For Jorgens the theatrical mode of filming Shakespeare has ‘the look and feel of a performance worked out for a static theatrical space and a live audience’ (7). Before the first decade of the twenty-first century, attempts to capture this stage performance ‘look and feel’ tended to use the film frame as if it were a theatrical proscenium arch. Captured in medium or long shot using lengthy takes stressing the durational quality of time, the mode’s style came from the style of the performances, which were ‘of a distinctly theatrical cast — more demonstrative, articulate and continuous than actors are usually permitted in films’ (8).
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