ABC report from 1963-64

 ABC Report 1963-64

Link is here
 

P 5-6
At this point it is apposite to mention that of approximately 212 plays produced live in Australia for television since 1956, some 185-including 48 by Australian authors-emanated from the Commission's studios, whilst of the 31 live studio operas produced, all were A.B.C. productions; of about 95 ballets, not less than 90 were produced by the A.B.C. The A.B.C. has also produced, or is producing, important serials comprising 51 half-hour episodes, all of whirls were written by Australian authors and feature Australian casts. In addition, some hundreds of short plays and serials for children have been presented live in the A.B.C. Children's Hour.

The standard of A.B.C. productions can be gouged by the fact that a number of our plays and other major programmes have been televised for viewers by major networks in the United Kingdom, the U.S.A. and Canada.

These facts provide a partial answer to criticism that the Commission has failed to do enough for the encouragement in television of Australian productions. We have, however, noted many matters raised by the Senate Select Committee's Report on this subject. We shall continue to study this Report, both in general and in detail, at subsequent meetings and to pay particular attention to those  parts wInds have a bearing upon the programming responsibilities of a national broadcasting and television system.

There are many difficulties inherent in the situation. The background of radio experience within our organisation is wider and deeper than in television. In radio, with little difficulty and no Inst of standards, the Commission continues the policy of incorporating as much as possible of Australian origin with Australian artists. in television, it is still building the background of experience and technique, largely because this medium comprehends additional arts and talents. 

The revival of the film industry in Australia is not properly the function of the Commission, though it can play a part. There are special difficulties involved in the necessity for overseas sales if the industry is to be placed on a sound financial footing. Even in the narrower field of television proper the improvement of standards will depend upon more time and money isriag spent to this end.  Continuity of employment of authors and producers is an essential prerequisite if all are to be able to give of their best as a teams. Th is could only be at the best on a relatively short-term basis, for no entrepreneur can commit himself to talent permanently. A closer association between live theatre authorities, repertory companies and the Australian Elizabethan Theatre Trust might help to produce a solutions.

There calmer, however, be any direct transfer from the medium of radio and legitimate theatre to the special medium of television. Writers, actors, producers must all be trained, and as far as possible trained together. Probably at this stage we need to spend more time and money in this direction. The standard of Australian production will improve in direct relationship to the training and finance we put into it.

For this reason the Commission has taken a first and necessary step by deciding to set up a training school for its staff. The exact form which th is will take can only be worked our as the school takes, shape. Existing training schemes ss'irlun the organisation are in the main concerned svirlr imparting basic techniques. There is need for something more, in the nature of an experimental workshop on the one hand, and on the other, a course for more senior officers from the many different departments of the organisation. This should develop a greater integration by cross-fertilisation of ideas, and thus help to develop a clearer philosophy governing programme policy and an in-service training winch will refresh and invigorate those ss'iro take part in it. It is planned to start this training school early in 1965.


P 13
Television engaged an increasing number of Australian actors and production of an average of one play a fortnight was maintained. Each play lasted an hour or longer and the greater number was produced in Sydney or Melbourne. The plays included Shakespeare's The Tempest, winds had been set for study in the schools. Special publicity brought the broadcast to the attention of teach ers and students. 

Authors of TV plays included a number of Australians, as well as such overseas writers as Aldous Huxley, Robert Bolt, Jean Anouilh and Luigi I'irandells. Choice of the A.B.C's 1964 television serial represented a change of policy. After four ,annual serials set in the colonial days of Australia,
it was decided to produce a modern story of a lighter type, set in an Australian city. It was titled The Purple Jacaranda. 

Overseas drama shown on television included Ibsen's Hcdda Gabler starring Ingrid Bergman, Sir Ralph Richardson, Sir Michael Redgrave and Trevor Howard, and the 0.0Cr The Spread of
the Eagle, Shakespeare's threes Roman plays— Coriohanas, Julius Caesar and Antony and Clen-1aatra—wistch were presented as a nine-part series.

This year was part of the push back against Australian drama shot in Australia.