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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. [1] In internal industry usage, however, all television scripts (including episodes of ongoing drama or comedy series) are teleplays, although a "teleplay by" credit may be classified into a "written by" credit depending on the circumstances of its creation. [2]
The term first surfaced during the 1950s, as television was gaining cultural significance, to distinguish teleplays from stage plays written for theater and screenplays written for films. All three have different formats, conventions, and constraints.
According to current Writers Guild of America guidelines, a television script consists of two distinct parts: "story" and "teleplay". The story comprises "basic narrative, idea, theme or outline indicating character development and action", while the teleplay consists of "individual scenes and full dialogue or monologue (including narration in connection therewith), and camera set-ups, if required". [2] Simply put, the script distinguishes the contribution of ideas toward the story from the actual writing of the dialogue and stage directions present on the page in the finished product.
Accordingly, story and teleplay will appear as distinct credits on a television script if different people played those roles in the script's creation; if the same person or people performed both roles equally (unless they also worked on the concept with one or more people not directly involved in writing the script or developing the story concept), then the story and teleplay credits will not be used and instead a merged "written by" credit will be given. [2] However, a "written by" credit may be given to at most only three people; if more than three people were involved, then the credits must distinguish those who were "story" contributors from those who were "teleplay" contributors. [2]
The format is structured like a traditional screenplay, but it varies with what type of television show the script is written for. It distinguishes interchangeably between a sitcom and a drama series with how the production of the two takes place. Two types of productions being the multi-camera or a single-camera teleplay.
Shows that use multi-camera teleplays are typically filmed in front of a live studio audience. Guidelines for these scripts include making all dialogue double-spaced, stage directions being printed in all-caps, and making all the scenes numbered on the top of each page. Unlike in film screenplays where one page can translate to one minute, a page on a teleplay translates to 30 seconds of screen time. [3] Other guidelines include starting each new scene on a new page, as well as making sure each scene includes a list of characters who will appear in a particular scene. [4] Sitcoms are traditionally filmed using a multi-camera setup.
The format of single-camera scripts are written in a "cinematic-style" [4] similar to a film screenplay. The format is written with the dialogue single-spaced, and the stage directions printed in lowercase. But, like Multi-Camera Teleplays, there are act breaks that start a new scene in the next page. [4]
The length or run-time of a show varies for what type of production the script is writing for. Usually, a teleplay can run for 22 minutes or 45 minutes with extra time due to commercials. [5]
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. [6]
Notable examples:
Script may refer to:
A screenplay, or script, is a written work produced for a film, television show, or video game by screenwriters. A screenplay written for television is also known as a teleplay. Screenplays can be original works or adaptations from existing pieces of writing. A screenplay is a form of narration in which the movements, actions, expressions and dialogue of the characters are described in a certain format. Visual or cinematographic cues may be given, as well as scene descriptions and scene changes.
Screenwriting or scriptwriting is the art and craft of writing scripts for mass media such as feature films, television productions or video games. It is often a freelance profession.
The Writers Guild of America (WGA) credit system for motion pictures and television programs covers all works under the jurisdiction of the Writers Guild of America, East (WGAE) and the Writers Guild of America, West (WGAW). The WGA, originally the Screen Writers Guild, has since 1941 been the final arbiter of who receives credit for writing a theatrical, television or new media motion picture written under its jurisdiction.
Playhouse 90 is an American television anthology drama series that aired on CBS from 1956 to 1960 for a total of 133 episodes. The show was produced at CBS Television City in Los Angeles, California. Since live anthology drama series of the mid-1950s usually were hour-long shows, the title highlighted the network's intention to present something unusual: a weekly series of hour-and-a-half-long dramas rather than 60-minute plays.
Television crew positions are derived from those of film crew, but with several differences.
In filmmaking, television production and video production, the single-camera setup or single-camera mode of production is a method in which all of the various shots and camera angles are taken using the same camera.
Jay Presson Allen was an American screenwriter, playwright, and novelist. Known for her withering wit and sometimes off-color wisecracks, she was one of the few women making a living as a screenwriter at a time when women were a rarity in the profession.
A scriptment is a written work by a movie or television screenwriter that combines elements of a script and treatment, especially the dialogue elements, which are formatted the same as in a screenplay. It is a more elaborate document than a standard draft treatment. Some films have been shot using only a scriptment.
Brideshead Revisited is a 1981 British television serial starring Jeremy Irons and Anthony Andrews. It was produced by Granada Television for broadcast by the ITV network. Significant elements of it were directed by Michael Lindsay-Hogg, who handled the initial phases of the production, before Charles Sturridge carried on with the series. The first episode is credited to both men equally.
Anthony David Morphett was an Australian screenwriter, who created or co-created many Australian television series, including Dynasty, Certain Women, Sky Trackers, Blue Heelers, Water Rats, Above the Law and Rain Shadow. Morphett wrote eight novels, and wrote or co-wrote seven feature films, ten telemovies, twelve mini-series, and hundreds of episodes of television drama, as well as devising or co-devising seven TV series. He won 14 industry awards for TV screenwriting.
JamesPinckney Miller was an American writer whose pen name was "JP Miller". He was a leading playwright during the Golden Age of Television, receiving three Emmy nominations. A novelist and screenwriter, he was best known for Days of Wine and Roses, directed by John Frankenheimer for Playhouse 90 (1958) and later the 1962 film of the same name directed by Blake Edwards.
"Days of Wine and Roses" was a 1958 American teleplay by JP Miller which dramatized the problems of alcoholism. John Frankenheimer directed the cast headed by Cliff Robertson, Piper Laurie and Charles Bickford.
Ernest Kinoy was an American writer, screenwriter and playwright.
Paul Monash was an American television and film producer and screenwriter.
Alvin Boretz was an American writer for stage, screen, radio, and television. With an estimated one thousand dramatic scripts to his credit, Boretz contributed to the Golden Age of Television, leaving an enduring legacy that continues to influence contemporary storytelling in the entertainment industry.
Michael Golamco is an American playwright and screenwriter for film and television. He is of Filipino and Chinese American descent.
Rajat Arora is an Indian screenwriter known for his work in the Indian film and television industry. He has been active in the industry for over two decades and has written for various successful films across multiple genres.
"A Town Has Turned to Dust" is an American television play broadcast live on June 19, 1958, as part of the second season of the CBS television series Playhouse 90. Rod Serling wrote the teleplay, and John Frankenheimer directed. Rod Steiger and William Shatner starred.
James P. Cavanagh was an American television writer. He wrote numerous episodes for Alfred Hitchcock Presents and won a Primetime Emmy in 1957 for his teleplay Fog Closing In. Cavanagh wrote the first script for the 1960 film Psycho. Though the script was rejected by Hitchcock it contained many similarities with the final version, written by Joseph Stefano.