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Nicholas Johnson

suggests that Play structurally invited adaptation, pushed at technological limitations, and challenged the boundaries of theatre. In the first wave of its performance history, lasting approximately from composition to the end of Beckett's life, Play also tended to reveal salient features of the medium in which it was presented, whether it appeared in a theatre or made the transition into recorded or broadcast media. Revolutionary changes in media technologies, underway at the time of Play 's composition but pervasive since

in Beckett and media
Neil Taylor

performance histories, and I raise a number of issues in relation to the usefulness of performance history itself. Editors of scholarly editions of Shakespeare’s plays took a long time to recognise that their role necessarily included a discussion of the play in performance. The editors’ introductions in all the volumes of the first and second Arden Shakespeare series (hereinafter referred to as ‘Ard1’ and

in Screen plays
Stage Beauty as a cerebral retort to Hollywood
Sarah Martindale

Love but different, which it’s not. It’s more cerebral than that.’ 8 The similarities between the two films are obvious: from shared cast members (Tom Wilkinson and Rupert Everett), to visual and narrative echoes. Both seek to reconstruct the performance history of Shakespeare and give the film viewer a glimpse behind the scenes of the theatre world. Stage Beauty is concerned with the point in the Restoration period when male actors portraying female characters were replaced by actresses on the English stage. Greg Colón Semenza argues that depictions of post

in British art cinema
Early modern drama, early British television
Lisa Ward

in 1607. It is a satire on chivalric romances which also includes parodic references to, among other plays, Shoemaker’s. The play has a similar performance history to Shoemaker’s in modern times: Sheldon P. Zitner (in Beaumont 2004 : 44–5) explains that it, too, became a favourite of student and amateur groups from around the turn of the century before being revived professionally. The Mermaid Society staged it at the

in Screen plays
Middleton’s tragedies on television, 1965–2009
Susanne Greenhalgh

Middleton, Thomas Middleton , pp. 1632–78 . O’Berski , J. ( 2012 ), Middleton and Rowley: The Changeling ( Basingstoke : Palgrave Macmillan ). Panek , J. ( 2019 ), ‘ A performance history ’, in Hutchings

in Screen plays
The Harold Pinter season on Theatre 625 (BBC2, 1967)
Amanda Wrigley and Billy Smart

intermedial performance history of this still-new but well-known work made it a terrific choice for the 1967 Theatre 625 trilogy which sought to illustrate and celebrate Pinter’s ability to work within the expressive possibilities of different media and, indeed, showcase the way his plays readily lent themselves to intermedial adaptation. In a Radio Times article publicising the BBC2

in Screen plays
Abstract only
Producing theatrical classics with a decorative aesthetic
Billy Smart

). Working without a sense of comparison with theatrical performance history—’I didn’t have any yardstick of “wasn’t-Peggy-lovely-in-’35” to go on’, as Nicholson himself put it ( 1970 : 52)—meant that Messina’s productions prioritised clarity of story-telling and intelligibility of plots for the television viewer (Drabble 1975a ). He defined this as ‘straightforward drama

in Screen plays
Ruth Barton

more likely to represent, to borrow a phrase, the people who have their dinner in the middle of the day. The urban/rural divide is still very much in evidence in the success of Killinaskully – a programme that is said to quieten some rural pubs quicker than the sound of an approaching Garda car at 2am. (Hegarty, 2008 ) Figure 16 Pat Shortt and Conor Ryan in Garage In overseas territories, therefore, Shortt’s performance history was meaningless as Killinaskully did not export, but it carried interesting local

in Irish cinema in the twenty-first century
Temporal origami in the Towneley Herod the Great
Daisy Black

ideal which was already out of date. Moreover, the language of the court becomes comically and troublingly inappropriate when placed in the context of a massacre. For example, Herod rewards the counsellor who suggests the massacre with promises of castles, lands and even the title of Pope. 84 This brings the Bethlehem massacre together with the kind of rewards a powerful king might be able to dispense. Given the cross-period performance histories of the Towneley manuscript compilation, this astonishing offer of the title of ‘Pope’ as a reward might have been

in Play time