Book contents
- Frontmatter
- Contents
- Preface
- Diagrams and tables
- Abbreviations
- Part A Opiate of the people: the television industry
- Part B Massage parlour: development and funding of a project
- Part C Riding the tiger: management of the production
- Chapter 12 Commencement of pre-production
- Chapter 13 Documentation and office systems
- Chapter 14 Crew, equipment and facilities
- Chapter 15 Casting, rehearsal and performance
- Chapter 16 Locations
- Chapter 17 Travel arrangements
- Chapter 18 Drafting the production budget
- Chapter 19 Scheduling the shoot
- Chapter 20 Preparing studio and outside broadcast productions
- Chapter 21 Management of the shoot
- Chapter 22 Management of the production budget
- Chapter 23 Post-production through to delivery
- Part D A nod to the gatekeepers: the environment of television
- Index
- References
Chapter 15 - Casting, rehearsal and performance
Published online by Cambridge University Press: 05 June 2012
- Frontmatter
- Contents
- Preface
- Diagrams and tables
- Abbreviations
- Part A Opiate of the people: the television industry
- Part B Massage parlour: development and funding of a project
- Part C Riding the tiger: management of the production
- Chapter 12 Commencement of pre-production
- Chapter 13 Documentation and office systems
- Chapter 14 Crew, equipment and facilities
- Chapter 15 Casting, rehearsal and performance
- Chapter 16 Locations
- Chapter 17 Travel arrangements
- Chapter 18 Drafting the production budget
- Chapter 19 Scheduling the shoot
- Chapter 20 Preparing studio and outside broadcast productions
- Chapter 21 Management of the shoot
- Chapter 22 Management of the production budget
- Chapter 23 Post-production through to delivery
- Part D A nod to the gatekeepers: the environment of television
- Index
- References
Summary
A key ingredient of television drama and comedy is the cast, the ensemble of actors who will perform for the production, usually from a script. This chapter looks at the process of engaging actors and their preparation for the shoot. The management of cast within a production follows two pathways, which run roughly in parallel: analysis and detailing of cast needs and scheduling by the production office; and selection and hiring of cast for roles in the program, their preparation and rehearsal, and finally their performance on camera.
The interpretation of each character in a program is developed by its actor under the guidance and input of the director, a development that doesn't stop until the program is recorded. Early views about the nature of the character and its role in the narrative and themes of the program are exchanged at casting meetings and may form part of the reason for selecting a particular actor for a particular part. The actor then uses the script to develop their interpretation and understanding of the character, which is developed more fully and translated into actions and modes of dialogue delivery at rehearsal. Finally, there may be finetuning of aspects of presentation of the character in the shooting of a scene. This may even occur between one take and the next, as some mannerism or delivery of a line seems able to be varied to better effect.
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- Information
- The Business of TV Production , pp. 236 - 251Publisher: Cambridge University PressPrint publication year: 2007