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Little Masterpieces of Autobiography: Actors
LITTLE MASTERPIECES OF AUTOBIOGRAPHY: ACTORS George Iles, editor This public-domain (U.S.) text was scanned and proofed by Ron Burkey. The Project Gutenberg edition (“aauto10”) was subse- quently converted to LATEX using GutenMark software, and modified (principally to correct formatting problems). The frontispiece, which was omitted from the Project Gutenberg edi- tion, has also been restored. Report problems to [email protected]. Revision B3 differs from B2 in that “—-” has everywhere been replaced by “—”. Revision: B3 Date: 01/30/2008 Contents PREFACE 1 JOSEPH JEFFERSON 5 HOW I CAME TO PLAY RIP VAN WINKLE . 6 THE ART OF ACTING . 14 PREPARATION AND INSPIRATION . 15 SHOULD AN ACTOR “FEEL” HIS PART 18 JOSEPH JEFFERSON IN MONTREAL: PLAYWRIGHTS AND ACTORS . 22 THE JEFFERSON FACE . 23 EDWIN BOOTH 25 TO HIS DAUGHTER . 26 TO HIS DAUGHTER . 27 TO HIS DAUGHTER . 29 TO HIS DAUGHTER . 30 TO HIS DAUGHTER . 31 TO HIS DAUGHTER . 32 TO HIS DAUGHTER . 34 TO MISS EMMA F. CARY . 36 TO MISS EMMA F. CARY . 37 TO MR. NAHUM CAPEN . 39 ADVICE TO A YOUNG ACTOR . 41 CHARLOTTE CUSHMAN 43 AS A CHILD A MIMIC AND SINGER . 44 i ii FIRST VISITS TO THE THEATRE . 45 PLAYS LADY MACBETH, HER FIRST PART . 47 TO A YOUNG ACTRESS [PART OF A LETTER] . 49 TO A YOUNG MOTHER . 51 EARLY GRIEFS. ART HER ONLY SPOUSE . 52 FAREWELL TO NEW YORK . 55 CLARA MORRIS 57 SOME RECOLLECTIONS OF JOHN WILKES BOOTH . 57 THE MURDER OF PRESIDENT LINCOLN . 64 SIR HENRY IRVING 83 THE STAGE AS AN INSTRUCTOR . 84 INSPIRATION IN ACTING . 86 ACTING AS AN ART. -
ACTORS (19Th Century)
Library of Little Masterpieces In Forty-four Volumes LITTLE MASTERS OF AUTOBIOGRAPHY: ACTORS (19th Century) Edited by GEORGE ILES VOLUME XXXVI 1 Table of Contents PREFACE 5 JOSEPH JEFFERSON 6 HOW I CAME TO PLAY RIP VAN WINKLE 7 THE ART OF ACTING 10 PREPARATION AND INSPIRATION 10 SHOULD AN ACTOR "FEEL" HIS PART 11 JOSEPH JEFFERSON IN MONTREAL: PLAYWRIGHTS AND ACTORS 13 THE JEFFERSON FACE 13 EDWIN BOOTH 15 TO HIS DAUGHTER: BOOTH'S THEATER, NEW YORK, November 15, 1871. 16 TO HIS DAUGHTER: CHICAGO, March 2, 1873. 16 TO HIS DAUGHTER: April 23, 1876. 17 TO HIS DAUGHTER: CHICAGO, October 9, 1886 17 TO HIS DAUGHTER: NEW YORK, January 5, 1888, 17 TO HIS DAUGHTER: DETROIT, April 04, 1890. 18 TO HIS DAUGHTER: THE PLAYERS, NEW YORK, March 22, 1891. 18 TO MISS EMMA F. CARY SAINT VALENTINE'S DAY, 1864. 19 TO MISS EMMA F. CARY [Three weeks after the assassination by his brother, John Wilkes Booth, of President Lincoln.] Saturday, May 6, 1865 20 TO MR. NAHUM CAPEN: [In response to an inquiry regarding his brother, John Wilkes Booth.] WINDSOR HOTEL, NEW YORK, July 28, 1881. 21 ADVICE TO A YOUNG ACTOR: [TO WALTER THOMAS] NEW YORK, August 28, 1889.21 CHARLOTTE CUSHMAN 23 AS A CHILD A MIMIC AND SINGER 24 FIRST VISITS TO THE THEATRE 24 PLAYS LADY MACBETH, HER FIRST PART 25 TO A YOUNG ACTRESS [PART OF A LETTER] 25 TO A YOUNG MOTHER [FROM A LETTER] 26 EARLY GRIEFS. ART HER ONLY SPOUSE [FROM A LETTER TO A FRIEND] 27 FAREWELL TO NEW YORK 28 CLARA MORRIS 29 SOME RECOLLECTIONS OF JOHN WILKES BOOTH 30 THE MURDER OF PRESIDENT LINCOLN 32 WHEN IN MY HUNT FOR A LEADING MAN FOR MR. -
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials ..................................................................................................................................... -
The Richard L. Coe Early Scrapbook Finding
Richard L. Coe early scrapbook. Contents: [312] items, [307] pieces on first 74 pages of 155 p. volume. lccn: 2010414967 Call no.: PN2093.C65 1866 (Items with bold no. indicate separately cataloged titles) p. [Ii. Newspaper clippings from the Alexandria Gazette and Virginia Advertiser “The Rambler’s Note-Book” from Aug. 13, 1892, August 27, 1892, October 1, 1892 and Octoeber 8, 1892. Also clipping “Our Frank in Atlanta” correspondence of the Richmond Dispatch, n.d. (5 items. 8 pieces; portion of three clippings formerly folded, broken away) p. [2]. “The Rambler’s Note-Book” clippings from June 16, 1892, July 23, 1892, Nov. 19, and Nov. 23, 1892 (4 items, 5 pieces) p. [3]. “The Rambler’s Note-Book” clippings from Sept. 24, 1892, Sept 3, 1892, Oct. 29, 1892 and January 14, 1893 (4 items, 5 pieces) p. [4] “The Rambler’s Note-Book” clippings from Dec. 16, 1892, Dec. 15, 1892, Nov. 19, 1892, Dec. 12, 1892. 2 additional clippings:”Communicated” and “Communicated. A suggestion” undated (6 items, 7 pieces) p. [5]. The Rambler’s Note-Book clipping from Oct. 17, 1892. Additional clippings from January 23, 1891, Nov. 24, 1892, and December 22. 1891 and additional undated clippings: 5 notices. I clipping of verse and I clipping “The Return of Joy” by George Newell Lovejoy. (11 pieces) p. [6]. Clippings of verse: “The Old Road” by Oliver Dufour, poem by Mrs. A.L. Ruter Dufour, “The Bride’s Farewell”, “Silenus” by James B. Kenyon, “Renouncement” by Alice Mevnell, “Old time songs: “Annie Lisle”, “Do they miss me at home”, “Ossian’s serenade”. -
Theater Playbills and Programs Collection, 1875-1972
Guide to the Brooklyn Theater Playbills and Programs Collection, 1875-1972 Brooklyn Public Library Grand Army Plaza Brooklyn, NY 11238 Contact: Brooklyn Collection Phone: 718.230.2762 Fax: 718.857.2245 Email: [email protected] www.brooklynpubliclibrary.org Processed by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier. Finding aid created in 2006. Revised and expanded in 2008. Copyright © 2006-2008 Brooklyn Public Library. All rights reserved. Descriptive Summary Creator: Various Title: Brooklyn Theater Playbills and Programs Collection Date Span: 1875-1972 Abstract: The Brooklyn Theater Playbills and Programs Collection consists of 800 playbills and programs for motion pictures, musical concerts, high school commencement exercises, lectures, photoplays, vaudeville, and burlesque, as well as the more traditional offerings such as plays and operas, all from Brooklyn theaters. Quantity: 2.25 linear feet Location: Brooklyn Collection Map Room, cabinet 11 Repository: Brooklyn Public Library – Brooklyn Collection Reference Code: BC0071 Scope and Content Note The 800 items in the Brooklyn Theater Playbills and Programs Collection, which occupies 2.25 cubic feet, easily refute the stereotypes of Brooklyn as provincial and insular. From the late 1880s until the 1940s, the period covered by the bulk of these materials, the performing arts thrived in Brooklyn and were available to residents right at their doorsteps. At one point, there were over 200 theaters in Brooklyn. Frequented by the rich, the middle class and the working poor, they enjoyed mass popularity. With materials from 115 different theaters, the collection spans almost a century, from 1875 to 1972. The highest concentration is in the years 1890 to 1909, with approximately 450 items. -
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PAGE 20 THE INDIANAPOLIS TIMES APRIL fi, 1928 COIN-IN-SLOT PHOTOES DUTCH WIN ISLE WE HAVE THE BEST Win in Dance Contest PLAN RECEPTION Just Sew-Sew Automatic Portrait Gallery to Bo Installed in City. OF OPERATIC That's How Henry Feels IN PACIFIC OVER FUN FOR JIM REED A Photomaton apparatus, auto- After Paying for matic picture-taking machine, will The Pirates of Penzance’ Is the Most Beautiful of the be set up Saturday at 52 W. Ohio M issouri Senator to Speak Stitches. St., David Tavel, representing the UNITEDSTATES Operas Gilbert and Sullivan That Winthrop Ames Here April 11. Photomaton Company, announced you feel in a mood to commit this week. Has Given the American Stage. The machine is second to be Controversy on Ownership Prominent Hoosier Democrats are IFassault and battery, go easy on the your target Municipal Judge set up in the city in the last week. BY WALTER D. HICKMAN among the sixty-three persons or Paul C. Wetter might charge you It will photograph the customer in of Las Palmas Settled beautiful picture Winthrop given most that Ames has the Ameri- named today as a reception com- $5 for every stitch necessary to eight different poses after a coin is THEcan stage is to be found in his production of “The Pirates of mittee for Senator James A. Reed, sew your victim up. dropped into a slot. After Thirty Years. Penzance.” of Missouri, candidate for the Henry Raymond. 31, Negro, ap- ' “The Pirates” probably is the most robust and the most BY MAURITZ A. -
Introduction
Notes Introduction 1. The new series was called the Acme Library Series and the first novel pub- lished in the series was Arthur Conan Doyle’s The Parasite in 1894. 2. See Hughes (2000). Glover’s (1996) and Hughes’s monographs were instru- mental in the development of Stokerian criticism at this period. Hughes and Smith’s collection of essays on Stoker, Bram Stoker: History, Psychoanalysis and the Gothic (1998), was also published in this period. 3. For sexual and gender readings, see, for instance, Roth (1997), Craft (1984) and Cranny-Francis (1988). On the colonial resonances of Dracula, see Arata (1990). For a study of the vampire figure, see Frayling (1991), Senf (1988) and Auerbach (1995). 4. See, for instance, Moses (1997). 5. Tóibín, however, describes Irving as ‘tyrannical’, but the relationship between Irving and Stoker was complex and should not be interpreted as one of tyranny and subjugation. 6. See Hopkins (2007), Wynne (2006, 2011, 2012) and Hoeveler (2012). Daly connected the Irish playwright Dion Boucicault to Stoker’s The Snake’s Pass (1995, 1999). 7. For instance, there are only fleeting references to Stoker in Foulkes’s excel- lent collection of essays on Henry Irving (2008). 8. Peter Haining and Peter Tremayne argue that between 1870 and 1876 the Wildes ‘acted in loco parentis to Bram and undoubtedly had an influence imparting information on Irish folklore to him’ (1997: 68). 9. In an unpublished letter to Stoker written from Paris and dated 24 July 1875, Ward asks Stoker to convey her love to the Wildes and describes how her mother has planted the ivy which they brought from the Wilde garden (Stoker Correspondence). -
Paul Wilstach Collection of Richard Mansfield Papers [Finding Aid
Paul Wilstach Collection of Richard Mansfield Papers A Finding Aid to the Collection in the Library of Congress Manuscript Division, Library of Congress Washington, D.C. 2009 Contact information: http://hdl.loc.gov/loc.mss/mss.contact Additional search options available at: http://hdl.loc.gov/loc.mss/eadmss.ms008093 LC Online Catalog record: http://lccn.loc.gov/mm79031260 Prepared by Joseph K. Brooks Collection Summary Title: Paul Wilstach Collection of Richard Mansfield Papers Span Dates: 1889-1918 Bulk Dates: (bulk 1898-1909) ID No.: MSS31260 Collector: Wilstach, Paul, 1870-1952 Creator: Mansfield, Richard, 1857-1907 Extent: 2000 items ; 6 containers plus 2 oversize ; 2.4 linear feet Language: Collection material in English and French Location: Manuscript Division, Library of Congress, Washington, D.C. Summary: Author and biographer (Wilstach). Actor (Mansfield). Scrapbooks, correspondence, plays, printed matter, and biographical material mainly created by Mansfield and collected by Wilstach, who served as Mansfield's secretary Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. People Ibsen, Henrik, 1828-1906. Mansfield, Beatrice Cameron, 1868- --Correspondence. Mansfield, Richard, 1857-1907. Paul Wilstach collection of Richard Mansfield papers. 1889-1918. Pollard, J. P. (Joseph Percival), Mrs. Shaw, Bernard, 1856-1950. Wilstach family. Wilstach, Paul, 1870-1952. Wilstach, Paul, 1870-1952. Richard Mansfield, the man and the actor. 1908. Subjects Actors--Biography. Theater--United States. Occupations Biographers. Administrative Information Provenance The papers of Richard Mansfield, actor, were given to the Library of Congress in 1925 by author and biographer Paul Wilstach. -
Plymouth Theater, First Floor Interior
Landmarks Preservation Commission December 15, 1987; Designation List 198 LP-1369 PLYMOUTH THEATER, first floor interior consisting of the auditorium, the stage, the staircases leading from the first floor to the balcony floor; the balcony floor interior consisting of the balcony, the upper part of the auditorium and ceiling; and the fixtures and interior components of these spaces, inc 1 uding but not 1 imi ted to, wall and ce i 1 ing surfaces, doors, stair railings and attached decorative elements; 234-240 West 45th Street, Manhattan. Built 1917-18; architect, Herbert J. Krapp. Landmark Site: Borough of Manhattan Tax Map Block 1016, Lot 51. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Plymouth Theater, first floor interior consisting of the lobby, the auditorium, the stage, the staircases leading from the first floor to the balcony floor and all connecting entrance areas; the balcony floor interior consisting of the balcony, the upper part of the auditorium and ceiling, the upper part of the stage house; and the fixtures and interior components of these spaces, including but not limited to, wall, ceiling, and floor surfaces, doors, stair railings and attached decorative elements; and the proposed designation of the related Landmark Site (Item No. 65). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-one witnesses spoke or had statements read into the record in favor of designation. Two witnesses spoke in opposition to designation. -
PLYMOUTH THEATER, 234-240 West 45Th Street, Manhattan
Landmarks Preservation Commission December 8, 1987; Designation List 197 LP-1368 PLYMOUTH THEATER, 234-240 West 45th Street, Manhattan. Built 1917-18; architect, Herbert J. Krapp. Landmark Site: Borough of Manhattan Tax Map Block 1016, Lot 51. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Plymouth Theater and the proposed designation of the related Landmark Site (Item No. 64). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-one witnesses spoke or had statements read into the record in favor of designation. One witness spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The Plymouth Theater survives today as one of the historic theaters that symbo 1 ize American theater for both New York and the nation. Bui 1 t in 1917-18, the Plymouth was one of a pair with the Broadhurst and among the numerous theaters constructed by the Shubert Organization to the designs of Herbert J. Krapp, that typified the deve 1 opment of the Times Square/Broadway theater district. From its opening, the theater was leased and successfully managed by producer Arthur Hopkins. By all accounts, Arthur M. Hopkins was among the most unusual producers on the Broadway stage. A pioneer in the production on Broadway of Ibsen plays, Hopkins was also the producer of Anna Christie, Eugene O'Neill's first financial success, and the friend and producer of the Barrymores (he was responsible for John Barrymore's most celebrated appearance in !!am!.~.!). -
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Journal of Global Theatre History Volume 1, Number 1, 2016, pp. 20-33 Derek Miller The Salve of Duty: Global Theatre at the American Border (1875-1900) Abstract This essay argues that national borders impede the flow of theatre around the globe. I examine nineteenth- century American disputes about tariffs on the importation of theatrical production materials as an example of theatrical protectionism. I argue that we must balance utopian visions of global theatrical culture against the real national culture industries that sometimes view international trade as a threat to their livelihoods. As these nineteenth-century tariff debates demonstrate, theatre is subject to the same pressures on the trans-national movement of goods and labour as other industries. Author Derek Miller is an Assistant Professor of English at Harvard University where he teaches courses in theatre history and dramatic literature. His research focuses on the intersection of art and industry in the nineteenth and twentieth century. He is currently completing a monograph on nineteenth-century performance rights law and developing a Digital Humanities project about Broadway. More information at http://scholar.harvard.edu/dmiller. Published under the Creative Commons License CC-BY 4.0 All rights reserved by the Author. I am a theatrical Protectionist, and I care not who knows it. In my opinion, the gentlemen who are conferring and memorialising over Municipal Theatres and State Opera Houses would be at least as practically employed in promoting a Tariff Bill for Safeguarding the British dramatist against the pressure of foreign competition. A nice little impost—say ten per cent of the gross receipts on translations and fifteen per cent on adaptations in which the scene is transferred to England—would do a power of good.