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Description
This is the first in-depth study of the theatrical afterlives of nineteenth-century women novelists. Whereas previous scholarship has shown a strong bias towards male writers, especially Charles Dickens, this book innovatively brings woman-authored novels centre stage--literally and metaphorically. Theatrical Afterlives: Nineteenth-Century Women's Novels on the Stage examines the dramatic offspring of Jane Austen, the Brontës, Elizabeth Gaskell, Mary Elizabeth Braddon, Ellen Wood, and George Eliot, through particular, and sometimes unexpected, theatrical lenses (e.g., prison drama, Irish theatre, suffrage drama). It prioritises the performance event--what actually happens onstage--through attention to a series of theatre ephemera, unpublished manuscript material, and specially commissioned interviews with practitioners. The book argues that the theatrical afterlives allegorize key socio-political debates and tensions of the past two hundred years, including the woman question, the Irish question, colonial legacies, and the #MeToo era. All these foci allow Marina Cano to investigate the dramatizations as expressions and affirmation of identities that have at one point been marginalized, while also enabling creative interconnections to emerge through the juxtaposition of novelists, plays, historical movements, and locations. The dramatizations, the book concludes, matter, not only for what they tell us about how woman-authored novels have been utilised, but also because these plays provide a fresh methodology to access and reread the novels themselves, and read them anew.
Table of Contents
- Introduction
- 1: George Eliot's Theatricality
- 2: Sensation Fiction Onstage and the New Woman
- 3: Elizabeth Gaskell's Cranford in Suffrage Times
- 4: Jane Austen on the Prison Stage: A #MeToo Adaptation
- 5: The Brontës on the Irish Stage
- Epilogue
- Bibliography
