Stage lighting is focused on specific parts of the stage at specific moments, and the performer must be sure to be on his or her "mark" or "spike" or they may not be well lit.
Books on Film Directors and Film Makers
Blocking also ensures that the stage picture gives the proper focus to the proper places, and that transitions occur smoothly. This becomes even more crucial as modern stage technology allows for ever more elaborate special effects. When Twentieth Century Fox introduced wide-screen CinemaScope format, the head of production Darryl Zanuck repeatedly reminded his directors to take full advantage of the screen width by staging action all the way across the frame - in his words, 'keep the people spread out'.
He wanted the audience to experience the full width of the new screen shape. The 'washing line' staging demanded by Zanuck not only was a commercial imperative, it also was a practical solution for the lack of color film sensitivity as well for inability to employ deep staging.
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THEATRE AND FILM
Retrieved January 31, Categories : Stagecraft. Plays were purchased from successful runs on Broadway and adapted into films. Actors were discovered in Off-Broadway plays and quickly became stars, As I write this book, it seems the worm is turning: Work initiated in film is adapted for the stage.
Actors known entirely for their film work are appearing for the first time on the boards and even directors, some of whom began in the theatre, are either returning to the fold or trying on the experience of directing theatre for the first time. And this is all happening with varying degrees of success or failure.
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The first and most obvious of these is the question of size. It is that in theatre, the presence of a proscenium, or whatever separates the live audience from the actors, demands a certain level of projection. It is not only necessary to be seen and to project the actions and activities clearly, the actors must also be heard and understood in the upper reaches of the balcony.
But the quick wink of an eye, so telling on the screen, might be lost to an audience of more than 25 in a theatre environment. What seemed so right in the protected intimacy of the rehearsal hall suddenly leaps from the screen seeming pushed or indicated.
What happens is that the actor goes into performance mode in front of the camera and reflexively projects in the manner customary to the theatrical experience. Without realizing the effect that this seemingly slight change might have on the balance between actors, the choice of actions, and so on, the team presses blithely on.
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