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Dialogue between film and theatre studies is frequently hampered by the lack of a shared vocabulary. Stage-Play and Screen-Play sets out to remedy this, mapping out an intermedial space in which both film and theatre might be examined.
Each chapter's evaluation of the processes and products of stage-to-screen and screen-to-stage transfer is grounded in relevant, applied contexts. Michael Ingham draws upon the growing field of adaptation studies to present case studies ranging from Martin McDonagh's The Cripple of Inishmaan and RSC Live's simulcast of Richard II to F.W. Murnau's silent Tartüff, Peter Bogdanovich's film adaptation of Michael Frayn's Noises Off, and Akiro Kurosawa's Ran, highlighting the multiple interfaces between media.
Offering a fresh insight into the ways in which film and theatre communicate dramatic performances, this volume is a must-read for students and scholars of stage and screen.
List of contents
Introduction: All the screen's a stage; the critical-theoretical background
Chapter 1 "Inexplicable dumb-shows"? Stage drama and adaptation in the silent movie era
Chapter 2 Staging cinema: from 'cinefied' theatre to 'theatred' film
Chapter 3 "A monster of the multitude": simulcast and 'captured live' versions of stage dramas
Chapter 5 Filmed theatre: "cinema can be theatrical"
Chapter 6 Complementary forms: the play-within-the-film
Chapter 7 "The truth of cinematography"
Conclusion
Bibliography
About the author
Michael Ingham is an Associate Professor in the Department of English Studies at Lingnan University, Hong Kong. He is a founder member of Theatre Action, a drama group specializing in action research on literary drama texts and intercultural adaptations.
Summary
Dialogue between film and theatre studies is frequently hampered by the lack of a shared vocabulary. Stage-Play and Screen-Play sets out to remedy this, mapping out an intermedial space in which both film and theatre might be examined.
Each chapter’s evaluation of the processes and products of stage-to-screen and screen-to-stage transfer is grounded in relevant, applied contexts. Michael Ingham draws upon the growing field of adaptation studies to present case studies ranging from Martin McDonagh’s The Cripple of Inishmaan and RSC Live’s simulcast of Richard II to F.W. Murnau’s silent Tartüff, Peter Bogdanovich’s film adaptation of Michael Frayn’s Noises Off, and Akiro Kurosawa’s Ran, highlighting the multiple interfaces between media.
Offering a fresh insight into the ways in which film and theatre communicate dramatic performances, this volume is a must-read for students and scholars of stage and screen.
