One might, thus, venture to say that it is the radio that was for over 20 years the focus of Terlecki’s whole writing, intellectual and artistic activity which crystallised in the form of small and synthetic wholes: the broadcasts. With their help, Terlecki initiated publishing plans, organised symposiums, emigrants’ congresses, and scholarships for Polish writers and intellectuals. One should also note his other, non-radio initiatives, especially at the time when he was head of the Polish Writers Abroad Union and found his allies in Giedroyc and Jeziorański in Europe and Kazimierz Wierzyński and Józef Wittlin in the US. The objects of his activity were equally diverse: from history to current political initiatives (for example, when he acted as a member of Polski Ruch Wolnościowy Niepodległość i Demokracja, or: the Polish Freedom Movement “Independence and Democracy”), to matters related to culture as such, with literature and theatre included. Terlecki (along with Roman Palester) devised the cultural programme block, and took on the roles of programme editor, commentator, critic, reporter, and interviewer, skilful moderator of the so-called round table discussions as well as a radio drama author and adaptor. For the radio station, which had been founded in 1952, Terlecki became a valuable asset: the theatre scholar and theoretician of artistic radio who had been particularly interested in developing radio drama (the so-called Theatre of Imagination) and had published works defining its specificity, now, after the war, started a varied free-lance collaboration with the Munich-based station. his long-time work for the Polish service of Radio Free Europe, which lasted from 1950 to 1980. The article deals with a hitherto little known area of Tymon Terlecki’s activity, i.e.
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