DOCSLIB.ORG

Series 1. Actors, Actresses, Entertainers

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Theatre Collection Illustrations / chiefly collected by Miss Angel Symon MSS 792 T37428 Series 1 A-D Yellow cells = Oversize, stored separately Grey = Missing? 1A. Actors and Actresses – individuals No. Details Year Notes 1a Abington, Mrs Frances 1815 Engraving 1b Abington, Mrs. As “Charlotte” in “The Hypocrite” 1786 Engraving 1c Abington, Mrs. as “Lady Polly?” [1812] Engraving 1d Abington, Mrs. as “Olivia” 1779 Engraving 2a Alexander, George Photograph 2b Alexander, George as “Orlando” 1896 Photo 3a Allan, Maud 2 postcards from photographs 1-2 4 Anderson, Miss Mary as “Hermione” Photograph 5 Anthony, Miss Hilda Postcard from photo, Hand-coloured. Addressed to Lenore Symon from Aube (?) Amos. Dated 11 January 1907 6 Asche, Oscar as “Petrichio” Photograph (Edinburgh Folio) 7 Atkins, Mrs Elizabeth as “Selima” in “Selima & Azor” Print 8 Baddely [Baddeley]. Mr Robert. Engraving 9 Baird, Dorothea as “Rosalind” Photograph (Edinburgh Folio) 10 Bandmann, Daniel E Photograph 11 Bandmann, Mrs Millicent Photograph 12a Bannister Junior, Mr John. as “Ben the Sailor” Engraving 12b Bannister, Mr. - as “Dick” in “Apprentice” Print 12c Bannister, Mr. John – Comedian 1795 Engraving 13 Baratti Photo 14 Barry, Spranger (1719-1777) as “Macbeth” Postcard of a Mezzotint by J. Gwinn (Harry Beard Collection) 15 Beattie [Beatty], May? Photo 16 Beattie [Beatty], Miss May 1906 Hand-coloured postcard from a photograph. Addressed to Miss Symon, from L. S. [Lenore Symon?] 17 Beaumont [Armes] Photograph 18 missing 19 Bellamy, Mrs. George Anne Engraving 20 Bellew, Kyrle as “Romeo” [1896] Photograph 21a Bennett, Mr George as “Lucius Cataline” Engraving 21b Bennet, Mr George as “Hubert” in “King John” Hand-coloured engraving 21c Bennett, Mr George. as “King” in “Hamlet” Hand-Coloured Print 21d Bennet, Mr George as “King Henry the Eighth” Hand-Coloured engraving 22 Bensley, Mr as “Mahomet” 1777 Engraving 23a Berhardt, Sarah “dans l’Aiglon” 3 postcards from photographs. Notes 1-3 on back, #1 dated 20 May 1905, #2 and #3 dated February 1912. 23b Bernhardt, Sarah 10 photographs 1-10 23c Bernhardt, Sarah as “Hamlet” (missing) Photograph (Edinburgh Folio ed.) 24 Betterton, Mr Thomas Engraving 25 Betty, William Henry West 1804 Engraving 26 Billington, Mrs as “St. Cecelia” 1825 Print 27 Blanchard, Miss E.W. 1818 Engraving 28 Blanchard, Mr as “Ralph” 1792 Engraving 28a Blanchard, Mr as “The Chieftain” Hand coloured engraving. Framed 29a Blanchard, Mr William of the Theatre Royal Convent 1805 3 prints 1-3 Garden 30 Bland, Mrs as “Sally” in “Shipwreck” Engraving 31 Booth, Edwin Photograph 32 33 Braham, Mr John (1774-1856) as “Prince Orlando” Engraving 34 Braithwaite, Miss Lilian Postcard from a photograph. Addressed to C. J. B Symon from B.K. Dated 9 Feb 1907. 35a Brayton, Lily 6 postcards from photographs. Some 1-6 coloured. 35b Brayton, Lily in “Richard II” Photograph (Edinburgh Folio) 36 Brereton, Mr W. as “Douglas” Engraving 37a Brooke, Mr Gustavus Vaughan as “the Duke of Hand-coloured engraving Gloster” in “Richard III” 37b Brooke, Mr Gustavus Vaughan as “Othello” Engraving 37c Brooke, Mr Gustavus Vaughan as “Shylock” in Hand-coloured engraving “Merchant of Venice” 38 Brough, Mr Lionel as “The Laird” Photograph 39 Brown-Potter, Mrs as “Rosalind” Photograph 40 Brune, Miss Tittell Postcard from a Photograph 41 Brunton, Miss Ann as “Horatia” in “Roman Father” Engraving 42 Buckstone, John Baldwin, Esq. Engraving 43 Burke, Miss Billie 1906 Postcard from a photograph. Addressed to Miss. L. H. Symon from Bess. Dated 11 April 1906. 43.5 Campbell, Jean 1975 Photograph (2 copies) Bio on reverse 43.7 Campbell, Mrs Patrick Large postcard 44 Catalani, Madame Engraving 45 Céleste, Madame (Madame Céline Céleste-Elliott) Photograph. Has second name written on back – Jas Smith? 46 Chambers, Miss Lucy Photograph 47a Chase, Miss Pauline as “Bassano” Postcard of a photograph 47b Chase, Pauline as “Peter Pan” Photograph on Christmas card 48 Cherry, Mr Andrew as “Lazarillo” in “Two Strings to Engraving your Bow” 49 Chester, Miss Eliza as “Beatrice” Engraving 50 Cibber, Mrs Susannah Maria as “Monimia” in “The 1776 Hand-coloured engraving Orphan” 51 Missing? 52 Clements, Miriam as “Hero” in “Much Ado about 1905 Photograph (Edinburgh Folio) Nothing” 53 Cliffe, Cooper as “Claudius” at the Lyceum 1897 Photograph (Edinburgh Folio) 54a Clifford, Miss Camille “The Original Gibson Girl” 1907 Hand-coloured postcard from a photograph. Addressed to Lenore Symon from Aube Amos. Dated 8 January 1907 54b Clifford, Miss Camille 1907 3 postcards from photographs #3 1-3 addressed to Miss E. Symon. Dated 2 May 1907. 55a Coates, Robert 1913, 2 engravings 1-2 1814 56 Coliva? [Unidentified Male Actor] Photograph 57 Collins, Mr. as “Sharp” in Lying Valet” Engraving 58 Compton, Henry Engraving 59 Cookson, Mr. Samuel Autey as “Lord Scrope” Photograph (Edinburgh Folio) 60 Cooper, Fanny Print from Daguerreotype 61 Cooper, Miss Gladys Postcard from a Photograph. Addressed to Angel Symon from Lenore Symon 62a Coppin, George as “Milky White” Photograph (2 copies) 1-2 62b Coppin, George as “Paul Pry” Photograph (2 copies) 1-2 63 Unidentified Female. Labelled Coresi? Photograph 64 Missing? 65 Crawford, Alice 1905 Postcard from a photograph. Addressed to Eleana Symon, from M. Symon. Dated 13 April 1905 66 Crawford, Mrs as “Cleopatra” Engraving 67a Creswick, Mr as “Cassius” Hand-coloured engraving 67b Creswisk, Mr as “Coriolanus” 2 engravings. #2 is hand-coloured 1-2 67.5 Cusack, Cyril in “Hadrian VII” 1970 Postcard from a photograph 68 Cutler, Miss Kate Postcard from a photograph 69 Dare, Miss Phyllis 1907 + 2 postcards from photographs. #1 is 1-2 n.d. coloured and addressed to Miss J. Harry from L. A(?) Dated 1 April 1907. 70a Dare, Miss Zena 1905-6 4 postcards from photographs. #1 1-4 coloured, Addressed to Miss J. Harry from A. K. Dated 28 April [year unknown] #2 and #3 Addressed to Miss Lenore Symon from Bates. Dated 22 February 1906. #4 Coloured. 70b Dare, Miss Zena in “Peter Pan” Postcard from a photograph. Addressed to Lenore Symon from Angel Symon. 71 Dasté, Jean? Photograph 72 Unidentified Female. Labelled Delizy, Mlle. Photograph 73 Dibdin, Mr Charles 1801 Engraving 74 Dibdin, Mrs. Thomas as “Queen Caroline” in the Engraving “Heart of Mid-Lothian 75a Dignum, Mr Charles 1799 Engraving 75b Dignum, Mr Charles as “Tom Tug” in “The 2 Prints 1-2 Waterman” 76a Dillon, Mr Charles as “Hamlet” Engraving 76b Dillon, Mr Charles as “Othello” Engraving 77 Unidentified Male Actor. Labelled Dondi 2 Photos 1-2 78a Dowton, Mr William as “Drugget” Print 78b Dowton, Mr William as “Sir John Falstaff” 1831 Engraving 79 Duncan, Miss as “Maria” in “Citizen” Print 80a Edwin, Mr as “Caleb” in “He would be a soldier” Hand-coloured print 80b Edwin, Mr as “Rudolph” Silk and tinselled portrait with 3 sheets of text 81 Elliot, Maxime 2 photo postcards 1-2 82a Elliston, Mr as “Walter” 1827 2 prints 1-2 82b Elliston, Mr in “Rochester” Engraving 83 84 Emery, Mr. as “Robin Roughhead” in “Fortunes Engraving from a Daguerreotype Frolics” 85 Euyuck, Mlle Van 1867? Photo 86 Farley, Mr as “Jessamy” in “Bon Ton” Engraving 87 Farren, Miss as “Emeline” in “Arthur & Emeline” Engraving 88 Farren, William (1786-1861) as “Sir Peter Teazle” in Print Postcard (Harry Beard Collection) “School for Scandal” 89 Fawcett, Mr. “The Comedian” Engraving 90 Fechter Photo 91 Fisher, Kitty as “Cleopatra” Postcard of a painting by Sir Joshua Reynolds 92 Fitzwilliam, Mr. as “Leporello 1829 Engraving 93 94a Garrick as “Richard III” Engraving 94b Garrick, between Tragedy and Comedy Engraving 94c Garrick, David (1717-1779) as “Richard III” Mezzotint by S.W. Reynolds (Harry Beard Collection) 94d Garrick, david 1794 Engraving with a short biography 94e Garrick, David 3 engravings 1-3 94f Garrick, David as “Hamlet” Print of a painting 94g Garrick, David as “Kitely” Print of a painting 94h Garrick, Mr as “Abel Drugger” 1777 Engraving 94i Garrick, David and Mrs Garrick Black and White Print 95 Garrick, Mrs 1802 Engraving 96 Genee, Mlle. Adeline as “La Camargo” Photo postcard 97 Gielgud, Sir John as “Julius Caesar” Caricature 98 Gilbert, Mlle. 1867? Photo 99a Gill, Mr. Basil Photo Postcard 99b Gill Mr. Basil as the “Duke of Aumerle” Photo (Edinburgh Folio ed) 100 Glover, Mrs. as “Roxalana” in “Tis I” Engraving 101 Granville, Charlotte as “Gertrude” 1897 Photo (Edinburgh Folio) 102 Graves, George in “The Belle of Brittany” Painting postcard 103 Greene, Miss Evie Photo postcard 104 Grimaldi, Joe (1779-1837) as “Clown” in the Print on postcard (Harry Beard Pantomine of “Mother Goose” Collection) 105 Gwynne, Nell Engravign 106 Harding, June in “To have and to hold” 5 photos 1-5 107 Harding, Mr D. Lyn as “The King’s Uncle – Edmund Photo (Edinburgh Folio ed) The Duke of York” in “Richard II” 108 Harley, Mr (1786-1858) as “Billy Bombast” 1826 Engraving 109 Hartley, Mrs Print 110 Hartley, Mrs as “Hermione” in the “Winters Tale” 1780 Print on postcard (Harry Beard Collection) 111 Hartley, Mrs as “Jane Gray” Engraving 112 Haviland, Mr in “Richard II” Photo (Edinburgh Folio) 113 Hayden-Coffin, Mr C. as “Reginald Fairfax” in “The 1953 Photo Geisha” 114 Henderson, John (1747-1785) as “Macbeth” Photo-print of a mezzotint on a postcard by Jones (Harry Beard Collection) 115 Hicks, Miss Betty Photo postcard 116 Hicks, Mr Seymour as “The Duke of St. Jermyn’s” in 2 photo postcards 1-2 “The Catch of the Season” 117 Holly, Daisy Photo 118 Hopkins, Mrs as “arethusa” in “Philaster” 1778 Engraving 119 Hudson, Mr as “Rory O’More” Engraving from a Daguerreotype 120 Hughes, Mrs 1808 Engraving 121 122 Irving, Ethel as “Lady Frederick” Photo 123a Irving, Henry (1838-1905) as “Hamlet” Photo print of a lithograph (Harry Beard Collection) 123b Irving, Henry as “Cardinal Wolsey” Photo (Edinburgh Folio ed.) 123d Irving, Sir Henry Postcard from a painting by Jules Bastien Lepage 123e Irving, Sir Henry Photo postcard 123f Irving, Sir Henry Photo postcard (sent by Henry Irving) 124 Jay, Miss Isabel Photo postcard 125 Jefferies, Miss Maud 7 Photo postcard (postcard numbered 5 hand-coloured) 126 Jefferson, Charles Photo 127a Jefferson, Joseph 4 photos 1-4 127b Jefferson, Joseph as “Rip Van Winkle” 2 photos 1-2 128 Kean Jun, Mr.
Recommended publications
  • Theater Souvenir Programs Guide [1881-1979]

    Theater Souvenir Programs Guide [1881-1979]

    Theater Souvenir Programs Guide [1881-1979] RBC PN2037 .T54 1881 Choose which boxes you want to see, go to SearchWorks record, and page boxes electronically. BOX 1 1: An Illustrated Record by "The Sphere" of the Gilbert & Sullivan Operas 1939 (1939). Note: Operas: The Mikado; The Goldoliers; Iolanthe; Trial by Jury; The Pirates of Penzance; The Yeomen of the Guard; Patience; Princess Ida; Ruddigore; H.M.S. Pinafore; The Grand Duke; Utopia, Limited; The Sorcerer. 2: Glyndebourne Festival Opera (1960). Note: 26th Anniversary of the Glyndebourne Festival, operas: I Puritani; Falstaff; Der Rosenkavalier; Don Giovanni; La Cenerentola; Die Zauberflöte. 3: Parts I Have Played: Mr. Martin Harvey (1881-1909). Note: 30 Photographs and A Biographical Sketch. 4: Souvenir of The Christian King (Or Alfred of "Engle-Land"), by Wilson Barrett. Note: Photographs by W. & D. Downey. 5: Adelphi Theatre : Adelphi Theatre Souvenir of the 200th Performance of "Tina" (1916). 6: Comedy Theatre : Souvenir of "Sunday" (1904), by Thomas Raceward. 7: Daly's Theatre : The Lady of the Rose: Souvenir of Anniversary Perforamnce Feb. 21, 1923 (1923), by Frederick Lonsdale. Note: Musical theater. 8: Drury Lane Theatre : The Pageant of Drury Lane Theatre (1918), by Louis N. Parker. Note: In celebration of the 21 years of management by Arthur Collins. 9: Duke of York's Theatre : Souvenir of the 200th Performance of "The Admirable Crichton" (1902), by J.M. Barrie. Note: Oil paintings by Chas. A. Buchel, produced under the management of Charles Frohman. 10: Gaiety Theatre : The Orchid (1904), by James T. Tanner. Note: Managing Director, Mr. George Edwardes, musical comedy.
  • The Fin-De-Siècle Bohemian's Self-Division by John Brad Macdonald Department of English Mcgill Univers

    The Fin-De-Siècle Bohemian's Self-Division by John Brad Macdonald Department of English Mcgill Univers

    Ambivalent Ambitions: The fin-de-siècle Bohemian’s Self-Division By John Brad MacDonald Department of English McGill University, Montreal December, 2016 A thesis submitted to McGill University in partial fulfilment of the requirements for the degree of Doctor of Philosophy © Brad MacDonald 2016 ii Table of Contents Acknowledgements ...................................................................................................................... iii Abstract ...........................................................................................................................................v Résumé .......................................................................................................................................... vi Introduction ....................................................................................................................................1 I. The Rise of the Parisian Mecca: The Beginning of French Bohemia ............................14 II. From The Left Bank to Soho: The Early Days of English Bohemia ............................22 III. Rossetti, Whistler, and Wilde: The Rise of English Bohemianism .............................27 IV. Tales from the Margins: The Bohemian Text ..............................................................47 Chapter One: “Original work is never dans le movement”: The Bohemian Collective in George Moore’s A Modern Lover ...............................................................................................................59 Chapter Two: “A Place for
  • Clara Kimball Young

    Clara Kimball Young

    Clara Kimball Young Lived: September 6, 1890 - October 15, 1960 Worked as: film actress, producer, theatre actress Worked In: United States by Karen Ward Mahar In 1916, Clara Kimball Young became only the second female film star, after Mary Pickford, to set up her own namesake production company: the Clara Kimball Young Film Corporation. Soon after this, there was a flood of female star- producers, initiating what I have called a “second wave” of star companies, 1916– 1923 (155). But did a star with a namesake production company really enjoy a greater measure of creative or economic control, or was a company created in her name simply to exploit its star appeal? The career of Clara Kimball Young, associated with adult society dramas, offers some insight into this question, thanks to the extensive litigation in which she was involved. However, news coverage of these proceedings still leaves questions of autonomy unanswered. Like nearly all female film producers during this period, Young worked with male partners who acted as producers, directors, and/or business managers, and sometimes lovers. Some aspects of her legal troubles, as for instance the 1917 Moving Picture World report of her suit against producer Lewis J. Selznick, suggest that she was a forceful personality who demanded control of her films and her personal life (1580). Yet there is still a hint that some litigation may have been instigated by the men who surrounded her, each hoping to profit from her stardom. Was Clara Kimball Young under the spell of her male partners, as one biography suggests (Davis 419–23), or are these multiple legal actions (ultimately over a dozen) evidence of a feisty autonomy on the part of Young? Research into legal documents, possibly held by the County Clerk Records of the New York Supreme Court and the Los Angeles County Archives, could shed light on these dilemmas.
  • The Cameo Murders

    The Cameo Murders

    GRAYA – NO 133 49 The Cameo Murders Almost 70 years ago, on 8th February 1950, George Kelly, a small time villain in his mid-twenties, was sentenced to death for a notorious and brutal double murder at the Cameo Cinema, Liverpool, a few months earlier. He was later hanged, protesting his innocence to the last. Over 50 years later, in 2003, the Court of Appeal quashed his conviction. The case became something of a cause célèbre at the time. It remains an unsolved murder. It also launched the career in silk of Rose Heilbron, my mother (later Dame Rose Heilbron and the first woman Bencher and Treasurer of Gray’s Inn). Let us therefore step back in time to the night of 19th March 1969, a Saturday evening, when folk in Liverpool were enjoying a night out at the Cameo Cinema watching a film called Bond Street, coincidentally about a double murder and starring two well-known actors of the time, Jean Kent and Roland Young. As the cinemagoers left to return home, Leonard Thomas, aged 44, the manager of the Cameo Cinema, and John Bernard Catterall, aged 30, his assistant, were in the manager’s office on the first floor of the building counting the confectionery takings. Shortly after 9.30 pm, the cashier came in with the ticket takings in a blue cloth bag. They amounted to £50.8s in cash, mostly in notes. She stayed about 3–4 minutes and left to go to the staff room. A few minutes later a masked man brandishing a gun burst into the room demanding the takings.
  • Download Trilby, George Du Maurier, Dennis Denisoff, Oxford

    Download Trilby, George Du Maurier, Dennis Denisoff, Oxford

    Trilby, George Du Maurier, Dennis Denisoff, Oxford University Press, 1998, 0192833510, 9780192833518, 339 pages. First published in 1894, the story of the diva Trilby O'Ferrall and her mentor, Svengali, has entered the mythology of that period alongside Dracula and Sherlock Holmes. Immensely popular for years, the novel led to a hit play, a series of popular films, Trilby products from hats to ice-cream, and streets in Florida named after characters in the book. The setting reflects Du Maurier's bohemian years as an art student in Paris before he went to London to make a career in journalism. A celebrated caricaturist for Punch magazine, Du Maurier's drawings for the novel--of which his most significant are included here--form a large part of its appeal.. DOWNLOAD HERE Southampton Gateway to the British Empire, Miles Taylor, Oct 15, 2007, History, 248 pages. Using the lens of empire, Miles Taylor looks at the modern history of Southampton. He examines some of the international celebrities associated with the region such as David .... Intrepid Women Victorian Artists Travel, Jordana Pomeroy, 2005, Art, 144 pages. Drawing upon sketches, paintings, and photographs, Intrepid Women is a groundbreaking study that examines the art that women produced while travelling, as well as the .... The Art of Reflection Women Artists' Self-portraiture in the Twentieth Century, Marsha Meskimmon, 1996, Art, 236 pages. Few aspects of American military history have been as vigorously debated as Harry Truman's decision to use atomic bombs against Japan. In this carefully crafted volume, Michael .... Feminism, Marriage, and the Law in Victorian England , Mary Lyndon Shanley, 1993, History, 213 pages.
  • The Photoplay Or the Pickaxe: Extras, Gender, and Labour in Early Hollywood Author(S): Denise Mckenna Source: Film History, Vol

    The Photoplay Or the Pickaxe: Extras, Gender, and Labour in Early Hollywood Author(S): Denise Mckenna Source: Film History, Vol

    The photoplay or the pickaxe: extras, gender, and labour in early Hollywood Author(s): Denise McKenna Source: Film History, Vol. 23, No. 1, Art, Industry, Technology (January 2011), pp. 5-19 Published by: Indiana University Press Stable URL: http://www.jstor.org/stable/10.2979/filmhistory.23.1.5 . Accessed: 15/06/2011 09:03 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=iupress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Indiana University Press is collaborating with JSTOR to digitize, preserve and extend access to Film History. http://www.jstor.org Film History, Volume 23, pp.
  • Male Madness in Victorian Fiction

    Male Madness in Victorian Fiction

    M519 DREADFUL PRE M/UP 9/11/06 8:32 AM Page i Gary Gary's G4:Users:Gary:Public:Gary's Jobs: ‘THE MOST DREADFUL VISITATION’: MALE MADNESS IN VICTORIAN FICTION LIVERPOOL ENGLISH TEXTS AND STUDIES, M519 DREADFUL PRE M/UP 9/11/06 8:32 AM Page ii Gary Gary's G4:Users:Gary:Public:Gary's Jobs M519 DREADFUL PRE M/UP 9/11/06 8:32 AM Page iii Gary Gary's G4:Users:Gary:Public:Gary's Job ‘THE MOST DREADFUL VISITATION’: MALE MADNESS IN VICTORIAN FICTION VALERIE PEDLAR LIVERPOOL UNIVERSITY PRESS M519 DREADFUL PRE M/UP 9/11/06 8:32 AM Page iv Gary Gary's G4:Users:Gary:Public:Gary's Jobs First published by Liverpool University Press Cambridge Street Liverpool L ZU Copyright © Valerie Pedlar The right of Valerie Pedlar to be identified as the author of this work has been asserted by her in accordance with the Copyright, Design and Patents Act . All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. British Library Cataloguing-in-Publication data A British Library CIP record is available ISBN --- cased ISBN- ---- cased Typseset in Garamond by Servis Filmsetting Ltd, Manchester Printed and bound in the European Union by Biddles Ltd, King’s Lynn, Norfolk M519 DREADFUL PRE M/UP 9/11/06 8:32 AM Page v Gary Gary's G4:Users:Gary:Public:Gary's Jobs: To the memory of my parents, Geoffrey and Marjorie Robinson M519 DREADFUL PRE M/UP 9/11/06 8:32 AM Page vi Gary Gary's
  • Fashion Behind the Footlights: the Influence of Stage

    Fashion Behind the Footlights: the Influence of Stage

    FASHION BEHIND THE FOOTLIGHTS: THE INFLUENCE OF STAGE COSTUMES ON WOMEN'S FASHIONS IN ENGLAND FROM 1878-1914 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Karen Adele Recklies, B.A., M.A. * * * * * The Ohio State University 1982 Reading Committee: Approved By Alan Woods George Crepeau Firman Brown, Jr. Advisor Department of Theatre Copyright Karen Adele Recklies 1982 I I I l I ~ ACKNOWLEDGMENTS I would like to thank the following, people for their help in preparing the dissertation: my advisor Alan Woods, George Crepeau, Firman Brown, Jr., Mary Millican, and my husband Don for his preparation of the illustrations. ii VITA 1971 ...................... B.A., Kent State University, Kent, Ohio 1971-72................... Teaching Assistant, Department of Theatre, Kent State Univer­ sity, Kent, Ohio 1974 ............... M.A., Kent State University, Kent, Ohio 1976-80 ................. Graduate Teaching Associate, Graduate Administrative Associ­ ate, Department of Theatre, The Ohio State University, Columbus, Ohio 1981-82 ................. Graduate Administrative Associ­ ate, Center for Medieval and Renaissance Studies, The Ohio State University, Columbus, Ohio PUBLICATIONS AND PRESENTATIONS "Lillie Langtry's Stage Costumes: Examples of Contemporary Fashions in England and America, 1895-1900." Part of the Competitive Costume Panel at the American Theatre Association National Convention, August 1981. "Lillie Langtry's Stage Costumes: Examples of Contemporary Fashions in England and America, 1895-1900." Accepted for publication in Theatre Studies. FIELDS OF STUDY Major Field; Theatre Studies in Costume Design and Costume History. Professor Michelle Guillot Studies in Literature and Criticism. Professor John Morrow Studies in History.

  • New Digital Audiobooks and Old Ways of Reading Rubery, M

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Queen Mary Research Online Play It Again, Sam Weller: New Digital Audiobooks and Old Ways of Reading Rubery, M For additional information about this publication click this link. http://qmro.qmul.ac.uk/jspui/handle/123456789/9127 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] March 4, 2008 Time: 05:13pm 008.tex Play It Again, Sam Weller: New Digital Audiobooks and Old Ways of Reading Matthew Rubery Ahem. The speaker is about to read aloud Nancy’s murder, a brutal tableau from Oliver Twist (1837–39) ritually performed before the public since Dickens’ first recitation of this scene at St. James’s Hall as part of a Farewell Tour in 1869. The ‘Murder’, as the author preferred to call it, would soon become part of Dickens lore for the violence with which it ended the life not only of the novel’s heroine but also of the novelist himself.1 The ‘Sikes and Nancy’ episode begins with the narrator’s voice as one of the boy thieves is instructed to ‘dodge’ a young woman through the streets of London. The ensuing voices are those of Fagin (‘my dear’), Bolter (‘Oh Lor!’), and Sikes (‘Wot now?’), whose Cockney accents are performed in markedly different registers from that of the preceding narrator.2 In fact, each of the characters is set apart by a distinct sound to ensure that audiences can tell who is speaking without access to the written script.

  • Joanne Ella Parsons and Ruth Heholt (Eds.), the Victorian Male Body, Edinburgh: Edinburgh University Press, 2018, 272 Pp

    Victorian Popular Fictions Volume 2: issue 2 (Autumn 2020) Joanne Ella Parsons and Ruth Heholt (eds.), The Victorian Male Body, Edinburgh: Edinburgh University Press, 2018, 272 pp. £24.99 (paperback). ISBN: 9781474428613 Reviewed by Duncan Yeates Recommended citation: Yeates, Duncan. 2020. Review of Joanne Ella Parsons and Ruth Heholt (eds.), The Victorian Male Body. Victorian Popular Fictions 2.2: 131-126. DOI: https://doi.org/10.46911/UWYR4878 In The Victorian Male Body the white male body is established and explored as a dominant but invisible paradigm of an era in which representations of masculinity were in constant flux. The aims of the book are to deconstruct and analyse in depth the workings of this unquestioned, yet crucial concept of Victorian society, with remarkable consideration given to how deviations from “normality” are used to represent other forms of masculinity in positive and negative ways. The book is divided into three well-structured sections. While the first proposes an understanding of the methods with which the ideal male body was promoted via socialisation, in sections Two and Three respectively the book methodically explores various other derivations of the masculine body, taking into account the layers of meaning inherent in fractured and unruly male bodies. These two sections analyse depictions of men with prostheses and those suffering with tuberculosis and corpulence to identify but a few examples of this wide-ranging study. In section One, Alice Crossley argues that schools functioned as a method of socialisation for the male body. Her mapping of hierarchy and corporal punishment as a symbol of phallic supremacy identifies how a heteronormative environment implicitly prepared students for homosocial relationships beyond school age.
  • Trilby Ebook, Epub

    Trilby Ebook, Epub

    TRILBY PDF, EPUB, EBOOK George du Maurier,Elaine Showalter | 368 pages | 14 Sep 2009 | Oxford University Press | 9780199538805 | English | Oxford, United Kingdom Trilby PDF Book Clothing portal. Despite the efforts of her friends, she dies some weeks later—staring at a picture of Svengali. Trilby is cheerful, kindhearted, bohemian , and completely tone-deaf : "Svengali would test her ear, as he called it, and strike the C in the middle and then the F just above, and ask which was higher; and she would declare they were both exactly the same. Archived from the original on 9 September Shortly before another performance, Gecko suddenly turns on Svengali and slashes him with a penknife. By signing up, you agree to our Privacy Notice. Edit page. Lackaye notably recreating a role he owned. Trilby O'Ferral. List of hat styles. Add the first question. The hat reached its zenith of common popularity in the s; the lower head clearance in American automobiles made it impractical to wear a hat with a tall crown while driving. George Orwell: In front of your nose, — From Wikipedia, the free encyclopedia. Under his spell, Trilby becomes a talented singer, performing always in an amnesiac trance. Trilby is stricken with a nervous affliction. A musical adaptation by Frank Wildhorn , entitled Svengali , was staged twice in The relationship between Trilby and Svengali forms only a small, though crucial, portion of the novel, which is mainly an evocation of a milieu. Sign In. Name the Novelist. Hidden categories: Articles with short description Short description is different from Wikidata All articles with unsourced statements Articles with unsourced statements from July Commons category link from Wikidata.
  • Parisian Street Names in George Du Maurier's <I>Trilby</I>

    Parisian Street Names in George Du Maurier's <I>Trilby</I>

    Parisian Street Names in George Du Maurier's Trilby Elizabeth A. Hait In his second and most famous novel, Trilby, George Du Maurier, who was bilingual in French and English, created imaginary street names for the Parisian setting. These names, when translated into English, give insight into or reflect the personalities of the characters who inhabit or frequent the streets. In 1894, at the age of sixty, George Du Maurier published his second and most famous novel, Trilby. This novel, written in English like his other two, illustrates the intermingling in Du Maurier of the French and English cultures and of the two languages. Henry James, a personal friend of Du Maurier, remarked in the September 1897 edition of Harper's New Monthly Magazine, III have never known, I think - and in these days we know many - an international mixture less susceptible of analysis save on some basis of saying ... that all impulse, in him, was of one race, and all reflection of another." (Ormond 403-404) Du Maurier was born in Paris in 1834, the elder son of a French father and an English mother, and before he had reached the age of twenty-two, he had lived on both sides of the English Channel. In 1856, Du Maurier journeyed from England to Paris to begin his study of art, and he remained in Paris for one year. Much of the first half of Trilby is based upon his experiences and observations during that year. Names 42.1 (March 1994):19-25 ISSN :0027 -7738 © 1994 by The American Name Society 19 20 Names 42.1 (March 1994) In 1857, having moved to Antwerp to continue his study of painting, Du Maurier lost his sight in one eye and gave up all hope of becoming a serious artist.