Returning to an old question: What do television actors do when they act?
- Submitting institution
-
The University of Westminster
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 9y53w
- Type
- D - Journal article
- DOI
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10.1177/1749602016662430
- Title of journal
- Critical Studies in Television: The International Journal of Television Studies
- Article number
- -
- First page
- 283
- Volume
- 11
- Issue
- 3
- ISSN
- 1749-6020
- Open access status
- Compliant
- Month of publication
- September
- Year of publication
- 2016
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
1
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This is the first published output from the co-authors’ collaborative research project examining television acting. The project began with £6000 funding from The Humanities Research Centre, University of York, in 2011, enabling an international symposium in 2012, with participants from universities and actor-training institutions like University of Notre Dame, LAMDA and NYU-Tisch School of Arts, along with high-profile television actors like Julie Hesmondhalgh and Siân Phillips. Such participants formed the basis for an advisory panel for subsequent research, spanning academia, actor training and industry.
Hogg and Cantrell’s peer-reviewed article serves as an agenda-setting piece to precede and inform the research methodologies of the co-authors’ subsequent book and edited collection, Acting in British Television (Palgrave Macmillan, 2017) and Exploring Television Acting (Bloomsbury, 2018).
Thematically analysing new interview data from four actors working in British soap opera, the article is a provocation piece for the importance of considering acting processes as well as textual end-products in the study of television acting. Participants were purposively selected based on relevant career experience and availability. The semi-structured interviews combined set questions around training and process with space for discussion of unique individual perspective and experience. This article’s methodology formed the basis for Acting in British Television and Exploring Television Acting.
Through its method and interpretation, the article delivers new insights on the creative process of television acting, and indicates the necessity of scholarly focus on this dimension of practice alongside textual end-products. Moreover, the article’s foregrounding of primary actor interview data stresses its significance beyond scholarship, in actor training pedagogies and in the television industry more broadly, evidenced by the involvement of the advisory panel indicated above.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
