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Jonathan Bignell

Theatre plays written by Samuel Beckett that have been adapted for television need to be understood in the historical contexts of their production and broadcast. While they can be situated as adaptations of theatre plays, the significance of the adaptation in each case is determined by the changing relationships to original television plays, to conceptions of television authorship, to

in Screen plays
Bert Ingelaere

friend, he and this friend came to the conclusion that most of the attendants, in fact, were not talking about the crimes and those responsible for these crimes: ‘you know that I know that you know; we all know it, but for whatever reason – and there are many possible reasons – we do not talk about it’ ( Haveman, 2011 : 389). Haveman’s Rwandan friend did not consider this situation as ‘bad theatre play’, however, but that ‘at least one has to re-think [now] what happened’ and that ‘the discussion is out in the open’. Although Haveman does not say so, my interpretation

Journal of Humanitarian Affairs
Abstract only
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.

Abstract only
Jonathan Bignell

Beckett wrote to his friend the theatre director Alan Schneider, referring to the filming of the Schiller Theatre stage production of Waiting for Godot in Berlin in 1975 (Harmon 1998: 324): ‘Berlin wasn’t too bad in the end. We were nearly there. There will be a film of a performance, purely documentary, no adaphatroce ’ [dreadful adaptation]. None of the Beckett on Film plays were written for television or for cinema; they are theatre plays adapted into another medium. While Beckett would accept a ‘documentary’ recording of a stage performance, he was usually

in Beckett on screen
On Regie, playing and appearing
Peter M. Boenisch

interpreted the set as an eye watching the theatre spectators – the proverbial ‘eye of the Law’ in the German language, evoking the authorities that are constantly watching.1 In the end, when K. died, the disk tilted back into its upright position, closing the eye, and closing out any light, cloaking the theatre in pitch-black. Seeing what is coming 119 Where strategies of ex-position, which were discussed in the previous chapter, emphasised their ‘negative’ distance, Kriegenburg’s work stands exemplarily for a mode of Regie that unreservedly invests in theatral play

in Directing scenes and senses
Abstract only
Amanda Wrigley and John Wyver

production of Macbeth starring Laurence Olivier that ‘The conventions of the theatre must be got rid of if television is to stand on its own’ (Anon. 1937 ). The value attached to theatre plays by television, whether explicitly or implicitly, has fluctuated ever since. Television’s caution about the theatre increased after drama executives at the BBC and the new ITV companies began in the late 1950s to

in Screen plays
Pain in Dutch stock trade discourses and practices, 1600–1750
Inger Leemans

11 The economics of pain: pain in Dutch stock trade discourses and practices, 1600–1750 Inger Leemans In 1720, the first international stock exchange crisis hit the financial markets of Paris, London and the Dutch Republic. The ‘mass hysteria’ seems to have fascinated, bewildered and outraged the public. Hundreds of pamphlets, theatre plays and allegories were printed, translated and distributed across the countries involved in the South Sea Bubble, the Mississippi scheme, or wind trade, as the crisis would be referred to in England, France and the Netherlands

in The hurt(ful) body
Leopold Jessner, the playwright’s radical servant
Peter M. Boenisch

suspending, on the one hand, and safe-keeping and preserving, on the other. Further, I will describe Jessner’s Regie as inducing theatral play through effects of ‘plasticity’. Here, I do not, for once, refer to the well-known concept of stage plasticity introduced by Meyerhold to the language of Regie (which would not be inappropriate for an analysis of Jessner’s works), but rather refer to Catherine Malabou’s Hegelian exploration of this term. For her, the concept of plasticity characterises Hegelian dialectic thinking (Malabou 2005). It is, precisely, the dialectic

in Directing scenes and senses
Television adaptations by Peter Cheeseman’s Victoria Theatre company
Lez Cooke

). Following the dispute and the resumption of theatre production, it was three years before the Victoria Theatre company participated in another television production, although in 1970 its documentary theatre play The Burning Mountain , about primitive Methodism in the Potteries, was the subject of a twenty-five-minute item on the BBC2 arts magazine programme Review

in Screen plays
Tom Ryall

figure was twenty-seven out of 117 films.2 Yet for Asquith the theatre played a major role with eight of the seventeen feature films he directed between 1947 and his final film in 1964 based on stage plays of various kinds. It was this kind of film that played a key role in his image as a director often to his detriment, as in David Thomson’s previously quoted description of him as ‘a dull, journeyman supervisor of the transfer to the screen of proven theatrical properties’.3 Asquith’s pre-war work, particularly the silent and early sound pictures, had established his

in Anthony Asquith