Russian radio plays: from “Baby Monitor” to “Solaris”
We talked about the history of radio plays and several interesting historical performances that have become part of the global cultural space.
Recalling the background and features of the genre, we talked mainly about American and British audio plays (Britain in general still remains one of the main producing countries and fans of this type of art).
But in the Soviet Union and later in Russia, radio plays were also popular - some we still remember with love and nostalgia, and even continue to listen to the work or in the car.
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Photo by Andrew Magill / CC BY-ND
As we wrote earlier, audio performances often performed educational and outreach functions — primarily due to the entertaining form, wide popularity, and low entry threshold.
One of the most famous “educational projects”, as they would say now, has formed a whole generation - “Radio-nurse”. The transfer began to be published in 1970 and lasted almost 20 years. These were fun lessons for younger students, partly in a joking manner - with music, songs and games. They talked about literacy, spelling and basic mathematical principles, taught biology, physics, and rules of the road. There were lessons in politeness and ethics.
The transmission was conducted by the most recognizable “voices” of that time - Nikolay Litvinov, Alexander Livshits (in the late 70s he was replaced by Lev Shimelov, later - Vladimir Vinokur) and Alexander Levenbuk. The first issues and the legendary title track were written by the main children's author of the era, Eduard Ouspensky. Later, the role of the main "screenwriter" took Arkady Khaite. In the “Radionians” there were songs by Boris Savelyev and Vladimir Shainsky to the poems of Daniil Kharms and Ovsey Dryz.
Litvinov was called "radio wizard", "All-Union storyteller" - he read all known children's fairy tales on the radio. In the play "The Golden Key, or the Adventures of Pinocchio" Litvinov voiced all the characters - he became one of his most famous audioplays.
As for "Baby Monitors", it was not an audio play in the classical sense - "Baby Monitors" united in themselves several genres: the play, the musical "skit", an entertainment show and an educational program.
Many still remember the pre-New Year edition of 1987 - for the first time the transfer was conducted not by the historical trio, but by Vinokur with Levenbuk — Nikolai Litvinov died. After this transfer did not last long and soon closed. Nevertheless, all its releases were released on records, tapes and later - CDs.
One of the most popular books of the Strugatsky brothers was adapted for radio format. Written audiopesu journalist, radio and TV presenter Svetlana Sorokina. At the end of the 1990s, she hosted the Hero of the Day and the Voice of the People on NTV, and in 1999 offered to make an audio performance based on the Hobbit by Tolkien on Echo of Moscow radio. A year later, the play “It’s hard to be a god” appeared - she wrote the text and read the “role” of the narrator.
Spectal was aired on radio Ekho Moskvy in February 2000. After that, it was repeated in 2005 and 2008. Deprived of his emotions, the calm voice of Sorokina as a narrator became in itself an interesting reading of a famous story. Boris Strugatsky praised the production, and Alexey Venediktov later recalled that the recording was made “for himself” , but it turned out so well that they decided to release it on the air.
Another famous performance based on the classic book - this time after the fantasy novel by Stanislav Lem "Solaris". The novel greatly influenced the development of the science fiction genre, was translated into dozens of languages, reprinted and filmed many times.
Including it was rethought in the format of the radio play, directed by Dmitry Kreminsky, in 2007.
Photo nate hill / CC BY-SA
The composition of the votes was stellar - Sartorius was played by Alexander Filippenko, Snaut was played by Armen Dzhigarkhanyan, Kelvin was played by Vladislav Vetrov. This is one of the most famous and powerful radio plays - the philosophical and space themes of the novel Lem perfectly complemented the features of the audio format, devoid of any visual stimuli.
A brilliant acting, soundtrack and soundtrack immerse into the atmosphere of a station lost in space dust, where people try in vain to remain human. By the way, the scene of the dispute between the main characters about God (and the fact that the Ocean is like a “flawed god”) entered the radio spectrum. From the first editions of the novel in Russian, she was crossed out by the Soviet censor.
Another important trend in the genre is radio shows based on classical theater plays and novels. For example, Chekhov's stories were dramatized for decades by theater and cinema actors Andrei Mironov and Leonid Bronevoy, Faina Ranevskaya and Osip Abdulov, Oleg Yankovsky and Valentin Gaft.
Many stories and novels of Leo Tolstoy were also “staged” - “Death of Ivan Ilyich”, “Kreutzer Sonata”, “Anna Karenina”, etc.
According to Fyodor Dostoevsky's novel “The Player” they staged the radio show “Babulenka” - Nina Sukhotskaya, the main character (who lost a huge fortune in the cards of the Russian aristocracy), was engaged in the performance, played by Faina Ranevskaya.
Other roles were performed by Oleg Tabakov, Mikhail Yanshin and Alla Pokrovskaya.
Photo mark sebastian / CC BY-SA
Another genre is performances written specifically to be played on the radio.
One of the famous Russian radio shows of this kind is The Grammar of Insomnia, a performance dedicated to the love story of Marina Tsvetaeva and Boris Pasternak.
The play was staged by directors Yuri Eremin and Vladimir Shvedov, and the main role was played by Alla Azarina (she also wrote the script based on letters and verses of Tsvetaeva, Pasternak and Rainer Maria Rilke).
Pasternak was played by Nikolai Karachentsov, Rainer - George Taratorkin. Correspondence and poems turned out to be good material specifically for a radio play - they seem to be parallel to reality, and respondents just do not see each other, just as listeners cannot see actors playing their roles.
And what radio plays do you remember exactly? And why? Tell us in the comments!
Recalling the background and features of the genre, we talked mainly about American and British audio plays (Britain in general still remains one of the main producing countries and fans of this type of art).
But in the Soviet Union and later in Russia, radio plays were also popular - some we still remember with love and nostalgia, and even continue to listen to the work or in the car.
')
Photo by Andrew Magill / CC BY-ND
"Baby Monitor"
As we wrote earlier, audio performances often performed educational and outreach functions — primarily due to the entertaining form, wide popularity, and low entry threshold.
One of the most famous “educational projects”, as they would say now, has formed a whole generation - “Radio-nurse”. The transfer began to be published in 1970 and lasted almost 20 years. These were fun lessons for younger students, partly in a joking manner - with music, songs and games. They talked about literacy, spelling and basic mathematical principles, taught biology, physics, and rules of the road. There were lessons in politeness and ethics.
The transmission was conducted by the most recognizable “voices” of that time - Nikolay Litvinov, Alexander Livshits (in the late 70s he was replaced by Lev Shimelov, later - Vladimir Vinokur) and Alexander Levenbuk. The first issues and the legendary title track were written by the main children's author of the era, Eduard Ouspensky. Later, the role of the main "screenwriter" took Arkady Khaite. In the “Radionians” there were songs by Boris Savelyev and Vladimir Shainsky to the poems of Daniil Kharms and Ovsey Dryz.
Litvinov was called "radio wizard", "All-Union storyteller" - he read all known children's fairy tales on the radio. In the play "The Golden Key, or the Adventures of Pinocchio" Litvinov voiced all the characters - he became one of his most famous audioplays.
As for "Baby Monitors", it was not an audio play in the classical sense - "Baby Monitors" united in themselves several genres: the play, the musical "skit", an entertainment show and an educational program.
Many still remember the pre-New Year edition of 1987 - for the first time the transfer was conducted not by the historical trio, but by Vinokur with Levenbuk — Nikolai Litvinov died. After this transfer did not last long and soon closed. Nevertheless, all its releases were released on records, tapes and later - CDs.
“We were surrounded with textbooks, manuals and tried to translate the boring rule into a concise and fun form. We pretended that we were helping the textbook and the teacher, and not replacing them. Actually, that was our goal. Replace tutorial. Because we have more fun and shorter, and you can remember, but in the textbook everything is described much more difficult. Many foreign countries have taught the language of "radionyan". But in our country in the Ministry of Education, we were quite jealous of us, ”later recalled Alexander“ Alik ”Levenbuk.
"It is hard to be a god"
One of the most popular books of the Strugatsky brothers was adapted for radio format. Written audiopesu journalist, radio and TV presenter Svetlana Sorokina. At the end of the 1990s, she hosted the Hero of the Day and the Voice of the People on NTV, and in 1999 offered to make an audio performance based on the Hobbit by Tolkien on Echo of Moscow radio. A year later, the play “It’s hard to be a god” appeared - she wrote the text and read the “role” of the narrator.
Spectal was aired on radio Ekho Moskvy in February 2000. After that, it was repeated in 2005 and 2008. Deprived of his emotions, the calm voice of Sorokina as a narrator became in itself an interesting reading of a famous story. Boris Strugatsky praised the production, and Alexey Venediktov later recalled that the recording was made “for himself” , but it turned out so well that they decided to release it on the air.
"Solaris"
Another famous performance based on the classic book - this time after the fantasy novel by Stanislav Lem "Solaris". The novel greatly influenced the development of the science fiction genre, was translated into dozens of languages, reprinted and filmed many times.
Including it was rethought in the format of the radio play, directed by Dmitry Kreminsky, in 2007.
Photo nate hill / CC BY-SA
The composition of the votes was stellar - Sartorius was played by Alexander Filippenko, Snaut was played by Armen Dzhigarkhanyan, Kelvin was played by Vladislav Vetrov. This is one of the most famous and powerful radio plays - the philosophical and space themes of the novel Lem perfectly complemented the features of the audio format, devoid of any visual stimuli.
A brilliant acting, soundtrack and soundtrack immerse into the atmosphere of a station lost in space dust, where people try in vain to remain human. By the way, the scene of the dispute between the main characters about God (and the fact that the Ocean is like a “flawed god”) entered the radio spectrum. From the first editions of the novel in Russian, she was crossed out by the Soviet censor.
Chekhov and Dostoevsky
Another important trend in the genre is radio shows based on classical theater plays and novels. For example, Chekhov's stories were dramatized for decades by theater and cinema actors Andrei Mironov and Leonid Bronevoy, Faina Ranevskaya and Osip Abdulov, Oleg Yankovsky and Valentin Gaft.
Many stories and novels of Leo Tolstoy were also “staged” - “Death of Ivan Ilyich”, “Kreutzer Sonata”, “Anna Karenina”, etc.
According to Fyodor Dostoevsky's novel “The Player” they staged the radio show “Babulenka” - Nina Sukhotskaya, the main character (who lost a huge fortune in the cards of the Russian aristocracy), was engaged in the performance, played by Faina Ranevskaya.
Other roles were performed by Oleg Tabakov, Mikhail Yanshin and Alla Pokrovskaya.
Photo mark sebastian / CC BY-SA
"Grammar of insomnia"
Another genre is performances written specifically to be played on the radio.
One of the famous Russian radio shows of this kind is The Grammar of Insomnia, a performance dedicated to the love story of Marina Tsvetaeva and Boris Pasternak.
The play was staged by directors Yuri Eremin and Vladimir Shvedov, and the main role was played by Alla Azarina (she also wrote the script based on letters and verses of Tsvetaeva, Pasternak and Rainer Maria Rilke).
Pasternak was played by Nikolai Karachentsov, Rainer - George Taratorkin. Correspondence and poems turned out to be good material specifically for a radio play - they seem to be parallel to reality, and respondents just do not see each other, just as listeners cannot see actors playing their roles.
And what radio plays do you remember exactly? And why? Tell us in the comments!
Source: https://habr.com/ru/post/370937/
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