By Alan Bennett
A suite of 4 Alan Bennett performs, with an creation through the writer which describes the heritage to their writing and function.
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Additional resources for Alan Bennett Plays 1: Forty Years On, Getting On, Habeas Corpus and Enjoy
With a heightened use of mime and an enlarged pictorial acting method’. ) There was another relatively new style of acting marked by the heavy use of elaborate pictorial gestures which appeared in this same period. Although it was sometimes practised in conjunction with spectacular forms of staging, it also flourished independently of such productions and emerged in response to issues beyond the simple need to compete with stage pyrotechnics. I am referring here to the art of the late Victorian and Edwardian character actor.
62 It is clear that in the 1910s the attempt to define a national school of acting was a process of very conspicuous struggle and contradiction, with certain discursively privileged ideals about national behavioural characteristics colliding with irreconcilable entertainment preferences amongst national audiences. 63 The host of theatrical stars who moonlighted as film actors could not, in their sheer collective diversity of reputations and styles, provide a consensual standard on this issue.
The films under discussion here should be seen as the product of various renegotiations of the spaces and categories through which culture had been traditionally consumed and hierarchically stratified—a process through which the cinema established itself as a uniquely powerful mass medium in this era. Formatting This book investigates the importance of imported theatrical actors for the British film industry in the 1910s by offering a series of case studies of key films and contextual developments which address, in slightly varying degrees, four basic questions: (1) What kind of stage performers and performance styles were foregrounded in these films?