By Rebecca Eaton, Patricia Mulcahy
The Emmy Award-winning manufacturer of PBS's Masterpiece Theatre and secret! unearths the secrets and techniques to Downton Abbey, Sherlock, and its different hit programs
For greater than twenty-five years and counting, Rebecca Eaton has presided over PBS's Masterpiece Theatre, the longest operating weekly major time drama sequence in American background. From the runaway hits
Upstairs, Downstairs and The Buccaneers, to the highly renowned Inspector Morse, best Suspect, and Poirot, Masterpiece Theatre and its sibling sequence secret! were required viewing for fanatics of caliber drama.
Eaton interviews the various writers, administrators, manufacturers, and different participants and stocks own anecdotes—including images considering her personal camera—about her decades-spanning occupation. She finds what went on backstage in the course of such triumphs as Cranford and the a number of, highly-rated courses made up of Jane Austen's novels, in addition to her competitive crusade to draw more youthful audience through social media and on-line streaming. alongside the best way she stocks tales approximately actors and different luminaries akin to Alistair Cooke, Maggie Smith, Diana Rigg, Benedict Cumberbatch and Daniel Radcliffe, whose first television function was once because the name personality in David Copperfield.
Readers also will get to understand Eaton on a private point. With a youth steeped in theater, an affinity for 19th century novels and tradition, and an "accidental apprenticeship" with the BBC, Eaton was once essentially born to steer the Masterpiece and secret! franchises. Making Masterpiece marks the 1st time the motive force at the back of the iconic flagship exhibit finds all.
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Additional info for Making Masterpiece: 25 Years Behind the Scenes at Masterpiece Theatre and Mystery! on PBS
Commentators have frequently judged referential or expressive theories of a musical "language" as inferior or misguided. Contemporary critics and musicologists see instrumental music as the telos of all music, and non-representational aesthetics as the welcome replacement for outmoded mimetic paradigms for the arts. While this position undoubtedly reveals what aesthetic theory has come to expect from music, it also forces our reading of eighteenth-century discourse on music. Upon closer inspection, it is possible to argue that eighteenth-century conceptions of music do not always abide by the polemical categories and historical narratives invented by Romantic and post-Romantic theorists in order to stake a claim for their aesthetics of detachment from meaning or from ideology.
73 Together with a growing confidence in the possibility of a science of music, the interest music theorists paid to rhetoric through the mid eighteenth century suggests that they hoped to join social grace with virtue through the consistency of musical representation and its effects. Although many theorists had given up on neo-classical mimesis by the end of the century, the effects of music on the emotions and its possible political and civic uses were still of the utmost concern. From this standpoint, music could continue to be useful in the formation of communities and consensus however indeterminate its emotional content, and perhaps precisely because of this indeterminacy.
Although seventeenth-century "musicology" borrowed heavily from Descartes' model, it did not necessarily endorse the metaphysics to which Descartes subscribed in its entirety. In particular, music theorists tended to de-emphasize the possible adverse effects of the passions and the desirability of detachment from the body. While Les Passions de I'ame was principally concerned with establishing a metaphysics of passion - and a system for the understanding and management of that passion - music theorists retained Descartes' categories, seeking to specify the correlation between musical sounds and the passions.