DOCSLIB.ORG

Professor Katharine Cockin - Full Publication List

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Professor Katharine Cockin - Full Publication List Professor Katharine Cockin - Full Publication List Electronic Resources AHRC Ellen Terry and Edith Craig Database http://www.ellenterryarchive.hull.ac.uk A descriptive catalogue of the most significant theatre archive in Britain: comprising over 20,000 documents, the papers of Ellen Terry (1847-1928) and Edith Craig (1869-1947) are owned by the National Trust and held at the National Trust property, Smallhythe Place, Kent and the British Library. This project has involved close liaison between the University of Hull, the National Trust and literary manuscripts at the British Library. AHRC Searching for Theatrical Ancestors http://www.ellenterryarchive.hull.ac.uk/star This new enhancement to the resource described above includes guidance for family history researchers and in addition to the 20,000 records it provides access to a further 15,000 freely available data sets relevant for theatre history research. The Shakespeare Train page provides a creative and engaging interaction with data on Ellen Terry’s Shakespeare tours. This interface uses googlemaps and a selection of digitized play programmes. Usage since launch on 29 July 2016 (number of unique users and sessions (discrete periods when those users are looking at the site) has approximately doubled: 13-Dec-2015 - 28-Jul-2016: 943 users and 1,239 sessions 29-Jul-2016 - 14-Mar-2017: 1,846 users and 2,455 sessions UK usage has risen (number of sessions) by 130% and represents over 66% of all sessions: increase in share of 16%. Number of page views has risen by 70%: Bounce rate has reduced: 13-Dec-2015 - 28-Jul-2016: 4,789 13-Dec-2015 - 28-Jul-2016: 66% 29-Jul-2016 - 14-Mar-2017: 8,216 29-Jul-2016 - 14-Mar-2017: 50% Mobile usage has increased by 283% and usage on tablets has increased by 125%. A better experience on a variety of device/screen sizes was a key goal of the redesign. Books (15) Edith Craig and The Theatres of Art, London: Bloomsbury Methuen, 2017. (ed.) Ellen Terry: Lives of Shakespearian Actors, London: Pickering & Chatto 2012. (ed.) The Literary North, Basingstoke: Palgrave, 2012. (ed.) Ellen Terry, Spheres of Influence, London: Pickering & Chatto, 2011. (ed.) Ellen Terry: The Collected Letters Volume 1, London: Pickering & Chatto, 2010. (ed.) Ellen Terry: The Collected Letters Volume 2, London: Pickering & Chatto, 2011. (ed.) Ellen Terry: The Collected Letters Volume 3, London: Pickering & Chatto, 2012. (ed.) Ellen Terry: The Collected Letters Volume 4, London: Pickering & Chatto, 2013. (ed.) Ellen Terry: The Collected Letters Volume 5, London: Pickering & Chatto, 2014. (ed.) Ellen Terry: The Collected Letters Volume 6, London: Pickering & Chatto, 2015. (co-ed with Jago Morrison) The Post-war British Literature Handbook, London: Continuum, 2009. (ed.) Women’s Suffrage Drama: Volume Two, Women’s Suffrage Literature, London: Routledge, 2007 (funded by AHRC Small Grant in the Performing Arts 2004). Set co-edited K. Cockin, G. Norquay, S. Park (ed.) Suffragette Sally and Selected Short Stories: Volume Three, Women’s Suffrage Literature, London: Routledge, 2007. Set co-edited K. Cockin, G. Norquay, S. Park Women and Theatre in the Age of Suffrage: The Pioneer Players, Basingstoke: Palgrave, 2001. Edith Craig (1869-1947): Dramatic Lives, London: Cassell, 1998. 1 Guest Editor of Journal Special Issues [conference proceedings] (ed.) Silence, Law and Literature, 24,1 (2012). (ed.) Contemporary Fiction, Critical Survey, XIX, 3 (2008). (ed.) Friends and Family Figures in Contemporary Fiction, Critical Survey, XVIII, 2 (2006). Articles in Peer-reviewed Journals ‘Becoming Plant and Posthumanism in Jeff Noon’s Pollen (1995)’, Critique: Studies in Contemporary Fiction, 57,1 (2015) 94-104. doi.org/10.1080/00111619.2015.1019405 ‘Building Bridges: Widening Participation, English Literature and Hull City of Culture’, Use of English, 66, 1, Autumn (2014) 20-26. ‘Queen Caroline’s Pains and Penalties: Silence and Speech in the Dramatic Art of British Women’s Suffrage’, in Law and Literature, 24,1 (2012) 40-58. ‘Chicks and Lads: Gender, Generation and Literariness in Contemporary British Fiction', Anglistik und Englischunterricht (2007) 107-24. ‘Cicely Hamilton’s Warriors: Dramatic Reinventions of Militancy in the British Women’s Suffrage Movement’, Women’s History Review, XIV, 3 (2005) 527-42. ‘Inventing the Suffragettes: Anachronism, Gnosticism and Corporeality in Contemporary Fiction’, Critical Survey, XVI, 3 (2004) 17-32. ‘Rethinking Transracial Adoption: Reading Jackie Kay’s The Adoption Papers’, a/b: Autobiography Studies, XVIII, 2 (2003) 276-91. doi.org/10.1080/08989575.2003.10815308 ‘Ellen Terry, The Ghostwriter and the Laughing Statue: The Victorian Actress, Letters and Life- writing’, Journal of European Studies, XXXII (2002) 151-63. 'New Light on Edith Craig,' Theatre Notebook, XLV, 3 (1991) 132-43. 'Addendum to "British Literary Magazines: The Victorian and Edwardian Age 1837-1913"', Victorian Periodicals Review, XXIII, 2 Summer (1990) 68. Essay selected and reprinted Cockin, Katharine (2014) ‘Women's Suffrage Drama' in Maroula Joannou and June Purvis (eds), The Women's Suffrage Movement: New Feminist Essays. Manchester: Manchester University Press, 1998, pp. 127-139 reprinted in European Theatre Performance Practice, 1900 to the Present, eds. Nadine Holdsworth and Geoff Willcocks, Ashgate. [‘The aim of this is to collect a wide range of important and influential essays in this field, drawn predominantly from English-language journals and books’ (Ashgate).] Essays ‘Re-Reading Edge of Darkness (1985)’ in Heading North: The North of England in Film and Television, ed. Ewa Mazierska, Basingstoke: Palgrave, 2017, pp. 133-49. ‘Dr Mary Murdoch (1864-1916)’ in Hull: History, Culture, Place, eds D. Atkinson et al. Liverpool: Liverpool University Press, 2017, p. 78. ‘Bram Stoker, Ellen Terry and Pamela Colman Smith: The Art of Devilry’ in Bram Stoker and the Gothic: Formations and Transformations,(ed.) C. Wynne, Basingstoke: Palgrave, 2016, pp. 159-71. ‘Edith Craig and the Pioneer Players in a “Khaki-clad and Khaki-minded World”: London's International Art Theatre’ in British Theatre and the Great War 1914-1919: New Perspectives, (ed.) A. Maunder, Basingstoke: Palgrave, 2015, pp. 146-69. ‘Introducing the Literary North’ in The Literary North (ed.) K. Cockin, Basingstoke: Palgrave 2012, pp. 1-21. ‘Locating the Literary North’ in The Literary North (ed.) K. Cockin, Basingstoke: Palgrave 2012, pp. 240-52. ‘Ellen Terry and Her Circle – Formal Introductions and Informal Encounters’ in Ellen Terry, Spheres of Influence (ed.) K. Cockin, London: Pickering & Chatto, 2011, pp. 1-12. ‘Ellen Terry: Preserving the Relics and Creating the Brand’ in Ellen Terry, Spheres of Influence (ed.) K. Cockin, London: Pickering & Chatto, 2011, pp. 133-48. With Julian Halliwell, ‘Describing the Ellen Terry and Edith Craig Archive’ in Ellen Terry, Spheres of Influence (ed.) Katharine Cockin, London: Pickering & Chatto, 2011, pp. 149-60. 2 ‘Dame Ellen Terry and Edith Craig: Suitable Subjects for Teaching, Wordplay (English Subject Centre, HEA Newsletter) 2, 2009, online at http://www.english.heacademy.ac.uk/explore/publications/magazine/wordplay2/cockin.htm ‘Ellen Terry and Henry Irving: A Working Relationship’ in Henry Irving: A Re-evaluation of the Pre-eminent Victorian Actor-Manager (ed.) R. Foulkes, London: Ashgate 2008, pp. 37-48. ‘Resisting the Resistance to Reading’, English Subject Centre Newsletter, 6 February 2004, pp. 20-21. ‘“Slinging the Ink About”: Ellen Terry and Women’s Suffrage Agitation’ in Gender and Politics in The Age of Letter-Writing 1750-2000 (eds) C. Bland & M. Cross, London: Ashgate, 2004, pp. 201-12. ‘Charlotte Perkins Gilman’s ‘Three Women’: Work, Marriage and the Old(er) Woman’ in Charlotte Perkins Gilman: Optimist Reformer (eds) G. Rudd & V. Gough, University of Iowa Press, 2000, pp. 74-92. ‘Sexuality in Performance’ in The Routledge Reader in Politics and Performance (eds) L. Goodman & J. de Gay, London: Routledge, 1999, pp. 145-49. ‘The History of Women in Theatre 1500-1660’, in The Routledge Reader in Gender and Performance, (eds) L. Goodman & J. de Gay, London: Routledge, 1998, pp. 19-24. ‘Women’s Suffrage Drama’ in The Women’s Suffrage Movement: New Feminist Essays (eds) M. Joannou & J. Purvis, Manchester: Manchester University Press, 1998, pp. 127-39. 'The Pioneer Players: Plays of/with Identity' in Difference in View: Women in Modernism (ed.) G. Griffin. London: Taylor & Francis, 1994, pp. 142-54. Entries for the Oxford Dictionary of National Biography New entries: Margaret Ethel Robertson; Kittie Carson; Laurence Housman; Christopher St. John; Clare Atwood; Edith Craig; Mary Murdoch. Revised: William Abbott; James Anderson; Thomas Archer; George Bennett; George Bentley; Gustavus Brooke; Thomas Cobham; William Creswick; Edward Elton; Samuel Emery; John Hartley; Francis Huntley; Walter Lacy; Talbot Montague; Frederick Yates. Entries for Routledge Encyclopaedia of Modernism (online resource published 9 May 2016) ‘Cicely Hamilton’. DOI 10.4324/9781135000356-REM264-1 ‘Edith Craig’. DOI 10.4324/9781135000356-REM259-1 Entries in Reference Books Reader’s Guide to Women’s Studies, (ed.) Eleanor B. Amico, Chicago & London: Fitzroy Dearborn, 1998. The Reader’s Guide to English Literature (ed.) Mark Hawkins-Dady, London: Fitzroy Dearborn, 1996. International Dictionary of Theatre 1: Plays, (ed.) Mark Hawkins-Dady, London: St. James Press, 1992. Blog publications and interviews Dr Mary Murdoch (1864-1916): A Woman Doctor of Hull (for AHRC Remember Me Project) https://remembermeproject.wordpress.com/2017/04/05/dr-mary-murdoch-1864-1916-a-woman-
Load more

Recommended publications
  • Ellen Terry Collection Inventory
    Ellen Terry Collection Inventory 1 box; 114 items; .4 linear metres Material relating to the career of British actress Ellen Terry (1848-1928) especially period photographs of Miss Terry in various roles. See also the Edward Gordon Craig Collection, and Walker Theatre photographs. Env. #1: Clippings etc. – 15 items Including an article from Windsor Magazine, Dec. 1910 describing her greatest roles (ill.), anniversary tributes on the occasion of her 80th birthday, obituaries and booklet on the Ellen Terry Memorial. Env. # 2: Photographs – 6 items Portraits and misc. (outsize) Env. # 3: Photographs – 32 items Portraits and misc. including photographs and postcard reproductions of portraits of Ellen Terry by George Frederick Watts, Cyril Roberts, Pamela Colman Smith and Sir William Rothenstein. Also includes postcards of Smallhythe Place (2), a photo of Ellen Terry’s death mask, and urn of her ashes. Env. # 4: Production Photographs – 18 items Beatrice in Much Ado About Nothing, 1880 (4) Camma in Tennyson’s The Cup, 1881(2) Cordelia in King Lear, 1892 (1) Ellaline in The Amber Heart by Alfred Calmour, 1887 (2) Helen in The Hunchback by Sheridan Knowles, 1866 (2 postcards: portrait of Kate and Ellen Terry) Hermoine in The Winter’s Tale (1) Imogene in Cymbeline, 1896 (3) Juliet in Romeo and Juliet, 1882 (3) Env. # 5: Production Photographs – 3 items Ellen Terry as Lady Macbeth. Ellen Terry Collection Inventory Page 2 of 7 Env. # 6: Production Photographs – 24 items Ellen Terry as Margaret in Goethe’s Faust, 1885 Env. # 7: Production Photographs – 7 items Mme. Sans-Gene in the play by Victorien Sardou and Emile Moreau, 1897 (1 plate from The Theatre) Mamillius in The Winter’s Tale, 1856 (1 postcard) Nance Oldfield, 1891 (1) Olivia in Olivia by W.G.
    [Show full text]
  • Dame Ellen Terry GBE
    Dame Ellen Terry GBE Key Features • Born Alice Ellen Terry 27 February 1847, in Market Street, Coventry • Married George Frederic Watts, artist 20 February 1864 in Kensington. Separated 1864. Divorced 13 March 1877 • Eloped with Edward William Godwin, architect in 1868 with whom she had two children – Edith (b1869) and Edward Gordon (b1872). Godwin left Ellen in early 1875. • Married Charles Kelly, actor 21 November 1877 in Kensington. Separated 1881. Marriage ended by Kelly’s death on 17 April 1885. • Married James Carew, actor 22 March 1907 in Allegheny County, Pennsylvania, USA. Unofficially separated 1909. • Died 21 July 1928 Smallhythe Place. Funeral service at Smallhythe church. Cremation at Golders Green Crematorium, London. Ashes placed in St Paul’s Covent Garden (the actors’ church). Urn on display on south wall (east end). A brief marital history Ellen Terry married three times and, between husbands one and two, eloped with the man who Ellen Terry’s first marriage was to the artist G F Watts. She was a week shy of 17 years old, young and exuberant, and he was a very neurotic and elderly 46. They were totally mismatched. Within a year he had sent her back to her family but would not divorce her. When she was 21, Ellen Terry eloped with the widower Edward Godwin and, as a consequence, was estranged from her family. Ellen said he was the only man she really loved. They had two illegitimate children, Edith and Edward. The relationship foundered after 6 or 7 years when they were overcome by financial problems resulting from over- expenditure on the house that Godwin had designed and built for them in Harpenden.
    [Show full text]
  • Broadside Read- a Brief Chronology of Major Events in Trous Failure
    NEWSLETTER OF THE THEATRE LIBRARY ASSOCIATION Volume 17, Number 1/Volume 17, Number 2 SPECIAL DOUBLE ISSUE Summer/Fa111989 EXHIBITION SURVEYS MANHATTAN'S EARLY THEATRE HISTORY L An exhibition spotlighting three early New York theatres was on view in the Main I Gallery of The New York Public Library at Lincoln Center from February 13, 1990 through March 31, 1990. Focusing on the Park Theatre on Park Row, Niblo's Garden on Broadway and Prince Street, and Wal- lack's, later called the Star, on Broadway and 13th Street, the exhibition attempted to show, through the use of maps, photo- graphic blowups, programs and posters, the richness of the developing New York theatre scene as it moved northward from lower Manhattan. The Park Theatre has been called "the first important theatre in the United States." It opened on January 29, 1798, across from the Commons (the Commons is now City Hall Park-City Hall was built in 1811). The opening production, As You Like It, was presented with some of the fin- est scenery ever seen. The theatre itself, which could accommodate almost 2,000, was most favorably reviewed. It was one of the most substantial buildings erected in the city to that date- the size of the stage was a source of amazement to both cast and audience. In the early nineteenth century, to increase ticket sales, manager Stephen Price introduced the "star sys- tem" (the importation of famous English stars). This kept attendance high but to some extent discouraged the growth of in- digenous talent. In its later days the Park was home to a fine company, which, in addition to performing the classics, pre- sented the work of the emerging American playwrights.
    [Show full text]
  • Irving Room David Garrick (1717-1779) Nathaniel Dance-Holland (1735-1811) (After) Oil on Canvas BORGM 00609
    Russell-Cotes Paintings – Irving Room Irving Room David Garrick (1717-1779) Nathaniel Dance-Holland (1735-1811) (after) Oil on canvas BORGM 00609 Landscape with a Cow by Water Joseph Jefferson (1829-1905) Oil on canvas BORGM 01151 Sir Henry Irving William Nicholson Print Irving is shown with a coat over his right arm and holding a hat in one hand. The print has been endorsed 'To My Old Friend Merton Russell Cotes from Henry Irving'. Sir Henry Irving, Study for ‘The Golden Jubilee Picture’, 1887 William Ewart Lockhard (1846-1900) Oil in canvas BORGM 01330 Russell-Cotes Paintings – Irving Room Sir Henry Irving in Various Roles, 1891 Frederick Barnard (1846-1896) Ink on paper RC1142.1 Sara Bernhardt (1824-1923), 1897 William Nicholson (1872-1949) Woodblock print on paper The image shows her wearing a long black coat/dress with a walking stick (or possibly an umbrella) in her right hand. Underneath the image in blue ink is written 'To Sir Merton Russell Cotes with the kind wishes of Sara Bernhardt'. :T8.8.2005.26 Miss Ellen Terry, Study for ‘The Golden Jubilee Picture’, 1887 William Ewart Lockhart (1846-1900) Oil on canvas BORGM 01329 Theatre Poster, 1895 A theatre poster from the Borough Theatre Stratford, dated September 6th, 1895. Sir Henry Irving played Mathias in The Bells and Corporal Brewster in A Story of Waterloo. :T23.11.2000.26 Russell-Cotes Paintings – Irving Room Henry Irving, All the World’s a Stage A print showing a profile portrait of Henry Irving entitled ‘Henry Irving with a central emblem of a globe on the frame with the wording ‘All The World’s A Stage’ :T8.8.2005.27 Casket This silver casket contains an illuminated scroll which was presented to Sir Henry Irving by his friends and admirers from Wolverhampton, in 1905.
    [Show full text]
  • Ellen Terry's House FRANCIS REID Visits the National Trust's Museum of Nineteenth-Century Theatre at Smallhythe
    Ellen Terry's House FRANCIS REID visits the National Trust's museum of nineteenth-century theatre at Smallhythe. Smallhythe Place, built in the first half of the figures, together with the width of her own The Terry Room is devoted to memories sixteenth century, was known, originally as collections of theatrical ephemera, make the of the actress plus some material of her fami­ the Port House but became The Farm when house into something of a general museum ly background. In addition to drawings, the sea receded and agriculture replaced of the stage of the second half of the nine­ paintings and photographs, both in and out navigation. Smallhythe as a sixteenth­ teenth century. A width that also springs in­ of character, there is her make-up box, in­ century port built vessels, and by early this evitably from her family tree which encap­ signia as a Dame of the British Empire, and century goods were still being brought by sulates the Gielguids, the Hawtreys and her death mask. Particularly enchanting is a barge from Rye to Smallhythe quay, but the son Edward Gordon Craig, the visionary photograph of the 16-year-old Ellen Terry waterway has now shrunk to a drainage who, with Appia, looked forward to the pro­ by the great pioneer artist photographer ditch. duction styles of today. Julia Margaret Cameron. The Dining Room 1 Despite the large quantity of displayed displays portraits and possessions of the .. The house was bought by Ellen Terry in theatre material, the house manages to retain great actors including Garrick, Siddons, 1899 and, within the nomadic context of an a considerable air of domesticity in all its Kean, Bernhardt, Woffington, Vestris, acting life, was her true home until she died rooms.
    [Show full text]
  • CYMBELINE" in the Fllii^Slhi TI CENTURY
    "CYMBELINE" IN THE fllii^SLHi TI CENTURY Bennett Jackson Submitted in partial fulfilment for the de ree of uaster of Arts in the University of Birmingham. October 1971. University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. SYNOPSIS This thesis consists of an Introduction, followed by Part I (chapters 1-2) in which nineteenth- century criticism of the play is discussed, particular attention being paid to Helen Faucit's essay on Imogen, and its relationship to her playing of the role. In Part II the stags-history of Oymbcline in London is traced from 1785 to Irving's Lyceum production of 1896. Directions from promptbooks used by G-.P. Cooke, W.C. Macready, Helen Eaucit, and Samuel ±helps are transcribed and discussed, and in the last chapter the influence of Bernard Shaw on Ellen Terry's Imogen is considered in the light of their correspondence and the actress's rehearsal copies of the play. There are three appendices: a list of performances; transcriptions of two newspaper reviews (from 1843 and 1864) and one private diary (Gordon Crosse's notes on the Lyceum Gymbeline); and discussion of one of the promptbooks prepared for Charles Kean's projected production.
    [Show full text]
  • Introduction
    Stage women Introduction Maggie B. Gale and Kate Dorney Stage Women, 1900–50: Female Theatre Workers and Professional Practice brings together recent research exploring women’s participation in the theatre and entertainment industries during the first half of the twentieth century. Its chapters variously explore their professional practice and partnerships, their careers, celebrity and cultural status, and the intersec- tions between the social, the historical and the professional that shaped their working lives. The decades covered in this collection are more usually divided or periodised as ‘Edwardian’, ‘First World War’, ‘interwar’ and then ‘Second World War’, with specific decades described as ‘the roaring twenties’ and ‘the hungry thirties’. Recent years have seen a renewed focus on the period around the First World War (1914–18), marking the centenary since its beginning and end, and on the anniversary of the Representation of the People Act (1918) which bought with it enfranchisement for a wider demographic of the population than ever before, and specifically for many women over 30.1 Media coverage and popular and scholarly literature have recently reviewed the role of women more generally in this moment. As editors our aim has been to add to and extend this reappraisal, through curating a volume of essays that focuses specifically on women, theatre and performance. The collection provides broad-based coverage and analyses of women’s professional practice in theatre as actresses, activists, teachers, admin- istrators, writers and popular performers over a period bookended by the death of Queen Victoria and the decade of major social reforms epitomised by the establishment of the welfare state and the beginnings of organised state funding through CEMA and the Arts Council of Great Britain.
    [Show full text]
  • Gielgud, Sir John (1904-2000) by Patricia Juliana Smith
    Gielgud, Sir John (1904-2000) by Patricia Juliana Smith Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com John Gielgud. Sir John Gielgud has long been acknowledged as one of the greatest British actors of the twentieth century. A highly versatile performer, he played leading and character roles on both stage and screen, in every genre from classical tragedy to low comedy. While in many ways reticent about his sexuality, his experiences illustrate the significant changes in public attitude towards homosexuality over the decades. Arthur John Gielgud was born in London on April 14, 1904 to a family with theatrical backgrounds on both sides. His father was the son of a Lithuanian actress, and, through his mother, he was the great-nephew of Dame Ellen Terry, the most renowned British actress of the nineteenth century. Gielgud began acting in his teens, joining the Old Vic theater company in 1921, and making his film debut in the silent picture Who Is That Man? (1923). Soon thereafter, Gielgud became Noël Coward's understudy, eventually taking over the lead roles in Coward's play The Vortex (1924) and Margaret Kennedy's The Constant Nymph (1924). Other successes followed quickly, as Gielgud began to play major Shakespearean roles at the Old Vic, beginning with Romeo, and, before he was thirty, the more mature lead roles in Richard II, The Tempest, Macbeth, Hamlet, and King Lear. During this time, he began his first major relationship. Actor John Perry lived with him until their separation in the early 1940s.
    [Show full text]
  • 'Unsex Me Here'1: Mythical Women and the Threat of the Femme Fatale In
    VIDES XXII KATHRYN WATERS ‘Unsex Me Here’1: Mythical women and the threat of the femme fatale in the Victorian era, as seen in John Singer Sargent’s Ellen Terry as Lady Macbeth (1889) and Dante Gabriel Rossetti’s ‘Body’s Beauty’ (c.1866) This article will consider depictions of two different mythical women in the Victorian period, namely the characters of Shakespeare’s Lady Macbeth and the Jewish folkloric figure of Lilith. It will consider different interpretations of such mythical women by comparing John Singer Sargent’s Ellen Terry as Lady Macbeth (1889) with Dante Gabriel Rossetti’s sonnet ‘Body’s Beauty’ (c.1866-8). It will argue that Sargent creates a myth of womanhood in the character of Lady Macbeth via his portrait of Ellen Terry, largely inspired by her costume. It will compare this to the legend of Lilith as an alternative female myth; as that myth is expressed in Rossetti’s sonnet. The article will argue that these two artefacts depict differing interpretations of mythical women as versions of the femme fatale in the context of increased female self-expression and autonomy in the latter half of the nineteenth century. ohn Singer Sargent’s status as the ‘leading portrait artist of his age’ was barely in its infancy when he painted Ellen Terry as Lady Macbeth (1889) (see Figure 1).2 An JAmerican, Sargent had built a reputation as a portrait painter in Paris culminating in his Portrait of Madame X (1884). The resulting controversy of the overt sensuality of the central female figure of this painting led him to accept the invitation of his friend Henry James to move to London in 1886.3 Alice Comyns-Carr, Ellen Terry’s costume designer for the production and a friend of Sargent’s, recalled that it was Terry’s entrance into her first scene of Macbeth that inspired Sargent to paint Terry’s portrait in this role.
    [Show full text]
  • Ellen Terry Ebook, Epub
    ELLEN TERRY PDF, EPUB, EBOOK Joy Melville | 256 pages | 02 Aug 2006 | Haus Publishing | 9781904950141 | English | London, United Kingdom Ellen Terry PDF Book Download as PDF Printable version. Then explore Sister Florence Terry. The source of the information about Ellen Terry's birth year came from press cuttings in her archive, now owned by the National Trust and catalogued by me and described online at www. Gordon Craig , were the offspring of architect Edward Godwin, with whom Terry lived during much of her marriage to painter George Frederic Watts. Fay Spain. She later managed the Imperial Theatre in London, lectured, and continued to act until In any event, at the relevant time the s , it would not have been possible to obtain a divorce by mutual agreement: there would have had to be some grounds, such as adultery. Sign up here to see what happened On This Day , every day in your inbox! FameChain has their amazing trees. Edit page. One of my passions in life is motivating others to reach their full potential, she says. Divorced married 20 Feb divorce about George Watts. You must login before making a comment. They are structurally less complex than the first. Buda, the Nurse uncredited. Meet extraordinary women who dared to bring gender equality and other issues to the forefront. Recipient Email. History at your fingertips. Showing all 25 items. Anyway, maybe someone who knows the facts could revise the article. She hopes to win Adam's heart and get married to him. Ellen's guidance, experience, insightfulness and expert negotiating skills have proven invaluable to her many friends and customers.
    [Show full text]
  • 2021 AMERICAN PLAYERS THEATRE STUDY GUIDE Cymbeline
    Cymbeline 2021 AMERICAN PLAYERS THEATRE STUDY GUIDE Cymbeline By William Shakespeare Adapted by Marti Lyons & Sara Becker From an original adaptation by Henry Woronicz Welcome to APT's Study Guide, created to accompany Student Matinee performances of William Shakespeare's Cymbeline, adapted by Marti Lyons and Sara Becker from an original adaptation by Henry Woronicz. Use it however you see fit - before or after the performance, or any time in between. Multi Media A selection of videos and podcasts featuring Cymbeline artists and experts. Multi Media Thanks to our Major Education Funders With Additional Support From Linda Amacher * Nancy & Dale Amacher * Tom & Renee Boldt * Paul & Susan Brenner * Arch & Eugenia Bryant * Ronni Jones APT Children's Fund at the Madison Community Foundation * Rob & Mary Gooze * Herzfeld Foundation * Orange & Dean Schroeder * Lynda Sharpe Many Thanks! Director: Marti Lyons Voice & Text Coach: Sara Becker Costume Design: Raquel Adorno Scenic Design: Takeshi Kata Co-Lighting Design: Jason Lynch Co-Lighting Design: Keith Parham Co-Lighting Design: Michael A. Peterson Sound Design & Original Music: Mikhail Fiksel Fight Director: Jeb Burris Choreographer: Mollye Maxner Stage Manager: Evelyn Matten Who’s Who in Cymbeline Imogen (Melisa Pereyra) Pisanio (Elizabeth Ledo) King Cymbeline’s daughter. She Posthumus’ servant, he refuses to marries Posthumus, though her obey his master’s order to murder stepmother has promised her to Imogen, and instead leads her to a her own son, Cloten. When refuge in the woods. Posthumus is tricked into questioning her fidelity and plots her murder, she disguises herself as a boy called Fidele. The Queen (Gina Daniels) Cymbeline (Sarah Day) Cymbeline’s second wife, she A pre-Christian King of Britain, he wants her son Cloten to marry is manipulated by his second wife, Imogen with plans to make him and rebels against Rome, causing a king.
    [Show full text]
  • University Miaonlms International
    INFORMATION TO USERS Tins reproduction was made from a copy o f a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality o f the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “ target" for pages apparently lacking from the document photographed is “ Missing Pagc(s)". If it was possible to obtain the missing pagc(s) or section, they arc spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication o f either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image o f the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method o f “ sectioning" the material has been followed. It is customary to begin filming at the upper left hand comer o f a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete.
    [Show full text]