Stage Piracy in Victorian Britain: Bleak House Adaptations

Q2 Arts and Humanities
J. Smith
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引用次数: 0

Abstract

Pirating novels for the stage was a staple of the Victorian theatre. There were many theatrical piracies of Bleak House in the second half of the period, but they all share a common feature: pirates had to decide how to reshape the narrative for audience consumption since the whole of this sprawling novel was impossible to stage. Thus fidelity to the original text was out of the question. This essay examines two Bleak House adaptations, an early and largely forgotten version and a later version that gained a global reputation. It considers the range of challenges pirates faced when adapting Bleak House as well as how the narrative is adapted to audience expectations across time and genre in the late Victorian period so that, out of the novel’s multivocality, Jo emerges as the centre of the story.
维多利亚时代的英国舞台盗版:荒凉山庄的改编
在舞台上剽窃小说是维多利亚时代戏剧的主要内容。在这一时期的后半段,《荒凉山庄》有很多戏剧盗版,但它们都有一个共同的特点:盗版者必须决定如何重塑叙事以供观众消费,因为这部庞大的小说无法上演。因此,忠实于原文是不可能的。这篇文章考察了两部改编自《荒凉山庄》的作品,一部是早期被遗忘的版本,另一部是后来获得全球声誉的版本。它考虑了海盗在改编《荒凉山庄》时所面临的一系列挑战,以及在维多利亚时代后期,叙事如何适应不同时间和类型的观众期望,从而在小说的多声部中,乔成为故事的中心。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Victorian Popular Fictions
Victorian Popular Fictions Arts and Humanities-Literature and Literary Theory
CiteScore
0.20
自引率
0.00%
发文量
11
审稿时长
16 weeks
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