DOCSLIB.ORG

Ellen Terry Ebook, Epub

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. Paul's, Covent Garden in the silver funeral casket on the South Wall. Briggs Freeman Sotheby's Intl. Thanks for redirecting me to the Talk page here. Mann and Harold Cook. Ellen Terry Writer Namespaces Article Talk. Subscribe Now. As of February , "External links modified" talk page sections are no longer generated or monitored by InternetArchiveBot. Terry was the second surviving daughter in a large family of which several members were to become well known on the stage. Sister Kate Terry. Regent Territory. In , at the age of 16, she left the stage to marry the painter G. This wiki. Later, she confesses her fake to Adam and tells him the truth. About to send four astronauts to the ISS. All interested editors are invited to join the project and contribute to the discussion. Views Read Edit New section View history. Benjamin Terry Birth Father. Just login to your account and subscribe to this theater. Watts, a neurotic man almost three times her age, made many fine portraits and sketches of her, but the marriage survived a bare 10 months. A fact from this article was featured on Wikipedia's Main Page in the On this day section on February 27, For instructions on how to use this banner, please refer to the documentation. They severed their partnership in , three years before his death. George Terry. Divorce on the grounds of the wife's adultery would have been a huge disgrace for her at the time, so I wondered if some other ground was fabricated. My parents told me the owner namd the theatre after his two daughters, probably neighborhood folklore. WikiProject Women. Her Greatest Performance Julia Lovelace. Brother Charles Terry. Her long association with theatrical giant Henry Irving ended with his death, but a year later, in , she began a long professional and personal relationship with George Bernard Shaw. Encarta has her middle name as "Alicia", even though The Times obituary on its site uses Alice. This article has been rated as B-Class. Description For over 36 years, Ellen Terry's name has been synonymous with business expertise, exceptional customer service and the highest standards of ethics and integrity in the Dallas' luxury real estate market. Ellen Terry Reviews Known For. Sister Marion Terry. Briggs Freeman Sotheby's Intl. Edit Did You Know? Find a quiz All quizzes. Login or Sign up. Roger Manvell Biographer and film historian. This theatre advertised as a speciality matinees on Saturdays, Sundays and Holidays. The Ellen Terry Theatre was closed as a movie theatre July 2, Informational Essay Outline. In the section where there were three images, I have moved these to a gallery at the end of that section to avoid overflow or sandwiching. John Gielgud was her nephew, I think. Ellen Terry has been listed as a level-4 vital article in People. Divorced married 20 Feb divorce about George Watts. Before joining Irving at the Lyceum Theatre in , she completed a successful season at the Court Theatre. 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. He isn't angry with her. Click here to Start FameChaining. Phone number LIncoln Ellen's sales history is one of the most remarkable in the industry. The Ellen Terry Theatre was named after the English stage actress who was born in and died in Share This Profile Name. Legendary British stage actress who made a few silent film appearances. The leading role being played by actress Ellaline Terriss , it seems likely the similarity in names is at the root of the misinformation. A blue plaque on the house where she lived in Earls Court commemorates her while one on the 18th century terraced house in Cowley Street, Westminster commemorates her great nephew Sir John Gielgud. They are expressed in less conditional terms than the first. Ellen Terry Read Online Let us know if you have suggestions to improve this article requires login. I left a message on the contributor's Talk page and invited her to discuss the additions here. Filmography by Job Trailers and Videos. Explanatory Essay. If these pages are only for 'works cited' then I can see your point about redundant information. Regent Territory. History portal. Terry was the second surviving daughter in a large family of which several members were to become well known on the stage. Other sources cite her birthdate as and maintain that she married shortly before her 17th birthday. Find a quiz Create a quiz My quizzes Reports Classes new. WikiProject Coventry. Create a new quiz. See our picks. Of course, in my personal case, my father "lost" a year; his large family forgot what year he was born. Relationship 2 children together relationship began about until about Edward Godwin. In order to distribute this image commercially, the Autotype Company of London rephotographed the original negative after the damage had been repaired. The following year she left the stage abruptly to live for six years in Hertfordshire with the architect and theatrical designer Edward Godwin —86 , whom she had met in Bristol and who became the father of her children, Edith and Edward Gordon Craig — Ellen Terry at Age Sixteen Depicts same location. The point about Ellen Terry's continued contact with James Carew is that some authors have assumed that their marriage 'ended' and then they were out of contact. Benjamin Terry. Share this page:. To participate: Feel free to edit the article attached to this page, join up at the project page , or contribute to the project discussion. How much of Ellen Terry's work have you seen? For 24 years — she worked as the leading lady of Sir Henry Irving in one of the most famous partnerships in the theatre. Where is the link to Charles Dickens? Coronation and the Ellen Terry. Share this page:. I've also placed a better version of "Choosing" in the article. Edit page. This photograph was most likely taken just after she married the eccentric painter, George Frederick Watts , who was thirty years her senior. This wiki All wikis. Played times. Paul's, Covent Garden in the silver funeral casket on the South Wall. Before joining Irving at the Lyceum Theatre in , she completed a successful season at the Court Theatre. On the contrary, as I explained to Mjroots, I think the navbox interferes with building the web properly, because it adds links to the "what links here" tab that are not actually relevant links in the article. In the role of Portia she showed new maturity in a striking production of The Merchant of Venice , designed by Godwin. This article is supported by WikiProject Actors and Filmmakers. The use of the template is fully justified as Small Hythe comes under the parish of Tenterden. Her two most famous children, Edith Craig and E. Created a Dame by George V in , she was the recipient of virtually every honor available to a figure of the English-speaking stage. Participate in the deletion discussion at the nomination page. Indeed, some online sources say that both parties were unfaithful during the brief marriage, which implies that they were both sexually active. https://files8.webydo.com/9583274/UploadedFiles/8152613A-ACFE-444F-FCB7-B184B0E15DB4.pdf https://files8.webydo.com/9583423/UploadedFiles/D08D31A1-B9A2-8DDC-3D4C-3FC44626AC8D.pdf https://files8.webydo.com/9582751/UploadedFiles/ABBDA8C3-D5DE-950A-B000-56F28D309970.pdf https://files8.webydo.com/9583423/UploadedFiles/A7A31A10-4380-2FC4-1D5D-5F93063FF98D.pdf.
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]
  • 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%.
    [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]
  • “Free Theatre”: Edith Craig's Pioneer Players 1911
    Formations, Institutions and The “Free Theatre”: Edith Craig’s Pioneer Players 1911- 25 In ‘Social Environment and Theatrical Environment: The Case of English Naturalism’ (1977), Raymond Williams provided valuable insights into the vibrant and volatile period in theatre when ideas of freedom and oppression were realized and contested in the dramatic form of naturalism. He noted that the naturalist play emphasised ‘the stage as an enclosed room’ and environment itself acted as an agent in constructing character.1 Some naturalist drama sought to open up these claustrophobic domestic spaces and indicate pathways to social change. However, any depiction of a domestic space or ‘enclosed room’ in this period—in plays, short stories, novels and the visual art of the women’s suffrage political campaigns—became inevitably implicated in separate spheres ideology.2 Although Williams referred to the ‘breakaway independent theatres’ and the Vedrenne-Barker season of plays 1904-07, he did not mention the involvement of female performers, authors or directors in the promotion of the independent theatres or how they drew on that experience during the political movement for women’s enfranchisement. The ‘enclosed room’ of the naturalist play was reconceptualized by a new generation of political activists of both sexes who envisaged equality symbolized by citizenship and brought about by legislative change. The women’s suffrage movement was very visibly and successfully supported by the production of politically engaged drama. This is marked by a specific theatrical production, Elizabeth Robins’ Votes for Women (1907) and the founding of the specialist institutions, the Actresses’ Franchise League (AFL, 1908) and the Pioneer Players theatre society (1911).
    [Show full text]
  • Ellen Terry's Letters to Alex Ridley
    ADDENDUM Ellen Terry’s letters to Alex Ridley Ellen Terry bought Smallhythe Place in 1899 but did not make use of the house until some essential works had been completed a couple of years later. From then until her death in 1928 Ellen Terry was a customer of Mr Ridley and wrote to him on numerous occasions, usually about her outstanding bills or photographs that he had taken in his studio in Tenterden or at Smallhythe Place. In 2016, Tenterden and District Museum donated to the National Trust at Smallhythe Place nearly two dozen letters and notes written by Ellen Terry to Alex Ridley. They are mostly brief and to the point but reveal the nature of the woman and, I think, show that she was perhaps not the easiest of clients. Unfortunately, Ridley’s replies to her letters have not survived so we can only speculate as to what he might have written in response to her missives. Few of Ellen’s letters are fully dated but it has been possible to sort them into an approximate chronological order based on their content and known dates of photographs in the Smallhythe Place collection. The correspondence came to an end in 1928 when Ellen Terry passed away and, co-incidentally, Alex Ridley retired from his business. Initially, the relationship seems not to have started well - if her forthright two-page letter of December 1902, written from her home in King’s Road, Chelsea is any guide. 31 December 1902 Dear Sir, I received the photograph cards but am much disappointed in them.
    [Show full text]
  • The Theatre Royal Bristol
    .. THE THEATRE ROYAL BRISTOL DECLINE AND REBIRTH 1834-1943 KATHLEEN BARKER, M.A. ISSUED BY 11HE BRISTOL BRANCH OF THE IDSTORICAL ASSOCIATION THE UNIVERSITY, BRISTOL Price Two Shillings and Six Pence Prmted by F. Bailey & Son I.Jtd., Du.rsley, Glos. 1966 � J- l (-{ :J) BRISTOL BRANCH OF THE HISTORICAL ASSOCIATION THE THEATRE ROYAL, BRISTOL LOCAL HISTORY PAMPHLETS DECLINE AND REBIRTH (1834 - 1943) Hon. General Editor: PATRICK McGRATH Assistant General Editor: PETER HARRIS by Kathleen Barker, M.A. The Theatre Royal, Bristol: Decline and Rebirth (1834-1943) is The Victorian age is not one on which the theatre historian the fourteenth in a series of pamphlets issued by the Bristol Branch looks back with any great pleasure, although it is one of consider­ of the Historical Association through its standing Committee able interest. The London theatrical scene was initially dominated on Local History (Hon. Secretary. Miss Ilfra Pidgeon). In an earlier by the two great Patent theatres of Covent Garden and Drury pamphlet. first published in 1961, Miss Barker dealt with the Lane, both. rebuilt on a scale too large to suit "legitimate" drama. history of the Theatre Royal during the first seventy years of its Around them had sprung up a myriad Minor Theatres, legally existence. Her work attracted great interest. and a second edition able only to offer spectacle and burletta: a character in which they was published in 1963. She now brings up to modem times the were too well established for the passing of the Act for Regulating largely untold and fascinating story of the oldest provincial theatre the Theatres, which ended the monopoly of the Patent theatres in with a continuous working history.
    [Show full text]
  • Xerox University Microfilms 300 North Zm (> Road Ann Arbor, Michigan 48106 75-3059
    INFORMATION TO USERS This material was produoad from a microfilm copy of the original document. While the molt advanced technological meant to photograph and reproduce this document have been used, the quality it heavily dependent upon the quality of the original lubmitted. The following explanation of techniques it provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Pags(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand comer of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again - beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]
  • 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.
    [Show full text]
  • Howard Holtzman Collection on Isadora Duncan, Ca
    http://oac.cdlib.org/findaid/ark:/13030/kt400025fn No online items Howard Holtzman collection on Isadora Duncan, ca. 1878-1990 Processed by UCLA Library Special Collections staff; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] Finding aid last updated 23 June 2016. Howard Holtzman collection on Isadora 1729 1 Duncan, ca. 1878-1990 Title: Howard Holtzman collection on Isadora Duncan Collection number: 1729 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 8.5 linear ft.(17 boxes and 24 oversize boxes) Date (inclusive): ca. 1878-1990 Abstract: Isadora Duncan (1877-1927) was a modern dance pioneer influenced by Walt Whitman, Emerson and American Transcendentalism. She first gained recognition and support for her work after moving to London (1899). In 1904, she met Edward Gordon Craig, and they worked and toured together for three years. Later, she opened a school of dance for children in Bellevue near Paris (1914), and another in Moscow (1921). She continued to dance until her accidental death in 1927. Howard M. Holtzman (1921-1990) was a poet, lawyer and collector. His interest in Isadora Duncan began when he read her memoirs and sought to explore and document the influence of her artistic expression on the history of art. Recognizing the role that certain relationships, both personal and artistic, came to play in shaping her artistic development, Holtzman collected materials that reflect others' influences on Isadora, documented the impressions of many people who had seen her perform, and acquired the Edward Gordon Craig material in this collection.
    [Show full text]