The objective of this study is to theoretically define and distinguish between a radio play and radio production. Hence the first part of the paper characterizes the individual components of a radio production (speech, music, sound and silence), its performativity and its basic building block — the acoustic situation arising out of the interaction between the acting and the sound production. In the next section the radio production is considered as a sound composition (by theoretical passages on montage and time and space phenomena) and finally the historical roots of this radio work are also referred to. The second half of the study focuses on the radio play, which it endeavours to analyse primarily on the basis of its relationship to the theatre play. The study then goes on to examine both the structural elements and the types of radio plays and the secondary processes involved in the creation of this literary work: adaptation and dramatization.
At the example of Czech board game "Pestrá cesta zeměmi koruny svatováclavské" [A manifold journey through the St. Wenceslaus' Lands] the paper explores the ways in which the Czech nationalists tried to influence children and spread the proper konwledge abou what the motherland meant. and Článek zahrnuje poznámkový aparát pod čarou
The paper questions the dominant representation of space (normative space) and its visuality in the case of spatial experience without sight. While the relationships between individuals and spaces are differentiated, normative space (re)produces the conception of one depersonalised and thus disembodied space and denies alternative conceptions of spaces. The aim of the paper is to present the process of independent experiencing of new spaces by visually impaired people. This experience is interpreted in the context of two theories: Lefebvre’s production of space and Butler’s theory of performativity. Our results are based on interviews with 16 visually impaired people and 2 people with knowledge about visual impairment from their profession. The interview partners learn two sets of spatial information: ‘information for communication with others’ and ‘information necessary for spatial mobility’. While the first set of information is required to become part of the visual world and reveal the performative (re)production of the visuality of space, the second set of information is connected to non-visual experience and thus makes it possible to look beyond the normative space, to see visuality as a norm, and to start to reflect on the political connotation of spatial conceptions.