{"id":404,"date":"2026-04-29T19:54:52","date_gmt":"2026-04-29T19:54:52","guid":{"rendered":"https:\/\/www.critical-stages.org\/33\/?p=404"},"modified":"2026-06-20T06:18:48","modified_gmt":"2026-06-20T06:18:48","slug":"the-velocity-of-stillness-acceleration-in-digital-radio-drama-in-pandemic-times","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/33\/the-velocity-of-stillness-acceleration-in-digital-radio-drama-in-pandemic-times\/","title":{"rendered":"The Velocity of Stillness: Acceleration in Digital Radio Drama in Pandemic Times"},"content":{"rendered":"\n

Sofia Karagianni<\/strong>*<\/a> and Marina Rigou<\/strong>**<\/a><\/p>\n\n\n\n

Abstract<\/strong><\/h5>\n\n\n\n

The COVID-19 pandemic triggered profound changes in artistic practices, suspending live theatre and accelerating the shift to digital platforms. Acceleration, as a cultural, technological, and aesthetic phenomenon, became central in reshaping theatrical forms and audience experience. This article explores how this dynamic emerged through the revival of radio theatre in Greece, focusing on initiatives by ERT, the Athens Epidaurus Festival, and private institutions. Traditionally associated with slower, contemplative storytelling, radio drama became a site of cultural acceleration during the pandemic. Digital transmission, streaming, and podcasts transformed both production and consumption, enabling immediate access for audiences while requiring creators to adopt new narrative rhythms. As a result, works became more concise, emphasizing sound dramaturgy, pacing, and acoustic intensity. The article also examines the types of works produced or adapted for these platforms, often short in duration and centered on themes such as confinement, mediated time, and psychosomatic pressure. It considers how acceleration functioned both as a thematic element and a formal feature. Additionally, it addresses the psychological role of accelerated cultural consumption during social isolation, as well as generational differences in reception: younger, digitally literate audiences adapted, while older audiences reconnected with a familiar medium through new technologies. Ultimately, digital radio drama emerged not only as a practical response to crisis but as a space for experimentation and transformation, where acceleration redefined the relationship between creators, media, and audiences.

Keywords:<\/strong> digital radio drama, theatre during the pandemic, acoustic dramaturgy, digital platforms<\/p>\n\n\n\n

\u03a4he global COVID-19 crisis radically overturned physical and social reality, imposing restrictive measures that profoundly affected the performing arts. Theatre in particular, an art form grounded in the collective experience of performers and spectators sharing the same physical space, found itself confronted with the suspension of its very foundations. The imperative need for social distancing nullified the \u201chere and now\u201d encounter, rendering theatres, performance venues, and cultural institutions non-operational.<\/p>\n\n\n\n

This unprecedented \u201cstandstill\u201d did not, however, signal the cessation of artistic creation; rather, it triggered an outburst of experimentation with new forms of communication and artistic expression. Faced with the interruption of live performance, creators moved beyond mere survival, utilizing digital platforms to explore a new ontology of the theatrical event. The crisis acted as a catalyst, accelerating an already emerging digital transformation and bringing to the forefront crucial questions concerning the nature of the theatrical experience, accessibility, and the role of technology in mediating art.<\/p>\n\n\n\n

The Concept of Acceleration: A Cultural and Technological Phenomenon<\/strong><\/h5>\n\n\n\n

For the purposes of this study, acceleration is defined as the multi-dimensional increase in the speed of socio-technological processes, characterized by the compression of time and the elimination of spatial barriers through digital mediation. This condition has been extensively examined by theorists such as Hartmut Rosa and Paul Virilio. Rosa, in his work Social Acceleration: A New Theory of Modernity<\/em>, distinguishes three dimensions: technological acceleration (speed of transportation and communication), acceleration of social change, and the acceleration of the pace of life. This temporal compression gives rise to a \u201ctyranny of speed\u201d where the perception that \u201ctime is running out\u201d persists despite technological advances.<\/p>\n\n\n\n

Virilio, specifically in his seminal work Speed and Politics<\/em>, focuses on technological acceleration as a phenomenon intrinsically linked to communication technologies and his concept of dromology, where speed dominates (early sections). In his The Aesthetics of Disappearance,<\/em> Virilio claims that the extreme speed of communication and immediate access to information produces a spatial dislocation and a \u201clogic of disappearance\u201d (middle sections). During the pandemic, this digital immediacy manifested in the migration of the artistic sphere to the network. The term \u201cThe Velocity of Stillness\u201d captures this paradox: the domestic confinement of the body was accompanied by an unprecedented digital and communicative acceleration, exemplified by the rapid rise of streaming and digital production models.<\/p>\n\n\n

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Fig.1.<\/strong>Where AreYou Going my Dear Loustrakos<\/em>? by Pavlos Lamprou, directed by Kostis Kapelonis, starring Alexandros Kanavos, Panagiota Haidemenou and guest Christos Thivaios, at Michael Cacoyannis Foundation. A new media show for the most beloved media, radio, and all the things that happen but never or almost never go on air. \u0391 performance that was interrupted by the COVID-19 outbreak. November 2019-March 2020. Photo: Nikos Papadakos<\/figcaption><\/figure>\n<\/div>\n\n\n
Digital Radio Drama as a Subject of Study<\/strong><\/h5>\n\n\n\n

Within this context of acceleration and the suspension of physical presence, Digital Radio Drama (D.R.D.) emerged as a particularly dynamic and flexible response to the crisis. In Greece, this resurgence was not accidental; it built upon a deep-rooted tradition of radio theatre that had been part of the country\u2019s cultural fabric since the 1950s (EIR\/ERT), now reimagined through contemporary tools (Fig. 1)<\/strong>. Rather than simply broadcasting (live streaming) recorded or digitized performances, D.R.D. consciously revived an \u201cold\u201d medium, radio drama, while leveraging contemporary digital technologies for sound production and distribution (podcasts, streaming platforms).<\/p>\n\n\n\n

This choice was deliberate. Radio drama, as a \u201ctheatre of the mind,\u201d relies entirely on voice, requiring listeners to construct scenic imagery through imagination. Having flourished historically, this theatrical form gained renewed significance during periods of domestic confinement, as it:<\/p>\n\n\n\n

    \n
  1. requires no physical presence -productions can be created remotely- and<\/li>\n\n\n\n
  2. offers a sonic sanctuary from dominant visual culture (i.e., screen fatigue), emphasizing the power of narration and acoustic detail.<\/li>\n<\/ol>\n\n\n\n

    The research questions examine how D.R.D. adapted to the new temporalities of the pandemic. How has the revival of this \u201cold\u201d medium, through modern digital technologies, redefined the notion of theatrical presence and encounter during isolation? Moreover, what aesthetic and technological specificities of D.R.D. render it an alternative or complementary model to prevalent forms of visual digital broadcasting?<\/p>\n\n\n\n

    Understanding D.R.D. requires a critical examination of the temporal shift between live theatre and radio. Traditional theatre is based on co-presence and the unique, non-repeatable time of the performance. Time in theatre is deliberate and ritualistic, demanding the spectator\u2019s full attention from beginning to end.<\/p>\n\n\n\n

    In contrast, the acoustic medium offers a different temporal flexibility. Radio drama listening is private and can occur parallel to daily activities (multitasking). The listener can pause, restart, or replay the work, transforming linear dramatic time into flexible, individual experience. Here, one observes a transition from ritualized temporality to the on-demand logic of modern consumption. The pandemic highlighted the radio\u2019s capacity to accelerate access to art, bypassing physical immobility.<\/p>\n\n\n\n

    The emergence of D.R.D. is closely linked to the technological acceleration described by Virilio. Digital media (Internet, podcast platforms, streaming services) function as the primary mechanism mediating and accelerating access and distribution. Digital technology enabled rapid production and immediate dissemination of works. In contrast to the time-consuming rehearsals and logistical infrastructure required by live theatre, D.R.D. could be produced remotely (under lockdown conditions) and uploaded online within hours or days. This acceleration of the creative process became a crucial factor for the survival of many artistic organizations. Moreover, the instant accessibility of digital works, the ability to \u201cdownload\u201d or \u201cplay\u201d a piece with a click, is a central feature of digital acceleration. As Rosa argues, technological acceleration aims at increasing the speed of processes and saving time, particularly by reducing travel and waiting times (97-107). D.R.D. extends this logic by eliminating the \u201cdead time\u201d of travel and physical waiting, making art immediately available within the listener\u2019s personal space. However, this ease and speed also raise questions regarding the quality of focus and the depth of experience in a world full of digital distractions.<\/p>\n\n\n\n

    The Aesthetics of Speed: New Forms of Narration<\/strong><\/h5>\n\n\n\n

    Temporal compression is not merely a technological phenomenon; it also operates as an aesthetic force, leading to an economy of narrative means. Creators of D.R.D. often adopt condensed structures and shorter durations (short episodes, podcasts), tailored to the fragmented attention capacity of contemporary audiences. Dramaturgy tends to become more concise and less dialogical, emphasizing atmosphere and soundscapes that convey information more directly than words alone.<\/p>\n\n\n\n

    Sound design assumes a central role. Sound effects and music are employed to accelerate the transmission of emotional or narrative content, generating an immediate sense of action. Here, acceleration manifests in the density of acoustic information and the ability of sound to bypass rational analysis and affect the listener directly. The absence of visual cues compels the listeners to activate their imagination, transforming sounds into images. This imaginative \u201cwork,\u201d activated directly by acoustic information, can be understood as a form of internal acceleration of perception, in contrast to the external deceleration experienced when observing a static stage.<\/p>\n\n\n\n

    Historical Overview: From the \u201cGolden Age\u201d to Decline and the Re-emergence During COVID-19<\/strong><\/h5>\n\n\n\n

    Radio drama in Greece experienced its \u201cGolden Age\u201d during the 1950s, 1960s, and 1970s, mainly through the National Radio Foundation (EIR) and later the Hellenic Broadcasting Corporation (ERT). During its peak (1950-1970), radio was the dominant medium of mass information and entertainment. ERT, with programs such as Wednesday Theatre<\/em> and Theatre on the Microphone, <\/em>systematically produced Greek and foreign plays. The voices of major actors reached audiences throughout the country, making radio drama a central vehicle of culture and theatrical education. Production relied on dedicated studios with sound effects and group rehearsals, focusing on the quality of speech and dramatic intensity.<\/p>\n\n\n\n

    With the rise of television and the dominance of visual culture, radio drama gradually lost its prestige. Production decreased drastically, limited mainly to reruns of older works. The absence of new, systematic production pushed the genre to the margins, rendering it archival rather than alive.<\/p>\n\n\n\n

    The COVID-19 pandemic and the imposed lockdown created a new demand for non-visual digital content, leading to a striking resurgence of radio drama. ERT, the genre\u2019s main institutional pillar, drew on its extensive archive while also moving toward new digital productions. Notably, the Second and Third Programmes refreshed their output by integrating content into digital platforms (podcasts, ERTflix), making it available on demand (Fig. 2<\/strong>). The Athens Epidaurus Festival played a leading role by producing radio drama works intended exclusively for digital distribution. These initiatives, in collaboration with contemporary Greek writers and directors, gave the genre a renewed aesthetic identity, treating it as an autonomous art form rather than a substitute for stage performance.<\/p>\n\n\n

    \n
    \"\"
    Fig.2.<\/strong> Missing Persons – An Interesting Life<\/em> by Vasilis Katsikonouris. Radio adaptation broadcast on May 14, 2023, as part of Sunday Theatre on the Third Programme<\/em>. Directed by Manos Karatzogiannis; starring Rinio Kyriazi, Maria Papalamprou, and Manos Vakousis; edited by Mara Kaloudi. Photo: Filippos Papatheodorou<\/figcaption><\/figure>\n<\/div>\n\n\n

    In addition, many private theatre groups, producers, and independent artists turned to digital radio drama as the only viable mode of expression during the lockdown. The lower production costs and the ease of distribution through podcasting platforms accelerated artistic creation, transforming the crisis into a space for experimentation.<\/p>\n\n\n\n

    Organizational and Technological Characteristics<\/strong><\/h5>\n\n\n\n

    The re-emergence of the genre was accompanied by a radical shift in its organizational and technological features, fully embracing the logic of digital acceleration. The most significant organizational characteristic was the decentralization of production. Due to the restrictions, a large part of the recording process was carried out by the actors themselves, using individual home setups (microphones, computers). Although technically demanding, this process allowed for faster creation, bypassing the need for physical presence in a studio (Fig. 3<\/strong>).<\/p>\n\n\n

    \n
    \"\"
    Fig.3.<\/strong> What Are You Staring At?<\/em> by Christos Syriotis, directed by Artemis Apostolopoulou, starring the playwright, at Studio Mavromichalis, November 2012. This performance was partially recorded for the web-based Boem Radio and a digital audio theatre repository created to host works by emerging Greek playwrights. Photo: Dimitris Zogas<\/figcaption><\/figure>\n<\/div>\n\n\n

    The final form of each work relied entirely on digital audio processing (Digital Audio Workstations-DAWs). Editing and sound design became the central dramaturgical tools. Technicians had to assemble disparate, remotely recorded audio tracks into a cohesive sonic landscape at high speed.<\/p>\n\n\n\n

    Distribution shifted from traditional, linear radio broadcasting to digital streaming and podcasting platforms. Platforms such as Sound Cloud or the institutions\u2019 own digital channels enabled immediate access and on-demand consumption. The podcast format allowed radio drama to become portable, repeatable, and flexible in terms of listening time. This technological choice fully embraced the aesthetics of acceleration and individual time management (binge-listening).<\/p>\n\n\n\n

    Ultimately, the COVID-19 crisis acted as a moment of renewal for radio drama in Greece. Through the adoption of digital technologies and flexible organizational models, the genre evolved from a traditional form into a contemporary and agile mode of artistic expression, demonstrating that art can persist even within the post-physical stage.<\/p>\n\n\n\n

    New Dramaturgical Models<\/strong><\/h5>\n\n\n\n

    The need for rapid production and distribution, combined with technological mediation, led to radical changes in the structural form of digital radio drama, particularly regarding time compression, narrative economy, and the focus on the sonic experience. The dominance of the podcast as a distribution medium imposed dramaturgical solution that favored temporal compression and narrative conciseness. Works tend to be briefer and more plot-driven, adapted to the fragmented listening habits of the digital user. Dramatic time is compressed through fast-paced editing and the omission of scenic descriptions that would be essential in theatre. Dramaturgy shifts its emphasis from dialogue to sound design. Sound is no longer a mere backdrop but the primary carrier of information, action, and atmosphere. The absence of visual information requires each sound element (a door knock, a breath) to bear multiple layers of meaning, functioning as a rapid image-maker within the listener\u2019s imagination.<\/p>\n\n\n\n

    The thematic concerns of pandemic-era digital radio drama directly reflected the social and psychological experience of lockdown, giving voice to immobility and isolation. Stories often unfold in enclosed, domestic spaces, where household sounds (footsteps, cooking, televisions) acquire a central dramaturgical role. These sounds, negligible in everyday life, are magnified and integrated into the work, emphasizing claustrophobia and the tension of cohabitation or loneliness. A recurrent motif is communication through digital media (phone calls, video calls) (Fig 4<\/strong>). This technique exploits the \u201cimperfect\u201d sound of digital devices (distortion, interruptions, delay) to convey the alienation and anxiety inherent in remote relationships. Thus, the theme of mediation becomes an aesthetic of mediation.<\/p>\n\n\n

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    \"\"
    Fig.4.<\/strong> On New Year\u2019s Eve (31\/12\/2020), amidst the pandemic, Dimitris Foinitsis, director of the Performing Arts Group proTASI, engaged in telephone conversations with individuals spending the holiday season in solitude reading Alexandros Papadiamantis\u2019s New Year\u2019s short story, The Winged Gifts<\/a><\/em> (1907). Photo: Dimitis Foinitsis<\/figcaption><\/figure>\n<\/div>\n\n\n

    The sound aesthetics of D.R.D. constitute the primary space in which the interplay between acceleration and stillness becomes perceptible. Within this framework, the concept of acoustic acceleration may be understood as the deliberate use of rapid rhythmic structures, repetitive sonic patterns, and abrupt dynamic transitions. These elements introduce a sense of movement within an otherwise static medium. Rather than simply altering the pace of the narrative, such techniques influence the listener\u2019s psychological perception of time and tension, creating an immediate sense of urgency that compensates for the absence of visual action.<\/p>\n\n\n\n

    From a technical perspective, this sense of momentum is sustained through rhythmic composition and sound design. Fast-paced musical motifs, repetitive foley effects, and the layering of contrasting sound textures guide the listener\u2019s emotional and cognitive engagement with the narrative. Similarly, dynamic shifts between sound sources such as sudden changes in volume or the rapid alternation of different audio layers contribute to the construction of an acoustic environment that actively shapes the listener\u2019s experience of narrative progression.<\/p>\n\n\n\n

    At the same time, the presence of acoustic acceleration heightens the significance of silence. In a medium that relies exclusively on sound, moments of silence acquire a particular dramaturgical weight. Silence does not simply signify the absence of sound; rather, it operates as a deliberate mechanism of deceleration within the sonic structure of the drama. These pauses generate psychological tension while also emphasizing the sense of isolation and spatial emptiness often associated with the pandemic experience. In this way, silence allows what might be described as a \u201cspeed of stillness\u201d to emerge, an experiential moment in which the suspension of sound becomes narratively and emotionally meaningful.<\/p>\n\n\n\n

    Significant examples from Greek production, such as those of ERT, the Athens Epidaurus Festival, or Athens 9.84 during 2020-2023 highlight these tendencies. Many productions favored a compact narrative structure, adopting the 15-20 minutes podcast format to align with the dynamic pace of digital consumption. Their dramaturgical focus was typically on dense sonic atmospheres and interior monologue as a response to confinement. Some ERT-branded productions invested in high sound quality and the use of 3D audio techniques. This element enhances the sense of virtual space and listener immersion, accelerating the transport from the physical to the imaginative realm. Here, technological acceleration (improved digital tools) served to upgrade an \u201cold\u201d medium.<\/p>\n\n\n\n

    The National Theatre, in collaboration with ERT, shifted its emphasis from stage to listening, presenting during the pandemic a series of radio performances that allowed audiences to \u201cimmerse\u201d themselves in text, voice, and music without physical presence (iefimerida.gr). Through the initiative \u201c<\/em>The National brings theatre to the radio\u201d drama not only maintained a living connection with its audience but also embraced vocal and acoustic storytelling as an autonomous artistic experience, transforming the necessity of lockdown into an opportunity for creative reframing.<\/p>\n\n\n\n

    The National Theatre of Greece\u2019s selection of works was deliberate. The focus was placed on plays with strong dramaturgy and the capacity to be effectively translated into acoustic narration. As an initial example, With Force from Kifissia<\/em> by Dimitris Kechaidis and Eleni Chaviara became the first radio production, signaling that this was not merely a transfer of stage plays but the creation or adaptation of works specifically for the medium.<\/p>\n\n\n\n

    The selection prioritized texts with high verbal density and clear dramatic structure -qualities that enhance the effectiveness of acoustic storytelling. At the same time, preference was given to works that could be organically transformed into sound-based dramaturgy, making use of rhythm, vocal nuance, and auditory environments. Finally, the repertoire sustained the institutional and aesthetic identity of the National Theatre of Greece by including representative Greek works and collaborations of high artistic caliber.<\/p>\n\n\n\n

    The Athens Epidaurus Festival, through its Radio Plays <\/em>program, offered the public new and free audio-dramatized works, combining theatrical voice, music (with an emphasis on jazz), and narration inspired by Greek crime fiction. In doing so, it provided an outlet for artists and actors, offered a redefinition of theatrical presence during isolation, and redefined the relationship between audience, medium, and creator by relocating the stage from physical space to the radio and the imagination of listeners (ProtoThema.gr).<\/p>\n\n\n\n

    The selection of works was not arbitrary. Texts were chosen for their capacity to support acoustic narration, featuring clear dramaturgy, a strong atmosphere, and a rhythm capable of functioning without visual means. Original or short texts were often preferred, alongside works with a strong narrative foundation (such as crime fiction), allowing sound, voice, and music to convey tension and action effectively. Additionally, the thematic conditions of the pandemic encouraged the selection of works reflecting confinement, isolation, and the need for imaginative escape, offering audiences an immediate, condensed, and emotionally resonant experience.<\/p>\n\n\n\n

    Within the constraints of the pandemic period, Plateia Theatrou<\/em> on the radio station Athens 9.84 demonstrated the potential of theatrical experience to transform not merely as a \u201csolution born of necessity,\u201d but as a new, autonomous art form (Monopoli.gr). Through dozens of productions created specifically for radio, emphasizing text, voice, and acoustic storytelling, the project showed that theatre does not inherently require stages, sets, or elaborate visual scenography; it can emerge through the listener\u2019s imagination. Thus, Plateia Theatrou<\/em> functioned not only as a temporary bridge during lockdown, but also as a space of experimentation, where digital radio assumed the role of foregrounding new narratives, often more introspective and focused on the psychological depth of characters, offering listeners an intellectual and emotional journey.<\/p>\n\n\n

    \n
    \"\"
    Fig.5. <\/strong>What Are You Staring At?<\/em> by Christos Syriotis, directed by the playwright and Artemis Apostolopoulou, starring Lamprini Agiannitou, Aggelon Vima, January 2016. Photo: Dimitris Zogas. This performance exemplifies the transition from stage presence to sonic mediation discussed in this article. It was partially recorded for the web-based Boem Radio and a digital audio theatre repository dedicated to emerging Greek playwrights, illustrating the accelerated processes of production, recording, and digital circulation that characterize contemporary D.R.D.<\/figcaption><\/figure>\n<\/div>\n\n\n
    The Listener\u2019s Experience in the Era of Lockdown<\/strong><\/h5>\n\n\n\n

    The conditions of lockdown and social isolation greatly intensified the need for mediated contact and companionship. Digital radio drama responded to this need through the psychological function of sound. Sound, especially the human voice on the radio, acts as a virtual presence. <\/em>During the pandemic, listening to a work at home offered the illusion of presence and conversation, compensating for the absence of physical interaction. This acoustic companionship<\/em> provided comfort and structure in a period of temporal disruption and anxiety. In contrast to video calls (which require constant visual focus and may lead to screen fatigue), radio drama allowed listening to become a relaxing, background activity. Sound acts directly on the subconscious and the imagination, offering an escape from the confined reality of lockdown without demanding visual alertness. This mental deceleration through sound functions as a form of resistance to the digital hyper-acceleration of the image.<\/p>\n\n\n\n

    The digitization of radio drama, primarily through the podcast format, radically transformed patterns of reception, linking them to the acceleration and flexibility of on-demand content. The possibility of immediate access and independence from scheduled broadcasting are central features of digital acceleration. The listener gains full control over the timing of listening, an especially important factor during the pandemic, when personal time was disrupted. This flexibility reflects processes of social acceleration, in which individuals experience increasing time pressure and attempt to fit more activities into ever shorter time spans (Rosa 120-48). The serial podcast format introduced into radio drama the habit of binge-listening, marathon listening sessions inherited from the binge-watching culture of streaming platforms. This practice represents an intensified form of accelerated consumption, where dramatic tension is sought through rapid succession of narrative units. Although it disrupts the traditional slow structure of theatre, it heightens listener engagement by allowing them to immerse themselves fully in the fictional world at their own pace.<\/p>\n\n\n\n

    The revival of radio drama as digital radio drama foregrounded significant generational differences in familiarity with and reception of the medium. For older generations, listening to radio drama evokes a sense of cultural familiarity and nostalgia. Younger generations, by contrast, approach digital radio drama through the familiarity of podcasts, a medium associated with portability and individuality. Digital radio drama thus functioned as an intergenerational field in which a traditional medium (radio) was reintroduced through technological acceleration (digital distribution), bridging different reception habits. The immediacy of the voice and the immersive power of sound proved to be universal qualities capable of transcending generational boundaries. The following table summarizes these distinctions, drawing on Hartmut Rosa\u2019s framework of social acceleration (Chapter 2) and Erika Fischer-Lichte\u2019s theories on the transformative power of performance (11-20, 38-47, 75-90, 138-50, 161-74), which emphasize the role of the spectator’s\/listener’s subjective experience:<\/p>\n\n\n\n

    Generation<\/strong><\/td>Familiarity with the Medium<\/strong><\/strong><\/td>Aesthetic Reception<\/strong><\/strong><\/td>The Speed of Stillness<\/strong><\/strong><\/td><\/tr>
    Older Audience<\/td>High. Rooted in traditional broadcast models.<\/td>Emphasis on speech and dramaturgy. Recognition of older sonic codes.<\/td>They experience digital radio drama as a return to a familiar, slower medium, but with easier (faster) access.<\/td><\/tr>
    Digitally Literate Generation<\/td>Low (regarding traditional radio). High (regarding podcasts)<\/td>Emphasis on sound design (audio effects, music). They perceive digital radio drama as a new, flexible form of podcast.<\/td>They experience digital radio drama as an acceleration of art, an on-demand form that fits into the digital rhythm (multitasking).<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

    The socio-psychological analysis confirms that the rise of digital radio drama during the pandemic was a lived response to the condition of mediated connectivity. Sound functioned as an antidote to isolation and as a tool for managing time, adapting to accelerated digital habits (on-demand access, binge-listening). D.R.D. proved to be a flexible and familiar art form capable of bridging generational differences, offering everyone a form of controlled connection in a world of compulsory distancing.<\/p>\n\n\n\n

    Acceleration as a Tool for Artistic Experimentation<\/strong><\/h5>\n\n\n\n

    The era of domestic confinement functioned as a compulsory yet creative tool for artists, pushing them toward experimentation and the adoption of new, faster methods. The accelerated pace of production, as discussed earlier, required the development of flexible, decentralized models of collaboration. Actors and sound technicians had to work remotely, using the speed of digital communication (internet, cloud services) to synchronize voices and sounds. This process dramatically reduced the dead time typical of traditional theatre rehearsals, leading to a faster and more immediate artistic outcome. Here, acceleration becomes synonymous with agility.<\/p>\n\n\n\n

    Distribution shifted from a slow, physical process (ticket sales, in-person attendance) to an instantaneous digital act. The ability to upload a work to a podcast platform and make it immediately available to a global audience reflects what Paul Virilio conceptualizes in his The Aesthetics of Disappearance<\/em>, as the primacy of speed and the collapse of distance, whereby access is no longer dependent on physical presence. This transformation enables near real-time cultural response, allowing creators to engage with unfolding events in ways that exceed the temporal constraints of live theatre.<\/p>\n\n\n\n

    The acceleration of mediation through digital networks has radically transformed the dynamic between creator and audience, particularly in relation to presence and absence. The absence of the actors\u2019 physical bodies and the stage was counterbalanced by the intensified presence of the work within the network. Performance thus became a digital archive, circulating at the speed of the internet. The relationship was no longer face-to-face, but sound-to-listener through the network.<\/p>\n\n\n\n

    Digital media such as podcasts enable immediate forms of audience feedback (ratings, comments, downloads). Unlike the silence of the theatrical auditorium, creators of D.R.D. receive instantaneous quantitative and qualitative responses. This acceleration of post-performance communication informs subsequent artistic choices, embedding the work within a logic of continuous optimization characteristic of digital content.<\/p>\n\n\n\n

    Although listening remains an individual experience, the shared practice of binge-listening fosters a virtual community linked by the simultaneity and speed of collective reception (\u201cHave you heard the new episode yet?\u201d).<\/p>\n\n\n\n

    The most intriguing dimension of acceleration as a strategy is the paradoxical coexistence of speed and reflection that digital radio drama enables. Radio drama is the quintessential medium that can be consumed on the move (driving, walking, multitasking). This external motion\/acceleration (the listener continuing their activities) is combined with internal stillness\/focus (the listener immersing themselves in the sonic narration). D.R.D. becomes a space of stillness in motion, <\/em>where art is integrated into the accelerated rhythm of life without requiring its interruption. The ability of radio sound to bypass visual scrutiny and activate the imagination directly offers a kind of accelerated reflection. Immediate acoustic information forces the mind to quickly generate its own images and meanings. Whereas live theatre demands slow and collective contemplation, D.R.D. offers fast and individual reflection.<\/p>\n\n\n\n

    Overall, acceleration in D.R.D. was not merely a technological necessity; it was a creative strategy that redefined production processes, the relationship with audiences, and the very nature of artistic experience, transforming stillness into a field of rapid digital innovation.<\/p>\n\n\n\n

    This article has examined the phenomenon of D.R.D. in Greece through the lens of the central concept of \u201cthe speed of stillness.\u201d The findings indicate that the pandemic and subsequent lockdowns acted as a catalyst for a dual movement: enforced physical stillness alongside unprecedented digital and cultural acceleration. The adoption of digital media (podcasts, streaming) enabled rapid production, distribution, and on-demand access, overcoming the constraints of physical space and time.<\/p>\n\n\n\n

    D.R.D. developed new models of temporal compression and narrative economy, exploiting acoustic acceleration (e.g., fast editing and sound collage) as a primary means of generating dramatic intensity. Emerging consumption practices, such as binge-listening, reflect a broader shift toward the rapid consumption of digital content, integrating artistic experience into the individualized and time-constrained rhythms of everyday life.<\/p>\n\n\n\n

    Despite this acceleration, D.R.D. also offered a \u201cspace of stillness in motion,\u201d foregrounding voice and silence as elements of psychological deceleration and forms of companionship in conditions of isolation.<\/p>\n\n\n\n

    The Future of Radio Drama in the Digital Age<\/strong><\/h5>\n\n\n\n

    The revival of radio drama during the pandemic raises important questions about the future development of the genre. This is not merely a \u201cpreservation\u201d of an old medium but a transformation and the establishment of a new, hybrid model. The success of D.R.D. in Greece demonstrates that the medium has evolved into an autonomous artistic field, rather than a temporary substitute for the physical stage. The \u201cSpeed of Stillness\u201d<\/em> appears to be a lasting strategy for the survival and innovation of verbal and sonic arts (Figs. 6 & 7<\/strong>).<\/p>\n\n\n

    \n
    \"\"
    Fig.6&7.<\/strong> Women Fighters<\/a><\/em>, an audio performance dedicated to the women of the Greek War of Independence (2021). Directing – Dramaturgy – Light design: Michaela Antoniou, Clarinet: Tryfonas Papaioannou, Touberleki: Konstantinos Marougas, Performed by: Nikos Vlasakis, Ilia Giakoumaki, Voula Kosta, Konstantinos Marougas, Angeliki Strataki. Photo: Michaela Antoniou<\/figcaption><\/figure>\n<\/div>\n\n\n

    The study of digital radio drama opens new pathways for academic inquiry, providing fertile ground for cross-cultural comparisons that may illuminate how different theatrical ecosystems navigated the tension between acceleration and stillness during the pandemic. At the same time, rapid technological advancements -from sophisticated 3D audio systems to the integration of Artificial Intelligence (AI) tools in both the production and writing of audio works- raise important questions about how these media shape the flow, quality, and aesthetic character of the final product.<\/p>\n\n\n\n

    Furthermore, critical theory on acceleration, as developed by scholars such as Hartmut Rosa, Paul Virilio, Walter Benjamin and Marshall McLuhan, remains a valuable framework for reflection. Deeper analysis is needed to determine whether technological and cultural speed acts as a creative impetus or, conversely, threatens to undermine the lived intensity, detail, and contemplative depth that constitute the listener\u2019s artistic experience.<\/p>\n\n\n\n

    Digital radio drama has thus emerged as the artistic expression of a paradoxical age, in which bodily stillness fostered the acceleration of digital imagination.<\/p>\n\n\n\n

    \n\n\n\n
    Bibliography<\/strong><\/h5>\n\n\n\n

    \u201cAthens Festival \u2018Hits\u2019 the Pandemic with Radio Theatre Performances<\/a>.\u201d Proto Thema<\/em>, 17 Nov. 2020. Accessed 5 July 2025.<\/p>\n\n\n\n

    Fischer-Lichte, Erika. The Transformative Power of Performance: A New Aesthetics<\/em>. Routledge, 2008.<\/p>\n\n\n\n

    \u201cNew Radio Performances of the National Theatre for the Second and Third Programme<\/a>.\u201d ERT CSR<\/em>. Accessed 10 Feb. 2025.<\/p>\n\n\n\n

    \u201cPlateia Theatrou. \u2018Athens 9.84\u2019 Becomes a Radio Stage for Theatre Artists<\/a>.\u201d Monopoli<\/em>, 15 Apr. 2021. Accessed 15 Apr. 2021.<\/p>\n\n\n\n

    \u201cPodcasts & Radio Plays: Return to Audio Theatre.\u201d a8inea<\/a><\/em>, 4 Dec. 2020. Accessed 4 Dec. 2020.<\/p>\n\n\n\n

    \u201cRadio Plays. Human Condensation<\/a>.\u201d Athens and Epidaurus Festival<\/em>. Accessed 7 Apr. 2024.<\/p>\n\n\n\n

    \u201cRadio Plays. Podcast on Spotify.\u201d Spotify<\/em>. Accessed 10 Apr. 2022.<\/p>\n\n\n\n

    \u201cRadio Plays. \u2018The Ring Finger\u2019 by Yoko Ogawa<\/a>.\u201d LIFO Podcasts<\/em>, 5 Apr. 2022. Accessed 5 Apr. 2020.<\/p>\n\n\n\n

    \u201cRadio Theatre. Podcast on Spotify.\u201d Spotify<\/em>. Accessed 12 June 2025.<\/p>\n\n\n\n

    \u201cRadio Theatre Performances of the National Theatre<\/a>.\u201d National Theatre of Greece<\/em>. Accessed 10 Feb. 2025.<\/p>\n\n\n\n

    Rosa, Hartmut. Social Acceleration: A New Theory of Modernity<\/em>. Columbia UP, 2013.<\/p>\n\n\n\n

    \u201cStories of Radio<\/a>.\u201d ERT Archive<\/em>. Accessed 3 Sept. 2025.<\/p>\n\n\n\n

    \u201cThe Dictionary of 2020. International Online Radio Meeting.\u201d YouTube<\/em>, 10 Apr. 2025. Accessed 10 Apr. 2025.<\/p>\n\n\n\n

    \u201cThe Digital Refuge and Theatre in Times of Pandemic<\/a>.\u201d frear<\/em>, 9 Oct. 2020. Accessed 10 Feb. 2020.<\/p>\n\n\n\n

    \u201cThe National Brings Theatre to the Radio. How and Which Plays<\/a>.\u201d iefimerida<\/em>, 11 Nov. 2021. Accessed 10 Feb. 2025.<\/p>\n\n\n\n

    \u201cTheatre on the Radio<\/a>.\u201d iPolizei<\/em>. Accessed 17 June 2024.<\/p>\n\n\n\n

    \u201cTheatre on the Radio Collection<\/a>.\u201d ERT Archive<\/em>. Accessed 10 Feb. 2025.<\/p>\n\n\n\n

    Virilio, Paul. Speed and Politics: An Essay on Dromology<\/em>. Translated by Mark Polizzotti, Semiotext(e), 2006.<\/p>\n\n\n\n

    \u2014\u2014\u2014. The Aesthetics of Disappearance<\/em>. Translated by Philip Beitchman, new ed., Semiotext(e), 2009. <\/a><\/p>\n\n\n\n

    \n\n\n\n
    \"\"<\/figure>\n\n\n\n

    *<\/a>Sofia Karagianni<\/strong> is a drama teacher, translator, and adult educator. She holds a master\u2019s degree in Cultural Policy, Management and Communication (Panteion University) and is a PhD candidate in Communication and Media Studies at the National and Kapodistrian University of Athens. She has worked in theatre production, marketing, and cultural event organization, and is currently Head of Communication and Marketing at Boem Radio. She also teaches drama education in primary schools and delivers adult education courses in various vocational and lifelong learning institutions. <\/a><\/p>\n\n\n\n

    \"\"<\/figure>\n\n\n\n

    **<\/a>Marina Rigou<\/strong> is Assistant Professor at the Department of Communication and Media Studies at the National and Kapodistrian University of Athens (NKUA), and a journalist at Flash 96 radio since 1991. She began her career at ERA 4 in 1987 and has collaborated with both Greek and international media. A physics graduate from NKUA, she pursued postgraduate studies in Communication and Media. She teaches journalism, radio, political communication, and new media. She is the author of From Digital Revolution to Digital Surveillance<\/em> (2014) and has published extensively on media, journalism, and political communication.<\/p>\n\n\n\n

    Copyright \u00a9<\/strong> 2026 Sofia Karagianni and Marina Rigou
    Critical Stages\/Sc\u00e8nes critiques<\/em>,\u00a0#33, June 2026
    e-ISSN: 2409-7411<\/p>\n\n\n

    \n
    \"Creative<\/a><\/figure>\n<\/div>\n\n\n

    This work is licensed under the
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