Teleplay
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| + | A '''teleplay''' is a [[screenplay]] or script used in the production of a scripted television program or series. In general usage, the term is most commonly seen in reference to a standalone production, such as a [[television film]], a [[television play]] or an episode of an [[anthology series]]; in internal industry usage, however, all television scripts (including episodes of ongoing drama or comedy series) are teleplays, although a "teleplay" credit may be subsumed into a "written by" credit depending on the circumstances of its creation. | ||
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| + | ==History== | ||
| + | On the hour-long TV anthology drama shows of the [[Golden Age of Television]], such as ''[[The United States Steel Hour]]'', ''[[Goodyear Television Playhouse|The Goodyear Television Playhouse]]'', ''[[The Philco Television Playhouse]]'', ''[[The Alcoa Hour]]'', ''[[Armstrong Circle Theatre]]'', and ''[[Studio One (U.S. TV series)|Studio One]]'', productions often were [[Broadcasting|telecast]] live from studios with limited [[Theatrical scenery|scenery]] and other constraints similar to theatrical presentations. These constraints made a teleplay quite different from a screenplay. | ||
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| + | However, television dramatists, such as [[Paddy Chayefsky]], [[JP Miller]] and [[Tad Mosel]], turned such limitations to their advantage by writing television plays with intimate situations and family conflicts characterized by naturalistic, [[slice of life]] dialogue. When seen live, such productions had a real-time quality not found in films (shot out of sequence), yet they employed tight close-ups, low-key acting and other elements not found in stage productions. For many viewers, this was equivalent to seeing live theater in their living rooms, an effect enhanced when television plays expanded from 60-minute time slots to a 90-minute series with the introduction of ''[[Playhouse 90]]'' in the late 1950s. | ||
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| + | Notable examples: | ||
| + | * ''[[The Comedian (1957 TV drama)|The Comedian]]'' (1957) | ||
| + | * ''[[Days of Wine and Roses (1958 TV drama)|Days of Wine and Roses]]'' (1958) | ||
| + | * ''[[Playhouse 90]]'' (1956-1960) | ||
| - | '''Harlan Jay Ellison''' (May 27, 1934 – June 28, 2018) was an [[American writer]], known for his prolific and influential work in [[New Wave science fiction|New Wave]] [[speculative fiction]], | ||
| - | published works include more than 1,700 short stories, [[novellas]], [[screenplays]], comic book scripts, [[teleplay]]s, essays, a wide range of criticism covering literature, film, television, and print media. Some of his best-known work includes the ''[[Star Trek: The Original Series|Star Trek]]'' episode "[[The City on the Edge of Forever]]", [[A Boy and His Dog|''A Boy and His Dog'']], "[[I Have No Mouth, and I Must Scream]]", and "[["Repent, Harlequin!" Said the Ticktockman|'Repent, Harlequin!' Said the Ticktockman]]", and as editor and [[anthologist]] for ''[[Dangerous Visions]]'' (1967) and ''[[Again, Dangerous Visions]]'' (1972). Ellison won numerous awards, including multiple [[Hugo Award|Hugos]], [[Nebula Award|Nebulas]], and [[Edgar Awards|Edgars]]. | ||
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Revision as of 13:51, 1 July 2018
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A teleplay is a screenplay or script used in the production of a scripted television program or series. In general usage, the term is most commonly seen in reference to a standalone production, such as a television film, a television play or an episode of an anthology series; in internal industry usage, however, all television scripts (including episodes of ongoing drama or comedy series) are teleplays, although a "teleplay" credit may be subsumed into a "written by" credit depending on the circumstances of its creation.
History
On the hour-long TV anthology drama shows of the Golden Age of Television, such as The United States Steel Hour, The Goodyear Television Playhouse, The Philco Television Playhouse, The Alcoa Hour, Armstrong Circle Theatre, and Studio One, productions often were telecast live from studios with limited scenery and other constraints similar to theatrical presentations. These constraints made a teleplay quite different from a screenplay.
However, television dramatists, such as Paddy Chayefsky, JP Miller and Tad Mosel, turned such limitations to their advantage by writing television plays with intimate situations and family conflicts characterized by naturalistic, slice of life dialogue. When seen live, such productions had a real-time quality not found in films (shot out of sequence), yet they employed tight close-ups, low-key acting and other elements not found in stage productions. For many viewers, this was equivalent to seeing live theater in their living rooms, an effect enhanced when television plays expanded from 60-minute time slots to a 90-minute series with the introduction of Playhouse 90 in the late 1950s.
Notable examples:
- The Comedian (1957)
- Days of Wine and Roses (1958)
- Playhouse 90 (1956-1960)
