PAUSE, SILENCE, NOISE, MUSIC FUNCTION IN RADIO PLAY

Abstract

The article analyzes audio drama works that use extralinguistic means: pauses, silence, noise, and music, which function as full-fledged components of the artistic structure in the context of these audio works. Radio drama is considered a unique art form that functions exclusively in the audio dimension, where each acoustic element carries not only informational but also emotional and semantic meaning. Unlike a literary text, which can only partially reflect the author’s intention, the full disclosure of the meaning of these elements is possible only during the analysis of the sound presentation of the work itself. Particular attention is paid to the analysis of Ukrainian audio plays, in which these means not only enhance emotional perception, but also form the semantic field of the text. It has been established that silence and pause in a radio play are not an absence of sound, but a carrier of meaning; noise organizes the time-space and structure of the scene; music performs emotional, rhythmic, and symbolic functions. The study emphasizes that pauses, silence, noise, and music perform both auxiliary and independent narrative functions. Thanks to these elements, the semantic space of the work is formed, a multilayered atmosphere is created, and the rhythm of perception is controlled. It is only possible to record the duration or intensity of pauses, the tempo of sound repetitions, and the dynamics of their transition between episodes by listening, not by reading the text. These elements shape the depth of the work’s space, create a multi-layered atmosphere, and control the rhythm of perception. For example, it is only possible to determine the duration or intensity of pauses, the tempo of sound repetitions, and the dynamics of their transition between episodes by listening, not by reading the text. It is in the audio format that new depths of meaning are revealed, which remain schematic in the script. Therefore, it is concluded that the acoustic layer of a work can carry independent semantic information, and therefore its analysis should become an integral part of the literary study of radio dramaturgy.