By Stacy Keach
Stacy Keach is understood for motion picture roles like fats urban and American heritage X and the tv sequence Titus, and naturally Mike Hammer, yet he's additionally respected within the as a significant actor who's obsessed with his craft. In his lengthy, notable occupation, he has been hailed as America's best classical level actor, incomes approval for his portrayals of Hamlet, Macbeth, Richard III, and King Lear. He has labored along and develop into associates with the giants of yank tradition, from Joseph Papp to George C. Scott, from James Earl Jones to Oliver Stone.Keach's memoir starts off with the riveting account of his arrest in London for cocaine ownership. he's taking readers via his trial and his time at examining penitentiary as he battles his drug habit after which fights to restore his profession. Keach poignantly unearths his performing insecurities and dating struggles. All in All is filled with important backstage Hollywood moments and friendships—from his late-night pool and backgammon showdowns with John Huston to his passionate courting with Judy Collins.
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Additional resources for All in All: An Actor's Life On and Off the Stage
Even though genre was used primarily as an organizational device in the book, there is a specific trajectory to the general argument. It claimed to move from the most fundamental and “simple” genre, the situation comedy, to the most complex, “the new shows,” exemplified by programs such as All in the Family, The Waltons, and various British miniseries. ) are inherently limited. Even the turn to All in the Family, M*A*S*H, and other programs sought to claim for them a kind of high-culture propriety, grounded in that other thrust of the book, cultural analysis.
Continuity,” however, should give way to seriality. This is what I attempted to elevate as narrative device in admiration of soap opera and miniseries. In the earlier work the praise was pointed toward “realism,” toward “probability,” and the goal was to place (force, guide) audiences into a more immediate encounter with content. Believing serious treatment of contemporary issues to be somehow diminished by narrative closure (a common assumption among far harsher critics of television than I), I considered continuity a rhetorical strategy of great significance.
Television as a Cultural Force (New York: Praeger, 1976). , Television as a Social Force: New Approaches to TV Criticism (New York: Praeger, 1975). 13. David Thorburn, “Television Melodrama,” in Cater and Adler, Television as a Cultural Force. 14. John Fiske and John Hartley, Reading Television (London: Methuen, 1978). 15. Thomas Schatz, Hollywood Genres: Formulas, Filmmaking, and the Studio System (Philadelphia: Temple University Press, 1981). 16. Stuart Hall, “Encoding/Decoding,” in Culture, Media, Language: Working Papers in Cultural Studies, 1972–79, ed.
All in All: An Actor's Life On and Off the Stage by Stacy Keach