From Dickens’s Theatrical Performance to Contemporary post Dickensian Narrative and Artistic Performance (Acker, Ackroyd, Waters and Rushdie) by Georges Letissier

“…It can be claimed that Waters’s narrative ploys are borrowed from the theatrical world which held a real fascination for Dickens. With English Music, Ackroyd, for his part, illustrates what Clayton in his study: Charles Dickens in Cyberspace (2003) calls “undisciplined” creativity, by revisiting Great Expectations trans-artistically, through an odd combination of the pictorial, the musical, the cinematographic and the theatrical. …”
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