Your Search Results(showing 6)

    • Acting techniquesx
    • Trusted Partner
      The Arts
      August 2017

      The changing spaces of television acting

      From studio realism to location realism in BBC television drama

      by Richard Hewett

      This title is an historical overview and a then-and-now comparison of performing for British television drama. By examining changing acting styles from distinct eras of television production - studio realism and location realism - it makes a unique contribution to both television and performance studies, unpacking the various determinants that have combined to influence how performers work in the medium. Comparing the original versions of The Quatermass Experiment (BBC, 1953), Doctor Who (BBC, 1963-89) and Survivors (BBC, 1975-77) with their respective modern-day re-makes, the book unpacks the developments that have resulted from the shift from multi-camera studio to single camera location production. Textual analysis is combined with extensive archive research into production process and reception, alongside interviews with numerous actors and production personnel from more than sixty years of television production.

    • Trusted Partner
      The Arts
      June 2020

      The changing spaces of television acting

      From studio realism to location realism in BBC television drama

      by Richard Hewett

      This book provides a historical overview and then-and-now comparison of performing for British television drama. By examining changing acting styles from distinct eras of television production - studio realism and location realism - it makes a unique contribution to both television and performance studies, unpacking the various determinants that have combined to influence how performers work in the medium. The book compares the original versions of The Quatermass Experiment (BBC, 1953), Doctor Who (BBC, 1963-89) and Survivors (BBC, 1975-77) with their respective modern-day re-makes, unpacking the effects of the shift from multi-camera studio to single-camera location production. Textual analysis is combined with extensive archival research into production process and reception, alongside interviews with numerous actors and production personnel from more than sixty years of television production.

    • Trusted Partner
      The Arts
      March 2026

      Acting and performance in Hitchcock

      by Adrian Garvey, Victoria Lowe

      Hitchcock's professed disdain for actors is belied by the extraordinary range and depth of performances featured in his films. It might even be argued that many stars gave their richest and most complex performances in his work. Hitchcock's films are also imbued with the theme of performance, as when his fugitive men and errant women assume fragile new identities and move between roles. Actors and other performers also often feature as characters. However, the exhaustive academic literature on Hitchcock has to date produced surprisingly little work about acting and performance in his films. The collection includes contributions from a range of leading scholars on Hitchcock, performance, stardom, and British Cinema, including Charles Barr, David Greven, Mark Glancy, Lucy Bolton, Lawrence Napper and Michael Williams, and an interview with leading composers/accompanists Neil Brand and Stephen Horne on scoring performance in Silent Hitchcock.

    • Acting techniques
      March 2012

      Rezeptur der Bühnenkomik: Theorie und Praxis des Komischen auf der Bühne

      by Gehrcke, Werner

      Whether classical comedy, light theatre, improvisation or comedy, the comic in the theater has many faces! The present work is an introduction and disclosure of the mechanisms that are behind comedy in the theater and how they can be operated. First the basic conditions of the comic are defined and introduced: distance and harmlessness. The response to comedy, the laughter will be explained from the perspective of Sigmund Freud and after Henri Bergson understood as a social gesture. Even as comedy is produced by contrasts and incongruities, is illustrated by examples and concise theories. Finally, the main theses of the work are summarized / and noted: No one considers the things offered from the same perspective as another, so there is no objectively perceived Theater and also no objective comedy. However, there are theories and mechanisms that contribute significantly to generate comedy.

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