Book contents
- Frontmatter
- Sarah Siddons, theatre voices and recorded memory
- Playing with Shakespeare’s play: Branagh’s Love’s Labour’s Lost
- Bottom and the gramophone: Media, class and comedy in Michael Hoffman’s A Midsummer Night's Dream
- Maurice Evans’s Richard II on Stage, Television and (Almost) Film
- Richard II on the Screen
- ‘Where Lies Your Text?’: Twelfth Night in American Sign Language Translation
- ‘This uncivil and unjust extent against thy peace’: Tim supple’s Twelfth Night, or what violence will
- ‘There’s no such thing’: nothing and nakedness in Polanski’s Macbeth
- Ghosts and mirrors: the gaze in film Hamlets
- ‘Ben, it’s a terrible thing to hate your mother’: mind control in Hamlet and The Manchurian Candidate
- Channelling the ghosts: the Wooster Group’s remediation of the 1964 Electronovision Hamlet
- Listening to Prospero’s Books
- Lend Me Your Ears: Sampling BBC Radio Shakespeare
- An Age of Kings and The ‘Normal American’
- Shakespeare and British Television
- A Local Habitation and a Name: Television and Shakespeare
- Paying attention in Shakespeare parody: from Tom Stoppard to YouTube
- Madagascan will: cinematic Shakespeares / transnational exchanges
- Still life? Anthropocentrism and the fly in Titus Andronicus and Volpone
- Riddling q1: Hamlet’s mill and the trickster
- ‘Speak, that I may see thee’: Shakespeare characters and common words
- Who do the people love?
- A Partial Theory of Original Practice
- Shakespeare Performances in England, 2007
- Professional Shakespeare productions in the British Isles, January–December 2006
- The Year's Contributions to Shakespearian Study 1 Critical studies
- 2 Shakespeare in performance
- 3a Editions and textual studies
- 3b Editions and textual studies: The RSC Complete Works
- Index to Volume 61
Shakespeare and British Television
Published online by Cambridge University Press: 28 November 2008
- Frontmatter
- Sarah Siddons, theatre voices and recorded memory
- Playing with Shakespeare’s play: Branagh’s Love’s Labour’s Lost
- Bottom and the gramophone: Media, class and comedy in Michael Hoffman’s A Midsummer Night's Dream
- Maurice Evans’s Richard II on Stage, Television and (Almost) Film
- Richard II on the Screen
- ‘Where Lies Your Text?’: Twelfth Night in American Sign Language Translation
- ‘This uncivil and unjust extent against thy peace’: Tim supple’s Twelfth Night, or what violence will
- ‘There’s no such thing’: nothing and nakedness in Polanski’s Macbeth
- Ghosts and mirrors: the gaze in film Hamlets
- ‘Ben, it’s a terrible thing to hate your mother’: mind control in Hamlet and The Manchurian Candidate
- Channelling the ghosts: the Wooster Group’s remediation of the 1964 Electronovision Hamlet
- Listening to Prospero’s Books
- Lend Me Your Ears: Sampling BBC Radio Shakespeare
- An Age of Kings and The ‘Normal American’
- Shakespeare and British Television
- A Local Habitation and a Name: Television and Shakespeare
- Paying attention in Shakespeare parody: from Tom Stoppard to YouTube
- Madagascan will: cinematic Shakespeares / transnational exchanges
- Still life? Anthropocentrism and the fly in Titus Andronicus and Volpone
- Riddling q1: Hamlet’s mill and the trickster
- ‘Speak, that I may see thee’: Shakespeare characters and common words
- Who do the people love?
- A Partial Theory of Original Practice
- Shakespeare Performances in England, 2007
- Professional Shakespeare productions in the British Isles, January–December 2006
- The Year's Contributions to Shakespearian Study 1 Critical studies
- 2 Shakespeare in performance
- 3a Editions and textual studies
- 3b Editions and textual studies: The RSC Complete Works
- Index to Volume 61
Summary
‘Cultural values refer to our whole living, and not to a grace note on the margin’
Raymond Williams, CommunicationsINNOVATION AND OPTIMISM
1936–1950
Shakespeare and British television were close companions from the beginning. On 26 August 1936, The Times (London), under the heading 'First Television Broadcast', reported on a demonstration at Radio Olympia where the first experimental transmissions could be seen. Two programmes, lasting approximately ninety minutes, were transmitted daily from Alexandra Palace by the Baird system. At 12.49 and 5.19 visitors could see film excerpts, and among the films selected was Paul Czinner's As You Like It (1936). Elisabeth Bergner's name was mentioned as the selling point, Shakespeare's, the BBC's and Olivier's were not. Five months later on 5 February 1937 the first Shakespeare lines were spoken live on BBC television by Margaretta Scott (Rosalind) and Ion Swinley (Orlando) in Scenes From Shakespeare's 'As You Like It' (3.2) lasting eleven minutes.
Scenes from Shakespeare were transmitted monthly throughout television's first year of broadcasting. Shown in the mid afternoon, they employed actors and actresses well known from the stage, Michael Redgrave as Romeo, Celia Johnson as Desdemona. The scenes appear to have had no linking narration, audiences being expected to derive pleasure with no explanation of plot or setting, the BBC perhaps assuming that audiences would be familiar with the text, or if they were not then presenting famous passages from the greatest dramatist needed no apology or explanation, or perhaps they simply didn’t think of their small audiences very much at all.
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- Shakespeare Survey , pp. 199 - 212Publisher: Cambridge University PressPrint publication year: 2008
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