Screen plays is a ground-breaking collection that chronicles the rich and surprising history of stage plays produced for the small screen between 1930 and the present. The volume opens with a substantial historical outline of how plays originally written for the theatre have been presented by the BBC and ITV, as well as independent producers and cultural organisations. Subsequent chapters utilise a variety of critical methodologies to analyse a wide range of outside broadcasts from theatres, screen adaptations of existing stage productions, along with original television productions of classic and contemporary drama. Making a compelling case for the centrality of the theatre to British television's past and present, Screen plays opens up new areas of research for all those engaged in theatre, media and adaptation studies.
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Amanda Wrigley has held research posts on several AHRC-funded projects, including 'Screen Plays: Theatre Plays on British Television' (University of Westminster) and 'Harold Pinter: Histories and Legacies' (University of Reading).
John Wyver is Professor of the Arts on Screen at the University of Westminster. He is also Director, Screen Productions at the Royal Shakespeare Company and a writer and producer with the independent media company Illuminations.Screen plays is the first collection to explore the rich and often surprising history of theatre plays on British television.
The chapters cover a wide range of intermedial encounters, from a 1930 experimental broadcast of Luigi Pirandello’s The Man with the Flower in his Mouth to the challenges and innovations of lockdown culture. Contributors explore outside broadcasts from theatres, stagings that were transplanted to a television studio or filmed on location and an immense variety of original screen versions of theatre plays. Among the major dramatists discussed are Thomas Middleton, Henrik Ibsen, Samuel Beckett and Harold Pinter. The chapters also engage with the work of Peter Cheeseman’s Victoria Theatre, Granada’s experiment of running a combined theatre and television company, verbatim theatre from Tricycle Theatre and the National Theatre of Scotland and a radical screen version of a drama by West Indian poet Jamal Ali. The reception of Mike Leigh’s Abigail’s Party is analysed, and the works of William Shakespeare provide the focus of an innovative study of the ways in which recent critical editions have engaged with television adaptations.
While previous books on television drama have tended to prioritise original writing for the medium, marginalising stage plays, this ground-breaking collection makes a compelling case for the centrality of the theatre to British television’s past and present.
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