Tuesday, March 20, 2012

Aa poetic adaptation

Debbie Tucker Green, of their game in youth violence and offers airtime to express innovative

Channel 4 dramas

originals may be an exception: Any Human Heart, This is England, The Promise. But in recent months we have had the brilliant import Camelot (no discounts), the sirens of comedy and drama ... eh ... I forgot something?

So Random is interesting for rarity value alone. But unlike expensive masterpieces, this is a low-budget affair adapted from a play of one man, created in the Royal Court. With a joint commission from Channel 4 and Film4 Drama, writer Debbie Tucker Green has adapted and directed herself, with the original actor, Nadine Marshall in the lead role.

As the drama plays

good television is always a challenge. Stars like Ian McKellen (Lear), Patrick Stewart (Macbeth) and David Tennant (Hamlet) Shakespeare productions have been included in joint study. Sky Arts has raised the performance of Chekhov. Ambitious of the BBC TV adaptation in 2008 Zinc Bed by David Hare Wed, with Uma Thurman was even accused of being theatrical. Adaptation randomly demanded particularly inventive.

Marshall took the stage in the voices of more than 10 characters, after a day in the life of a British black family, plunged into chaos by a "random" tragedy. Adaptation intersects Marshall alone in a bare studio with localization sequences with other actors. The dialogue is minimal. The story is told through the interwoven streams of consciousness, almost like a series of pieces Alan Bennett. We hear his thoughts during the action sequences, like a serious version of Peep Show.

It has almost become a popular belief among media commentators as the greatest drama of television comes from the United States these days, and without big budgets and long-running HBO, much of our traditional theater has vacillated between the tired formulas and tricks shallow. Robert Wulff-Cochrane, who ordered random drama for Channel 4, insists that our best work is greatly admired the United States, but he and Butler see random as part of a large and steady process that uses the theater as a recruiting ground for the original and aesthetic innovation.

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