unfolds as the troubled lady tells her story.

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INDEPENDENTZERWE–ZANE PRODUCTIONS,

Broadcast by ABC-Australian Broadcasting CorporationLOVE TUNNELS: Getting Married in Las Vegas – Radio Road Movie

| Documentary | 44’ 41’’

original title: LOVE TUNNELS: Getting Married in Las Vegas – Radio Road Movieoriginal language: English authors: Malgorzata Zerwe, David Zane Mairowitzproducers: Malgorzata Zerwe, David Zane Mairowitzdirectors: Malgorzata Zerwe, David Zane Mairowitzsound engineer: Jaroslav Zorn

Countering the complexities of their marriage possibilities in Europe, the Polish Lady and the Naturalised Frenchman head for the $60 “in and out again” simplicity of Las Vegas. They rent a car in Denver and drive through the non-stop film set of the American West. Before reaching their goal, there’s a lot of « wisdom » to absorb on the subject of weddings and couples. This comes from the early writings of D.H. Lawrence, from the age-old written regulations of gold mining, from legends associated with the Grand Canyon, from Navajo wedding rituals, from Jesus-oriented American Bible-thumpers in Colorado as well as the 19th century Book of Mormon in Utah. All leading them to the madhouse known as Las Vegas with its non-stop wedding-machine, putting the whole question of traditional marriage into surrealistic perspective.

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IRANIRIB - ISLAMIC REPUBLIC OF IRAN BROADCASTING

Meta Drama | Documentary | 32'30''

original title: Ta'ziaoriginal language: Persianauthor: Khosro Rasouliproducer: Khosro Rasoulisound engineer: Jalal Noori

Dramatic elements can be seen in any society whether it is a primary or a developed one. There are plenty of such elements in rituals and religious ceremonies, festivals and sport events. Play has always been present in human beings’ life since they started to live in communities. There are also many dramas in my own country, Iran, backgrounds of which reach back myriads of years through its civilization and history.One example of such dramas is the passion play (Ta’zia) which is now performed everywhere in Iran. While the story of existing passion plays refers to the post-Islam incidents (i.e. Karbala drama),the roots of passion play, should be found in pre-Islam rituals and ceremonies, including mourning for Siavosh (a hero of national stories of Iran) and afflictions of Mithra (Iranian people believed in Mithraism before Islam and had rituals and dramas with Mithraism oriented). Although the passion play is a classic drama, some of its elements and performance approaches can break the deadlock over modern theatre.The present program Meta Drama is trying to introduce this completely Iranian drama in brief.

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IRANIRIB - ISLAMIC REPUBLIC OF IRAN BROADCASTING

Zaghoor | Documentary | 7'51''

original title: Zaghoororiginal language: Persianauthor: Fataneh Giliyardiproducer: Fataneh Giliyardisound engineer: Fataneh Giliyardiother key staff: Fatemeh Sahelizadegan (Narrator)

Zaghoor is an ancient melody that the women in Hormozgan sing when their men go to the sea. They face the sea and sing it and believe that the wind will carry the tune to the sea travelers. There are patience and waiting together with fear and hope in zaghoor; the fear that the sea traveler might not return, and hope that portrays the women’s waiting.

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IRELANDRTÉ - RAIDIÓ TEILIFÍS ÉIREANN

The Churching of Happy Cullen | Drama | 32’

original title: The Churching of Happy Cullenoriginal language: English authors: Louise Lewis, Simon Manahan director: Gorretti Slavinsound engineer: Mark McGrathother key staff: Kevin Reynolds (Series Producer), Lorelei Harris (Editor)

The English text of thanksgiving for the ‘churching’ of women after child-birth, which is the translation of an ancient Latin rite in medieval Christianity, can be found in the 1552 Book of Common Prayer, and is the inspiration for Simon Manahan’s and Louise Lewis’ piece The Churching of Happy Cullen.The practice of ‘churching’ was considered a liturgical blessing of postpartum women but mutated into a form of exorcism in prim and puritan Ireland. Mothers remained at home for forty days after their delivery. They then processed to the parish church, dressed modestly and carrying candles. Using holy water, the priest would anoint them individually with the sign of the cross. This was thought to cleanse a sort of pollution or impurity incurred by procreation, pregnancy and labor, the liabilities of sex. Until this cleansing took place, postpartum women were not permitted to enter the church. In this deformed form of the ritual, churching was not supported by many Catholic women; but their questioning was often ignored by their families and neighbors. Anecdotal accounts describe the women feeling stigmatized, disgraced instead of gratia plena. Indeed, some records even suggest that Irish women were not allowed to carry out normal domestic duties until they had been churched. The custom was largely abandoned by the Catholic Church after the second Vatican Council.Performed by Louise Lewis, The Churching of Happy Cullen is an atmospheric, thought-provoking one-person piece. Happy Cullen awaits her ceremonial purification in the poverty-stricken tenements of Dublin city during the 1913 labor lockout. Part-gauntlet and part-honor-guard, the ghosts of past, present and future surround her liminal world as the back-streets starve.

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ITALYL'EPIMETEIDE

X | Drama | 28’54’’

original title: Xoriginal language: Etruscan, Phoenician, Latinauthors: Angelo Airò Farulla, Elena Fatichentiproducer: L’epimeteidedirectors: Angelo Airò Farulla, Elena Fatichentisound engineer: Angelo Airò Farullaother key staff: professor Giovanni Garbini (Hypothesis of Vocalization of Phoenician’s Text), Daria Pastina (Assistant)

X is a project about the rituality of the Etruscan world; an audio-visual tetralogy articulated into four performances: X-RASNA, a site-specific work about the Etruscan maps to decipher prodigies; X-PHERSU, a theatric performance about an ancient figure of funerary iconography; X-CLAVIFIXIO, a ritual action about passing time and around the end of the Etruscan civilization; X-L’OMBRA, an audio-video live installation about the phonetic of the Etruscan language.

The live shows were developing between 2011 and 2012. On 2014 we like to present a radio version of the work, to value the sound traces of the performances. In fact, the most of them were attend to explore the sonority and the phonetic data of the Etruscan language. Mixing live recordings with studio tacks, we have built an out-of-time narration that appears as an immaterial mold of the corresponding live shows and that offers a new dimension for the interpretation of the same materials.

These are the four parts:

X – RASNA

First live performance : 20th August 2011, Etruscan necropolis of San Cerbone, Archeological Park of Baratti and Populonia, Piombino, Italy. Lenght: 06:58 minutes

X-RASNA is the audio-version of the related site-specific performance about the Etruscan maps to decipher prodigies or to found cities and temples; an apotropaic ritual that renews, in the traces of the ancient drawings, the ideal correspondence between space of the Sky and space of the Earth.

The performance was around the pronunciation of the Liber Linteus Zagrabiensis, the longest text in Etruscan language, a language of which, today, we have lost every

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sense and immediate comprehension, but that doesn’t stop to virtually belong to us and to keep concealed, deeply unknown echoes.

The public reading of a ritual book wrote in a dead language keeps the idea of an exorcism, of an esoteric act, as the pronunciation of a magic formula. The sound of this linen book is the sound of an insignificant significant, without meaning, that holds the power of attraction of a spell.

X – L’OMBRA_PYRGI

Hypothesis of vocalization of Phoenician text: professor Giovanni GarbiniFirst live performance : 2nd February 2012, Ghislieri College, University of Pavia, Italy - with critic intervention of Maurizio Harari (professor of etruscology and italic antiquities) and Fabrizio Fiaschini (professor of history of theatre). First radio broadcasting : from the 25th February to the 2nd March 2014, "here. now. where?" - a Saout Radio participatory project of sonic ambulation - taxis of Marrakech - 5th Marrakech Biennale.Lenght: 11:10 minutes

X-L’OMBRA_PYRGI is a short performance about Pyrgi Golden Leafs, a bilingual Etruscan/Phoenician inscription, one of the most ancient italic writing. This text is about the consecration of a temple to the goddess Uni-Astarte, by Thefarie Velianas, king of Cere in the VI° century before Christ. Fulcrum of the work is the idea of virtual belonging of an ancient phonetic quality, even beyond the comprehension of text and its meanings. The sense of familiar-strangeness that the pronunciation of a dead language as the Etruscan one can ideally evoke in a contemporary audience is the trace of a forgetful memory.

One tone is stretching out into the space as an evening shadow, drawing an imaginary tracing, out of time, over the route of Mediterranean sea. The voice follows canons and epigraphic reflections, indicating the ritual of consecration.

The figurative character of a writing as the one of Pyrgi Golden Leafs is living by now held into the indissoluble relation between sign and surface. The gold of support alludes to the virtuality of a reflection, to the transience of interpretation. Pyrgi’s text is essentially a written, engraved text; it is the image of a delivery, of a crystallized speech; a visual text that refers – even into the consonantal writing of Phoenician part – the contemporary, immediate writings, as the ones from the web, from the chats and SMS, evidences of faith engraved into the not-pronounceable and absolute immateriality of the windows of an interface.

X – CLAVIFIXIO

First live performance : 2012 14th April – 4VESTA Space, Pistoia, Italy. Lenght: 07:50 minutes

X-CLAVIFIXIO was a performance that reproduced the clavum pangere ritual, the ancient act to fix a big nail, the clavus annalis, over the temple’s wall to stop, with a symbolic action, the inexorable passing of time, together with the blind forces of a

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violent fate. This was the final intervention of the human being that believes, in this manner, to exorcise the future.

In Etruscan iconography, an hammer accompanied the symbols of the netherworld: in example, Charun, infernal divinity, used a long-handle hammer to close the doors of the underworld or to knock out his victims.

The presented track is a kind of calendar of Etruscan history, scanned by successive bangs of fixing nails. The introduction text is the Latin version of Vegoia’s prophecy, a text that witnesses the obsession of an imminent end for the Etruscan world, date back to the first times of Roman colonization of Etruria.

X – DEFIXIONES

Lenght: 04:00 minutesDefixio was a current usage of the ancient word. It consisted of an engraving,

usually over a plumb leaf, of the name of a person to curse. Often, in these tabellae defixionum, were jabbed in some nails as to fix and to immobilize the object of the curse. The tablets were then buried or concealed in places held to be points of communication with the beyond and so they were committed to the intercession of infernal powers or dead souls.

The text read in this part belongs to a plumb tablet unearthed at Monte Pitti, near Populonia, Italy.

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POLANDPOLSKIE RADIO LUBLIN

The Golden Boy | Documentary | 41’

original title: Złoty Chłopakoriginal language: Polish author: Kasia Michalakproducer: Kasia Michalakdirector: Kasia Michalaksound engineer: Jarosław Gołofit

This is a poetic story about Abraham Icek Tuschinski – a wizard, a visionary and a dreamer who built one of the most beautiful cinemas in the world. This is also a personal story of the author.

Tuschinski was a Polish Jew, born in Brzeziny near Łódź on May 14, 1886. He was trained as a tailor and he was perfect at his profession. While emigrating to the United States in 1903 he decided to remain in Rotterdam. Fascinated by the magic of the cinema art he raised money to fulfill his dream – a movie theatre of his own. He opened his first four cinemas in 1911. The jewel in his ‘cinema crown’ was the Theater Tuschinski in Amsterdam, opened on October 28, 1921. But his life had too quick, tragic end…

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POLAND

POLSKIE RADIO S.A., TEATR POLSKIEGO RADIA Manole, the Master | Drama | 29’

original title: Mistrz Manoleoriginal language: Polishauthors: Darek Błaszczyk, (based on the Polish version of the folk tale by Jerzy Ficowski)director: Darek Błaszczyksound engineer: Andrzej Brzoskaother key staff: Jacek Hałas (Music)

Manole, the Master is a radio adaptation of one of the most famous Romanian folk legends. It features the eternal myth of founding sacrifice. A master builder, Manole, gets the task of building the most beautiful monastery of the world in the Arges River Valley. However, the walls built during the day collapse during the night. In his dream, Manole hears a voice telling him to build the first woman who comes to the bricklayers in the morning into the wall of the monastery. However, he does not expect who the woman is going to be and this is where the tragedy begins.

Different versions of the motive of a sacrifice in the form of a person built in alive in a tower or a building's foundation occurs in various legends and epics of the entire Balkans - from the area of today's Albania, Macedonia and Bosnia to Romania or Wallachia. In the areas of former Yugoslavia, it was connected with the foundation myths for the cities of Skadar or Skutari. It is a story of three brothers who are princes. One of them has to sacrifice his wife, so that a seaside fortress can come into existence. (A French writer, Marguerite Yourcenar refers to the myth in her short story called The Milk of Death). In Romania, the same motive appears in a legend about an architect - master Manole, who is supposed to build the most beautiful monastery in the world in the Arges River Valley. There are several variations of the legend in the folk tradition. They were carefully investigated by Mircea Eliade, the famous specialist in religious studies. There's also literature based on it, e.g. Octavian Goga or Lucian Blaga's dramas.

The adaptation for the Polish Radio Theatre is based on a rhymed version translated into Polish by Jerzy Ficowski. Dariusz Błaszczyk directing intention is that the entire tale is sung by the Narrator/Old Man portrayed by an outstanding actor, Bronisław Wrocławski accompanied by the musicians gathered by the composer and the adaptation's co-author, Jacek Hałas. The music for Manole, the Master is a sound journey through the Balkans. Folk compositions and performance styles connected with the dramatic effect are the inspirations and points of reference for the soundtrack.

Together with the Narrator/Old Man, we travel from Albania (scene I), through Serbia (scene II) and Bulgaria (scene III), to finally reach Romania (scene IV, V), and its Curtea de Arges Monastery, whose building is the subject of the legend. It is a journey from an archaic polyphony, derived from the Arromanian's songs, through Manole's singing accompanied by a gadulka, which is a reference to the style of Serbian guslars (singers). Later we encounter a

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female duet based on the lamentations from the Bystrica region as well as the music of the Romanian gypsies involving the xylophone and violin, to hear polyphony return at the end of the play. However, now it is a 'younger' polyphony of the Romanian Orthodox Church - a sign of time passing and a tradition which undergoes constant transformations but still carries a grain of timeless and supercultural beauty.

The musicians invited to take part in the play are excellent singers and instrumentalists. They have been exploring the inexhaustible resources of Poland and Europe's folk cultures. The following artists have played double parts in the production, as each of them was working on the soundtrack and portraying one legend character parallel: Jacek Hałas – music, vocals /Mistrz Manole/, Agata Harz – vocals /Manole's wife/, Basia Wilińska – vocals /Marija/,Bart Pałyga – gadulka, vocals /Negru/, Robert Wasilewski – xylophone, vocals /Bricklayer/, Maciej Filipczuk – violin, vocals /Shepherd Boy/

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ROMANIA

RADIO ROMANIACountdown | Short Forms | 06’03’’

original title: Numaratoare Inversaoriginal language: Romanianauthors: Mihnea Chelaru, Ion Andrei Puicanproducer: Atila Vizauerdirector: Ion Andrei Puicansound engineer: Mihnea Chelaruother key staff: Madalin Cristescu (Musical director)

“To be or not to be. That is the question”.Grounded on Hamlet’s famous soliloquy in William Shakespeare’s play, the radio dramaThe Countdown brings these philosophical themes to the listeners’ attention, transposing them into a present-day situation, rooted in reality, in a drama of modern world: war.A military unit on a mission undergoes an extreme situation, where the humanity of the soldiers, their fear confronted with danger, are dissimulated by means of mundane conversation. The radio script highlights the final moments in the life of these soldiers to the point their vehicle is ambushed, they get trapped and eventually meet their tragic end.Shakespeare’s text and the themes reflected in this monologue re-acquaint listeners with the present-day importance of the great British playwright.

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ROMANIA

RADIO ROMANIAThe Metamorphosis | Drama | 35’

original title: Metamorfozaoriginal language: Romanian author: Ion Andrei Puicanproducer: Atila Vizauerdirector: Ion Andrei Puicansound engineer: Mihnea Chelaruother key staff: Madalin Cristescu (Musical Director), Janina Dicu (Production Assistant)

Original script inspired from Franz Kafka’s novella The Metamorphosis brings the underlying themes in the 1912’s Kafkian novella to the contemporary fore: the marginalization and isolation of the individual in a sociopathic society, the transformation of human nature according to system pressure and the hierarchy of values governing a community and therefore the entire world.

Kafka’s novella is as meaningful today as when it was first published. Whereas at the time of its release the novella sparked controversy through its peculiarity and utopianism, man, society and human interactions today are a faithful mirror-image of the author’s imagination.

The characters of the radio drama draw on Kafka’s novella and biography. Gregor Samsa’s stream of consciousness echoes excerpts from Kafka’s personal diaries. This all but confirms the actuality of the term “Kafkaesque” which applies to the world we live in.

The story focuses on the life of a regular person, which is generally perceived as normal, common and average: Gregor Samsa, a sales agent with KFK Company. Struggling to blend in, trying hard to make a name for himself in society and achieve both professional and personal fulfillment, the protagonist goes through the latter stages of human degradation. Can he cope with his own life? Can society accept him for what he is? How can these experiences shape his existence? Can he belong to a world where the individual is blurred, where everything is generalized, corporatized, systematized and standardized? An initiation journey that raises questions for each and every one of us, reflecting individual efforts to adapt to and integrate in contemporary society.

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ROMANIA

RADIO ROMANIATram: the Story Teller | Documentary | 25'

original title: Tramvaiul cu poveștioriginal language: Romanianauthor: Sorina-Manuela Manproducer: Sorina-Manuela Man

When it first appeared in Bucharest, around 1871, they call it tramcar. A strange kind of horse carriage on a wooden track, coming and going from close to city center to its outskirts and back. Not very fancy, not very attractive either. Better than going afoot, anyway! Then, in 1894 the first electric tram made its appearance in town. It was green and instead of name it had a number:14! It grew, changed, lived, knew bad and good times, ever since, as part of Bucharest city life and literature! Mircea Eliade’s literature in particular, where Bucharest and its iconic tram number 14 became a reference for an unexpected and unsettling journey from reality into fantastic and back.This radio program, inspired and based upon Mircea Eliade’s novels and memoirs, it’s an exercise in reading a palimpsest. Layers upon layers of real and imaginary history are brought to life in fragments of stories told by literary characters and real people alike. The purpose of the exercise is not to serve History, but to incite the audience to take that trip, into one’s own memory, to rediscover the sentimental, literary, imaginary but also the real city, that one knows so well, and yet so poor.

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SERBIA

RTS - RADIO BELGRADEEco Requiem | Short Forms | 5’24’’

original title: Eko Rekvijem original language: Serbiaauthor: Milenija Stamenkovićdirector: Milenija Stamenkovićsound engineer: Dimitrije Cvetkovićother key staff: Predrag D. Stamenković

In the consumer oriented society of today we have stopped thinking about anything else but the immediate fulfillment of our wants and needs. The rapidly accelerating evolution of civilization has not only separated us from nature, it has made us forsake it altogether. It is time we start caring about nature again.

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SERBIARTS - RADIO BELGRADE

Voices | Documentary | 30’

original title: Glasovioriginal language: Serbian, Englishauthors: Snežana Ristić, Radonja Leposavićproducers: Snežana Ristić, Radonja Leposavićdirectors: Snežana Ristić, Radonja Leposavićsound engineers: Snežana Ristić, Radonja Leposavić

Ana Sofrenović is an actress, a jazz singer and a vocalist. For several years she has been researching voice. Ana is bilingual - her native tongues are both English and Serbian, her mother being from England and father from Serbia.From the mythological mermaids and their seductive and dangerous voices, to the melody of "big" and "small" languages, from a whisper to the exclamation ... voice - spoken word or inarticulate scream - it defines us frequently much more than we think. How do the languages define us and what are we talking about when we speak about mentalities and traditions? What do we inherit through language and what do we get from different cultures which are "in our genes"? Ana Sofrenović... between two languages, two memories, two geographical terms...

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SPAINESCUELA DE RADIO TEA FM – ZARAGOZA

Sound Journey to Volta’s Lab | Short Forms | 3’35’’

original title: Sound Journey to Volta’s Lab author: Chuse Fernandez director: Chuse Fernandezsound engineer: Chuse Fernandez

This broadcast sounscape without any human word, apart the original sounds of Volta’s Laboratory recording is a tribute to Graham Bell and forgotten names in sound history like Charles Sumner Tainter, Emile Berliner, Harry G. Rogers and Chichester Bell.

The full story of the Volta Laboratory’s experiments in the sound recording field has yet to be told.

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SWEDEN

TEATR WEIMAR & SWEDISH RADIO Hamlet II: exit ghost | Drama | 29’19’’

original title: Hamlet II: exit ghost original language: Swedish author: Jörgen Dahlqvistproducers: Jörgen Dahlqvist, Kent Olofsson, Henrietta Hulténdirector: Jörgen Dahlqvistsound engineers: Kent Olofsson, Johan Chandorkarother key staff: Rafael Pettersson, Linda Ritzén

Hamlet II: exit ghost turns the theatre stage into a radio studio, a laboratory in which the actors take apart Shakespeare’s words and characters. Two actors are trying to perform the play Hamlet, but are overwhelmed by their mission, doubting if they actually can do what is asked of them. The actor playing Hamlet hesitates when he feel the pressure of having to play the lead role of "the play of plays", and is pulling Ophelia down with him into darkness and despair. Ophelia is waiting for his promise: when he becomes Hamlet (with the killing of his parents), she will become the new queen of Denmark. When this doesn’t happen, Ophelia (or the actor playing her) starts spending time by the water, which really worries Hamlet. He tries to talk her out of it, but when she ask him if he still loves her and he hesitates, she decides to end her life. After her doing so, she tells Hamlet that Ophelia is dead, which means that the staging of the play Hamlet will be over. The confusion between the roles of Hamlet and Ophelia and the roles of the actors exacerbates the madness, doubt and despair overwhelming them. The piece end with the madness of Hamlet. First he doesn't recognize Ophelia, then he is threatening her with the soil of an open grave, and finally he demands of her to answer him what´s the meaning of all what has happened. But Ophelia has already faded away and become a faint memory. Then there is only silence. The performance is staging a play within a play where the two actors battle with the play, navigating between its narrative line and a psychoanalytical interpretation of its mythical protagonists. These are made dramatically familiar thanks to the claustrophobic set: the music is really a third actor "on stage", mirroring and suggesting the moods in the scenes for the actors, building different rooms and different times to act in. The sound work is the key element in the staging of the play, intertwining the voices of Hamlet and Ophelia, distorting the outbursts of anger by Hamlet, and making Ophelia’s cries for help into sound of water drops down by the water.  Hamlet II: exit ghost is a meditation on identity and the weight of the past and death.

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UKBBC WALES

Arthur in the Underworld | Documentary | 27’12’’

original title: Arthur in the Underworldoriginal language: English author: Jeremy Grangeproducer: Jeremy Grangesound engineer: Peter Walton other key staff: Horatio Clare (Presenter), Brendan Charleson (Reader), Martin Smith (Executive Producer)

Arthur Machen’s stories of the supernatural – written in the late nineteenth century and the early twentieth century - twitched the veil between our own world and an underworld populated by gods, demons and malevolent ‘little people’. His themes were visions, dreams and madness and his novel The Hill of Dreams was described on publication as “the most decadent book in the English language”. His novella The Great God Pan is widely acknowledged as a horror classic and his short story The Bowmen famously inspired the First World War legend of the Angels of Mons. He has been a major influence on the horror writer Stephen King and his work inspired Guillermo Del Toro’s film Pan’s Labyrinth.

Machen spent a solitary childhood roaming the hills and woodlands of south-east Wales. He became fascinated by the history and folklore of the border landscapes and the idea that this was a ‘thin place’ which touched supernatural borders too. As a writer he returned to this area again and again in stories which revealed abduction, possession and routes into dark underworlds. By contrast, his other favourite place was London and he was probably the first horror writer to set terrifying events in everyday, suburban settings.

Writer Horatio Clare grew up in the same Welsh landscapes which so haunted and inspired Machen. On the 150th anniversary of his literary predecessor’s birth, Horatio Clare hunts for Arthur Machen and his supernatural familiars in a London necropolis, a faun-haunted wood and a nightjar-haunted hill. Horatio also meets an artist whose work was already full of malevolent Machen-esque faeries long before she discovered that Arthur Machen was actually her great-grandfather.

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UK

BBC WALESThe Morpeth Carol | Drama | 44’

original title: The Morpeth Caroloriginal language: Englishauthor: Timothy X. Atackproducer: Marc Beebydirector: Marc Beebysound engineers: Cal Knightley, Mike Etherden, Martha Littlehailesother key staff: Harry – Paul Copley, Young Harry – Ellis Hollins, The Man – Alun Raglan, Yvonne – Rachel Davies, Mum – Philippa Stanton, Dad - Paul Stonehouse

9 year old Harry goes on a mysterious Christmas Eve road trip with a very unusual and very dangerous Santa.

Nine-year-old Harry lives on the edge of a housing estate in an un-named Northern town, a serious and intelligent lad with a troubled mum and dad. Late on Christmas Eve he escapes his rowing parents and ventures out into the night. And on a snow-covered precinct in between high-rises he finds what looks like a crashed sled, burning presents scattered in its wake, and mortally wounded reindeer all around. There's also a very scary looking man, gaunt, unshaven and hooded, who skulks around the crash site, finishing off the dying animals with a shotgun...

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UK

SPARKLAB PRODUCTIONSThree Men in a Boat (Part 1 of 2) | Drama | 60’

original title: Three Men in a Boat (Part 1 of 2)original language: Englishauthor: Jerome K Jerome adapted by Chris Harrald producer: Melanie Harris director: Melanie Harrissound engineer: Eloise Whitmoreother key staff: Chris Harrald (Writer), Gary Yershon (Music)

Jerome K. Jerome’s comic novel Three Men in a Boat has never been out of print since its first publication in 1889. Hugely loved in the UK and beyond it began life as a travel guide to a journey on the River Thames and ended up as a testimony to friendship and good times. In stark contrast to the British adventure writers of the time – Rudyard Kipling, Rider Haggard and Robert L. Stevenson – Jerome K. Jerome gave us a story about three ordinary fellows having a jolly time on the river. He said: ‘What readers ask now-a-days in a book is that it should improve, instruct and elevate. This book wouldn’t elevate a cow.’ But it certainly lifts the spirits! In Edwardian London, three carefree young men and their dog Montmorency, plan a rowing holiday down the Thames to Oxford. But nothing goes smoothly…. Even their packing proves a trial for the trouble-prone J., Harris and George, and their river journey itself becomes an unforgettable series of joyously funny incidents, as they make their way down the idyllic Thames of the past, through locks, beautiful countryside and sleepy villages towards Oxford.

The book celebrates the recreational aspirations of the English clerking classes – much frowned upon by the establishment. J., George and Harris are not toffs; they have to earn their living and enjoy poking fun at the swells (upper classes) in their steamers. The book was greatly derided and scorned by the critical establishment – but Jerome K. Jerome has had the last laugh: its popularity has never waned.

We wanted to revisit this much-loved text with a fresh ear and bring the BBC Radio 4 audience a dramatization to make a date with. So we employed award-winning writer Chris Harrald to adapt the book for radio and engaged Steve Punt and Hugh Dennis from the hugely popular NOW SHOW on Radio 4 to play two out of the three men in the boat. They are familiar comic performers to the Radio 4 audience. In playing their main parts and every other small part in the drama, they brought a contemporary spin to the text. People wanted to hear what Steve Punt and Hugh Dennis would do with Jerome K. Jerome’s novel. Writer Chris Harrald, whilst faithful to the spirit and intention of the book, took a free approach to the often verbose, rambling text and was unafraid to improve on it. He dramatized as much as possible, saved the best of the detailed observations for the excellent performer Julian Rhind-Tutt (who played the 3rd man and

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narrator ‘J’) and made it as funny as he possibly could. The actors brought their own alchemy to the mix. Music plays a very important part in this production. We employed Gary Yershon to help us choose themes and tunes and songs. He then arranged everything for piano and accordion, added some tunes of his own, brought in a choir for the sing songs in the various pubs our three men frequent on their journey and we recorded it all in a studio session. The music is rich and lavish and mixed carefully with the speech to add to the atmosphere and humour of the piece.

We began with a text from the end of the 19th century and set out to re-invigorate this much-loved comic classic for a 21st century audience.

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UKRAINENRCU - NATIONAL RADIO COMPANY OF UKRAINE

The Echo of Broken Strings. The Paths of Ukrainian Kobzars | Documentary | 30’42’’

original title: Відлуння обірваних струн. Стежки українського кобзарстваoriginal language: Ukrainianauthors: Volodymyr Noskov, Olga Ivanovaproducer: Volodymyr Noskov director: Volodymyr Noskovsound engineer: Maryna Gotseva-Skyba

A young and completely blind radio journalist Volodymyr Noskov who uses the modern means of communication like GPS navigator would like to understand how the blind singers and musicians of past Kobzars lived and created. With the help of his seeing colleague Olga Ivanova he visits the only in the world museum of Kobzar Culture, interviews researchers of the kobzar culture and communicates with the modern kobzars. It helps both journalists to understand the unique character of this phenomenon – Ukrainian kobzar art and also the dramatic pages of its history.

Volodymyr Noskov works on radio since 2004. He is Radio “Era” correspondent in Kharkiv region and freelance correspondent of the National Radio Company of Ukraine.

Volodymyr Noskov is a co-organizer and moderator of the trainings on podcasting. Organizer of the winter Goverla mountaineering of blind people; common journey on foot of blind and seeing people to caves; mass parachute jumps of blind people into the sea (made radio programs about that). He is organizer of the fairytale therapeutic audio lessons. The sphere of his journalistic interests is personal growth of the individual, including people with the special needs.Kobzardom is a unique phenomenon of the Ukrainian folk culture. Wandering folk bards (like medieval minstrels and troubadour) who performed a large repertoire of epic-historical, religious and folk songs while accompanying their singing with musical instruments known as a kobza or bandura. Kobzars played an important role in the spiritual and social life of the Ukrainian people: preserving of the mental and historical memory of the nation and of its moral health.

Kobzardom traces its roots in the times of Kievan Rus (9-13 centuries). The professional kobzar tradition was established during the Hetmanate Era around the

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sixteenth century. They frequently accompanied Cossaks on various campaigns against the Turks, Tatars, and Poles to raise the morale of the Cossack army in times of war.

The institution of the kobzardom essentially ended in the Ukrainian Soviet Republic in the mid 1930s during Stalin's radical transformation of rural society which included the liquidation of the kobzars of Ukraine. Several hundred kobzars were brought from all parts of Ukraine to the Kobzars’ Congress in the Kharkiv city and after the Congress ended almost all of them were shot.

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