Screening the RSC stage: the 2014 Live from Stratford-upon-Avon cinema broadcasts

During the Royal Shakespeare Company's 2014 summer season, both parts of Henry IV and The Two Gentlemen of Verona were presented as Live from Stratford-upon-Avon broadcasts in cinemas around the world. This article presents a case study of these broadcasts, drawing on the author's observations and insights as their producer as well as interview contributions from those involved in both the stage and screen presentations. Recognising that the hybrid form of “live cinema” performance has developed rapidly over the past five years but is as-yet little-documented, the study develops an analytical approach to its creative processes and to its aesthetics. This discussion is combined with a consideration of the history of earlier screen adaptations of RSC productions at Stratford-upon-Avon. The article details the stages of the production process for the Live from Stratford-upon-Avon broadcasts in 2014 and considers the ways in which the broadcast teams collaborate with the casts and creative teams of the theatre productions. In addition, the article explores processes of adaptation in the journey from stage to screen, the poetics of multi-camera presentation and questions of “live-ness”, the social experience of viewing performance in the cinema, and possible developments for live theatre on screen.

A new bulk-driven input stage design for sub 1-volt CMOS op-amps

This paper presents a new design approach for a rail-to-rail bulk-driven input stage using a standard single-well (n-well in this paper) CMOS technology. This input stage can provide nearly constant transconductance and constant slew rate over the entire input common-mode voltage, operating with a wide supply voltage ranging from sub 1-volt (V/sub T0/+ 3V/sub DSsat/) to the maximum allowed for the CMOS process, as well as preventing latch-up.