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Charles Dickens: Popularisierungen Eines Populären Autors Im 19., 20

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Charles Dickens: Popularisierungen Eines Populären Autors Im 19., 20 Charles Dickens: Popularisierungen eines populären Autors im 19., 20. und 21. Jahrhundert Inaugural-Dissertation zur Erlangung der Doktorwürde der Philologischen Fakultät der Albert-Ludwigs-Universität Freiburg im Breisgau vorgelegt von Christoph Schüly aus Stuttgart Wintersemester 2008/2009 Erstgutachterin: Prof. Dr. Barbara Korte Zweitgutachter: Prof. Dr. Wolfgang Hochbruck Vorsitzende des Prüfungsausschusses der Gemeinsamen Kommission der Philologischen, Philosophischen und Wirtschafts- und Verhaltenswissenschaftlichen Fakultät: Prof. Dr. Elisabeth Cheauré Datum der Fachprüfung im Promotionsfach: 1. Juli 2009 Danksagung Durch ein Hauptseminar über Charles Dickens, das Frau Prof. Dr. Barbara Korte im Wintersemester 2001/2002 an der Eberhard-Karls-Universität in Tübingen unterrichtete, wurde mein Interesse an Leben und Werk dieses Autors geweckt. Ab dem Wintersemester 2004/2005 betreute und begleitete Frau Prof. Korte den Entstehungsprozess der nun vorliegenden Arbeit. Für die stets rasche Rückmeldung und viele hilfreiche Hinweise bezüglich meiner Arbeitsergebnisse danke ich ihr herzlich. Mein Dank gebührt ihr auch dafür, dass sie mich in den ersten beiden Jahren meiner Arbeit an der Dissertation mit dem nötigen finanziellen Rückhalt versorgte, indem sie mich als Wissenschaftlichen Mitarbeiter an ihrem Lehrstuhl beschäftigte. Zwischen August 2006 und Mai 2008 war ich als Max Kade Teaching Fellow an der Colgate University in Hamilton, New York, tätig. Das Kollegium des dortigen German Department verschaffte mir mit dieser Stelle die nötige finanzielle Absicherung, um die Arbeiten an meiner Dissertation weiterzuführen und abzuschließen. Zudem ermöglichte mir meine Tätigkeit an der Colgate University, unzählige wertvolle und unvergessliche Erfahrungen zu sammeln – in beruflicher wie privater Hinsicht. Allen, die dazu in irgendeiner Form einen Beitrag geleistet haben, möchte ich ein herzliches Dankeschön aussprechen. Im August 2007 gab mir die Dickens Society die Möglichkeit, einen Teil meiner Ergebnisse in einem Vortrag auf ihrem jährlichen Symposium vorzustellen, das in diesem Jahr in Montreal stattfand. Dafür sowie für alle hilfreichen Anmerkungen der teilnehmenden Dickens scholars danke ich ebenfalls. Herrn Prof. Dr. Wolfgang Hochbruck gilt mein Dank dafür, dass er das Zweitgutachten für die vorliegende Dissertation anfertigte. Mein besonders herzlicher Dank gebührt meinen Eltern, Marga und Ernst Schüly, die mich in meinem Vorhaben zu promovieren stets bestärkt und unterstützt haben. Ihnen widme ich meine nun fertiggestellte Dissertation. Ludwigsburg, im April 2010 Christoph Schüly Inhaltsverzeichnis: 1 Einleitung 1 2 Popular Culture-Theorien 19 2.1 Zur Forschungsgeschichte und den Schwierigkeiten der Definition 19 2.2 Charakteristika potentiell populärer Texte 25 2.3 Hochkultur und Popularisierung 38 2.3.1 Hochkultur in der Postmoderne 39 2.3.2 Popularisierung 41 3 Charles Dickens: Popularität und Popularisierung von 1836 bis in die 1990er Jahre 54 3.1 Dickens' Popularität bei seinen zeitgenössischen Lesern am Beispiel der Pickwick Papers 54 3.1.1 Ökonomische und soziologische Voraussetzungen für Dickens's Popularität 54 3.1.2 Dickens' klassenübergreifende Popularität 55 3.1.3 Zur Entstehung der Pickwick Papers 60 3.1.4 Die Produzierbarkeit der Pickwick Papers 62 3.1.5 Leseransprache 69 3.1.6 Tertiäre Texte 71 3.1.7 Spin off-Produkte 75 3.1.8 Relevanz 76 3.1.9 Marketingstrategien der Verleger 79 3.2 Frühe Popularisierungen 79 3.2.1 Adaptionen von Dickens' Romanen in Schriftform 79 3.2.2 Dickens' public readings 85 3.3 Dickens' Popularität über seinen Tod hinaus und Beginn der literaturwissenschaft- lichen Beschäftigung mit seinem Werk 89 3.4 Adaptionen von Dickens' Texten für Theater, Film und Fernsehen 94 3.4.1 Adaptionen für das Theater 95 3.4.2 Adaptionen für Film und Fernsehen 108 4 Case Studies: Popularisierungen seit den 1990er Jahren 125 4.1 Einführung 125 4.1.1 Das Kostümdrama im Kino 125 4.1.2 Das Kostümdrama im britischen Fernsehen 128 4.1.3 Die Relevanz der Klassikerverfilmung für ein zeitgenössisches Publikum 133 4.2 Case Studies 134 4.2.1 Martin Chuzzlewit (BBC, 1994) 136 4.2.1.1 Der Roman und seine Relevanz für das heutige Publikum 136 4.2.1.2 Das populäre Potential der Verfilmung 139 4.2.1.3 Resümee 150 4.2.2 Great Expectations (Alfonso Cuarón, 1998) 151 4.2.2.1 Der Roman und seine Relevanz für das heutige Publikum 151 4.2.2.2 Das populäre Potential der Verfilmung 154 4.2.2.3 Resümee 161 4.2.3 Great Expectations (BBC, 1999) 162 4.2.3.1 Das populäre Potential der Verfilmung 162 4.2.3.2 Resümee 174 4.2.4 icholas ickleby (ITV, 2001) 175 4.2.4.1 Der Roman und seine Relevanz für das heutige Publikum 175 4.2.4.2 Das populäre Potential der Verfilmung 177 4.2.4.3 Resümee 187 4.2.5 icholas ickleby (Douglas McGrath, 2002) 188 4.2.5.1 Das populäre Potential der Verfilmung 188 4.2.5.2 Resümee 200 4.2.6 Oliver Twist (Roman Polanski, 2005) 201 4.2.6.1 Der Roman und seine Relevanz für das heutige Publikum 202 4.2.6.2 Das populäre Potential der Verfilmung 204 4.2.6.3 Resümee 212 4.2.7 Bleak House (BBC, 2005) 214 4.2.7.1 Der Roman und seine Relevanz für das heutige Publikum 214 4.2.7.2 Das populäre Potential der Verfilmung 217 4.2.7.3 Resümee 232 4.2.8 David Copperfield als 'Kurzklassiker' (Orion Books, 2007) 233 4.2.8.1 Zur Originalfassung des Romans 235 4.2.8.2 Das populäre Potential der gekürzten Version 236 4.2.8.3 Resümee 242 4.2.9 Peter Ackroyds Dickens 244 4.2.9.1 Populärkulturelle Elemente in Dickens (1990) 246 4.2.9.2 Dickens (1994) – Die gekürzte Version 250 4.2.9.3 Dickens (BBC, 2002) 259 4.2.9.3.1 Das populäre Potential der Verfilmung 259 4.2.9.3.2 Resümee 268 4.2.9.4 Peter Ackroyds The Mystery of Charles Dickens 269 4.2.9.4.1 Das populäre Potential der Darbietung 271 4.2.9.4.2 Resümee 274 4.2.9.5 Resümee des populären Potentials der Ackroyd-Produkte in ihrer Gesamtheit 276 4.2.10 Dickens World – Eine themed attraction in Chatham, Groβbritannien 277 4.2.10.1 Zu Geschichte und kultureller Bedeutung der Einrichtung Themenpark 277 4.2.10.2 Selbstverständnis und Zielsetzung von Dickens World 284 4.2.10.3 Die Popularisierung von Dickens' Leben und Werk in Dickens World 287 4.2.10.3.1 Die ständigen Attraktionen 287 4.2.10.3.2 Die Shows 300 4.2.10.4 Resümee 304 5 Schlussbetrachtung 305 Literaturverzeichnis 311 1 1 Einleitung In the spring of 2002 the BBC launched a new multi-media phenomenon, and gave us the Definitive Dickens Man, Peter Ackroyd. The UK experienced something of a Dickens Blitzkrieg, which seemed to have been masterminded by Peter Ackroyd. It was a simultaneously co-ordinated assault on several fronts – stage, radio, TV, the web, audiocassette, videocassette and general merchandize. I cannot recall such a campaign focused on a single writer before Operation Ackroyd/Dickens. [...] The assault of Operation Boz came in two parts. First there was the one-man stage show, The Mystery of Charles Dickens, scripted by Peter Ackroyd, starring Simon Callow. This was adapted for radio and transmitted on BBC Radio Four and subsequently released on audiocassette. The stage version was then televised on BBC- 4, the Corporation’s new arts and culture channel, in April 2002. This was then followed in May by a three part television drama-documentary series, Dickens, on BBC-2, hosted by Peter Ackroyd. The BBC published Ackroyd's accompanying book, Dickens: Public Life and Private Passion. And, oh, I nearly forgot, there's a BBC website devoted to this campaign. [...] This whole enterprise shows the extent of the Corporation's metamorphosis from Reithian elitism to full engagement in the populist market, and cannot be viewed in isolation from the global market economy and Post Modern, Blairite Britain of which it is so characteristic a product. This exciting package and its antecedents deserves examining (Giddings n.d.2). Im Herbst 2005 setzte die BBC zum nächsten Feldzug an: Diesmal sollte der Roman Bleak House von Charles Dickens so verfilmt werden, dass die Verfilmung Anklänge an das populäre Genre der soap opera erkennen lassen und auch vom selben Publikum rezipiert werden würde. Auch diese Produktion wurde von zahlreichen Marketingmaβnahmen begleitet: Schon Monate vorher berichtete die britische Presse darüber, die BBC schaltete erneut eine Homepage, zudem legte der Penguin-Verlag seine Taschenbuchausgabe des Romans neu im tie in-Cover auf. Bereits wenige Monate nach Ende der Ausstrahlung war die Verfilmung in einem attraktiv aufgemachten DVD-Set erhältlich. Im März 2008 schlieβlich eroberte Dickens auch das Genre der Casting-Show: Unter dem Titel I'd Do Anything suchte Musical-Veteran Andrew Lloyd-Webber gemeinsam mit der BBC nach einer jungen Sängerin und Schauspielerin, die in einer Neuproduktion des legendären Musicals Oliver! die Rolle der Nancy übernehmen sollte, sowie nach drei jungen Darstellern, die jeweils im Wechsel als Titelfigur Oliver auf der Bühne stehen sollten: "[T]wenty million Britons tuned in to the I’d Do Anything final […]. Telephone lines were jammed with voters keen to make sure that Oliver was cared for by their vision of one of Dickens's most loved creations" (Knight 2009: 6). Bereits im Jahr zuvor, im Mai 2007, war zudem in Chatham, Groβbritannien, ein Themenpark eröffnet worden, der sich mit Dickens' und Leben und Werk beschäftigt. 2 Der von Robert Giddings so benannte 'Dickens-Blitzkrieg' kurz nach der Jahrtausendwende kam nicht von ungefähr. Während die BBC und einige Verbündete – etwa der britische Privatsender ITV – bereits ab Mitte der 1990er Jahre verstärkt aufgerüstet hatten, waren die ersten Schlachtpläne bereits im 19. Jahrhundert entworfen worden, und zwar von Dickens höchstselbst: "From the early days of original serial publication, through to his exploitation by the Victorian stage and the more recent attentions of film, radio and television, Dickens has always been a mass media phenomenon", bemerkt Mike Pool (1983, 148).
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