Acting to Tv or Theatre

Some issues:

  • In film theory, the emphasis on editing as the creator of meaning has led to downplaying the role of the actor, an outcome of the ‘
  • Television actors
    • Actor has more substantial place in discussion of TV, partly because of history of production practices and technologies
    • Dominance of writer over director, writer/producer hybrids in UK and USA
    • All TV broadcast live until late 1950’s, dominance of studio
    • Acting produced under conditions that resembled theatre as well as studio-based film
    • Emphasis on continuity of performance and editing strategies that supported this
    • Live TV drama focused on actors’ performances – studio as a ‘performative space’
      • American actors act to the lens, UK actors to the fellow actor
  • Stardom
    • Ubiquity of star in film and TV discourse – popular critical. Private life, actor and character get mixed.
    • More then just being a well-known actor
    • Denotates the creation of a persona that exsists across texts, involves physical presence
    • Involves (at times) on- and off
  • A variety of criteria
    • Industrial (role in the production and marketing of films and TV programmes); the early emergence of stars as a means of selling/identifying
  • Stars as signs
    • The fascination of the gaze (developed throughclose-up)
    • Star intertextuality; star persona, carried across texts
    • The star-as-person
    • Stars are elements in wider public discourses
      • Other media
      • Culture and commerce
      • Fashion Stars
      • Gossip celebrity industry in TV
      • Stars and sexuality, negotiating beauty and ‘character’
  • Models of acting: the dominance of psychological realism
    • Phycological realism/naturalism as the default
    • The dominance of Stanislavski-inspired training in screen
    • Camera is intimate, but such as theatre
  • Issues in phycological realism
    • Visible and invisible in TV acting
    • How do we tell what is character and what is acting
    • Comedy as the exception to psychological realism – creates distance: emphatetic and observational responses; recent comedy moves towards the naturalistic – comedy verite
    • Exposure of acting and roles
NOT ACTING – nonmatrixed performing – symbolized matrix – received acting – simple acting – complex acting – ACTING
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