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Welles spent the first five months of his RKO contract learning the basics of making films, and trying to get several projects going with no success. Welles then considered adapting Cecil Day-Lewis ' novel The Smiler With The Knife, but realized that this relatively straightforward pulp thriller was unlikely to make much impact for his film debut.

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He concluded that to challenge himself with a new medium, he had to write an original story. Citizen Kane [ edit ] Main article: Citizen Kane As Welles decided on an original screenplay for his first filmhe settled on a treatment he wrote, entitled American. In its first draft, it was only partially based on William Randolph Hearstand also incorporated aspects of other tycoons such as Howard Hughes.

However, American was heavily overlength, and Welles soon realised he would need an experienced co-writer to help redraft it—preferably one with experience of working with tycoons. Inscreenwriter Herman J.

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Mankiewicz was a former Hearst journalist recuperating from a car accident, and was in between jobs. He had originally been hired by Welles to work on The Campbell Playhouse radio program and was available to work on the screenplay for Welles's film.

The writer had only received two screenplay credits between and his work on Citizen Kane and needed the job, his reputation having plummeted after he descended into alcoholism in the late s. In the s and s, there was a dispute amongst historians regarding whose idea it was to use William Randolph Hearst as the basis for Charles Foster Kane.

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For some time, Mankiewicz had wanted to write a screenplay about a public figure, perhaps a gangster, whose story would be told by the people that knew him. Welles claimed it was his idea to write about Hearst, while film critic Pauline Kael in her widely publicised essay " Raising Kane " and Welles's former business partner John Houseman claim that it was Mankiewicz's idea. Kael further claimed that Welles had written nothing of the original script, and did not deserve a co-writer credit.

He additionally concluded that Houseman's claims to have contributed to the script were largely unfounded. Welles liked the idea of multiple viewpoints but was not interested in playing Dillinger.

Mankiewicz and Welles talked about picking someone else to use a model.

Theatre in the round

They hit on the idea of using Hearst as their central character. Mankiewicz had frequented Hearst's parties until his alcoholism got him barred. The writer resented this and became obsessed with Hearst and Marion Davies.

Hearst had great influence and the power to retaliate within Hollywood so Welles had Mankiewicz work on the script outside of the city.

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Because of the writer's drinking problem, Houseman went along to provide assistance and make sure that he stayed focused. Welles also sought inspiration from Howard Hughes and Samuel Insull who built an opera house for his girlfriend. Although Mankiewicz and Houseman got on well with Welles, they incorporated some of his traits into Kane, such as his temper.

Filming took place between June 29, and October 23, in what is now Stage 19 on the Paramount Pictures lot in Hollywood, and came in under schedule. Welles prevented studio executives of RKO from visiting the set.

He understood their desire to control projects and he knew they were expecting him to do an exciting film that would correspond to his "The War of the Worlds" radio broadcast. Welles's RKO contract had given him complete control over the production of the film when he signed on with the studio, something that he never again was allowed to exercise when making motion pictures.

When the film was released, pressure from William Randolph Hearst led to many cinemas refusing to screen it, and it was screened in so few places that RKO made a substantial loss on the film on its original release. As a consequence of this, Welles's RKO contract was renegotiated, and he lost the right to control a film's final cut—something which would have major consequences for his next film, The Magnificent Ambersons.

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The Magnificent Ambersons [ edit ] Main article: The Magnificent Ambersons film Welles's follow-up to Citizen Kane was an adaptation of Booth Tarkington 's novel The Magnificent Ambersonsa childhood favorite of his which he had already adapted for the radio.

It portrayed the decline and fall of a proud Midwestern American family of the 19th century, as the motor car in the 20th century makes them obsolete. Welles's relations with RKO grew strained during the making of this film. His stock had fallen considerably after Kane had commercially flopped. Whereas studio head George Schaefer had given Welles carte blanche over Kane, he closely supervised Ambersons, sensing that his own position was in danger which indeed it was - Schaefer was fired as head of RKO shortly after Ambersons was completed, and a commonly-attributed reason was for his having hired Welles with such a generous contract.

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RKO itself was in serious financial trouble, running a deficit. Welles himself considered his original cut of The Magnificent Ambersons to have been one of his finest films - "it was a much better picture than Kane". It is also employed when theatrical performances are presented in non-traditional spaces such as restaurants, public areas such as fairs or festivals, or street theater. Set design is often minimal in order not to obscure the audience's view of the performance.

History of theatre-in-the-round[ edit ] Theatre-in-the-round was common in ancient theatre, particularly that of Greece and Rome but was not widely explored again until the latter half of the 20th century. In Margo Jones' survey of theatre-in-the-round, [3] the first two sources of central staging in the United States she identified were the productions by Azubah Latham and Milton Smith at Columbia University dating fromand T.

Earl Pardoe's productions at Brigham Young University in InGilmore Brown founded the Fair Oaks Playbox in Pasadena, California, an important early practitioner of central staging in addition to other stage configurations that it pioneered in its advent of flexible staging. Stephen Joseph was the first to populise the form in the United Kingdom from the US in the s and set up theatres-in-the-round in Newcastle-under-Lyme and the Studio Theatre in Scarborough. The current theatre, opened inis known as the Stephen Joseph Theatre.

Joseph was reputed to have once rhetorically asked, "Why must authorities stand with their back to a wall? Gregory sought to create a grammar that would enable actors to maximise the form's potential for connecting with the audience both as individuals and as a collective. All Word and Action productions were performed in normal lighting conditions, without costumes or makeup.

Uses in television and concert halls[ edit ] The innovations of Margo Jones were an obvious influence on Albert McCleery when he created his Cameo Theatre for television in Continuing untilMcCleery offered dramas seen against pure black backgrounds instead of walls of a set. This enabled cameras in the darkness to pick up shots from any position.

Richard Nixon's U. Presidential campaign staged nine live televised question and answer sessions using a ground-breaking theatre-in-the-round format, adapted for a live televised audience. The first time use of the staging device was memorialized in the book, "The Selling of the President " [6] by Joe McGinniss [7]. Ailes' innovation of the theatre-in-the-round format for candidate forums became the blueprint for modern "town hall" candidate formats and even multiple-candidate debates.

Elvis Presley's '68 Comeback Special TV programme was performed with the musicians seated using a raised staging in-the-round format.