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Theatre plays on British television
Editors: Amanda Wrigley and John Wyver

In this edited collection, scholars use a variety of methodologies to explore the history of stage plays produced for British television between 1936 and the present. The volume opens with a substantial historical outline of the how plays originally written for the theatre were presented by BBC Television and the ITV companies as well as by independent producers and cultural organisations. Subsequent chapters analyse television adaptations of existing stage productions, including a 1937 presentation of a J. B. Priestley play by producer Basil Dean; work by companies including the Royal Shakespeare Company, Stoke-on-Trent’s Victoria Theatre and the Radical Alliance of Poets and Players; the verbatim dramas from the Tricycle Theatre and National Theatre of Scotland; and Mike Leigh’s comedy Abigail’s Party, originally staged for Hampstead Theatre and translated to the Play for Today strand in 1977. Broadcast television’s original productions of classic and contemporary drama are also considered in depth, with studies of television productions of plays by Jacobean dramatists John Webster and Thomas Middleton, and by Henrik Ibsen and Samuel Beckett. In addition, the volume offers a consideration of the contribution to television drama of the influential producer Cedric Messina who, between 1967 and 1977, oversaw BBC Television’s Play of the Month strand before initiating The BBC Television Shakespeare (1978–85); the engagement with television adaptations by modern editors of Shakespeare’s plays; and Granada Television’s eccentric experiment in 1969–70 of running The Stables Theatre Company as a producer for both stage and screen. Collectively, these chapters open up new areas of research for all those engaged in theatre, media and adaptation studies.

Basil Dean and the 1938 BBC outside broadcast of J. B. Priestley’s When We Are Married
Victoria Lowe

, so that we may add one more to the sum of cultural forces of which the world stands in such need today. 1 On the evening of 16 November 1938, the BBC television service aired its first live outside broadcast from a theatre of a full-length play. The production chosen for this pioneering event was J

in Screen plays
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Roger Singleton-Turner

) screens showing many sources on one screen, like those in Plate 4B and 5 . Any of these will be selectable to the main vision mixer. For convenience, I’ll refer to each image as a ‘monitor’. Big, live productions might also have monitors (real or virtual) for external sources such as remote studios and outside broadcast (OB) units. There will also be at least one larger preview monitor and a TX (transmission) monitor (real or virtual), sometimes called ‘programme’ or ‘programme out’ (abbreviated to ‘PGM’). Either could be real or virtual, like the ones in Plate

in Cue and Cut
Richard Hewett

‘rehearse/​record’ process, while not immediately replacing ‘in continuity’ evening recording, became increasingly favoured as the decade progressed. Also, while the cameras used at Television Centre remained cumbersome, the employment on drama productions of lighter-​weight Outside Broadcast (or OB) cameras, until this time more usually employed for sports coverage, introduced a faster and cheaper mode of working outside the studio than the T h e cha ng in g s p ac es o f t e l e vis io n  act i ng 118 118 single film camera, which itself had significantly increased

in The changing spaces of television acting
Televising Nicolae Ceauseşcu
Dana Mustata

. On 18 November 1975, a roundtable meeting on live television was organised at Romanian Radiotelevision involving officials from the Ministry of Internal Affairs as well as from television.7 Discussions at the meeting identified those areas with the highest dissident potential, which were deemed to be live transmissions of official state events, live sports broadcasts and live studio programmes. Live cameras and microphones, outside broadcast vans, and the editing rooms at the Radiotelevision Centre for Distribution and Control were also considered vulnerable to

in Popular television in authoritarian Europe
An introduction
Roger Singleton-Turner

. NB: Although I have used ‘ground-row’ to mean the lights on the floor, the same term can be applied to any low piece of floor-standing scenery, including coving and cut-out sky-lines. Different lighting conditions This section relates mainly to locations and is relevant to multi-camera working when you are on location with an outside broadcast unit. To a camera that has been white-balanced in daylight, tungsten (artificial) light tends to look orange; if the camera is balanced for tungsten, daylight tends to look blue. Daylight itself can vary in its colour

in Cue and Cut
Theatre plays as television drama since 1930
John Wyver

. That said, this chapter aims to offer such an overview so as to provide useful context for the chapters that follow. The first half discusses television’s presentation—both as outside broadcasts (OBs) and as studio reworkings—of productions of theatre plays made by non-television companies. I then move on to consider the separate but complementary strand of television’s own productions of theatre plays

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

television through close analysis of three 1970s Play of the Month productions of works taken from different periods of theatre history, directed by Messina himself: George Bernard Shaw’s Pygmalion (1973), Shakespeare’s The Merchant of Venice (1972) and J. M. Barrie’s sentimental Victorian comedy The Little Minister (1975), made as an outside broadcast (OB) at Glamis Castle. This chapter

in Screen plays
Abstract only
Roger Singleton-Turner

This book is long enough as it is, but there are areas not covered: Audience research is a measure of the successes of your content, but has not been fully addressed here. Apart from the sections of the last chapter, I have not written much about outside broadcasts, though a lot of the principles parallel those used in the studio. There is nothing about the politics of television. There is little directly about news studios. Some entire genres are

in Cue and Cut
Jeffrey Richards

dancers. Radio Times rolls off the presses, with a voice ritually reciting programme details. The voices from the Empire Service are heard, with Sir John Reith extolling the role of that Service. The engineering work of the BBC is explained and we see an outside broadcast of the Oxford and Cambridge Boat Race. On Children’s Hour a woman reads about the quest for the golden fleece from Charles Kingsley’s The Heroes over shots of children listening intently

in Cinema and radio in Britain and America, 1920–60