Similarities and Differences (Critical Survey of Drama, Second Revised Edition)
Live drama is an ancient art form with thousands of years of recorded history and ongoing cultural vitality. Cinema is a much newer art form, with a history dating back only to approximately 1895 but having a mass appeal that has pushed live theater into a secondary position in all but a handful of urban locations.
As art forms, theater and cinema have important likenesses and intriguing differences. First, both are primarily story-based art forms. Second, both live drama and cinema depend primarily on performers and performance to communicate the story to the audience. A stage play or a screenplay can be read like a novel, but only speaking, gesturing human actors can give the story its full, intended realization. Third, both drama and cinema share certain common supporting features. These include sets, props, costumes, and all the other elements that make up mise en scène; music and other sound effects; and a play script in which the primary thrust of the story is articulated through human speech or “dialogue.” Even in the silent era, films relied heavily on human speech that was understood through contextual intuition; a combination of gesture, facial expression, and lip reading; and inserts of printed, projected text.
Despite—or, perhaps, because of—these many likenesses, much has been written about the differences between the two media. For instance, in cinema circles, the terms “talky” and “stagey” are negative adjectives that imply the film has not liberated itself from its stage-bound origins. In the world of motion pictures, “cinematic” is the primary form of praise, implying that the film makes use of the advantages (camera angles, editing,...
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The Beginnings (Critical Survey of Drama, Second Revised Edition)
Historically, the art of narrative cinema is intertwined with its great historical precursor, the live theater. The nature of this relationship has long been a contentious issue in film criticism and theory. Secure in the cinema’s current dominance as the premiere source of performed story art, film theorists tend to stress the cinema’s uniqueness and its independence from stage-bound limitations. However, filmmakers were not always so eager to stress such differences, and in the early days of movies often tried explicitly—and successfully—to appropriate the success of the live theater.
Although human speech is the core of stage drama, cinema, an almost silent medium for its first three decades, began from the start to incorporate elements of stage practice and personnel into the filmed product. During these years, vaudeville sketches and theatrical excerpts were routinely filmed and exhibited in cinema theaters and nickelodeons. A parallel development led to full-length stage plays appearing on screen in condensed versions. William Shakespeare was a favorite for such treatment, in part because the stories were well known and the written texts accessible. Additionally, as the silent film moved into its mature phase (1910-1927), the desire to put full-length plays on screen helped producers like Adolf Zuckor and Daniel Frohman and their Famous Players Film Company to break the industry’s own self-imposed one- or two-reel (fifteen- to thirty-minute) limit on theatrical films. Thus the full-length stage play helped give rise to the full-length feature film.
Among the famous stage plays that found their way to the silent screen were Sir James Barrie’s Peter Pan: Or, The Boy Who Wouldn’t Grow Up (pr. 1904; film 1924), Owen Wister and Kirk La Shelle’s stage adaptation of Wister’s popular novel The Virginian (1902; film 1914), Oscar Wilde’s Lady Windermere’s Fan (pr. 1892; film 1925), and Eugene O’Neill’s Anna Christie (pr. 1921; film 1923), later pronounced by O’Neill as one of his two favorite screen adaptations of his own work.
The Early Sound Era (Critical Survey of Drama, Second Revised Edition)
Throughout the silent-film era, inventors were working to produce systems that would allow sound (particularly dialogue) to be recorded for synchronized reproduction with the film. This development came to fruition with the nearly simultaneous development of Vitaphone, Phonofilm, and Movietone. Vitaphone was the first to make it to the screen, in the Warner Bros. adaptation of Samson Raphaelson’s stage hit The Jazz Singer (pr. 1925; film 1927).
Though sound now seems like an obvious asset to the film industry, it met with initial resistance from the major studios, who were reluctant to pay for the new equipment, and from some filmmakers, who feared sound would turn cinema into mere filmed theater. The believers were smaller commercial studios such as Warner Bros. and Fox which correctly predicted that synchronized sound would give them a competitive edge against the established major studios such as Paramount.
The immediate popularity of the new sound film also created an even more favorable market for scripts that had already proven themselves on the stage. John C. Tibbetts and James M. Welsh estimate that at least 28 percent of feature films released between 1928 and 1930 were based on stage plays.
The standard-bearer was Eugene O’Neill . Anna Christie was remade for sound to serve as Greta Garbo’s talking debut in the role of Anna. The film stayed faithful to the stage play, with a minimal effort to...
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The 1950’s and 1960’s (Critical Survey of Drama, Second Revised Edition)
Despite the impressive list of plays that achieved both artistic and commercial success during the 1930’s and 1940’s, it would appear that the greatest era of this crossover activity came during the 1950’s and early 1960’s. Not only did a new generation of important writers of drama and comedy emerge on Broadway, but also that unique and distinctive New York invention, the Broadway musical, came fully into its own, both on the stage and in expensive, lavishly staged, star-studded, full-color Hollywood versions.
The main creative engine of the Broadway-to-Hollywood movement of nonmusical stage plays was undoubtedly Tennessee Williams . Among his stage works that came to the screen during this period were The Glass Menagerie (pr. 1944; film 1950), A Streetcar Named Desire (pr. 1947; film 1951), The Rose Tattoo (pr. 1951; film 1955), Cat on a Hot Tin Roof (pr. 1955; film 1958), Suddenly Last Summer (pr. 1958; film 1959), Sweet Bird of Youth (pr. 1959; film 1962), and The Night of the Iguana (pr. 1961; film 1964). With these seven theater-to-film plays, Williams stretched the American filmgoer’s imagination in the dark areas of desire, passion, loneliness, and forbidden sex. The censors were able to soften the details of Williams’s themes, but there was no way to hide them completely.
The plays of William Inge also made impressive transitions from stage to screen. These...
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After the 1960’s (Critical Survey of Drama, Second Revised Edition)
After 1969, mounting such spectacular shows and moving them to Hollywood seemed to grow more difficult. Bob Fosse became a force with Sweet Charity (1966; film 1969) and Cabaret (pr. 1966; film 1972), but the most creative single individual working on Broadway, Stephen Sondheim, seemed all but ignored by Hollywood (his A Little Night Music of 1973 was filmed for release in 1977 by a European production group). “New age” stage hits such as Hair (pr. 1968; film 1979), Godspell (pr. 1971; film 1973), and Jesus Christ Superstar (1971; film 1973) had bumpy roads to the screen. With a pair of notable exceptions—Grease (1972; film 1978) and A Chorus Line (1975; film 1985)—the great age of Broadway musical adaptation ended with the 1960’s.
More in the traditional mode has been the work of Neil Simon, one of the very few stage playwrights whose work—like that of O’Neill, Hellman, Williams, and Inge before him—almost always brings a guaranteed audience with it. From Barefoot in the Park (pr. 1963; film 1967) to Lost in Yonkers (pr. 1991; film 1993), Simon has written stage comedies that Hollywood loves to screen, top stars love to act in, and audiences line up to see.
The younger generation of playwrights has produced some challenging plays that have been made into interesting, often critically and commercially successful films, but most have not sustained a cinema connection by playwriting alone. Those who have forged careers in stage and screen have done so in the manner of David Mamet and Aaron Sorkin, by becoming screenwriters, producers, and directors of their own work and that of others. In the case of Sorkin, television has beckoned, and Sorkin has responded with the popular and critically successful television program The West Wing (1999).
Shakespeare on Screen (Critical Survey of Drama, Second Revised Edition)
With the evident slippage of relationship between the stage playwright and the silver screen, it is noteworthy that one playwright who remains current is one of the classics, William Shakespeare, whose plays came to the screen in no fewer than one dozen theatrical screen releases since 1990 alone. Shakespearean screen production has a long and distinguished place in the history of the relationship between drama and cinema.
The filming of Shakespearean texts (not contemporary language adaptations) reframes the argument over whether the image should be more important than the word in filmmaking. The image remains primary, but such is the power and prestige of Shakespeare’s poetic speech that it goes a long way to...
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Legacy of the Stage (Critical Survey of Drama, Second Revised Edition)
The complexities of the relationship between cinema and drama resist comfortable generalizations. As much as cinéastes may assert the independence of the cinema from the stage, there can be no doubt that historically the early filmmakers were dependent on the theater both for performing talent in all genres and for story material that brought with it strong conflicts, human dimensions, engaging stories, and storytelling techniques, and rich resources of character and character development. Scholarship in silent film shows this was as true before the coming of sound as it certainly was afterward. Experience has shown that the simple filming of a great play rarely makes a great movie. Experience makes it equally evident that a great...
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Bibliography (Critical Survey of Drama, Second Revised Edition)
Brady, Ben. Principles of Adaptation for Film and Television. Austin: University of Texas Press, 1998. A veteran television producer and screenwriter, Brady provides a vivid how-to book concerning all aspects of the adaptation process, from evaluating the potential of a written narrative, to character and dialogue development, to understanding “camera language.”
Buhler, Stephen M. Shakespeare in the Cinema. Albany: State University of New York Press, 2001. Examines the history of Shakespearean film adaptations, with chapter titles that include “Shakespeare and the Screen Idol,” “Ocular Proof: Three Versions of...
(The entire section is 271 words.)