Oliver Twist
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PLAYHOUSE SQUARE January 12-17, 2016
For Immediate Release January 2016 PLAYHOUSE SQUARE January 12-17, 2016 Playhouse Square is proud to announce that the U.S. National Tour of ANNIE, now in its second smash year, will play January 12 - 17 at the Connor Palace in Cleveland. Directed by original lyricist and director Martin Charnin for the 19th time, this production of ANNIE is a brand new physical incarnation of the iconic Tony Award®-winning original. ANNIE has a book by Thomas Meehan, music by Charles Strouse and lyrics by Martin Charnin. All three authors received 1977 Tony Awards® for their work. Choreography is by Liza Gennaro, who has incorporated selections from her father Peter Gennaro’s 1977 Tony Award®-winning choreography. The celebrated design team includes scenic design by Tony Award® winner Beowulf Boritt (Act One, The Scottsboro Boys, Rock of Ages), costume design by Costume Designer’s Guild Award winner Suzy Benzinger (Blue Jasmine, Movin’ Out, Miss Saigon), lighting design by Tony Award® winner Ken Billington (Chicago, Annie, White Christmas) and sound design by Tony Award® nominee Peter Hylenski (Rocky, Bullets Over Broadway, Motown). The lovable mutt “Sandy” is once again trained by Tony Award® Honoree William Berloni (Annie, A Christmas Story, Legally Blonde). Musical supervision and additional orchestrations are by Keith Levenson (Annie, She Loves Me, Dreamgirls). Casting is by Joy Dewing CSA, Joy Dewing Casting (Soul Doctor, Wonderland). The tour is produced by TROIKA Entertainment, LLC. The production features a 25 member company: in the title role of Annie is Heidi Gray, an 11- year-old actress from the Augusta, GA area, making her tour debut. -
Charles Dickens' Corruption and Idealization Personified in Oliver Twist
Western Oregon University Digital Commons@WOU Academic Excellence Showcase Proceedings Student Scholarship 2018-06-02 Charles Dickens’ Corruption and Idealization Personified in Oliver Twist Ellie Phillips Western Oregon University, [email protected] Follow this and additional works at: https://digitalcommons.wou.edu/aes Part of the English Language and Literature Commons Recommended Citation Phillips, Ellie, "Charles Dickens’ Corruption and Idealization Personified in Oliver Twist" (2018). Academic Excellence Showcase Proceedings. 150. https://digitalcommons.wou.edu/aes/150 This Article is brought to you for free and open access by the Student Scholarship at Digital Commons@WOU. It has been accepted for inclusion in Academic Excellence Showcase Proceedings by an authorized administrator of Digital Commons@WOU. For more information, please contact [email protected], [email protected], [email protected]. Byrd 1 Ellie Byrd Dr. Lange ENG 218w Charles Dickens’ Corruption and Idealization Personified in Oliver Twist In Charles Dickens’ Oliver Twist, the depictions of corruption and virtue are prevalent throughout most of the novel and take the physical form in the city and the country. Oliver spends much of his time in London among criminals and the impoverished, and here is where Dickens takes the city of London and turns it into a dark and degraded place. Dickens’ London is inherently immoral and serves as a center for the corruption of mind and spirit which is demonstrated through the seedy scenes Dickens paints of London, the people who reside there, and by casting doubt in individuals who otherwise possess a decent moral compass. Furthermore, Dickens’ strict contrast of the country to these scenes further establishes the sinister presence of London. -
Critical-Essay-Assignment-1.Pdf
Pettie Perkins Critical Essay Assignment The Dress and Address of the Female Characters in the Novel Oliver Twist English 333 Critical Theory Prof. L Buchholz The novel “Oliver Twist” is the subject of my analysis and was written by Charles Dickens. The women in the novel and how their manner of dress and address associates them with their societal class and status. Dickens portrays the women in this novel as not only symbols of how he views the society, but how he views the government at that time. The patriarchal society views of the women and how their dress and address placed them into particular roles and status classes and there was an actual place in society for women who wanted to uphold the Victorian societal social structure for domesticity. First we must define a few terms: upper-class, middle class, the working class, woman, and lady. The Victorian society was divided in to nobility upper class, middle class and the working class. The upper class were the Aristocrats, Dukes and other families working in the Victorian courts. The Upper Class were privileged with power, position, and better living conditions. The Upper Class designation was usually inherited from a royal bloodline. The Middle class consisted of shopkeepers, businessmen, bankers, doctors, merchants, clerks and etc. They, the Middle Class, “worked with letters and figures and wore morning coats, stiff white collars and top hats.” (Picard) The Working class were those that worked with their hands or worked for others. There were the poor who were under the working class who working in workhouses or became household workers for others. -
THE PICKWICK PAPERS Required Reading for the Dickens Universe
THE PICKWICK PAPERS Required reading for the Dickens Universe, 2007: * Auden, W. H. "Dingley Dell and the Fleet." The Dyer's Hand and Other Essays. New York: Random House, 1962. 407-28. * Marcus, Steven. "The Blest Dawn." Dickens: From Pickwick to Dombey. New York: Basic Books, 1965. 13-53. * Patten, Robert L. Introduction. The Pickwick Papers. Harmondsworth: Penguin, 1972. 11-30. * Feltes, N. N. "The Moment of Pickwick, or the Production of a Commodity Text." Literature and History: A Journal for the Humanities 10 (1984): 203-217. Rpt. in Modes of Production of Victorian Novels. Chicago: University of Chicago Press, 1986. * Chittick, Kathryn. "The qualifications of a novelist: Pickwick Papers and Oliver Twist." Dickens and the 1830s. Cambridge: Cambridge UP, 1990. 61-91. Recommended, but not required, reading: Marcus, Steven."Language into Structure: Pickwick Revisited," Daedalus 101 (1972): 183-202. Plus the sections on The Pickwick Papers in the following works: John Bowen. Other Dickens : Pickwick to Chuzzlewit. Oxford, U.K.; New York: Oxford UP, 2000. Grossman, Jonathan H. The Art of Alibi: English Law Courts and the Novel. Baltimore: Johns Hopkins UP, 2002. Woloch, Alex. The One vs. The Many: Minor Characters and the Space of the Protagonist in the Novel. Princeton: Princeton UP, 2003. 1 SELECTED BIBLIOGRAPHY Compiled by Hillary Trivett May, 1991 Updated by Jessica Staheli May, 2007 For a comprehensive bibliography of criticism before 1990, consult: Engel, Elliot. Pickwick Papers: An Annotated Bibliography. New York: Garland Publishing Inc., 1990. CRITICISM Auden, W. H. "Dingley Dell and the Fleet." The Dyer's Hand and Other Essays. New York: Random House, 1962. -
Navigating Brechtian Tradition and Satirical Comedy Through Hope's Eyes in Urinetown: the Musical Katherine B
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2016 "Can We Do A Happy Musical Next Time?": Navigating Brechtian Tradition and Satirical Comedy Through Hope's Eyes in Urinetown: The Musical Katherine B. Marcus Reker Scripps College Recommended Citation Marcus Reker, Katherine B., ""Can We Do A Happy Musical Next Time?": Navigating Brechtian Tradition and Satirical Comedy Through Hope's Eyes in Urinetown: The usicalM " (2016). Scripps Senior Theses. Paper 876. http://scholarship.claremont.edu/scripps_theses/876 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. “CAN WE DO A HAPPY MUSICAL NEXT TIME?”: NAVIGATING BRECHTIAN TRADITION AND SATIRICAL COMEDY THROUGH HOPE’S EYES IN URINETOWN: THE MUSICAL BY KATHERINE MARCUS REKER “Nothing is more revolting than when an actor pretends not to notice that he has left the level of plain speech and started to sing.” – Bertolt Brecht SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS GIOVANNI ORTEGA ARTHUR HOROWITZ THOMAS LEABHART RONNIE BROSTERMAN APRIL 22, 2016 II ACKNOWLEDGEMENTS This thesis would not be possible without the support of the entire Faculty, Staff, and Community of the Pomona College Department of Theatre and Dance. Thank you to Art, Sherry, Betty, Janet, Gio, Tom, Carolyn, and Joyce for teaching and supporting me throughout this process and my time at Scripps College. Thank you, Art, for convincing me to minor and eventually major in this beautiful subject after taking my first theatre class with you my second year here. -
Audience Insights Table of Contents
GOODSPEED MUSICALS AUDIENCE INSIGHTS TABLE OF CONTENTS JUNE 29 - SEPT 8, 2018 THE GOODSPEED Production History.................................................................................................................................................................................3 Synopsis.......................................................................................................................................................................................................4 Characters......................................................................................................................................................................................................5 Meet the Writer........................................................................................................................................................................................6 Meet the Creative Team.......................................................................................................................................................................7 Director's Vision......................................................................................................................................................................................8 The Kids Company of Oliver!............................................................................................................................................................10 Dickens and the Poor..........................................................................................................................................................................11 -
Fiction Excerpt: from Oliver Twist by Charles Dickens
Fiction Excerpt: From Oliver Twist by Charles Dickens Oliver Twist was the second novel written by Charles Dickens. It was first published as a serial, with new chapters printed monthly in the magazine Bentley’s Miscellany over the course of two years (1837–1839). The novel tells the story of an orphan named Oliver Twist, who was born in a workhouse and later escaped to join a gang of thieves. This excerpt takes place during Oliver’s time in the workhouse. The room in which the boys were fed, was a large stone hall, with a copper [a large, heated copper pot] at one end: out of which the master, dressed in an apron for the purpose, and assisted by one or two women, ladled the gruel [a watery cereal like very thin oatmeal] at mealtimes. Of this festive composition each boy had one porringer [small bowl], and no more—except on occasions of great public rejoicing, when he had two ounces and a quarter of bread besides. The bowls never wanted washing. The boys polished them with their spoons till they shone again; and when they had performed this operation (which never took very long, the spoons being nearly as large as the bowls), they would sit staring at the copper, with such eager eyes, as if they could have devoured the very bricks of which it was composed; employing themselves, meanwhile, in sucking their fingers most assiduously [diligently], with the view of catching up any stray splashes of gruel that might have been cast thereon. Boys have generally excellent appetites. -
Oliver Twist
APPENDIX B Summary of Charles Dickens’s Oliver Twist In a parish workhouse, a nameless young woman dies after giving birth. Her son, Oliver Twist—as named by the beadle, Mr. Bumble—is sent to a separate branch of the workhouse with other orphaned infants and raised by the monstrous Mrs. Mann. Oliver miraculously survives the horrors of the “baby farm,” and, on his ninth birthday, is transferred to the central workhouse. After three months of slow starvation, the boys draw lots to see who will ask for more gruel; Oliver draws the long straw and carries out this unenviable task. Bumble and the board of directors severely punish Oliver and plan to turn him out of the workhouse. After a failed attempt to apprentice him to a brutal chimney sweep, Bumble eventually manages to unload Oliver on Mr. Sowerberry, the undertaker. On top of his depressing new trade, Oliver must deal with the bullying of his fel- low apprentice, Noah Claypole. Oliver finally fights back against Noah when his rival taunts him about his deceased mother. This second “rebellion” earns Oliver a stern rebuke from Bumble and a brutal beating from Sowerberry. Consumed by the misery of his life, Oliver decides to run away, though he first returns to the baby farm to bid goodbye to his friend, Dick. Oliver barely survives the seventy-five mile walk to London. On arriving at Barnett, he encounters a strangely attired cockney boy who introduces himself as Jack Dawkins (though he goes by the name of the Artful Dodger). The Dodger invites Oliver to come and lodge with a respectable old gentleman, and he conducts a wary Oliver through the slums of London to a dilapidated flat. -
The Matchmaker Study Guide
The Matchmaker Study Guide The Matchmaker by Thornton Wilder The following sections of this BookRags Literature Study Guide is offprint from Gale's For Students Series: Presenting Analysis, Context, and Criticism on Commonly Studied Works: Introduction, Author Biography, Plot Summary, Characters, Themes, Style, Historical Context, Critical Overview, Criticism and Critical Essays, Media Adaptations, Topics for Further Study, Compare & Contrast, What Do I Read Next?, For Further Study, and Sources. (c)1998-2002; (c)2002 by Gale. Gale is an imprint of The Gale Group, Inc., a division of Thomson Learning, Inc. Gale and Design and Thomson Learning are trademarks used herein under license. The following sections, if they exist, are offprint from Beacham's Encyclopedia of Popular Fiction: "Social Concerns", "Thematic Overview", "Techniques", "Literary Precedents", "Key Questions", "Related Titles", "Adaptations", "Related Web Sites". (c)1994-2005, by Walton Beacham. The following sections, if they exist, are offprint from Beacham's Guide to Literature for Young Adults: "About the Author", "Overview", "Setting", "Literary Qualities", "Social Sensitivity", "Topics for Discussion", "Ideas for Reports and Papers". (c)1994-2005, by Walton Beacham. All other sections in this Literature Study Guide are owned and copyrighted by BookRags, Inc. Contents The Matchmaker Study Guide ..................................................................................................... 1 Contents ..................................................................................................................................... -
Domestic Violence in Nineteenth-Century British Fiction Lynn Renee Wingert Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 2007 Battered, bruised, and abused women: domestic violence in nineteenth-century British fiction Lynn Renee Wingert Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the English Language and Literature Commons Recommended Citation Wingert, Lynn Renee, "Battered, bruised, and abused women: domestic violence in nineteenth-century British fiction" (2007). Retrospective Theses and Dissertations. 14667. https://lib.dr.iastate.edu/rtd/14667 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Battered, bruised, and abused women: domestic violence in nineteenth-century British fiction by Lynn Renee Wingert A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF ARTS Major: English (Literature) Program of Study Committee: Kathy Hickok, Major Professor Linda Shenk Amy Bix Iowa State University Ames, Iowa 2007 Copyright © Lynn Renee Wingert, 2007. All rights reserved. UMI Number: 1447519 Copyright 2007 by Wingert, Lynn Renee All rights reserved. UMI Microform 1447519 Copyright 2008 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 ii TABLE OF CONTENTS Introduction 1 Chapter 1. -
Oliver Twist
Oliver Twist Scene One – The Workhouse (Narrator stands in front of the closed stage curtain, lit by a spotlight.) Narrator: Through no fault of his own, Oliver Twist finds himself being cared for by an elderly woman three miles from where he once lived. He spends his days with 20 or 30 other children, who are lying on the floor with their stomachs rumbling. On his ninth birthday, Oliver is pale, thin, short and in need of a wash. Nevertheless, Oliver is in good spirits. Unexpectedly, Mr Bumble – the man who had given Oliver his name – visits the workhouse. As Oliver has now turned nine years old, Mr Bumble explains to Mrs Mann that he is too old to stay in her care. He says that Oliver must return to the workhouse and takes him to begin yet another new life. (Curtains open as Narrator exits to stage right. Five workhouse orphans, including Oliver, walk across the stage towards stage left. They are holding empty bowls in front of them. At stage left, the boys join the back of the queue that has formed in front of two women and The Master. These people wear aprons and ladle gruel into each boy’s bowl.) Boy 1: (holding his stomach) I’m so hungry. If I don’t have an extra spoonful of gruel today, I’m scared that I might end up eating the boy who sleeps next to me! Boy 2: (quietly) One of us should say something. We should ask for more food. Boy 3 and Boy 4: (together) Not me! (All characters move forward one place in the queue. -
“Bill Sikes' Murder of Nancy Is the Most Horrible Crime in the Novel.” To
“Bill Sikes’ murder of Nancy is the most horrible crime in the novel.” To what extent do you agree with this view? • Spend 20 mins planning your response • Consider: Your clear argument, quotes to support, writer’s methods, writer’s intention and context Student Response • On the next slide is a student response. For each AO, write their strengths and next steps. An examiner’s commentary is on the slide after but don’t look at that until you have attempted it yourself. • AO1- SPAG, terminology and argument • AO2- Writer’s methods • AO3- Context • AO4- Understanding of crime writing genre • AO5- Sense of debate Oliver Twist Dickens presents criminals as products of their society.’ To what extent do you agree with this view? Remember to include in your answer relevant detailed exploration of Dickens’ authorial methods. In some ways the criminals in the novel could be seen as products of society especially the likes of Nancy who is murdered and Fagin who is hanged. On the other hand, some people might argue that they are not products because they choose this life for themselves and many of them do really terrible things like Sikes who kills Nancy and Fagin who uses the boys. In this essay, I am going to look at both points of view. Firstly, it could be argued that Nancy is a victim, and therefore a product of her society, as like a lot of individuals who live at the bottom rung of society, the only way in which she is able to survive is by turning to criminal or immoral activity - in her case prostitution and involvement with more hardened criminals such as Sikes and Fagin.