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‘Sunday Night Theatre: The Hotel in Amsterdam’ (ITV/ ATV 1971): In conversation with Anthony Page and Nicholas Wright at BFI Southbank.

The second ‘Television’s Forgotten Dramas’ season at BFI Southbank was launched on 2 February 2017 with a screening of John Osborne’s The Hotel in Amsterdam, followed by a discussion about the play, John Osborne, and forgotten television drama more generally, with Anthony Page (the play’s original director, of both stage and TV versions) and playwright … Continue reading

‘Forgotten Television Dramas 2’ at BFI Southbank: ‘Sunday Night Theatre: The Hotel in Amsterdam’ (ATV/ ITV, 1971)

  Our second ‘Forgotten Television Dramas’ season launches at 6.00 this evening with a screening of John Osborne’s ‘The Hotel in Amsterdam’, unseen since 1971. A full article about this play (and a later 2004 BBC production) can be found on our blog here. The screening will be followed by a discussion with the play’s … Continue reading

‘Forgotten Dramas 2: Rediscovering British Television’s Neglected Plays’ Season at BFI Southbank: February 2017

We are pleased to be able to announce details of the second ‘Forgotten Dramas: Rediscovering British Television’s Neglected Plays’ season, held at BFI Southbank this February, curated by Lez Cooke, John Hill and Billy Smart as a part of the AHRC-funded ‘History of Forgotten Television Drama in the UK’ project at Royal Holloway College, University … Continue reading

Glance, gesture and inference in Hunters Walk (ITV/ATV 1973-76): Acting for multi-camera popular drama in the 1970s

Today’s post considers the specific nature of performance in multi-camera studio television drama of the 1970s, through textual analysis and production context of Hunters Walk (ITV/ATV 1973-76), a now-forgotten ITV police series that was popular in its day.

Two television reconfigurations of John Osborne: The Hotel in Amsterdam (ATV/ITV, 1971 and BBC4, 2004)

This post suggests how changing approaches to making television drama have emphasised different aspects of John Osborne’s dramaturgy, and the particular strengths of multi-camera, ‘as live’ studio production in establishing and evoking a play’s inner meaning.

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