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Natural Pursuits – the Screen Dramas of Simon Gray Television Season at BFI Southbank in August 2011
PRESS RELEASE June 2011 11/49 Natural Pursuits – The Screen Dramas of Simon Gray Television Season at BFI Southbank in August 2011 BFI Southbank celebrates the tragi-comic screen dramas of the late Simon Gray. A writer of immense wit and intellectual charm whose razor-sharp dialogue is unsurpassed. The month long season features some of Gray’s most celebrated work including screenings of Unnatural Pursuits (1992), After Pilkington (1987) and They Never Slept (1991) which feature performances by British acting elite including Alan Bates, Edward Fox and Miranda Richardson. Following the screening of They Never Slept, a panel of guests including producer Kenith Trodd, and directors Udayan Prasad and Christopher Morahan will discuss his great contribution to television drama and the theatre illustrated with clips of some of his early and rare television plays to be chaired by Broadcaster Matthew Sweet. After the screening of Butley on Sunday 14 Aug, Lindsay Posner, director of the 40th anniversary revival of the play currently running at the Duchess Theatre will also be welcomed to the BFI stage for a Q&A. Gray wrote prolifically from the mid-60s onwards for both the West End stage (Otherwise Engaged, Quartermaine’s Terms, The Late Middle Classes, Butley) and for television, where such important early successes such as Death of a Teddy Bear, Man in a Sidecar and The Caramel Crisis were carelessly wiped. His most fertile period writing specifically for TV occurred between 1975 and 1993 during a close collaboration with producer Kenith Trodd and four major directors, Michael Lindsay- Hogg, Christopher Morahan, Udayan Prasad and Pat O’Connor. -
Uni International 300 N
INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
Readings by Charles 'Dickens
Philadelphia ^Bowled Clean Over: Public "Readings by Charles 'Dickens N JANUARY 5, 1868, in Philadelphia, on snow-covered Chest- nut Street, in eighteen-degree cold, fifty people—fortified O with mattresses, blankets, and whiskey—were waiting be- fore midnight at number 1217 for George Dolby to open the Concert Hall box office the next morning at 9:00 A. M.1 As morning neared, the crowd grew. Police arrived to keep order. Charles Leland re- corded: "Great excitement, Dickens' tickets."2 Henry Benners saw "a line, one square long, waiting to procure tickets to T)ickens reading."3 All tickets for the first six readings were sold in four hours, and hundreds of people were turned away.4 On January 31, after announcing the readings of February 13 and 14, Dickens wrote: "All Philadelphia is going to rush at once for tickets. Great excitement is anticipated in the streets."5 He was Philadel- phia's biggest news, under such headlines as "The Dickens Excite- ment," "The Great Novelist in Our Midst," "Another Great Read- Ing," "Brilliant Audience Assembled," and "How the Literary Feast Was Enjoyed" amid "Unbounded Enthusiasm and Loud Applause." The Evening "Telegraph of January 14, watching Phila- delphia run wild, saw the "normally quiet citizens" of the "orderly 1 George Dolby, Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America, 1866-1870 (Philadelphia, 1885), 206-208. 2 Elizabeth R. Pennell, Charles Godfrey Leland: A Biography (Boston, 1906), I, 300. 3 Benners Diary, Jan. 6, 1868, I, 180, Historical Society of Pennsylvania (HSP). -
Letters of Charles Dickens: 1833–1870 Edited by Georgina Hogarth and Mary Dickens Frontmatter More Information
Cambridge University Press 978-1-108-04004-4 - Letters of Charles Dickens: 1833–1870 Edited by Georgina Hogarth and Mary Dickens Frontmatter More information CAMBRIDGE LIBRARY COLLECTION Books of enduring scholarly value Literary Studies This series provides a high-quality selection of early printings of literary works, textual editions, anthologies and literary criticism which are of lasting scholarly interest. Ranging from Old English to Shakespeare to early twentieth-century work from around the world, these books offer a valuable resource for scholars in reception history, textual editing, and literary studies. Letters of Charles Dickens This selection from the letters of Charles Dickens (1812–70) was edited (as it says on the title page) ‘by his sister-in-law and his eldest daughter’. The former was Georgina Hogarth (1827–1917), who stayed in Dickens’ household and cared for the family when the author separated from his wife, her sister, in 1858; the latter was Mary (1838–96), known in the family as Mamie, his favourite child. They had published a three-volume edition in 1880, and a ‘New Edition’ in 1882; this reissue is of the single-volume third edition of 1893. The collection was seen as a ‘supplement’ to Forster’s life of Dickens (also reissued in this series). Inevitably, it focuses on the positive and dynamic sides of Dickens’ complex character, and gives a vivid portrait of a man juggling family life, writing, editing, travelling, amateur theatricals and public readings from his works with tremendous energy and verve. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-04004-4 - Letters of Charles Dickens: 1833–1870 Edited by Georgina Hogarth and Mary Dickens Frontmatter More information Cambridge University Press has long been a pioneer in the reissuing of out-of-print titles from its own backlist, producing digital reprints of books that are still sought after by scholars and students but could not be reprinted economically using traditional technology. -
9781107698215 Index.Pdf
Cambridge University Press 978-1-107-69821-5 - Charles Dickens in Context Edited by Sally Ledger and Holly Furneaux Index More information I n d e x A b o r i g i n e s P r o t e c t i o n S o c i e t y , C i v i l W a r , , A c k r o y d , P e t e r , , , , , – d e m o c r a c y , – , – , a c t o r s a n d a c t i n g , , , – D i c k e n s ’ s v i s i t , , – , , adaptations and appropriations of Dickens’s D i c k e n s ’ s / v i s i t , , , , w o r k s . See fi lm adaptations ; musical p e n a l s y s t e m s , adaptations ; stage adaptations ; p r e s s , television adaptations r e v o l u t i o n o f , A d m i n i s t r a t i v e R e f o r m A s s o c i a t i o n , s l a v e r y , , Adshead, Joseph, t r a v e l o g u e s , – a ff e c t , , , , , , , , American Notes for General Circulation , , , Agnew, Sir Andrew, , , , , , , , , , A i n s w o r t h , W i l l i a m H a r r i s o n , , , – , , , , Anderson, Amanda, , Jack Sheppard , , , , A n d e r s o n , M i c h a e l , , A i t k e n , W i l l i a m , A n d r e w s , M a l c o l m , , A l b e r t , P r i n c e C o n s o r t , , a n i m a t e / i n a n i m a t e , All the Year Round , , , , , , – , , Anthropological Society of London, , , , a n t h r o p o l o g y , , ‘ A b o a r d S h i p ’ , a n t i - C a t h o l i c i s m . -
Principal Sources Consulted
Principal Sources Consulted Archival Harold Pinter Archive, British Library. Add. Ms 88880 (see British Library website: www.bl.uk). Printed Baker, William, Harold Pinter (London: Continuum, 2008). Baker, William and John C. Ross, Harold Pinter: A Bibliographical History (London: British Library and New Castle, DE: Oak Knoll Press, 2005). Baker, William and Stephen Ely Tabachnick, Harold Pinter (Edinburgh: Oliver & Boyd, 1973). Bakewell, Joan, The Centre of the Bed (London: Hodder & Stoughton, 2003). Billington, Michael, Harold Pinter, rev. edn (London: Faber, 2007). —— ‘Pinter, Harold (1930–2008)’, Oxford Dictionary of National Biography, Oxford University Press, Jan 2012, www.oxforddnb.com/view/article/100647. Codron, Michael and Alan Strachan, Putting It On: The West End Theatre of Michael Codron (London: Duckworth Overlook, 2010). Coleman, Terry, Olivier (London: Bloomsbury, 2005). Esslin, Martin, Pinter the Playwright (London: Methuen, 1982). Fay, Stephen, Power Play: The Life and Times of Peter Hall (London: Hodder & Stoughton, 1995). Fraser, Antonia, Must You Go?: My Life with Harold Pinter (London: Weidenfeld & Nicolson, 2010). Gale, Steven H. (ed.), The Films of Harold Pinter (Albany: State University of New York Press, 2001). —— Sharp Cut: Harold Pinter’s Screenplays and the Artistic Process (Lexington: University Press of Kentucky, 2003). Gale, Steven H. and Christopher Hudgins, ‘The Harold Pinter Archives II: A Des- cription of the Filmscript Materials in the Archive in the British Library’, The Pinter Review: Annual Essays 1995 and 1996, ed. Francis Gillen and Steven H. Gale (University of Tampa Press, 1997), 101–42. Gillen, Francis and Steven H. Gale (eds), The Pinter Review: Annual Essays (University of Tampa Press, 1987–2011). -
Butley's Painful Discoveries Are Made Against a Back Ground of Petty University Politics and Unease About Student Dissent
''::.,,'1-r •, . ~., .,, The QuestorsTheatre Company lF-IE QUE5TORS lF-IFATRE COMPANY First performance May 31st 1980 First staged at the Criterion Theatre in 1971, 'Sutley' is a play about a university lecturer, Ben Sutley, who shares his office and his flat with a former star pupil, Joey, now also a teacher. On the day when the play takes place Sutley faces both the ultimate breakdown of his marriage and of his intense friendship with Joey. Butley's painful discoveries are made against a back ground of petty university politics and unease about student dissent. He greets them with a blistering torrent of repartee and rhetoric. 'Sutley ..... could well join that distinguished gallery of human debris represented by Willie Loman, Jimmy Porter and Bill Maitland in post-war drama ...... What is so wondrous about a play so basically defeatist and hurtful is its ability to be funny. The stark, unsentimental approach to the homosexual relationship, the cynical send-up of academic life, the sceptical view of the teacher-pupil associations are all stunningly illuminated by continuous explosions of sardonic, needling, feline, vituperative and civilised lines. Milton Shulman in the 'Evening Standard'. Butley Cast in order of appearance BEN BUTLEY PETER CARISS JOSEPH KEYSTON GRAHAM WILLIAMS MISS HEASMAN SARAH ANDREWS EDNA SHAFT JENNY HICKS ANNE BUTLEY DOROTHY BOYD-TAYLOR REG NUTTAL MIKE LANGRIDGE MR. GARDNER IAN PINKERTON Director EDWARD PITT Designed by BETH CROWLEY Costumes by LINDSAY UDELL THE PLAY IS SET IN 1971 ACT I An office in a College of London University about 10a.m. ACT II The Office as before After Lunch THERE WILL BE AN INTERVAL OF 15 MINUTES BETWEEN ACT I AND ACT II STAGE MANAGER MARTIN UDALL DEPUTY STAGE MANAGER BARBARA SEXON ASSISTANT STAGE MANAGERS SIMON CROMBIE, JULIA ANDREWS, LINDA RIVANS, JANE FENELON, MAGGIE DAVIDSON, ANNA TAYLOR, STAN GLEBOCKI, MELITA WATSON, BRIAN BEEVERS, ALEX CHARLES, STEVE KNIGHT, ROY BRIERLEY, JOHN DAVIS. -
Dickens and the Condition of England | University of Kent
09/25/21 Dickens and the Condition of England | University of Kent Dickens and the Condition of England View Online The following reading list is designed to show the range and scale of writing on Dickens. Material related to the primary texts appears in Part A and a more general bibliography of work on Dickens follows in Part B. 1 Dickens, Charles, Leech, John. A Christmas carol: in prose ; being a ghost story of Christmas. Harmondsworth: : Penguin 1946. 2 Dickens, Charles, Ford, George Harry, Monod, Sylve ̀ re. Bleak house: an authoritative and annotated text, illustrations, a note on the text, genesis and composition, backgrounds, criticism. 1st ed. New York: : Norton 1977. 3 Dickens, Charles, Kaplan, Fred, Monod, Sylve ̀ re. Hard times: an authoritative text, contexts, criticism. 3rd ed. / edited by Fred Kaplan, Sylve ̀ re Monod. London: : W.W. Norton & Co 2001. 4 Dickens, Charles. Little Dorrit. London: : Penguin 1994. 5 Dickens, Charles (Pascoe, D. ed). Selected Journalism 1850-1870. London: : Penguin 1/51 09/25/21 Dickens and the Condition of England | University of Kent Classics 1997. 6 Bigelow G. Market Indicators: Banking and Domesticity in Dickens’s Bleak House. ELH 2000;67:589–615. 7 Blain V. Double Vision and the Double Standard in Bleak House: A Feminist Perspective. Literature and History 1985;11 :31–46.http://df7sm3xp4s.search.serialssolutions.com/?V=1.0&N=100&L=DF7SM3XP4S&S =AC_T_B&C=literature and history 8 Bloom, Harold. Charles Dickens. New York: : Chelsea House 1987. 9 Blount T. Dickens’s Slum Satire in Bleak House. JSTOR: All Volumes and Issues - Browse - The Modern Language Review 1965;60:340–51. -
Thesis Opgemaakt Finaal
Academiejaar 2008-2009 A Victorian Kodak Moment: The Dynamic between Charles Dickens and Marcus Stone Promotor: Prof. Dr. Marysa Demoor Masterproef voorgelegd aan de Faculteit Letteren en Wijsbegeerte voor het verkrijgen van de graad van Master in de taal- en letterkunde: Engels door Jasper Schelstraete Academiejaar 2008-2009 A Victorian Kodak Moment: The Dynamic between Charles Dickens and Marcus Stone Promotor: Prof. Dr. Marysa Demoor Masterproef voorgelegd aan de Faculteit Letteren en Wijsbegeerte voor het verkrijgen van de graad van Master in de taal- en letterkunde: Engels door Jasper Schelstraete Preface At the end of my final Bachelor year, I completed a paper entitled "The Loss of a Child in Douglas Coupland and Chuck Palahniuk: Theme or Catalyst?". It was concerned with the complete works of the two authors mentioned in the title, both of them contemporary North-American writers. While I was pleased with the final result, one issue concerned me. As a result of the contemporary nature of the novels I was discussing, there were very few sources available to me. Whereas this forced me to be creative with the novels themselves — never a bad thing — it also denied me an integral part of the process of writing a research paper, that of finding and incorporating sources into my work. Not only do they add to the academic weight of a paper, sources also give rise to creativity, as they make it possible for one to offset one's own ideas against those of published scholars. Because of this, I decided that I would write my dissertation on a subject that would have no lack of sources. -
"Would You Like Me to Seduce You?" Kathleen Turner Seizes the Role of Mrs
Page 1 "WOULD YOU LIKE ME TO SEDUCE YOU?" KATHLEEN TURNER SEIZES THE ROLE OF MRS. ROBINSON IN A STAGE ADAPTATION OF 'THE GRADUATE' By Maureen Dezell, Globe Staff Truth be told, says Kathleen Turner, "I find men under 30 quite uninteresting. "I shouldn't make blanket generalizations, but I will," she adds with a throaty laugh that sounds as if it's soaked in smoke, honey, and single-malt scotch. "I can appreciate a nicely formed bod as much as anyone. But men, until about the age of 29, lack conversation." Turner puts aside her personal indifference to jejune members of the opposite sex to play Mrs. Robinson, a woman of a certain age and experience who seduces a callow Benjamin Braddock in the stage version of "The Graduate," which opens this week at the Colonial Theatre. The Broadway-bound production is based more on Charles Webb's novel "The Graduate" than Mike Nichols's 1967 film adaptation. But it was brought to the stage because of the resonance of the movie, a classic that singularly captured the calm of postwar American affluence and youthful anomie just before the social, political, and sexual storms of the 1960s. A treasure trove of popular culture milestones and memorable moments, "The Graduate" also launched Dustin Hoffman's movie career, turned Simon & Garfunkel into mainstream musical bards, made "plastics" a punch line, and introduced "Mrs. Robinson" to America's sexual lexicon. But this eagerly anticipated revival owes almost as much to Turner as it does to the film. A bawdy dame with a brain whom Time magazine once described as the "first authentically mysterious feminine presence since Garbo," she is an American pop icon in her own right. -
**************************************************** the Letters of Charles Dickens. Edited by His Sister
**************************************************** THE LETTERS OF CHARLES DICKENS. EDITED BY HIS SISTER-IN-LAW AND HIS ELDEST DAUGHTER. **************************************************** VOL. I. 1833 TO 1856. SECOND EDITION.—FIFTH THOUSAND. LONDON: CHAPMAN AND HALL, 193, PICCADILLY. 1880. TO KATE PERUGINI, THIS MEMORIAL OF HER FATHER IS LOVINGLY INSCRIBED BY HER AUNT AND SISTER. PREFACE WE intend this Collection of Letters to be a Supplement to the "Life of Charles Dickens," by John Forster. That work, perfect and exhaustive as a biography, is only in- complete as regards correspondence; the scheme of the book having made it impossible to include in its space any letters, or hardly any, besides those addressed to Mr. Forster. As no man ever expressed himself more in his letters than Charles Dickens, we believe that in publishing this careful selection from his general correspondence we shall be supplying a want which has been universally felt. Our request for the loan of letters was so promptly and fully responded to, that we have been provided with more than sufficient material for our work. By arranging the letters in chronological order, we find that they very frequently explain themselves and form a narrative of the events of each year. Our collection dates from 1833, the commencement of Charles Dickens's literary life, just before the starting of the “Pickwick Papers," and is carried on up to the day before his death, in 1870. We find some difficulty in being quite accurate in the arrangements of letters up to the end of 1839, for he had a careless habit in those days about dating his letters, very frequently putting only the day of the week on which he wrote, curiously in contrast with the habit of his later life, when his dates were always of the very fullest. -
DICKENS CATALOGUE Jarndyce
THE DICKENS CATALOGUE Jarndyce Jarndyce Antiquarian Booksellers 46, Great Russell Street Telephone: 020 7631 4220 (opp. British Museum) Fax: 020 7631 1882 Bloomsbury, Email: [email protected] London www.jarndyce.co.uk WC1B 3PA VAT.No.: GB 524 0890 57 CATALOGUE CCXXXIX AUTUMN 2019 THE DICKENS CATALOGUE Catalogue: Joshua Clayton Production: Carol Murphy & Ed Lake. All items are London-published and in at least good condition, unless otherwise stated. Prices are nett. Items on this catalogue marked with a dagger (†) incur VAT (20%) to customers within the EU. A charge for postage and insurance will be added to the invoice total. We accept payment by VISA or MASTERCARD. If payment is made by US cheque, please add $25.00 towards the costs of conversion. High resolution images are available for all items, on request; please email: [email protected]. JARNDYCE CATALOGUES CURRENTLY AVAILABLE include (price £10.00 each unless otherwise stated): XIX Century Fiction Part I; Turn of the Century; Women Writers, Parts 1 - IV (£35) Books & Pamphlets 1505-1833; Plays, 1623-1980; Novels, 1740-1940, European Literature in Translation; Bloods & Penny Dreadfuls. JARNDYCE CATALOGUES IN PREPARATION include: Pantomimes, Extravaganzas & Burlesques; English Language, including dictionaries; The Museum: Jarndyce Miscellany; XIX Century Fiction Part II; The Romantics. PLEASE REMEMBER: If you have books to sell, please get in touch with Brian Lake at Jarndyce. Valuations for insurance or probate can be undertaken anywhere, by arrangement. A SUBSCRIPTION SERVICE is available for Jarndyce Catalogues for those who do not regularly purchase. Please send £20.00 (£35.00 / U.S.$45.00 overseas, airmail) for four issues, specifying the catalogues you would like to receive.