FRAMING THE STAGE: NEW MODES OF ENGAGEMENT IN THE FILMED THEATRE PHENOMENON

Abstract

The filmed theatre phenomenon has established itself as part of our cultural milieu in recent times. However, academic discourse has not yet extended to the combination of film techniques with theatrical staging, and its resulting effects. Existing literature tend to focus only on the adaptation of theatre to film and vice versa. There is little to no discussion about how filmed theatre is a unique artistic expression that generates new meanings from the hybridisation of both mediums. Hence, this paper aims to introduce the filmed theatre phenomenon to academia. In attempting to replicate the theatre experience, filmed theatre has instead created a distinct art form with its own limitations and challenges. Focusing on musical theatre, this paper will analyse the way in which film style, such as cinematography and editing, can overcome the disjunctions between the two mediums, and present the audience with a new way of engaging with the theatrical world. Additionally, the use of technology has made theatre more accessible to a wider audience. This, combined with a fresh viewing perspective, contributes to the continuing prevalence of the phenomenon. Examples to be analysed include: Victor/Victoria (1995), The Phantom of the Opera at the Royal Albert Hall (2011), Love Never Dies (2012), and NBC’s The Sound of Music Live! (2013). On a smaller scale, scenes from Oklahoma! (1999) and Into the Woods (2010) will also be examined. After which, we can conclude that filming a theatrical production either reinforces it, or moves it in a completely different direction. And, as the filmed theatre phenomenon is a relatively new area of study, further research is required for a more in depth understanding about its development, effects, and continuing proliferation.