Performing Illness in the Late-Nineteenth-Century Theatre
STAGES OF SUFFERING: PERFORMING ILLNESS IN THE LATE-NINETEENTH-CENTURY THEATRE by Meredith Ann Conti Bachelor of Fine Arts, Denison University, 2001 Master of Arts, University of Pittsburgh, 2007 Submitted to the Graduate Faculty of The School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2011 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Meredith Ann Conti It was defended on April 11, 2011 and approved by Attilio Favorini, PhD, Professor, Theatre Arts Kathleen George, PhD, Professor, Theatre Arts Michael Chemers, PhD, Associate Professor, Carnegie Mellon University, Drama Dissertation Advisor: Bruce McConachie, PhD, Professor, Theatre Arts ii Copyright © by Meredith Ann Conti 2011 iii STAGES OF SUFFERING: PERFORMING ILLNESS IN THE LATE-NINETEENTH-CENTURY THEATRE Meredith Ann Conti, PhD University of Pittsburgh, 2011 Few life occurrences shaped individual and collective identities within Victorian society as critically as suffering (or witnessing a loved one suffering) from illness. Boasting both a material reality of pathologies, morbidities, and symptoms and a metaphorical life of stigmas, icons, and sentiments, the cultural construct of illness was an indisputable staple on the late-nineteenth- century stage. This dissertation analyzes popular performances of illness (both somatic and psychological) to determine how such embodiments confirmed or counteracted salient medical, cultural, and individualized expressions of illness. I also locate within general nineteenth-century acting practices an embodied lexicon of performed illness (comprised of readily identifiable physical and vocal signs) that traversed generic divides and aesthetic movements. Performances of contagious disease are evaluated using over sixty years of consumptive Camilles; William Gillette’s embodiment of the cocaine-injecting Sherlock Holmes and Richard Mansfield’s fiendishly grotesque transformations in the double role of Dr.
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