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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 -
Depicting and Exploring the Urban Underworld in Oliver Twist (1838), Twist (2003) and Boy Called Twist (2004) Clémence Folléa
Normative Ideology, Transgressive Aesthetics: Depicting and Exploring the Urban Underworld in Oliver Twist (1838), Twist (2003) and Boy Called Twist (2004) Clémence Folléa To cite this version: Clémence Folléa. Normative Ideology, Transgressive Aesthetics: Depicting and Exploring the Urban Underworld in Oliver Twist (1838), Twist (2003) and Boy Called Twist (2004). Cahiers Victoriens et Edouardiens, Montpellier : Centre d’études et de recherches victoriennes et édouardiennes, 2014, Norms and Transgressions in Victorian and Edwardian Times, 79, pp.1-11. 10.4000/cve.1145. hal- 01421062 HAL Id: hal-01421062 https://hal.archives-ouvertes.fr/hal-01421062 Submitted on 21 Dec 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Cahiers victoriens et édouardiens 79 Printemps | 2014 Norms and Transgressions in Victorian and Edwardian Times — Appellations(s)/Naming/Labelling/ Addressing Normative Ideology, Transgressive Aesthetics: Depicting and Exploring the Urban Underworld in Oliver Twist (1838), Twist (2003) and Boy Called Twist (2004) Idéologie normative, -
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. -
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. -
“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. -
Hunger for Life in Oliver Twist Novel
www.ijcrt.org © 2018 IJCRT | Volume 6, Issue 4 October 2018 | ISSN: 2320-2882 HUNGER FOR LIFE IN OLIVER TWIST NOVEL Karabasappa Channappa Nandihally Assistant Professor Of English Government First Grade College, U.G.&P.G.Centre Dental College Road,Vidyanagar,Davanagere. Abstract This novel focusing on Poverty is a prominent concern in Oliver Twist. Throughout the novel, Dickens enlarged on this theme, describing slums so decrepit that whole rows of houses are on the point of ruin. In an early chapter, Oliver attends a pauper's funeral with Mr. Sowerberry and sees a whole family crowded together in one miserable room.This prevalent misery makes Oliver's encounters with charity and love more poignant. Oliver owes his life several times over to kindness both large and small.[14] The apparent plague of poverty that Dickens describes also conveyed to his middle-class readers how much of the London population was stricken with poverty and disease. Nonetheless, in Oliver Twist, he delivers a somewhat mixed message about social caste and social injustice. Oliver's illegitimate workhouse origins place him at the nadir of society; as an orphan without friends, he is routinely despised. His "sturdy spirit" keeps him alive despite the torment he must endure. Most of his associates, however, deserve their place among society's dregs and seem very much at home in the depths. Noah Claypole, a charity boy like Oliver, is idle, stupid, and cowardly; Sikes is a thug; Fagin lives by corrupting children, and the Artful Dodger seems born for a life of crime. Many of the middle-class people Oliver encounters—Mrs. -
Oliver Twist Co-Planning: Fagin T14/F16
Oliver Twist Co-planning: Fagin T14/F16 Subject knowledge development Mastery Content for Fagin lesson Review this mastery content with your teachers. Be aware that the traditional and foundation pathways are very different for this lesson. Foundation Traditional • Oliver wakes up and notices Fagin looking at his jewels and Fagin snaps at him in a threatening way. • The meaning of the word villain • Fagin is a corrupt villain • Fagin is selfish. • Fagin teaches Oliver a new game: how to pick pockets. • Oliver doesn’t realise Fagin is a villain • Fagin is a villain because he tricks Oliver into learning how to • Fagin is a corrupt villain steal. • Nancy and Bet arrive and Oliver thinks Nancy is beautiful. Start at the end. Briefly look through the lesson materials for this lesson in your pathway, focusing in particular on the final task before the MCQ: what will be the format of this final task before the MCQ with your class? Get teachers to decide what they want the final task before the MCQ to look like in their classroom. What format will it take? It would be good to split teachers into traditional and foundation pathway teachers at this point. Below is a list of possible options that you could use to steer your teachers: • Students write an analytical paragraph about Fagin as a villain (traditional) • Students write a bullet point list of what evidence suggests Fagin is a villain (traditional) • Students write a paragraph about how Fagin is presented in chapter 10 (foundation). • Students explode a quotation from chapter 10 explaining how Fagin is presented. -
Oliver!? Sharon Jenkins: Working Together
A Study Guide for... BOOK, MUSIC & LYRICS BY LIONEL BART Prepared by Zia Affronti Morter, Molly Greene, and the Education Department Staff. Translation by Carisa Anik Platt Trinity Rep’s Education Programs are supported by: Bank of America Charitable Foundation, The Murray Family Charitable Foundation, The Yawkey Foundation, Otto H. York Foundation, The Amgen Foundation, McAdams Charitable Foundation, Rhode Island State Council on the Arts, The Hearst Foundation, Haffenreffer Family Fund, Phyllis Kimball Johnstone & H. Earl Kimball Foundation, Target FEBRUARY 20 – MARCH 30, 2014 trinity repertory company PROVIDENCE • RHODE ISLAND TABLE OF CONTENTS Theater Audience Etiquette 2 Using the Guide in Your Classroom 3 Unit One: Background Information 4-11 A Conversation with the Directors: Richard and Sharon Jenkins 4 A Biography of Charles Dickens 5 Oliver’s London 6 The Plot Synopsis 8 The Characters 9 Important Themes 10 Unit 2: Entering the Text 12-21 Make Your Own Adaptations 12 Social Consciousness & Change 13 Inequitable Distribution of Resources 14 Song Lyrics Exercise 15 Scenes from the Play 17 Further Reading & Watching 21 Bibliography 23 THEATER AUDIENCE ETIQUETTE AND DISCUSSION PLEASE READ CAREFULLY AND GO OVER WITH YOUR CLASSES BEFORE THE SHOW TEACHERS: Speaking to your students about theater etiquette is ESSENTIAL. Students should be aware that this is a live performance and that they should not talk during the show. If you do nothing else to prepare your students to see the play, please take some time to talk to them about theater etiquette in an effort to help the students better appreciate their experience. It will enhance their enjoyment of the show and allow other audience members to enjoy the experience. -
Cultural and Temporal Transfer in the Subtitled Heritage Film Oliver Twist (2005)
Reshaping History: Cultural and Temporal Transfer in the Subtitled Heritage Film Oliver Twist (2005) Lisi Liang Sun Yat-sen University _________________________________________________________ Abstract Citation: Liang, L. (2020). Reshaping The paper will focus on how history is reshaped in a case study: the film History: Cultural and Temporal Transfer in a Heritage Film Oliver Twist (2005). adaptation of Oliver Twist (2005). It is of significance as its Chinese Journal of Audiovisual Translation, 3(1), authorised subtitles mediate nineteenth-century British history for 26–49. a contemporary Chinese audience. But this adaptation creates various Editor(s): J. Pedersen problems of translation as it negotiates the cultural and linguistic Received: October 15, 2018 transfer between early Victorian England and twenty-first-century Accepted: February 20, 2020 Published: October 15, 2020 China. To illustrate the challenge that translators and audiences face, Copyright: ©2020 Liang. This is an open examples drawn from the subtitles are grouped under Eva Wai-Yee access article distributed under the Hung’s (1980) suggested aspects of Dickens’s world: “religious beliefs, terms of the Creative Commons Attribution License. This allows for social conventions, biblical and literary allusions and the dress and unrestricted use, distribution, and hairstyle of the Victorian era”. Moreover, Andrew Higson’s “heritage” reproduction in any medium, provided the original author and source are theory (1996a), William Morris’s (Bassnett, 2013) views of historical credited. translation and Nathalie Ramière’s (2010) cultural references specific to Audiovisual Translation are adopted to read the Chinese subtitles. They are used to bring back the audiences to an impossible, inaccessible past. The historical features shown in this modern version of a British heritage film make it possible for the subtitles to interact with Chinese culture to transfer meaning via a complex combination of translation strategies. -
English Academic Year Curriculum Overview 2019-20
English Academic Year Curriculum Overview 2019-20 Term Year 7 Autumn 1 Literary Heritage - ‘Oliver Twist’ by Charles Dickens Life in Victorian London What was it like to be poor in Victorian London? The workhouse – Why were people there? What were the conditions like? The Poor Law – why was this so important to Dickens? How did it impact people? The form of the novel: Structure; Vocabulary; Sequence Characters Oliver – how does Dickens create sympathy for Oliver? The Artful Dodger – has he been groomed by Fagin? How would he survive if not by crime? Morality: Who is responsible for the poor? Grammar and Writing - Composing a topic sentence; the subject; subject/verb agreement; the past simple tense Autumn 2 Literary Heritage - ‘Oliver Twist’ by Charles Dickens Victorian Crime How did Oliver become involved in pickpocketing? How can we link crime to poverty? Violent assault – focusing on Bill Sikes. Murder – how does murder make the reader feel about Bill Sikes? Characters: Fagin – his role as a master criminal Bill Sikes – comparing how violent his language and actions are to people and animals Nancy – why does Nancy try and save Oliver even though it puts her in danger? Morality Is crime ever acceptable? What can fear make people do? Spring 1 Literary Heritage – ‘A Midsummer Night’s Dream’ by William Shakespeare Life in Elizabethan England: Context and the role of women The role of theatre as entertainment Life in ancient Athens: The role of power and how people ruled in Ancient Greece How family was different -
Oliver! (1968) AUDIENCE 82 Liked It Average Rating: 3.4/5 User Ratings: 55,441
Oliver! (1968) AUDIENCE 82 liked it Average Rating: 3.4/5 User Ratings: 55,441 Movie Info Inspired by Charles Dickens' novel Oliver Twist, Lionel Bart's 1961 London and Broadway musical hit glossed over some of Dickens' more graphic passages but managed to retain a strong subtext to what was essentially light entertainment. For its first half-hour or so, Carol Reed's Oscar-winning 1968 film version does a masterful job of telling its story almost exclusively through song and dance. Once nine- year-old orphan Oliver Twist (Mark Lester) falls in with such underworld types as pickpocket Fagin (Ron Moody) and murderous thief Bill Sykes (Oliver Reed), it becomes necessary to inject more and more dialogue, and the film loses some of its momentum. But not to worry; despite such brutal moments as Sikes' murder of Nancy (Shani Wallis), the film gets back on the right musical track, thanks in great part to Theatrical release poster by Howard Terpning (Wikipedia) Onna White's exuberant choreography and the faultless performances by Moody and by Jack Wild as the Artful Dodger. The supporting cast TOMATOMETER includes Harry Secombe as the self-righteous All Critics Mr. Bumble and Joseph O'Conor as Mr. Brownlow, the man who (through a series of typically Dickensian coincidences) rescues Oliver from the streets. Oliver! won six Oscars, 85 including Best Picture, Best Director, and a Average Rating: 7.7/10 Reviews special award to choreographer Onna White. ~ Counted: 26 Fresh: 22 | Rotten: 4 Hal Erickson, Rovi Top Critics G, 2 hr. 33 min. Drama, Kids & Family, Musical & Performing Arts, Classics, Comedy 60 Directed By: Carol Reed Written By: Vernon Harris Average Rating: 6/10 Critic Reviews: 5 Fresh: 3 | Rotten: 2 In Theaters: Dec 11, 1968 Wide On DVD: Aug 11, 1998 It has aged somewhat awkwardly, but the Sony Pictures Home Entertainment performances are inspired, the songs are [www.rottentomatoes.com] memorable, and the film is undeniably influential. -
THE NEWGATE NOVELS and DRAMA of TIIE 1830S ADRIAN PHILLIPS Phd the UNIVERSITY of YORK JULY 2001
THE NEWGATE NOVELS AND DRAMA OF TIIE 1830s ADRIAN PHILLIPS PhD THE UNIVERSITY OF YORK DEPARTMENT OF ENGLISH AND RELATED LITERATURE JULY 2001 TABLE OF CONTENTS Page Acknowledgements IV Abstract `' Note on the 'Texts VI INTRODUCTION I CHAPTER I Ruiwer's Newgate Novels and the Reformatory Spirit 23 i Respectability, Truth, and the Workings of Justice: Paul Clifford and Caleb Williams 30 ii Natural Law versus Human Law: Eugene Aram and Utilitarianism 60 iii Working-Class Defiance, Victorian Gentility, and Regency Dandyism: Paul Clifford and Pelham 74 iv Corruption or Correction: Romantic Love and the Shaping of Self 93 CHAPTER 2 Thieves and Thief-Takers: the Newgate Novel, Literary Self-Consciousness, and the Field of Cultural Production 99 i The Newgate Novels and Literary Controversy 104 ii Pelham, the 1820s, and the Privileged Control of Culture 1>; iii hie Criminal as Author: Paul Clifford, Rookw'ood, and the Changing Literary Order I39 iv faul Clifford and the Literary Critic 155 v 'l lie Newgate Novelists and a very Personal Struggle 160 CHAPTER 3 Theatre, Politics, and the Jack Sheppard Adaptations 185 1 The 'Jack Sheppard' Controversy 188 II ii Deceptions and Disguises: Radical Rhetoric and Early 19th-Century 71ieatrc 197 iii Buckstone's'Jack Sheppard' and Other Dramatic Adaptations 221 CONCLUSION 262 BIBLIOGRAPHY 274 A_(-KNOWLE GEN N'I S I would like to thank Dr Jane Moody for her invaluable comments upon two of the chapters in this thesis, and especially her expert advice on 19th-century theatre research. I am most grateful to Rebecca Edwards for her thorough and very helpful reading of the text at short notice.