Sense and Sensibility Adapted for the Stage from Jane Austen's Novel by Joseph Hanreddy and JR Sullivan
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Play Guide Table of Contents
PLAY GUIDE TABLE OF CONTENTS ABOUT ATC 1 INTRODUCTION TO THE PLAY 2 SYNOPSIS 2 SONG LIST 3 MEET THE CHARACTERS 4 MEET THE CREATORS: PAUL GORDON AND JANE AUSTEN 5 INTERVIEW WITH PAUL GORDON 7 THE NOVEL IN THE MUSIC 9 POLLOCK’S TOY THEATRES 11 LITERARY CATEGORIZATION OF AUSTEN 12 LITERARY TIMELINE 13 THE AUSTEN INDUSTRY 14 AUSTEN IN POPULAR CULTURE 15 FEMINISM IN EMMA 16 THE EMMA DEDICATION 18 HISTORICAL CONTEXT 18 HISTORICAL TIMELINE 22 DISCUSSION QUESTIONS AND ACTIVITIES 23 Jane Austen’s Emma Play Guide written and compiled by Katherine Monberg, Literary Assistant, and R Elisabeth Burton, Artistic Intern Discussion questions and activities provided by April Jackson, Associate Education Manager, Amber Tibbitts and Bryanna Patrick, Education Associates Support for ATC’s education and community programming has been provided by: APS JPMorgan Chase The Marshall Foundation Arizona Commission on the Arts John and Helen Murphy Foundation The Maurice and Meta Gross Bank of America Foundation National Endowment for the Arts Foundation Blue Cross Blue Shield Arizona Phoenix Office of Arts and Culture The Max and Victoria Dreyfus Foundation Boeing PICOR Charitable Foundation The Stocker Foundation City Of Glendale Rosemont Copper The William L and Ruth T Pendleton Community Foundation for Southern Arizona Stonewall Foundation Memorial Fund Cox Charities Target Tucson Medical Center Downtown Tucson Partnership The Boeing Company Tucson Pima Arts Council Enterprise Holdings Foundation The Donald Pitt Family Foundation Wells Fargo Ford Motor Company -
Marianne Dashwood and Charlotte Lucas (The Christian Ideal of Marriage in Jane Austen)
Not Said But Shown 432 17. Marianne Dashwood and Charlotte Lucas (The Christian Ideal of Marriage in Jane Austen) ----- Marianne Dashwood at seventeen believes in “wholeheartedness.” One should cultivate right feelings as far as one possibly can, and express them frankly and to the full; and all with whom one can relate properly must do the same. One’s feelings should be intense, and the expression of them should be enthusiastic and eloquent. Towards those whose feelings are right, but who cannot achieve this freedom of expression, one must be charitable; but one should avoid all whose thought and behavior is governed by convention. Following convention corrupts one’s “sensibility,” so that one can no longer tell what the truth of natural feeling is. Thus, when Edward Ferrars and Marianne’s sister Elinor become mutually attached, Marianne approves of Edward — and she certainly agrees with her mother, who says, “I have never yet known what it was to separate esteem and love” (SS, I, iii, 16). But she cannot imagine how Elinor can be in love with Edward, because he lacks true “sensibility.” “Edward is very amiable, and I love him tenderly. But . his figure is not striking . His eyes want all that spirit, that fire, which at once announce virtue and intelligence . he has no real taste . I could not be happy with a man whose taste did not in every point coincide with my own . how spiritless, how tame was Edward’s manner in reading to us last night! . it would have broke my heart had I loved him, to hear him read with so little sensibility” (17-8). -
Introduction
INTRODUCTION Jane Austen: An influential woman Thanks to her sharp wit and strong female characters, Jane Austen’s literature is still utterly relevant. Author Claire Harman asks – is she the most influential woman of the past 200 years? In 1811, a 35- year-old Hampshire spinster had her first book published anonymously: Sense And Sensibility, By A Lady. It got two brief, polite reviews, sold 500 copies and was swiftly forgotten. But 200 years later, everyone knows Jane Austen. She’s not just a writer, she’s a cult, a brand and a cultural touchstone. This marked the transition from obscurity to being one of this century and last’s most influential literary figures. It’s hard to believe her six short novels – yes, it really is just six – are still bought in their millions (because her work is out of copyright, there is no accurate estimate of how many). Austen’s influence and literary pulling-power can’t be over-estimated. She’s reached millions of people all over the world, not simply through the number of languages she’s been translated into (35 at the last count), but because there’s something in her work that readers connect with instantly. We read her because we feel she understands us – despite being born over two centuries ago. In many ways, her books are more in tune with our times and tastes than her own. In the first review she ever received, she was taken to task for a ‘want of newness’, but her books now seem markedly more original than anything else of the period. -
The Discrimination of Jane Austen in Miss Austen Regrets Film by Using Liberal Feminism
THE DISCRIMINATION OF JANE AUSTEN IN MISS AUSTEN REGRETS FILM BY USING LIBERAL FEMINISM Lala Nurbaiti Fadlah NIM: 204026002781 ENGLISH LETTER DEPARTMENT ADAB AND HUMANITIES FACULTY STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH JAKARTA 2010 THE DISCRIMINATION OF JANE AUSTEN IN MISS AUSTEN REGRETS FILM BY USING LIBERAL FEMINISM A Thesis Submitted to Letters and Humanities Faculty In Partial fulfillment of the Requirements for The Degree of Letters Scholar Lala Nurbaiti Fadlah NIM: 204026002781 ENGLISH LETTER DEPARTMENT ADAB AND HUMANITIES FACULTY STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH JAKARTA 2010 APPROVEMENT THE DISCRIMINATION OF JANE AUSTEN IN MISS AUSTEN REGRETS FILM BY USING LIBERAL FEMINISM A Thesis Submitted to Letters and Humanities Faculty In Partial fulfillment of the Requirements for The Degree of Letters Scholar Lala Nurbaiti Fadlah NIM. 204026002781 Approved by: Advisor Elve Oktafiyani M.Hum NIP 197810032001122002 ENGLISH LETTER DEPARTMENT ADAB AND HUMANITIES FACULTY STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH JAKARTA 2010 ABSTRACT Lala Nurbaiti Fadlah, the Discrimination of Jane Austen in Miss. Austen Regrets Film by Using Liberal Feminism. Skripsi. Jakarta: Adab and Humanities Faculty, UIN Syarif Hidayatullah, July 2010. The research discusses Jane Austen as the main character and tells about her life since she was a single until someone proposed her and became the writer. The research studied the discrimination of Jane Austen by using liberal feminism theory as the unit analysis. Moreover, the theory is feminism and liberal feminism at the theoretical framework of the research. The method of the research is descriptive qualitative, which tries to explain about the correlation between the discrimination Jane Austen and its influence to the literary work produced. -
Sense and Sensibility by Kate Hamill Based on the Novel by Jane Austen
SENSE AND SENSIBILITY BY KATE HAMILL BASED ON THE NOVEL BY JANE AUSTEN DRAMATISTS PLAY SERVICE INC. SENSE AND SENSIBILITY Copyright © 2016, Kate Hamill, based on the novel by Jane Austen All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of SENSE AND SENSIBILITY is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Author’s agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for SENSE AND SENSIBILITY are controlled exclusively by DRAMATISTS PLAY SERVICE, INC., 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of DRAMATISTS PLAY SERVICE, INC., and paying the requisite fee. -
(De)Constructing Jane: Converting Austen in Film Responses Karen Gevirtz, Seton Hall University
Seton Hall University From the SelectedWorks of Karen Bloom Gevirtz Winter 2010 (De)Constructing Jane: Converting Austen in Film Responses Karen Gevirtz, Seton Hall University Available at: https://works.bepress.com/karen_gevirtz/3/ Karen B. Gevirtz PERSUASIONS ON-LINE V.31, NO.1 (Winter 2010) (De)Constructing Jane: Converting “Austen” in Film Responses KAREN B. GEVIRTZ Karen B. Gevirtz (email: [email protected]) is an Assistant Professor of English at Seton Hall University. She is the author of Life After Death: Widows and the English Novel, Defoe to Austen (University of Delaware Press, 2005) and articles on eighteenth-century women novelists. YOU SORT OF FEEL LIKE YOU OWN HER,” Keira Knightley says of Jane Austen in an interview, adding, “And I’m sure everybody feels the same way” (“Jane Austen”). Certainly if the last two decades are any indication, just about “everybody” does feel a claim or connection not just to the works but to Austen herself. Suzanne R. Pucci and James Thompson describe an explosion of Austen-related materials in an impressive array of media, from traditional print to cyberspace, during the end of the twentieth and the beginning of the twenty-first century (1). Phases appear within this effusion, however, particularly in film responses to her work. In the 1990s, films were occupied with the novels themselves. Gradually, however, film responses have shifted their focus so that by the end of the first decade of the new millennium, a large number of Austen films present the novels not as the result of brilliant literary endeavor, but as the inevitably limited product of a historically-bound being, Austen the woman. -
Durham Research Online
Durham Research Online Deposited in DRO: 21 August 2018 Version of attached le: Accepted Version Peer-review status of attached le: Peer-reviewed Citation for published item: Wootton, S. (2018) 'Revisiting Jane Austen as a romantic author in literary biopics.', Women's writing., 25 (4). pp. 536-548. Further information on publisher's website: https://doi.org/10.1080/09699082.2018.1510940 Publisher's copyright statement: This is an Accepted Manuscript of an article published by Taylor Francis in Women's writing on 08 Oct 2018, available online: http://www.tandfonline.com/10.1080/09699082.2018.1510940. Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk Peer-reviewed article accepted for publication by Taylor & Francis for Women’s Writing, 25:4, in August 2018 Sarah Wootton Abstract: This essay seeks to establish whether portrayals of Jane Austen on screen serve to reaffirm a sense of the author’s neoconservative heritage, or whether an alternative and more challenging model of female authorship is visible. -
Jane Austen and Transmedia Narratives Analysis of the Cate Morland Chronicles
Master in English Literature and Linguistics Jane Austen and Transmedia Narratives Analysis of The Cate Morland Chronicles MA Thesis Author: María Heredia Torres Supervisor: María Elena Rodríguez Martín Granada, September 2018 Heredia 1 Table of contents Abstract 2 1. Introduction 3 2. Theoretical framework 5 2.1. Fidelity and narratological approaches 6 2.2. Beyond fidelity and narratology: Review of recent adaptation theories 8 2.3. Transmedia storytelling 12 3. Adaptation of Jane Austen‟s works 18 3.1. Adaptations of Jane Austen‟s novels 20 3.1.1. From the1940s to the 1980s: The first adaptations 20 3.1.2. The 1990s: Austenmania 22 3.1.3. The 2000s and 2010s: Adaptations in the twenty-first century 24 3.2. Adaptations of Northanger Abbey 27 3.3. Fan phenomenon and web series 29 3.3.1. The Lizzie Bennet Diaries as precedent 31 4. Analysis of The Cate Morland Chronicles 33 4.1. Adaptation and modernisation problems: Extra-cinematic factors 34 4.1.1. Filters related to time 35 4.1.2. Filters related to place and culture 38 4.1.3. Influences and intertextuality 39 4.2. Transmedia analysis 44 4.2.1. The Cate Morland Chronicles and transmedia 44 4.2.2. Transmedia and fandom 51 5. Conclusion 55 References 59 Appendix 1 72 Appendix 2 76 Heredia 2 Jane Austen and Transmedia Narratives Analysis of The Cate Morland Chronicles ABSTRACT The main aim of my MA thesis is to analyse The Cate Morland Chronicles (2016), a web series based on Jane Austen‟s novel Northanger Abbey (1818), and to explore how transmedia storytelling is used to adapt and modernise a classic novel. -
Jane Austen's Pride and Prejudice 1. the Author
INDEX Abstract p. 3 Introduction p. 4 1. About this Study p. 4 2. About Adaptations p. 5 Part I – Jane Austen’s Pride and Prejudice p. 9 1. The Author: Jane Austen (1775-1817) p. 9 1.1. Life and Education p. 9 1.2. Historical and Cultural Context p. 12 1.3. Works, Themes and Style p. 15 1.4. Fame and Fortune p. 19 2. The Novel: Pride and Prejudice (1813) p. 24 2.1. Plot p. 25 2.2. Characters p. 27 2.3. Time and Space p. 35 2.4. Major Themes p. 36 2.5. Critical and Contemporary Reception p. 41 Part II – Pride and Prejudice on Screen p. 44 1. Pride and Prejudice (1940) p. 47 1.1. Synopsis p. 48 1.2. First Scenes p. 50 1.3. Main Cast p. 51 1.4. Text and Adaptation p. 53 1.5. Costumes p. 62 2. Pride and Prejudice (1995) p. 65 2.1. Synopsis p. 67 1 2.2. First Scenes p. 70 2.3. Main Cast p. 72 2.4. Text and Adaptation p. 75 2.5. Historical Accuracy p. 82 3. Pride and Prejudice (2005) p. 86 3.1. Synopsis p. 87 3.2. First Scenes p. 90 3.3. Main Cast p. 92 3.4. Text and Adaptation p. 93 3.5. Costumes, Music and Technique p. 106 4. Loose adaptations p. 109 4.1. Bridget Jones’s Diary (2001) p. 110 4.2. Bride and Prejudice (2004) p. 113 4.3. Lost in Austen (2008) p. 116 Conclusions p. -
December 11, 2012–January 13, 2013
December 11, 2012–January 13, 2013 SENSE AND SENSIBILITY Milwaukee Repertory Theater presents PLAY GUIDE • Written by Lindsey Schmeltzer Education Intern Melissa Neumann Education Intern • By Jane Austen Adapted for the stage by Mark Healy Play Guide edited by Directed by Art Manke Leda Hoffmann December 11, 2012-January 13, 2013 Education Coordinator Quadracci Powerhouse JC Clementz Literary Assistant MARK’S TAKE: “Sense and Sensibility is my favorite of Jenny Kostreva Education Director Jane Austen’s wonderful works. I love the relationship between the two sisters — Lisa Fulton their contrasts, their journeys, their growth Director of Marketing throughout—and how this 200-year-old story • still resonates. We all fall in love, we all have our hearts broken, we all go through periods Graphic Design by where our lives are suddenly turned upside- Eric Reda down, and Austen’s beautiful prose manages to get right to the heart of those moments and makes us feel and say, ‘wow, I know that, I felt that, I understand that.’” -Mark Clements, Artistic Director TABLE OF CONTENTS Page 3 Synopsis Page 4 The Characters Page 5 Character Relationships Tickets: 414-224-9490 Page 6 The Settings www.MilwaukeeRep.com Page 7 Jane Austen’s Biography Mark Clements Page 8 Historical Context: Artistic Director The Regency Era Dawn Helsing Wolters Page 9 Sense vs. Sensibility Managing Director Page 10 Adaptation: From Novel To Stage Milwaukee Repertory Theater 108 E. Wells Street Page 11 Glossary Milwaukee, WI • 53202 Page 12 Creating the Rep Production Page 14 Visiting The Rep SYNOPSIS Henry Dashwood has three children: a son, John, by his first wife and two daughters, Elinor and Marianne, by his second. -
Abstract Jane Austen Uncensored
ABSTRACT JANE AUSTEN UNCENSORED: A CRITICAL AND PEDAGOGICAL STUDY OF AUSTEN’S LETTERS FOR THE COLLEGE CLASSROOM Amanda Smothers, Ph.D. Department of English Northern Illinois University, 2016 William Baker and Lara Crowley, Co-Directors A vast amount of literary critical and scholarly work on Jane Austen’s writing, including her juvenilia, has been published. However, insufficient attention has been paid to her extant letters and their significance. This dissertation redresses the imbalance and is the first extensive critical, scholarly discussion of Jane Austen’s correspondence and their pedagogical applications. In order to rectify the disparity, this dissertation examines Jane Austen’s surviving letters to determine how to contextualize them historically and biographically and in relation to her fiction for college composition and undergraduate literature courses. Background information on letter writing in the eighteenth and early nineteenth century provides context for Austen’s letter writing, comparing her content and style to common practices. This study also investigates the world of Austen’s letters, focusing on historical and biographical context, and scrutinizing the letters as a source of information about middle-class Regency England; Austen’s family and social circles; and the author herself, including her personality, attitudes toward current events, views on works of literature, and references to her writing and publication processes. Moreover, Austen’s letters would be beneficial as a theoretical pedagogical tool for teaching not only the novels but the world of her novels through an examination of her letters. Throughout my dissertation, previous work on teaching Austen and teaching with letters (both as a teaching tool and as a writing method) is incorporated, analyzed, and adapted. -
“The Certain Corrective”: Sanditon, Students and Strategies of Defamiliarization
7/24/2018 “The certain corrective”: Sanditon, Students and Strategies of Defamiliarization Home › | Publications › | Persuasions On-Line › | Volume 38 No. 2 › | “The certain corrective”: Sanditon, Students and Strategies of Defamiliarization “The certain corrective”: Sanditon, Students and Strategies of Defamiliarization Print Email By Katie Halsey Katie Halsey (email: [email protected]) is Senior Lecturer in Eighteenth-Century Literature at the University of Stirling and Director of its Centre for Eighteenth-Century Studies. Her most recent publications include Shakespeare and Authority (2018; with Angus Vine) and a special issue of Textus (2017), “Subversive Jane Austen: From the Critic to the Reader.” Her monograph, Jane Austen and her Readers, 1786–1945, was published in 2012. Featured in Volume 38, No. 2 — Spring 2018 Teaching Jane Austen › Related Works Sanditon › n their introduction to the special issue of Persuasions On-Line dedicated to “Teaching Austen and her Contemporaries,” Bridget Draxler, Misty Krueger, and Susan Allen Ford suggest that, “although high school teachers and university professors the world over include Jane Austen’s ction in their I courses, the body of scholarship on teaching Austen is surprisingly small.” A year later, Emily Zarka and Devoney Looser identied more than sixty print and online sources related to the teaching of Austen written in the past fty years, among them four substantial books and the Persuasions On-Line special issue itself, but it is certainly true that when it comes to thinking