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Dangerous Affections.

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What's in Name

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Loss

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Barr, T. (1997) Acting for the Camera. New York: Harper Collins Publishers.

Barry, P. (2012) Stage Vs Screen Pt,1 [Online] Available from: http://acting4camera.com/stage-vs-screen-part-one/. [Accessed: 10th May 2019].

Barry, P (2012) Stage Vs Screen Pt, 2 [Online] Available from: http://acting4camera.com/stage-vs-screen-part-two/. [Accessed 10th May 2019].

Bell, C (2013) TV Drama: Stories and Audiences. [Online] Available from: http://www.bfi.org.uk/sites/bfi.org.uk/files/downloads/bfi-media-conference-2013-tv-drama-stories-audiences.pdf. [Accessed: 9th May 2019].

Benedetti, R (2001) Action. United States of America: Pearson Education LTD.

Bradshaw, P. (2000) American Beauty. [Online] Available from: https://www.theguardian.com/film/2000/jan/28/4. [Accessed: 6th May 2019].

Caine, M. (2013) Michael Caine Teaches Acting in Film, [Online] Available from: https://www.youtube.com/watch?v=bZPLVDwEr7Y&t=378s. [Accessed: 9th May 2019].

DeKoven, L (2006) Changing Direction: A Practical Approach to Directing Actors in Film and Theatre. Oxford: Elsevier Inc.

Greenberg, B. S. and Woods, M. G. (1999) ‘The Soaps: Their Sex, Gratifications, and Outcomes’, Journal of Sex Research, [Online] 36(3), pp. 250–257. doi: 10.1080/00224499909551995. [Accessed: 12th May 2019].

Jefferson, R, B. (2014) What is a Screenplay and why is it so important? [Online] Available from: https://www.lawyersrock.com/what-is-screenplay/. [Accessed: 12th May 2019].

Lawson, M (2010) An Acting Masterclass from Sir Michael Caine. [Online] Available from: https://www.bbc.co.uk/programmes/p00b9y79. [Accessed: 21st April 2019].

Mehta, K (2015) The Six Most Famous Acting Techniques. [Online] Available from: https://whistlingwoodsinternational.wordpress.com/2015/03/29/the-six-most-famous-acting-techniques/. [Accessed: 3rd April 2019].

O’Driscoll, K (2016) What’s the Difference Between Stage Acting and Film Acting?  [Online] Available from: https://www.youngactorscamp.com/acting-stage-film.html. [Accessed 11th May 2019].

Timoney, B (2016) Spolin’s Improvisation Technique. [Online] Available from: https://www.briantimoneyacting.co.uk/spolins-improvisation-technique/. [Accessed: 2nd May 2019].

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To summarise Drama performance for TV has been fascinating and despite some minor difficulties the filming has gone well from an actors perspective, its been interesting when researching the differences in stage and TV acting and reading different opinions of these and applying some of the researched techniques into my work such as Caine’s tips and Stanislavski’s methods, and making friends with the camera.  I would consider doing this again should the opportunity arise. I received feedback from each producer after filming and editing and each was very pleasing to read, (Appendix 1) reporting that as an actor I have applied myself and worked both professionally and tirelessly in all areas, that I played the roles effectively adding that they would choose to work with me again, this makes the whole process worthwhile knowing that I’ve helped to create an exacting drama performance as intended by the producers and scriptwriters.

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Once a script is established and shooting for television is to begin, a summary of the acting day is given via a call sheet, this provides details of set locations, wardrobe and makeup estimating how long each individual scene should take before moving to another. This of course will allow for unforeseen circumstances such as bad weather if filming outside or any retakes that may be needed. DeKoven (2006) argues on stage the text in a script is broader and has much more dialogue, in television much more can be communicated visually such as a silence that just shows a still close shot of an actor’s face.

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Twat the Rat.

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Appendix 1:
Benedetti (2001) offers fabulous insight into the differences between acting for a camera and the stage, informing that when an actor performs on stage, they are indeed acting but also interacting with that audience, generating laughs, emotions and feelings right there in the heart of the performance. For the camera that does not give the same reaction, there is no audience, no live reaction. The camera however is visually more critical than a live audience and sees miniscule details almost like its looking inside the actor’s eyes and soul.

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Call sheets were emailed out in April informing the destination and details regarding the shoot for Twat the Rat, I would be playing a female mafia boss, I knew I needed to act hard faced and strong so used a technique of realism by Stanislavski that says Metha (2015) comprises looking into the character and questioning what would I do if this was me, this is known as Stanislavski’s ‘the magic if’. The filming day consisted of myself in a bar allegedly overhearing a tainted conversation between two staff members and leads to Jules ordering the demise of a character. This was a gritty role, one that felt empowering as a woman playing alongside males, a role I enjoyed and surprisingly was filmed from four different angles but needed no retakes due to production team remarking on great characterisation and memorised script. Filming went well and no technical issues were reported.

Loss was by far the largest role for me taking multiple weeks to film, it included some voice over and acting parts that pushed boundaries and challenged me as an actor. This film required me to be semi naked, smoke and kiss a female actor, this is something I had to take a few days to come to terms with. As a professional actor this would be something expected of me. Lawson (2010) reports when he interviewed Michael Caine, ‘the actor is in control’ the audience don’t see you; they see the character you play. This also led me back to Stanislavski’s method of what would I do, the character isn’t me.  Filming was quite sporadic due to the production crew having problems with location changes and a health issue. This however didn’t stop the crew getting the task completed. It just meant waiting a few weeks between shooting scenes. Even skeleton crew meaning longer filming hours didn’t really affect us as the crew made us all feel at ease and welcoming and it was beyond the producers control, he kept us informed at every step and completed his work in a professional manner throughout, the cast helped in whatever way they could to ease filming on the night. The Weather had a part to play in the outside roof scenes that were shot at night, the wind being so strong and loud that multiple shots were required to get the desired effect and no distortion of sound. The kissing scene however went better than anticipated and considering what Caine says in his interview its not you, its acting, this sentiment made the task much easier and the shot was completed in one. Continuity is another big thing says Caine and when filming is days or weeks apart you need to remember, same hairstyle, clothing, jewellery make up and be exact each time. There was no wardrobe department like on a large-scale set, so this was all down to me to remember. I actually felt comfortable being in front of a camera, just me and a film crew, both parties could afford to re-adjust if necessary for different takes, if I felt the lines were not delivered with enough passion or strength id inform the crew who would stop and another shot be taken again to suit. On the stage this isn’t possible, the performance is live and requires you to carry on regardless, with very little room for error, Improvisation techniques can be used on stage if script is deviated from. Timoney (2016) informs us improvisation techniques are the work of Viola Spolin and is the art of being un-prepared. You perform impulsively and surround yourself in the environment.

Dangerous attractions required lots of days filming, however the production crew for this film kept changing dates last minute and not sending out call sheets so I felt out of the loop, the nurse’s scene got cancelled multiple times before actually being shot leading to frustration between all actors and production crew. The scene when called up for filming though did go well with no problems.

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March 2019 the Tv Production team met the performing arts students to enquire who would be interested in auditioning for parts within their short films. at first read through the parts seemed very stereotypical, an older woman to play a mum, a female to play a nurse, an older male to play a priest, we conversed that society today has all genders in multiple job descriptions and would the production team consider adapting such roles to accommodate any age or gender, the response was accepting so I decided to go for multiple roles, ones that I thought may suit and some that I wanted to try to challenge me as an actor and help me develop further. I presumed that maybe one role if any may be offered.
The following week audition times were arranged, and we were requested to read a short paragraph from a script whilst being filmed. The first script was for a very brief film called 'what's in a name?' the producer asked me and a male student to read the script as we would act it, later that day we were offered the roles and accepted. The following day was auditions for the film Loss which saw the lead actor as a male priest, I auditioned for this part as I had been invited by the production team to read as a newsreader and as the priest. Several others also auditioned for this role, the same afternoon saw auditions for ‘Twat the rat’ and ‘Dangerous affections’. Twat the rat was one script that had caught my eye, previously called the devil and the drunk highlighted a mafia type story. many auditioned for both these films and I was offered the role of Jules the mafia boss. In Loss I was shocked and surprised to be offered the role of the priest, Dangerous affections I was offered the small role of a nurse.
After some thought and thinking about when the roles would be scheduled to be filmed, I decided I would accept them all, the larger roles in Loss and Twat the rat being my preference for submitting for exam purposes.

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Caine (2013) gives a masterclass on acting for television and film and states continuity is paramount. Whilst filming a long wide shot for camera, remember what movements you’ve done, Caine demonstrates whilst smoking that the same hand, facial expressions and angles need to be replicated again for the close up shot, if this cant be done the whole wide shot may need to be done from scratch. Caine says a great tip for filming is that its just you and the camera, no one else exists. On stage you have a full audience.

Drama performance for Tv is the title of this module, a drama performance can be anything remarks Bell (2014) from a soap to a documentary drama, science fiction or comedy. These genre of drama performances have been engaging tv audiences for decades due to great storylines and believability of the characters the actors portray, even if the drama is make-believe like Doctor Who. Greenberg & Woods (1999) believe that Drama performances teach the viewing public awareness of many subjects some people class as taboo such as sexual health, miscarriage, grief, loss or explicit or graphic details such as sexual assaults. A drama performance for tv or stage directs a message or a reminder to the audience and can show support in those subjects, actors play the parts with conviction to be believable.

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Scripts say Jefferson (2014) are the blueprints of what makes a television show, film or theatre production, without one is like trying to navigate through wilderness without a compass. Every person within a set film or production has a script to refer to for lines, lighting or sound cues and a reference throughout the process. The script is the schedule for the production or film and determines the timings and budget.

Typically, there are a few terms when depicting what a script is Jefferson (2014) adds, an adapted script is one that is taken from something pre-existing such as a rewrite of an old film or a news story and the most common being taken from books like Harry Potter. A spec script is written usually by an unknown person in advance hoping it will one day be chosen and made into a tv series or film, Bradshaw (2000) declares an example of a spec script is the Oscar winning film American Beauty written by Alan Ball. A standard script concludes Jefferson is pitched to producers and if interested they will develop this, or in some cases a producer will have an idea and ask a well-known script writer to produce a script to fit the ideas.

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Differences in acting in TV & Film and on stage. 

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Differences in acting in TV & Film and on stage. 

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‘The actor’s primary function is to communicate ideas and emotions to an audience’. (Barr,1997.p3) Remembering this will make it simpler to recognise and understand the variances between acting on stage and for the camera. O’Driscoll (2016) shares her view of stage and tv acting saying Stage acting requires more dramatic movements and voice so the whole audience who can be seated a few metres or several feet away can see and hear everything that’s being said, therefore on-stage projection and articulation of both voice and body is paramount. Barry (2012) believes that one key difference between stage and television acting is the volume of voice, stating on stage the voice is normally more projected filling the space of an auditorium or theatre whereas for the camera the voice isn’t always as articulate or volumized. Barry further adds another key difference is believability, quoting the ‘stage boils down to fakery’. Summarising that stage sets look fake to both actor and audience. Having to utilise stage lighting to mimic daylight or night or add sound effects like a car engine or music. In comparison Tv productions or films can be set outside in real time to have the true day or night effect. Benedetti (2006) informs us that Film and television acting are so tough that people overlook that acting for a camera is hard to learn, hard to surpass in and hard to maintain, further adding a live theatre audience is your friend, they overlook small falters in an actors performance, the camera sees all and forgives nothing and is the most arduous audience you will play to. The camera gazes into your soul revealing what is false but equally rewards a genuine role capturing unique work and rare moments of truth and energy that is often an infrequent entity on stage. Benedetti also elaborates on learning scripts and differentiates again by saying on stage your scripts are learned often weeks or months before a performance, in television this isn’t always so, often scripts are changed last minute and side scripts produced, with this in mind an actor can afford to do some memorization of lines right up to the day of filming. In Theatre actors work on given scripts and polish performances up to and including in the dress and tech run and the set for them is much the same, a stage with additional backdrops lighting, sounds and props. In television different set locations are used to film and at different times of day or seasons.