I’m not very concerned with tracking down their factual accuracy. That’s an important task, but I want simply to study what [Wayne] Booth might call the rhetoric of nonfiction. By looking at each book’s plot structure (yes, they have plots) and narration, I want to understand how narrative analysis can help us better understand what counts as ‘reliability’. Fortunately for my purposes, the books nicely illustrate three different models of storytelling.
Links to articles that attracted my attention in the three weeks (apologies!) since the last of these columns, plus the occasional video. There are some especially strong film-related articles this week. Many thanks to those who recommended many of these pieces to me on Twitter and elsewhere.
Such is the publicity hype around the film, and so sacred is the cow of the Great War in its centenary moment that nobody seems to have noticed how horribly distorted and ludicrous Jackson’s tarted-up images look.
I have written a book (well, almost) – and now that it is on Amazon and the website of the publisher Bloomsbury – I feel I can make a modest announcement. Publication is not until next June, but it has a cover and a blurb (reproduced below) – and a very expensive price, which is essentially for hardback sales to academic libraries. I am hopeful that in due course there will be a rather more affordable paperback. In the meantime…
Here’s the blurb:
No theatre company has been involved in such a broad range of adaptations for television and film as the Royal Shakespeare Company. Starting with the Stratford Memorial Theatre company’s version of Richard III in 1910, these continue today with the highly successful RSC Live from Stratford-upon-Avon cinema broadcasts. Among the iconic productions have been The Wars of the Roses (BBC, 1965), Peter Brook’s film of King Lear (1971), Channel’s 4’s epic version of Nicholas Nickleby (1982) and Hamlet with David Tennant (BBC, 2009).
Drawing on interviews with actors and directors, The RSC on Screen explores this remarkable history of collaborations between stage and screen and considers key questions about adaptation that concern all those involved in theatre, film and television. John Wyver is a broadcasting historian and the television producer of Hamlet as well as of RSC Live from Stratford-upon-Avon, and so is uniquely well-placed both to provide a vivid account of the RSC’s television and film productions as well as to contribute an award-winning practitioner’s insights into screen adaptation’s rich potential and numerous challenges.
Meanwhile, the manuscript contains just over 103,000 words – and I am contracted to deliver 90,000. That’s one of my challenges for the coming few weeks.
Even as I have been neglecting the Illuminations blog, for which apologies once more, I have been writing elsewhere. Today’s brief entry here points to a post I’ve written for a History of the BBC blog; below there is news of a conference in November at which I’ll be speaking on the topic of my post.
‘Starting at school: researching the 1952 BBC “School Television Experiment”‘ is a BBC blog post written as a contribution to a new strand that aims to highlight academic research exploring aspects of the Corporation’s past. I became intrigued by the 1952 pilot in which specially produced programmes (including Black and White in an African Village, broadcast from Alexandra Palace, above) were screened for a month in just six Middlesex schools. This was an experiment to see if television might be valuable as a teaching aid, and the results showed that it would. But it was to be a further five years before a regular schools service was started, both from the BBC and from the upstart ITV contractor Associated-Rediffusion.
To BFI Southbank on Monday for a triple bill of television dramas by women playwrights: The Tamer Tamed, 1956, by Elaine Morgan (above); Still Waters, 1972, by Julia Jones; and A Kind of Marriage, 1976, by Buchi Emecheta. The programme was part of the hugely valuable Drama She Wrote season curated by the BFI’s Dick Fiddy and Dr Billy Smart, and Billy writes about the three plays on the Forgotten Television Drama blog. It’s worth noting too that there are two further offerings in the season on Saturday and Monday, details of which are below.
I have to admit that I found all three of Monday’s dramas disappointing. At least I judged them so when measured against conventional criteria, whether of their own time or, especially, of today. Each in its way is – or seemed so on Monday, when projected on NFT2’s big screen – clunky, over-written and internally inconsistent both in tone and in the quality of the performances. But at the same time I found each one fascinating – and strange. Indeed, fascinating precisely because of the surprising strangeness. And that brought home yet again how little we know of the vast continent that is the history of television drama, how little of it has been mapped and documented, and how many wonders and weirdnesses there are still to be discovered. TV incognita, indeed. read more »
Our DVD of Harold Pinter delivering Art, Truth & Politics is available here. Harry Burton’s excellent film Working with Pinter is also available as an Illuminations DVD, which can be ordered here.
Harold Pinter has been very much a part of my life recently. Ten days ago I contributed a keynote lecture to the University of Reading/British Library conference organised by the Harold Pinter: Histories and Legacies research project. On Thursday I saw the first of the ‘Pinter at the Pinter’ performances which included a truly powerful staging of One for the Road with Antony Sher and Paapa Essiedu, directed by Jamie Lloyd, and Lia Williams’ remarkable production of Ashes to Ashes, with Paapa again and an astonishing Kate O’Flynn. And with the Art, Truth & Politics performances coming up, Harry Burton has prompted me to compose the following notes about what I recall about producing, with my colleague Linda Zuck, the 2005 recording. read more »
Today’s links to interesting stuff that has attracted my attention over the past week or so, with thanks to Twitter recommenders. You will doubtless be delighted to see that I have once again worked out how to embed videos.
• They Shall Not Grow Old: this is unquestionably remarkable…
I’m not sure I’m ready – or have time – to return to contributing frequent posts, but I am interested to see if I can occasionally draw together notes and pointers about topics that are engaging me. I want to dive more deeply into certain things than I’m able to do by simply linking to articles on a Sunday. If only for me to learn more about the topics. So here’s a first assembly, which I hope to add to, of some elements linked in this case to Judson Dance Theater.
Judson Dance Theater: The Work is Never Done is a recently opened exhibition and ambitious events programme at MoMA in New York until 3 February. Judson Dance Theater was, as Wikipedia currently tells us, ‘a collective of dancers, composers, and visual artists who performed at the Judson Memorial Church in Greenwich Village in Manhattan… between 1962 and 1964. The artists involved were avant garde experimentalists who rejected the confines of Modern dance practice and theory, inventing as they did the precepts of Postmodern dance.’ Among those involved were Yvonne Rainer, Merce Cunningham, Lucinda Childs, Trisha Brown and Robert Morris. read more »