A Christmas Carol 13 by Charles Dickens 13 Title Page Adapted by Gregory A
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Financial Statements 31 July 2012
Financial Statements 31 July 2012 The Conservatoire for Dance and Drama Tavistock House Tavistock Square London WC1H 9JJ Company number: 4170092 Charity number: 1095623 2 Contents Company Information 5 Report of the Board of Governors 6 Conservatoire Student Public Performances 2011-12 17 Statement of Responsibilities of the Board Of Governors 22 Corporate Governance Statement 23 Independent Auditors’ Report to the Members of the Conservatoire for Dance and Drama 27 Income and Expenditure Account 29 Balance Sheet 30 Cash Flow Statement 31 Statement of Principal Accounting Policies 32 Notes to the Financial Statements 33 Copies of these financial statements can be obtained from the registered office overleaf and are available in large print and other formats on request. 3 4 Company Information Governors James Smith CBE (Chairman) Nicholas Karelis (These are all company directors, Prof Christopher Bannerman Sir Tim Lankester charity trustees and members of Rosemary Boot Susannah Marsden the company.) Kim Brandstrup Richard Maxwell Ralph Bernard Alison Morris Kit Brown Simon O’Shea Richard Cooper Luke Rittner Christopher de Pury Anthony Smith Ryan Densham Andrew Summers CMG Emily Fletcher Kathleen Tattersall OBE Melanie Johnson Joint Principal Prof Veronica Lewis MBE Edward Kemp (also Governors and Directors) (Accountable Officer) Clerk to the Board of Governors and John Myerscough/Claire Jones (from Nov 27 2012) Company Secretary Registered Address Tavistock House Tavistock Square London, WC1H 9JJ Affiliates founding London Contemporary -
Catalogue of the Original Manuscripts, by Charles Dickens and Wilkie
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Dicken's Tattycoram and George Eliot's Caterina Sarti Beryl Gray
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln The George Eliot Review English, Department of 2001 Nobody's Daughters: Dicken's Tattycoram and George Eliot's Caterina Sarti Beryl Gray Follow this and additional works at: http://digitalcommons.unl.edu/ger Part of the Comparative Literature Commons, Literature in English, British Isles Commons, and the Women's Studies Commons Gray, Beryl, "Nobody's Daughters: Dicken's Tattycoram and George Eliot's Caterina Sarti" (2001). The George Eliot Review. 411. http://digitalcommons.unl.edu/ger/411 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in The George Eliot Review by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. NOBODY'S DAUGHTERS: DICKENS'S TATTY CORAM AND GEORGE ELIOT'S CATERINA SARTI1 by Beryl Gray Doughty Street, where Dickens lived for three years (1836-9), is within a stone's throw of the site of London's Hospital for Foundling Children, which was established in 1739 by the retired sea-captain, Thomas Coram, whom Dickens venerated. Tavistock House - Dickens's home 1851-60, and where he wrote Little Dorrit, the novel in which Tattycoram appears - was also only a short walk from the Hospital. Dickens entirely approved of the way the 'Foundling' was managed in his own day. The Household Words article 'Received, a Blank Child',' which he co-authored with his sub-edi tor, W. H. Wills, unreservedly praises the establishment's system of rearing, training, and apprenticing its charges. -
Dickens : a Chronology of His Whereabouts
Tracking Charles Dickens : A Chronology of his Whereabouts Previous Dickens chronologies have focused on his life and works : this one does not attempt to repeat their work, but to supplement them by recording where he was at any given date. Dickens did not leave a set of appointment diaries, but fortunately he did leave a lifetime of letters, pinpointing at the head both the date and place of composition. This chronology is based on that information as published in the awesome Pilgrim Edition of his letters published by the Oxford University Press. The source of each entry in the chronology is identified. There are more than 14,000 letters in Pilgrim, giving a wealth of detail for the chronology. Many of the letters, of course, were written from his home or office, but he was an indefatigable traveller, and in the evening he still somehow found the energy to write one from his hotel room. Even so, there are inevitably many dates with no letter, and some of those gaps have been (and will be) filled from information in the letters themselves, and from other reliable sources. Philip Currah. DICKENSDAYS E.B. Elias Bredsdorff, Hans Andersen and Charles Dickens : A Friendship and Its Dissolution.Cambridge, Eng. : Heffer, 1956. 140 p. ill. E.P. Edward F. Payne, Dickens Days in Boston : A Record of Daily Events. Boston : Houghton Mifflin, 1927. 274 p. ill. E.J. Edgar Johnson, Charles Dickens : His Tragedy and Triumph. London : Victor Gollancz, 1953. 2 v. (xxii, 1159, cxcvii p.) ill. J.F. John Forster, The Life of Charles Dickens. -
“The Other Woman” – Eliza Davis and Charles Dickens
44 DICKENS QUARTERLY “The Other Woman” – Eliza Davis and Charles Dickens MURRAY# BAUMGARTEN University of California, Santa Cruz he letters Eliza Davis wrote to Charles Dickens, from 22 June 1863 to 8 February 1867, and after his death to his daughter Mamie on 4 August 1870, reveal the increasing self-confidence of English Jews.1 TIn their careful and accurate comments on the power of Dickens’s work in shaping English culture and popular opinion, and their pointed discussion of the ways in which Fagin reinforces antisemitic English and European Jewish stereotypes, they indicate the concern, as Eliza Davis phrases it, of “a scattered nation” to participate fully in the life of “the land in which we have pitched our tents.2” It is worth noting that by 1858 the fits and starts of Jewish Emancipation in England had led, finally, to the seating of Lionel Rothschild in the House of Commons. After being elected for the fifth time from Westminster he was not required, due to a compromise devised by the Earl of Lucan and Benjamin Disraeli, to take the oath on the New Testament as a Christian.3 1 Research for this paper could not have been completed without the able and sustained help of Frank Gravier, Reference Librarian at the University of California, Santa Cruz, Assistant Librarian Laura McClanathan, Lee David Jaffe, Emeritus Librarian, and the detective work of David Paroissien, editor of Dickens Quarterly. I also want to thank Ainsley Henriques, archivist of the Kingston Jewish Community of Jamaica, Dana Evan Kaplan, the rabbi of the Kingston Jewish community, for their help, and the actress Miryam Margolyes for leading the way into genealogical inquiries. -
Charles Dickens and His Cunning Manager George Dolby Made Millions from a Performance Tour of the United States, 1867-1868
Georgia State University ScholarWorks @ Georgia State University Communication Theses Department of Communication 12-17-2014 Making it in America: How Charles Dickens and His Cunning Manager George Dolby Made Millions from a Performance Tour of The United States, 1867-1868 Jillian Martin Follow this and additional works at: https://scholarworks.gsu.edu/communication_theses Recommended Citation Martin, Jillian, "Making it in America: How Charles Dickens and His Cunning Manager George Dolby Made Millions from a Performance Tour of The United States, 1867-1868." Thesis, Georgia State University, 2014. https://scholarworks.gsu.edu/communication_theses/112 This Thesis is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. MAKING IT IN AMERICA: HOW CHARLES DICKENS AND HIS CUNNING MANAGER GEORGE DOLBY MADE MILLIONS FROM A PERFORMANCE TOUR OF THE UNITED STATES, 1867-1868 by JILLIAN MARTIN Under the Direction of Leonard Teel, PhD ABSTRACT Charles Dickens embarked on a profitable journey to the United States in 1867, when he was the most famous writer in the world. He gave seventy-six public readings, in eighteen cities. Dickens and his manager, George Dolby, devised the tour to cash in on his popularity, and Dickens earned the equivalent of more than three million dollars. They created a persona of Dickens beyond the literary luminary he already was, with the help of the impresario, P.T. Barnum. Dickens became the first British celebrity to profit from paid readings in the United States. -
The Frozen Deep Ebook Free Download
THE FROZEN DEEP PDF, EPUB, EBOOK Wilkie Collins | 114 pages | 26 Jul 2018 | Alma Books Ltd | 9781847497673 | English | Richmond, United Kingdom The Frozen Deep PDF Book Sep 28, Kerry Murphy rated it liked it Shelves: , audio. Available at Gutenberg Project. Thomas rated it really liked it Shelves: classics. Frozen Sun. Frozen Story Collection Disney Frozen. Still, there are similarities in the plots of the three characters in both books. If a reader has read A Tale of Two Cities, he or she will see similarities. Characters construct wooden huts and beds and wear nightclothes, women wear veils; men lost in the north keep to the social hierarchy, even when starving and complaining of the cold, and go in search of local townships on the frozen deep. Continue on UK site. The introductory Overture, compact in form and brilliant in character, is marked throughout by skill, taste, and feeling; we may note particularly a duet for Violoncello and Flute, felicitously intimating the tender and pathetic elements of the story, and written with unmistakable affection and the true sympathy of a sister Art. After leaving school at fifteen, Dickens started work as an office boy, but soon taught himself shorthand and entered journalism as a parliamentary reporter. Sign up and get a free eBook! On the other hand, Oscar Wilde, Henry James, and Virginia Woolf complained of a lack of psychological depth, loose writing, and a vein of saccharine sentimentalism. Average rating 3. With his strength and his temper, we understand that if Wardour ever finds out who that man is, he is as good as dead. -
A CHRISTMAS CAROL an Actor Friend of Mine Said Once That All Directors Are Either Mechanics Or Gardeners
A CHRISTMAS CAROL an actor friend of mine said once that all directors are either mechanics or gardeners. A mechanic solves problems so that the machine works; a gardener creates the conditions in which something can grow. Some of the most vital jobs at The Shaw require mechanics; but to direct our plays, I want gardeners. What does this mean for the process or result of our work? It means a process in which rehearsals are playful and exploratory. It means that we don’t try to nail down the ‘right’ version of a scene; we play inside it and allow it to reveal itself – over the course of a whole season. And the result? Well, the thing about gardening is that there is no result. A beautiful tree may appear, but it will not be fin- ished. It will keep growing and, with love and care, it will simply get more and more beautiful with time. This is the garden we will be FESTIVAL THEATRE Me and My Girl • creating, together with you. Saint Joan • Dracula COURT HOUSE Your imagination and your THEATRE 1837: The Farmers’ Revolt • passion will be the sun and Androcles and the Lion • Wilde Tales rain without which there is no life. Thanks to you, our work ROYAL GEORGE THEATRE The Madness of will grow, and it will change. George III • Dancing at Lughnasa So you really need to see • An Octoroon • A Christmas every show more than once. Carol JACKIE MAXWELL STUDIO THEATRE tim carroll, Middletown VARIOUS VENUES 1979 artistic director 1-800-511-7429 SHAWFEST.COM niagara-on-the-lake’s most critically acclaimed restaurant and wine bar Gluten-free cones ORGANIC Specialty coffees, Gelato pastries GELATO Dairy-free sorbetto FROM ITALY Organic cane sugar Handcrafted locally Non-GMO ingredients 114 Queen Street Niagara-on-the-Lake 59 queen street – Open until 11:30pM (next to Starbucks) 905.468.8999 gelatodicarlotta.com treadwellcuisine.com yOur ticket stub = 10 % Off 905-934-9797 alsO visit us at fallsview casinO and vauGhan Mills shOppinG centre GIVE THE GIFT OF THEATRE THIS HOLIDAY! A SHAW GIFT CERTIFICATE IS ALWAYS IN SEASON. -
Lssrakt J7Z 77/ 436126 D7^
po. 31 / WILKIE COU,INS AS WRITER FOR CHARLES DICKENS’ "HOUSEHOLD WORDS" (1850-1859), AND "ALL THE YEAR ROUND" (1859-1870): A SELECTION OF HIS SHORT STORIES, ESSAYS, AND SKETCHES WITH HEADNOTES AND CRITICAL INTRODUCTION Richard D. Seiter A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY March 1970 Approved by Doctoral Committee Department of English Graduate School Representative e BOWLING GREEN STATE LSSRAKt J7Z 77/ 436126 d7^ /ft# ABSTRACT The "grandfather of the English detective novel" is the title which most literary critics assign to Wilkie Collins, the author of The Woman in White (1859) and The Moonstone (I860), His close association after 1850 with that literary giant Charles Dickens makes for an easy comparison and tends to dwarf Collins* reputation. When these two men are evaluated together, they are usually considered to be members of the sensational school of novel writing, which followed ' Dickens’ famous formula—"Make ’em laugh, make 'em weep, and make 'em 1 wait.” Dickens' literary reputation goes far beyond this, but critics V' have had a tendency to dismiss further consideration of Collins' abilities. Mystery and suspense are universally recognized and praised as those qualities which drew the Victorian reader to his novels. But his xvriting has a neglected lighter side which developed early in his career when he was contributing short articles to popular weekly Journals—especially to Dickens' Household Words (1850-1859) and All the Year Round (1859-1870). Seeing Collins as a periodical essayist presents an approach that adds another perspective to his literary career. -
1 1 Dickens in Byron's Chair
1 Dickens in Byron’s Chair: authenticity, author portraits, and nineteenth-century visual culture1 Dickens’s comic account of a charity dinner for the “Indigent Orphans’ Friends Benevolent Institution” in his sketch “Public Dinners” (Sketches by ‘Boz’) is illustrated in the 1838 serial and 1839 volume editions with the following image: Figure 1: George Cruikshank. Public Dinners. Reproduced by permission of the Charles Dickens Museum, London. 1 2 On first glance it portrays only the “indigent orphans” being marshalled in the dining room by “fourteen stewards, each with a long wand in his hand like the veiled genius of the pantomime” (Dickens, “Public Dinners” 165-6).2 But on closer examination we can see that two of the “stewards”, standing to the left and right, are the likenesses of the sketch’s author and illustrator, Charles Dickens and George Cruikshank. Early readers might have recognised Cruikshank from previous self-portraits in his popular work; some could have been able to identify ‘Boz’ from Cruikshank’s illustration to ‘Early Coaches’ (Sketches), from Hablôt Browne’s image of him as the editor of Bentley’s Miscellany, from the 1837 Laurence portrait (published as a lithograph in 1838) or from the 1839 Maclise portrait (published in Nicholas Nickleby).3 However, many first readers were unsure if the Maclise frontispiece was supposed to be ‘Boz’ or Nicholas, and Dickens’s image only really became widely known and distributed in the 1850s once he began his Public Readings, despite his numerous representations in the popular press (Andrews 156).4 Cruikshank’s visual in-joke reveals a concern with the authenticity of the illustration – ‘we’, the two portraits say, ‘were there’. -
Charles Dickens and Gad's Hill Place
Charles Dickens and Gad’s Hill Place Dickens bought Gad’s Hill Place in 1856 as it was very much a house of his childhood dreams which he had passed on a walk with his father. The following year he spent a lot of tIme making changes to the house, oKen staying at the Falstaff Inn opposite. Tavistock House in London had been the family home, where he lived with his 10 children – one of whom died as an infant - and where he entertained, but it was the domain of his wife. After a row with his wife he had got up at 2am in the morning and walked to his newly-acquired house at Gad’s Hill Place., a distance of around 30 miles, and he arrived there 7 hours later at 9am. After the breakdown of his marriage, Gad’s Hill became his main home for the rest of his life and Dickens was thrilled by the literary associations with the house. It was on one of the Pilgrims routes from London to Canterbury and he savoured the idea that Chaucer’s Pilgrims passed by the house. Being midway between Rochester and Gravesend it was probably on the busiest road in Kent in the 18th and into the 19th century. Gravesend was a major domesIc port conveying merchandise to and from Kent. Travellers for Charles Dickens and Gad’s Hill Place Rochester, Canterbury, Dover and the contInent oKen went by boat to Gravesend and onward by road. It was the 2nd road in the county to be managed by a turnpike trust so had milestones from the 18th century. -
**************************************************** 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.