TABLE OF CONTENT
TABLE OF CONTENTS
PURPOSE OF WORK
SCOPE OF LIMITATION
DEFINITION OF TERMS
THE BASIC CONCEPT OF TELEVISION AND LIVE STAGE
2.1 LIVE STAGE THEATRE ON STAGE AND THE SOCIETY
2.2 LIVE STAGE PRODUCTION AS OPINION MOULDER IN THE SOCIETY
The work is structurally divided into five chapters, the last of which is the conclusion.
In chapter one which actually is the introductory chapter, we shall be taking a look at Definition of terms and the Basic concepts of Television and Live stage.
Chapter two takes an in-dept look at live stage and live stage productions as opinion moulder in the society.
Chapter three is Television and film productions as opinion moulder and propaganda tool in the society.
Chapter four discuss (comparative analysis) comparatively stage actors and television actors, influence and advantages of live stage productions and television/firm production and how television programme constitute a nuisance to live stage performance.
In chapter five, the writer shall be drawing conclusion after reviewing the problems and prospects of this two medium, which will be followed by the Bibliography.
It is a fact that the most challenging function of every artist (actor) is the ability to communicate with his audience. This could be done through acting on stage and television. Most actors believe that their only means of reaching their audience is through the electronic media (television) while others in their varies opinion see acting on stage as the best way their audience can share their experiences with them and the only way they can decipher the actual message in the playwright’s theme.
No actor in this case could lay claim to having satisfactorily reached the audience until he is being able to perfectly acquire both experiences, artistically, observably, moist non-professionals had commonly considered dramatic films and production.
This misconception has arisen in course of both employment of actors, directors, designers and writers whose scripts are routinely transferred from one medium to another.
Ironically film screenings in the view of Brain Hansen in Theatre the Dynamics of the Art presented:
To the audience in special buildings called theatres, television and films
Both can record live theatre productions for showing at some future time, the acting style in television and film programs had to distinguish from the stage
However, since both dal with individuals who portray not their original roles but something close to their individual self it is often difficult to distinguish.
1.1 DEFINITION OF TERMS
1.2 THE CONCEPT OF TEVISION AND LIFE STAGE
1.1 DEFINITION OF TERMS
For a proper understanding of this essay, efforts shall be made at defining those terms that will be used frequently. The terms are Television, Theatre, stage, Acting and production.
Television, also called TV is one of our most important means of communication.
According to Clarence Robert and Barn Huts in the World Book Dictionary the world television is:
From a medley of the Greek word tele (Meaning far off) and vision.
(Roberts and Huts 1971:15).
Thus, television means to sec far. Experiment leading to the invention of television began in the 1800’’s but progress was slow.
Television as we know it today was not developed until the 1920s and had little importance with communication until the late 1940s when it began locally over the air broadcasting using electromagnetic waves to send programs. In the view of John Fiske and John Hartley in Reading Television it is:
Episodic, specific, concrete and dramatic in mode and visual media.
(Fiske and Hartley 1984:15).
Television does not only bring to our viewers moving pictures, but stands out as a source informer and entertainer to its audience. The camera is observed as the most essential tool in the television production process since it focusses on the objects, which become an optical image when reproduced by the lens. Most actors who act for the revision appear to be artificial on their outlook since they do not portray their reals selves.
The word ‘’theatre’’ is a derivation of the Greek word THEATRON. The word that had earlier described only the architectural structure selected to house dramatic offerings, although it could sometimes accommodate other presentation. The term theatre is observed to have been vividly known in the 17th century. Theatre is observed to have been vividly known in the 17th century. Theatre in this vein according to John Yesibo is:
The art as a whole of which the building tend to be only a part, since it is one of the performing arts which the public. Views as a basic nature of man’s expressive means. (Yesibo 1999:20)
This could be the rationale behind its idea in Nigerian culture to have begun with the Greek. The understanding of theatre depends on its geographical, political and sociological influence it has on the society. Commenting on this the Theatre: An introduction observes that:
The theatre is the most objective of the arts, since characteristically it presents both center and inner experience through speech and action. (Brockett 1996:3).
Elizabeth burns in Theatricality: A Study of Conventions of Theatre and Social Life sociologically see theatre as:
An arena in which it is possible to study manifestation of the social and also the images of social reality which people of different kinds and at different times have constructed for themselves (Burns 1972:5).
Essentially certain features are expected to be seen in an environment that is regarded as a theatre. These are:
What is performed: script, scenario?The performers: This is inclusive of all the process involved from the preparation to it’s final presentation.The Venue: Theatre, town hall, market square etc.The Audience: the receiver of the theatrical message.
Notably, for any theatrical performance to take prominence there must be an idea of possibly set of ideas written in script form. An individual later addressed as the playwright may have conceived this written out words. In most cases, scenario could lead to a performance. For any theatrical performance to manifest the script must have the privilege of being performed in order to know its worthiness.
This idea appears to be Barclays Ayakoroma’s stance in his lecture notes on Theatre management when he posits that:
The script is the primary raw material and the departure point of any production. (Ayakoroma 1998:25). Theatre again like many other form of art such as sculpture and painting is a collaborative art that cannot be individualized or performed in isolation.
1.1.3 LIVE STAGE
This is not raised platform above the auditorium floor as people conventially conceive of it in the opinion of Effiong Johnson in play production process a stage is that place where a performance takes place (Johnson 20001:54). A stage in this vein could be wherever is found suitable for locating the drama. It is often regarded as performing venue or space.
Conventionally there are three different types of stages. These are the proscenium, thrust and arena stage. Each of these stages creates a different audience – actor relationship each equally has different facilities and approach towards theatrical productions.
Acting is an extension of our human behaviour. It is the basic medium that shapes and controls the scale of human association and action, with the actor fully in charge of its organization. Since the actor is the theatrical medium, theatre companies or place emphasis on him. According to Columbus Irisoanga in his lecture notes on acting/movement acting is: the ability of seeing through the actor the
Ideas and emotions of the play which are readily communicated and expressed to the audience through the actor’s action. (Irisoanga 2001:7).
Through the magnetism and power of the actor the emotional situations of incidences of the playwright’s inner feelings are felt. The composition of a character is the work of a creation, which assimilates the actor’s craft as an artist.
Production in the view of Effiong Johnson in Play production process is:
The marriage of all theatrical activities by cast and crew members, towards realizing a show (Johnson 2001:35)
It is coming together of all experts in their various fields to give pep to the success of the production. It is the energy of these blended parts into a wholesome piece that is often referred to as production. Production in this sense is the bringing together of the director art, the actors art, the designers art among others in a unified ensemble before an audience.
1.2 THE CONCEPT OF TELEVISION AND LIVE STAGE
The concept of the television is to bring to the viewing public incidences that have been pre-recorded as if they just occurred. Ironically, in the portrayal of this incidence the audience and the actor seldom share the same time and space. Films are mostly shot months or years before the public sees them, in addition they are photographed and edited in places distant from the intended audience who finally watch it on Television.
They are usually shot entirely out of sequence, they develop a plot only in the editing room, and for example, a typical motion picture about imperial Russia may contain exterior scenes in Spain and Bulgaria and interior scenes shot in London. Television in exception of the message, it passes to its audience through the tube does not make provision for an interaction between the audience that the actor who is expected to be the mirror of societal follies.
The film itself, which is transmitted through the television, may not be an excellent work of art, in the view of Brain Hansen in Theatre, the Dynamics of the Art because it:
Forces the audience to deal with it in much the same way once experiences a painting (Hansen 1991:17).
Seen from this perspective film is not performing art at all.
The intension of the stage performance is to bring the audience closer to the stack realities of life. It in most cases enable him have feeling of society problem and make provision for rejuvenation. Theatre fans love immediacy of their art form and the difference between the stage (theatre) and the television (film) is the immediate life presentation of what is happening through the stage. They tend to share the emotion, love problems of the individual through the actor who re-enacts this incidence in their presence.
HANDSEN, Brain (1991) Theatre Dynamic of the arts, New Jersy: Prentice Hall
ROBERT, Clarence and (1971) (ed) the world Book
HUTS, Burns. Dictionary (vol12 Edition) London routledge and Kegan Ltd.
YESIBO, JOHN (1999) Lecture Notes on theatre History CAT 200.1, Creative Arts Department, university of Port Harcourt.
BROCKETT, Oscar (1969) the theatre: An Introduction New York: Holt Rinechart and Winston Inc.
BURNS, ELIZABETH 91972) theatricality: A Study of convention in theatre and Social Life, London Londogman Group.
AYAKOROMA, Barclays (1998) Lectures Notes on Theatre management CAT
307.1 creative Arts Department, Uniport.
JOHNSON, Effiong (2001) Play production processes, Nigerian:
Concept Publication Limited.
IRISOANGA, Columbus (2001) Lecture Notes on Acting/Movement CTA 120.0
Creative Arts Department, Uniport.
Post Views: 9
INSTRUCTIONS AFTER PAYMENT
- 1.Your Full name
- 2. Your Active Email Address
- 3. Your Phone Number
- 4. Amount Paid
- 5. Project Topic
- 6. Location you made payment from