Titlebook: Dramatic Dickens; Carol Hanbery MacKay (Professor of English) Book 1989 Palgrave Macmillan, a division of Macmillan Publishers Limited 198

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,Dickens’s Theatre of Self-Knowledge,ce’s presence. But he also returned with fascination to the metaphor of the theatre as a special forum for revealing secrets about himself and his past. He posited an image of the theatre as a space set apart from the turmoil and consequences of the ordinary world, in which ‘a(chǎn)ctual truth’ could be p

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Pecksniff and Pratfalls,m literary critics. Ebenezer Scrooge has long been the best friend of every advertising agent who appreciates how Dickens taught people to celebrate Christmas in the proper commercial spirit: buy the biggest and the best and do not waste time attending church when you could be more profitably employ

Pruritus

The Initiation of David Copperfield the Younger: A Ritual Passage in Three Acts,onal of all liminal rites, the rites which contrive to transform boy into man through the symbol and artifice of dramatic action, are nowhere more clearly drawn than in Dickens’s famous account of the London-to-Dover trek of the young David Copperfield. In the boy’s passage from the captivity of a c

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agglomerate

,‘The Mimic Life of the Theatre’: The 1838 Adaptation of ,ill help to suggest some of the reasons why this is so, however little consensus exists concerning the theatrical merits of the 1838 version of . In 1838 George Almar adapted and produced a version of the text which was, according to A. Nicholas Vardac, performed in both London and New York. Almar’s

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, as ‘Poor Theatre’: Dickens through Grotowski,y Polish director, Jerzy Grotowski.. A little while before we opened our adaptation, I asked the cast if they thought, as I had begun to fear, that the audience might have trouble following our adaptation. ‘Only,’ one of them cheerfully answered, ‘only if they’ve read the novel.’ Readers of Dickens’

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Thackeray and Dickens on the Boards,, Dickens wrote to his friend and future biographer John Forster.. Dickens is known to have been involved with the stage as early as his twentieth year. So too did Thackeray write at the age of twenty during his . in Weimar to Frau von Goethe: The theatre is all my rage. … I intend to try my hand at

Noisome

,The ‘Sensation Scene’ in Charles Dickens and Dion Boucicault,en years with his novelistic version of the sensation scene. Both artists found the scene’s vigorous action and spectacular effects ideal for their dramatic styles and thematic concerns. And both Dickens and Boucicault increasingly sophisticated the sensation scene. Dickens eventually used it to cre