This book provides a historical overview and then-and-now comparison of performing for British television drama. By examining changing acting styles from distinct eras of television production – studio realism and location realism - it makes a unique contribution to both television and performance studies, unpacking the various determinants that have combined to influence how performers work in the medium. The book compares the original versions of The Quatermass Experiment(BBC, 1953), Doctor Who (BBC, 1963–89) and Survivors (BBC, 1975–77) with their respective modern-day re-makes, unpacking the effects of the shift from multi-camera studio to single-camera location production. Textual analysis is combined with extensive archival research into production process and reception, alongside interviews with numerous actors and production personnel from more than sixty years of television production.

This title is an historical overview and a then-and-now comparison of performing for British television drama. By examining changing acting styles from distinct eras of television production - studio realism and location realism - it makes a unique contribution to both television and performance studies, unpacking the various determinants that have combined to influence how performers work in the medium.

The first collection of its kind to bring together scholarly and practitioner perspectives, this book analyses the experiences, skills and techniques of actors when working on television. Featuring eleven chapters by internationally distinguished researchers and actor trainers, this collection examines the acting processes and resulting performances of some of the most acclaimed television actors. Topics include: studio and location realism; actor training for television; actor well-being in the television industry; performance in reality television and British and Irish actors in contemporary US television and film. The book also contains case studies examining the work of Emmy-award-winning actor Viola Davis and the iconic character of Gene Hunt in Life on Mars (BBC, 2006-2007).

This fascinating text offers the first in-depth exploration of acting processes in British television. Focused around 16 new interviews with celebrated British actors, including Rebecca Front, Julie Hesmondhalgh, Ken Stott, Penelope Wilton and John Hannah, this rich resource delves behind the scenes of a range of British television programmes in order to find out how actors build their characters for television, how they work on set and location, and how they create their critically acclaimed portrayals. The book looks at actors' work across four diverse but popular genres: soap opera; police and medical drama; comedy; and period drama. Its insightful discussion of hit programmes and its critical and contextual post-interview analysis, makes the text an essential read for students across television and film studies, theatre, performance and acting, and cultural and media studies, as well as academics and anyone interested in acting and British television.

This innovative and timely collection offers a wide-reaching critical evaluation of performance in television, mapping out key conventions, practices and concerns while introducing performance theory and criticism to the established field of television studies. Chapters from leading scholars move through a range of examples from different styles and genres, from Game of Thrones to America's Next Top Model. Individual performances are analysed in close detail as the authors debate central questions of meaning, value and achievement. Opening out new pathways for inquiry and investigation, this book is an important touchstone for undergraduate and postgraduate students of television, media and theatre studies with an interest in the work of actors and non-actors on screen.

This book explores adaptation in its various forms in contemporary television drama. It considers the mechanics of adaptation as an ever-more prevalent form of production, most notably in the reworking of literary sources for television. It also explores the broader process through which the television industry as a whole is currently making necessary adaptations in how it tells stories, especially in relation to important concerns of equality, diversity and inclusion. Offering and analysing 16 original interviews with leading British television producers, writers, directors, production designers, casting directors and actors, and with a particular focus on female and/or minority-ethnic industry perspectives, the book examines some of the key professional and creative approaches behind television adaptations today. The book connects these industry insights to the existing conceptual and critical frameworks of television studies and adaptation studies, illuminating the unique characteristics of television adaptation as a material mode of production, and revealing television itself as an inherently adaptive artform.

An exciting new strand in The Television Series, the ‘Moments in Television’ collections celebrate the power and artistry of television, whilst interrogating key critical concepts in television scholarship. Each ‘Moments’ book is organised around a provocative binary theme. Sound / image reassesses the synergy between televisual images, and sounds and music, as a key creative interaction warranting closer attention. Through close scrutiny of visual and sonic elements, the book’s chosen programmes are persuasively illuminated in new ways. The book explores an eclectic range of TV fictions, dramatic and comedic. Contributors from diverse perspectives come together to expand and enrich the kind of close analysis most commonly found in television aesthetics. Sustained, detailed programme analyses are sensitively framed within historical, technological, institutional, cultural, creative and art-historical contexts.