By John Glavin

ISBN-10: 0511003706

ISBN-13: 9780511003707

ISBN-10: 0521633222

ISBN-13: 9780521633222

John Glavin deals either a performative examining of Dickens the novelist and an exploration of the opportunity of adaptive functionality of the novels themselves. via shut research of textual content and context Glavin uncovers a richly ambivalent, frequently by surprise adverse, courting among Dickens and the theater and theatricality of his personal time, and exhibits how Dickens' novels may be visible as a sort of counter functionality. but Glavin additionally explores the performative strength in Dickens' fiction, and describes new how you can level that fiction in emotionally robust, severely acute diversifications.

Show description

Read or Download After Dickens: Reading, Adaptation and Performance PDF

Similar dramas & plays books

Read e-book online Shaw and Joyce: the last word in stolentelling PDF

"May ship a few Joyceans into catatonic denial. . . . Black's certain demonstration of Shaw's presence in Joyce's paintings is so overwhelming that you'll be able to basically ask yourself on the selection of Joyceans to disregard all of it those years.  Her rationalization of Joyce's have to continue his discipleship mystery, partially out of ambivalence yet generally simply because he believed the artist needs to 'father' himself (another concept he stole from Shaw), is completely convincing.

100 (monologues) by Eric Bogosian PDF

"Mr. Bogosian has crossed the road that separates an exhilarating artist from a cultural hero. What Lenny Bruce used to be to the Nineteen Fifties, Bob Dylan to the Sixties, Woody Allen to the 1970s—that's what Eric Bogosian is to this scary second of float. .. i do know of not anyone else like him in popular culture immediately. " - Frank wealthy, long island Times100 (monologues) collects all of Eric Bogosian's monologues, initially played as a part of his six off-Broadway solo exhibits, together with intercourse, medicines, Rock & Roll; Pounding Nails within the ground with my brow; get up and odor the espresso; consuming in the US; Funhouse; males within and decisions from his play speak Radio.

New PDF release: Greek Tragedy

3 masterpieces of classical tragedy Containing Aeschylus's Agamemnon, Sophocles' Oedipus Rex, and Euripides' Medea, this crucial new choice brings the simplest works of the good tragedians jointly in a single ideal introductory quantity. This quantity additionally comprises extracts from Aristophanes' comedy The Frogs and a range from Aristotle's Poetics.

Additional info for After Dickens: Reading, Adaptation and Performance

Sample text

Failing to mark that distinction between telling and saying is what causes the usually keen J. L. Austin to get theatre thoroughly wrong in his famous dismissal of stage-speech as parasitic. He sees the actors speaking to each other on the stage and knows that, in that narrow room, they make nothing happen. But he refuses to see that their speech is actually directed at an audience, and, in so far as they are skilled at what they do, those actors must of course be producing affect. Masters of perlocution, they are stirring, rousing, thrilling, exciting, irritating, angering, appeasing – the list goes on – the audience.

They save themselves, and even others, by the skill with which they make believe. And that mimetic skill is the antithesis of writing. It is not too much to say that Dickens hates writing. His letters make it clear that very shortly after he began his career as a novelist he began to find writing a virtually intolerable burden. And that burden increased beyond toleration as he grew older. I would even claim that his mature life took shape as a flight from writing, a flight, from which he was repeatedly recalled by the necessity to earn his and his increasingly expensive family’s, living.

The successful, in the sense of powerful, adaptation knows – since it is exchanging spaces – that it must in fact change the space, particularly the space of fiction. Theatre takes shape as fiction’s foe. Even with writers far less evasive than Dickens, it is the business of fiction to elude crystallization, to distend, to postpone, to submerge. ⁴ Indeed, as Bert O. States claims, ‘‘part of the liberty of the novel form’’ roots in its ability ‘‘to put perspectives on top of perspectives, to reach out in philosophical, biographical, societal, and most commonly, descriptive directions that lie behind the scene and the action’’ (States : ).

Download PDF sample

After Dickens: Reading, Adaptation and Performance by John Glavin

by Daniel

Rated 4.53 of 5 – based on 11 votes