y separately published work icon Entrances and Exits single work   novel  
Issue Details: First known date: 1868... 1868 Entrances and Exits
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Publication Details of Only Known VersionEarliest 2 Known Versions of

First known date: 1868
Serialised by: Bow Bells : A Weekly Magazine of General Literature John Dicks , 1862-1887 periodical (1 issues)
Notes:
Serialised in Bow Bells : A Weekly Magazine of General Literature (New Series) in 26 weekly instalments from 29 January - 22 July 1868.

Works about this Work

Adapting the Familiar : The Penny-Weekly Serials of Eliza Winstanley on Stage in Suburban Theatres Catriona Mills , 2009 single work
— Appears in: Nineteenth Century Theatre and Film , June vol. 36 no. 1 2009; (p. 37-60)

This essay examines the adaptation of the serial fiction of Eliza Winstanley into sensation melodramas for the stage in suburban (and particularly East End) theatres in London. The process of adaptation was not a straightforward one. Winstanley was an actress turned writer who drew heavily on her own theatrical background in structuring her writing. Her stage background lent her serials a strongly theatrical flavour; however, playwrights adapting her work seem to have found its inherent theatricality problematic. Examining such adaptations reveals two aspects of playwriting and staging in mid-nineteenth-century suburban theatres: the conflicted attitude of playwrights towards the serials’ theatricality and their occasionally contradictory attempts to tie their productions closely to the original texts by basing tableaux and sensation scenes directly on the serials’ illustrations.

Adapting the Familiar : The Penny-Weekly Serials of Eliza Winstanley on Stage in Suburban Theatres Catriona Mills , 2009 single work
— Appears in: Nineteenth Century Theatre and Film , June vol. 36 no. 1 2009; (p. 37-60)

This essay examines the adaptation of the serial fiction of Eliza Winstanley into sensation melodramas for the stage in suburban (and particularly East End) theatres in London. The process of adaptation was not a straightforward one. Winstanley was an actress turned writer who drew heavily on her own theatrical background in structuring her writing. Her stage background lent her serials a strongly theatrical flavour; however, playwrights adapting her work seem to have found its inherent theatricality problematic. Examining such adaptations reveals two aspects of playwriting and staging in mid-nineteenth-century suburban theatres: the conflicted attitude of playwrights towards the serials’ theatricality and their occasionally contradictory attempts to tie their productions closely to the original texts by basing tableaux and sensation scenes directly on the serials’ illustrations.

Last amended 7 Oct 2009 16:03:13
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