The paper demonstrates that the self-reflection and media reflection increasingly articulated in radio play production in the 2000s entail a politically relevant sensitisation to phenomena that lie outside the media specificity of radio plays. Thus, Carl Gundolf’s Der Stimmkäfig. Das Spiel vom Hören Gehörloser addresses the problem of how acoustic perceptions of the deaf can be conveyed in a medium that is closely connected to the sense of hearing. Bodo Hell and Friederike Mayröcker’s ‘dreifaltiges Hörstück’ unfolds the secularised motif of hearing voices and extends it synaesthetically to the technical environment of objects. Finally, Wolfgang Müller’s Séance Vocibus Avium proves an inquiry into the limits and responsibility of scientific discursivisation by unmasking the historical reconstruction in the realm of nature not only as illusory but also as physically violent.