DOCSLIB.ORG

The Theatrical Career of John E. Owens (1823-1886)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Theatrical Career of John E. Owens (1823-1886) Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1982 The Theatrical Career of John E. Owens (1823-1886). Thomas Arthur Bogar Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Bogar, Thomas Arthur, "The Theatrical Career of John E. Owens (1823-1886)." (1982). LSU Historical Dissertations and Theses. 3791. https://digitalcommons.lsu.edu/gradschool_disstheses/3791 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This reproduction was made from a copy of 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 of 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 Page(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 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 of 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 of 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 of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of 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. 4. For illustrations that cannot be satisfactorily reproduced by xerographic means, photographic prints can be purchased at additional cost and inserted into your xerographic copy. These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. University; M icrofilms International 300 N. Zeeb Road Ann Arbor, Ml 48106 8312074 Bogar, Thomas Arthur THE THEATRICAL CAREER O F JOHN E. OWENS (1823-1886) The Louisiana Slate University and Agricultural and Mechanical Ph.D. CoL University Microfilms International300 N. Zeeb Road, Ann Arbor, MI 48106 Copyright 1983 by Bogar, Thomas Arthur All Rights Reserved PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark V . 1. Glossy photographs or pages______ 2. Colored illustrations, paper or print_____ 3. Photographs with dark background. 4. Illustrations are poor copy______ 5. Pages with black marks, not original copy______ 6. Print shows through as there is text on both sides of page______ 7. Indistinct, broken or small print on several pages______ 8. Print exceeds margin requirements ______ 9. Tightly bound copy with print lost in spine ______ 10. Computer printout pages with indistinct print______ 11. Page(s)____________ lacking when material received, and not available from school or author. 12. Page(s)____________ seem to be missing in numbering only a s text follows. 13. Two pages numbered ____________ . Text follows. 14. Curling and wrinkled p a g e s ______ 15. Other _________________________________________________________________________ University Microfilms International THE THEATRICAL CAREER OF JOHN E. OWENS (1823-1886) A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Speech Communication, Theatre, and Communication Disorders by Thomas A. Bogar B.A., University of Maryland, 1970 M.A., University of Maryland, 1974 December 1982 ACKNOWLEDGE!* ENTS I am grateful for the knowledge, guidance, support and sense of excitement about theatre history which were freely and generously provided by Drs. Gresdna Doty and Bill J. Harbin of Louisiana State University. Dr. Doty’s patient and painstaking perusal of each draft, her perceptive and well-founded suggestions along the way, and her unflagging encouragement carried me through periods of uncertainty and frustration. I am also grateful for the patient, generous help of the research staffs of the Hoblitzelle Collection at the University of Texas, the Billy Rose Theatre Collection in New York, and the Free Library of Philadelphia, along with the staffs of the Baltimore City and County courthouses and offices of Register of Wills and Records. The staff of the Library of Congress, particularly of the newspapers and periodicals room, were also of tremendous help. I am indebted to my typist, Pat Taylor, for her hours of uncomplaining diligence, unfazed by seemingly endless revisions, to my research assistants, Jan Frenck and Debbie Meiselman, for their hours of poring over microfilm, and to my mother, who helped in compiling Appendix A and encouraged me throughout. Richard and Nancy Fazio provided generous assistance in printing copies. John McGrain, of the Baltimore County Office of Planning and Zoning, and the great-grandson of Owens' farm overseer, provided me with valuable research sources and leads. DEDICATION To all the friends who asked, 'What are you doing your dissertation on?' and then actually listened to, and cared about, my answer. i I i TABLE OF CONTENTS INTRODUCTION...................................................................................................................................................1 CH'VPTER 1: Early Life and Influences (1823-1848) .......................................................5 CHAPTER 2: Early Acting and Management Experiences (1848-1856) .....................................................................................................................35 CHAPTER 3: Developing Repertory and Style, Touring, and Later Management (1856-1864) . ......................... 75 CH\PTER 4: The F irst Long Runs and Final Repertory (1864-1872)...................................................................................................................109 CHAPTER 5: The Later Years (1872-1886) ...........................................................................147 CHAPTER 6: Conclusion..................................... 100 PLATE 1: Photograph of Ovens as Dr. Pangloss..........................................................191 PLATE 2: Photograph of CM*ns as Paul Pry....................................................................192 PLATE 3: Photograph of Ovens as Solon Shingle........................................................193 FOOTNOTES......................................................................................................................................................204 LIST OF WORKS CONSULTED...................................................................................................................238 APPENDIX A: List of Roles Played.........................................................................................250 APPENDIX B: Text of Mont Blanc P la y b ill.......................................................................277 APPENDIX C: Description of Aigburth Vale Estate.......................................................279 APPENDIX D: C ities Owens Played ............................................................................................281 VITA...................................................................................................................................................................282 iv ABSTRACT This study traces the theatrical career of John E. Owens (1823-1886), a career which reflects many of the changes which transformed nineteenth century American theatre. One of the most popular and financially successful comic actors in America at mid-century, Owens was also an innovative and successful manager who anticipated realistic trends in staging and acting. Best known for the role of Solon Shingle in J.S, Jones' The People's lawyer (later re-titled Solon Shingle), which he played over 2000 times, Owens refined the Yankee character established by Hill, Marble and Silsbee and won critical and popular acclaim for both his ecentric comic characters and his tender, evocative portrayals of garrulous old men. He was noted for a quiet, natural style of acting which utilized verisimilar details to create indivdualized characterizations. As a manager in Baltimore and New Orleans, Owens gained recognition as an astute, demanding overseer of uniformly excellent stock companies, well-cast plays, and accurately and lavishly mounted productions. The study includes biographical data and anecdotes,
Load more

Recommended publications
  • Young Dancer Taking Leap Into World of Professional Ballet Vancouver Native Eyeing the Crown at International Contest
    Young dancer taking leap into world of professional ballet Vancouver native eyeing the crown at international contest Vancouver native Derek Drilon, currently between gigs with the Joffrey and Boston Ballet companies, will dance with his home school, Northwest Classical Ballet, on June 18. (Courtesy of Northwest Classical Ballet) By Scott Hewitt, Columbian Arts & Features Reporter Published: June 10, 2016, 6:04 AM It’s good to be the prince. “I like playing princely roles. It feels pretty natural to me,” said Derek Drilon, 19. That makes sense. At age 19, the Vancouver native recently assumed a position of young royalty in the largest international dance competition in the world. The Youth America Grand Prix draws thousands of aspiring ballet dancers to regional semi- final competitions in cities all over the world, where professional judges evaluate each dancer’s performance, potential and artistry. Finalists are invited to New York City for the final contest, with prizes of scholarship money to the world’s leading dance academies and the invaluable contacts and connections that follow. Drilon won the semi-final Grand Prix Award in Chicago and was named one of the top six men in the New York finals, for his performance of the Siegfried Variation from “Swan Lake.” In Tchaikovsky’s ballet, Prince Siegfried is enraptured with a woman who has been transformed into a swan — but then falls under the spell of a pretender, with tragic consequences. The prince’s famously expressive solo dance, as he considers his predicament and his passion, require great power and artistry. Comedy is a whole different challenge.
    [Show full text]
  • John Mccullough As Man, Actor and Spirit
    John McCullough AS Man, Actor and Spirit BY SUSIE C. CLARK Author of "A Look Upward," "Pilate's Query," etc. " Thou art " mighty yet! Thy spirit walks abroad." Julius C&sar WITH ILLUSTRATIONS BOSTON MURRAY AND EMERY COMPANY 1905 VIRGINIUS FA/ . Copyright in 1905 by SUSIE C. CLARK. All rights reserved. INSCRIBED WITH REVERENT LOVE TO THE FA.DELESS MEMORY OF Cental 3nlftt CONTENTS. Chapter I. Introductory 9 II. The Dawn 15 III. The New World 23 IV. The Open Door 29 V. The Golden Gate 39 VI. The Golden Gate (Continued) 53 VII. In Other Fields 61 VIII. McCullough in Boston ' 75 IX. In the Metropolis 92 X. In the Metropolis (Continued) 104 XI. His Greatest Role Ill XII. His Wide Travels 124 XIII. Four Notable Banquets 136 XIV. A Sketch from His Pen 153 XV. Twilight 167 XVI. Sunrise 182 XVII. Impressive Obsequies 200 XVIII. Further Tributes 221 XIX. Final Honors 229 XX. Beyond the Bar 249 XXI. The Next Act in Life's Drama 259 XXII. His Public Work 269 XXIII. Class Work 286 XXIV. As Message Bearer 302 XXV. Reminiscences 310 XXVI. Spiritual Reveries 323 XXVII. Personal 334 XXVIII. The Voice of the Stars. 345 ILLUSTRATIONS. Virginius Frontispiece Coriolanus 82 Spartacus 174 McCullough Memorial 232 Virginius 266 JOHN McCuLLoucH AS MAN, ACTOR AND SPIRIT CHAPTER I. INTRODUCTORY. The harp that once thro' Tara's halls The soul of music shed Now hangs as mute on Tara's walls As if that soul were fled. So sleeps the pride of former days, So glory's thrill is o'er, And hearts that once beat high for praise Now feel that pulse no more." Thomas Moore, Fair Emerald Isle! In verdure clad, thy banks and hills still cheer the eyes of "weary, homesick men far out at sea." Fain would they, as Columbus did of yore, on a Western shore, kneel and kiss thy fair, green sod, which affords the first welcome glimpse of land.
    [Show full text]
  • [, F/ V C Edna Hammer Cooley 1986 APPROVAL SHEET
    WOMEN IN AMERICAN THEATRE, 1850-1870: A STUDY IN PROFESSIONAL EQUITY by Edna Hammer Cooley I i i Dissertation submitted to the Faculty of the Graduate School of the University of Maryland in parti.al fulfillment of the requirements for the degree of Doctor of Philosophy ~ /, ,, ·' I . 1986 I/ '/ ' ·, Cop~ I , JI ,)() I co uI (~; 1 ,[, f/ v c Edna Hammer Cooley 1986 APPROVAL SHEET Title of Dissertation: Women in American Theatre, 1850-1870: A Study in Professional Equity Name of Candidate: Edna Hammer Cooley Doctor of Philosophy, 1986 Dissertation and Approved: Dr. Roger Meersman Professor Dept. of Communication Arts & Theatre Date Approved: .;;Jo .i? p ,vt_,,/ /9Y ,6 u ABSTRACT Title of Dissertation: Women in American Theatre, 1850- 1870~ A Study_ in Professional Equi!:Y Edna Hammer Cooley, Doctor of Philosophy, 1986 Dissertation directed by: Dr. Roger Meersman Professor of Communication Arts and Theatre Department of Communication Arts and Theatre This study supports the contention that women in the American theatre from 1850 to 1870 experienced a unique degree of professional equity with men in the­ atre. The time-frame has been selected for two reasons: (1) actresses active after 1870 have been the subject of several dissertations and scholarly studies, while relatively little research has been completed on women active on the American stage prior to 1870, and (2) prior to 1850 there was limited theatre activity in this country and very few professional actresses. A general description of mid-nineteenth-century theatre and its social context is provided, including a summary of major developments in theatre in New York and other cities from 1850 to 1870, discussions of the star system, the combination company, and the mid-century audience.
    [Show full text]
  • Gardens City
    l7 ~vt:::.J fi"2?J#) IhtJe<.. Pbrr-J::... ~lHfilJc.::::... /.j:.-rrr~Mv4cJc. .'6./9~? fSoCo ~ ~,~c,t"'"A ~~E.E~•.':' j:ji~ <.:.: ~.~ft:{!:",'"it..~Q,"~",~ &1>';~fJC;~t_ ~.~c1!;}'1 jX~)J;.~1r' JE:I::"-;::",~',.; -I.,.~':.. --"",.'P~-<!'~'" ""t'~~~~;:.::---s.:; j The Viorshipful Company of Gardeners '-:Ie-- THE CITY THEI petitionGuildwasexisteepresenteeas a toFraternitythe :'layo:'in b~:the" ve2.:'Tile 134:,G2.rdenerswhen 0:a the Earls Barons Clerks and Citizens 0; Londor, " to .. suner and maintain that the said Gardei1ers ma\' stand ir. peace in the same place where they have been wont in times or aid ; in fron: or the GARDENS Church of SLAustin at the side of tile east gate o:S:, Pau~'s Church· yard." The Guild was incorporated in the reign 0: King James L as" The l\Iaster \Vardens Assistanls and Common2.it': of the Com· pany of Gardeners 0: London," Its pri\'ileges ha\'e becll furthe: secured by Royal Charters in the reigns of James I, Chalks] and Edward VII, In 17~~ Thomas Fairchild, a ",dl-known Prepared by Gardener of his time, and six other Liverymen or the Company, claimed to votc in Common Hall. In his mcmory, and according J. W. WHITLOCK, J.P., M.A. to the terms of his \"'ill, the annual Fairchild Lecture i~ still MABTER OF THE WORSHIPFUL COMPANY OF GARDENERS delivered under the Company's auspices in the Church of SI. Leonard, Shoreditch, on the Wednesday in Whit week (preceding the Election Courf;. On 29th Jum:, 163':, Sir Edward Littleton, Recorder, by direction of Sir Nichoias Rainton, Lord J\iayor, issued a v.:arrant for the apDrehension of am' persons using the 1I trade of Gardening il; contempt of the.
    [Show full text]
  • Proquest Dissertations
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, som e thesis and dissertation copies are in typewriter face, while others may be from any type of com puter printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI EDWTN BOOTH .\ND THE THEATRE OF REDEMPTION: AN EXPLORATION OF THE EFFECTS OF JOHN WTLKES BOOTH'S ASSASSINATION OF ABRAHANI LINCOLN ON EDWIN BOOTH'S ACTING STYLE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Michael L.
    [Show full text]
  • WEEK ONLY, Commencing To-Morrow Evening, April 7
    CHICAGO THE TRIBUNE; SUNDAY, APRIL 6, 1879—SIXTEEN PAGES 9 ffl 100 ABE COBBS till ASCEBTAI MAT THIS PACE COST BY APFLTHS AT T 1 601 HFFH OF MBITS mm HAYEELT’S THEATRE—ONE WEEK ONLY, Commencing To-Morrow Evening, April 7. Ilplk ipii lAM A |«| f A BftK m E NM >|i 0 PSO D AS H M N 1 Jjjgglil ! i||j|i J||m||| ||g%| Bapa pgsa W#M m p|i fig lliiifmof p|| |||| ||||i 1111 PIS ilisL^Jli^ p|i I |j| mWk ii gy«sL JR*J# lit&fi-® iSswil&wt|||ij l|Bj bJ||||£ asiS|Li BJsliPLjHH &pkjggf -JiiwJiiPs_Js|iL Jggii jigii JOSrfTf lir yM Mr. Thompson succeeded in pleasing New York City thirteen consecu- tive weeks this season, San Francisco eight consecutive weeks, Boston four consecutive weeks. Look into the matter quietly before purchasing your ticket. Don’t you think he can please you? FEW- n-ew toke: oiraisrioisns- From tlie Sew York Herald of Soyemlber 11, 1878. JOSHUA WHITCOMB, YANKEE FARMER, AT THE LYCEUM THEATRE. They gave out gilt-edged programmes at the Lyceum Theatre last evening to celebrate the 70th performance, excluding matinees, of the piece which forma the setting for Mr. DENMAN THOMPSON’S delineation of an old Yankee fanner, yclept Joshua Whitcomb. People have recently been finding out that such a piece was running over there, where pieces have never run of late years, except into the ground. Aman would say to you, “Have you seen Uncle Josh?” You would reply in the negative. Straightway he would broaden into a grin—the grin of tickled recollection—and say, “Go." “What is he like; what is the piece about?” “Oh, never mind about the piece and the plot, and all that critical flummery that keeps a man asking himself if he ought to laugh; just go and roar at him; he’s a Yankee farmer.” After a week or two a man stops you in the streetand says, “Do you know that Bergh has been laughing?” Having seen that Knight of the Itueful Countenance rise in the Court of Special Sessions to demand thepunishment of the father ot a half-starved family, who was working a horse with a sore ear, an “unheard-of cruelty.
    [Show full text]
  • Appendix: Famous Actors/ Actresses Who Appeared in Uncle Tom's Cabin
    A p p e n d i x : F a m o u s A c t o r s / Actresses Who Appeared in Uncle Tom’s Cabin Uncle Tom Ophelia Otis Skinner Mrs. John Gilbert John Glibert Mrs. Charles Walcot Charles Walcott Louisa Eldridge Wilton Lackaye Annie Yeamans David Belasco Charles R. Thorne Sr.Cassy Louis James Lawrence Barrett Emily Rigl Frank Mayo Jennie Carroll John McCullough Howard Kyle Denman Thompson J. H. Stoddard DeWolf Hopper Gumption Cute George Harris Joseph Jefferson William Harcourt John T. Raymond Marks St. Clare John Sleeper Clarke W. J. Ferguson L. R. Stockwell Felix Morris Eva Topsy Mary McVicker Lotta Crabtree Minnie Maddern Fiske Jennie Yeamans Maude Adams Maude Raymond Mary Pickford Fred Stone Effie Shannon 1 Mrs. Charles R. Thorne Sr. Bijou Heron Annie Pixley Continued 230 Appendix Appendix Continued Effie Ellsler Mrs. John Wood Annie Russell Laurette Taylor May West Fay Bainter Eva Topsy Madge Kendall Molly Picon Billie Burke Fanny Herring Deacon Perry Marie St. Clare W. J. LeMoyne Mrs. Thomas Jefferson Little Harry George Shelby Fanny Herring F. F. Mackay Frank Drew Charles R. Thorne Jr. Rachel Booth C. Leslie Allen Simon Legree Phineas Fletcher Barton Hill William Davidge Edwin Adams Charles Wheatleigh Lewis Morrison Frank Mordaunt Frank Losee Odell Williams John L. Sullivan William A. Mestayer Eliza Chloe Agnes Booth Ida Vernon Henrietta Crosman Lucille La Verne Mrs. Frank Chanfrau Nellie Holbrook N o t e s P R E F A C E 1 . George Howard, Eva to Her Papa , Uncle Tom’s Cabin & American Culture . http://utc.iath.virginia.edu {*}.
    [Show full text]
  • Yesterdays with Actors
    Digitized by the Internet Archive in 2007 with funding from Microsoft Corporation http://www.archive.org/details/actorsyesterdaOOwinsuoft YESTERDAYS WITH ACTORS. m YESTERDAYS WITH ACTORS BY CATHERINE MARY REIGNOLDS-WINSLOW BOSTON CUPPLES AND COMPANY 1887 Copyright, 1SSC, by Catherine Mary Rrignoi.ds-Winslow. All Rights Reserved. The Hyde Park Press. YESTERDAYS WITH ACTORS BY CA THERINE 1 MAR ' REIGNOLDS- WINSL O W BOSTON CUPPLES AND HURD 94 Boylston Street 1887 Copyright, 1SS6, by Catherine Mary Reignolds-Winslow. All Rights Reserved. The Hyde Park Press. To Helen Morton, M.D., Physician, Faithful Friend, Tnie Woman Good ;t to whose Skill, Constancy, and Courage, I owe Health, Hope, and Inspiration ; these Memories are affectionately inscribed. W&UtAJMf^XLMJWGE&F"' iPIlP C O.N TENTS. PAGE Introduction vii i. Charlotte Cushman 17 2. Edwin Forrest 29 3. _/#/?« Brougham 45 4. Laura Keene — Agnes Robertson ... 62 5. i£. ^4. Sothern 79 6. Ben. De Bar — Matilda Heron —J. H. Hackett — Mrs. John Wood —James E. Murdoch — Mrs. Lander . 100 7. Boston Museum 122 8. Boston Museum, continued 143 9. Travel in America 162 10. Canada and England 184 PHOTO-GRA VURES. PAGE William Warren frontispiece Mrs. Winslow title-page Charlotte Cushman 17 Edwin Forrest 29 John Brougham 45 Laura Keene 62 E. A. Sothern 79 Matilda Heron 108 • VIGNETTES. William E. Burton 62 Agnes Robertson 64 J. A. Smith 84 Mr. Buckstone 90 J. H. Hackett 114 Mrs. John Wood 115 James E. Murdoch 116 E. F. Keach 123 R. M. Field 133 Mr. Barrow 135 Mrs. Barrow - 135 Kate Bateman 136 John Wilkes Booth 140 Mrs.
    [Show full text]
  • Comic Actors and Comic Acting on the 19Th Century American Stage
    "Those That Play Your Clowns:" Comic Actors and Comic Acting on the 19th Century American Stage Barnard Hewitt (Barnard Hewitt's Fellows Address was delivered at the ATA Convention in Chicago, August 16, 1977.) It seems to me that critics and historians of theatre have neglected comedians and the acting of comedy, and I ask myself why should this be so? Nearly everyone enjoys the acting of comedy. As the box office has regularly demonstrated, more people enjoy comedy than enjoy serious drama. I suspect that comedy and comedians are neglected because critics and scholars feel, no doubt unconsciously that because they arouse laughter rather than pity and fear, they don't deserve serious study. Whatever the reason for this neglect, it seems to me unjust. In choosing the subject for this paper, I thought I might do something to redress that injustice. I hoped to identify early styles of comic acting on our stage, discover their origins in England, note mutations caused by their new environment, and take note of their evolution into new styles. I don't need to tell you how difficult it is to reconstruct with confidence the acting style of any period before acting was recorded on film. One must depend on what can be learned about representative individuals: about the individual's background, early training and experience, principal roles, what he said about acting and about his roles, pictures of him in character, and reports by his contemporaries - critics and ordinary theatregoers - of what he did and how he spoke. First-hand descriptions of an actor's performance in one or more roles are far and away the most enlightening evidence, but nothing approaching Charles Clarke's detailed description of Edwin Booth's Hamlet is available for an American comic actor.1 Comedians have written little about their art.2 What evidence I found is scattered and ambiguous when it is not contradictory.
    [Show full text]
  • Notes Upon Dancing Historical and Practical by C. Blasis
    : / NOTES UPON DANCING, HISTORICAL AND PRACTICAL, BY C. BLASIS, BALLET MASTER TO THE ROYAL ITALIAN OPERA, COVENT GARDEN ; FINISHING MASTER OF THE IMPERIAL ACADEMY OF DANCING AT MILAN; AUTHOR OF A TREATISE ON DANCING, AND OTHER WORKS ON THEATRICAL ART, PUBLISHED IN ITALY, FRANCE, AND ENGLAND. FOLLOWED BY A HISTORY OF THE IMPERIAL AND ROYAL ACADEMY OF DANCING, AT MILAN, TO WHICH ARE ADDED BIOGRAPHICAL NOTICES OF THE BLASIS FAMILY, INTERSPERSED WITH VARIOUS PASSAGES ON THEATRICAL ART. EDITED AND TRANSLATED, FROM THE ORIGINAL FRENCH AND ITALIAN, by R. BARTON. WITH ENGRAVINGS. ? - 4 . / E r -7 ' • . r ' lionJjon PUBLISHED BY M. DELAPORTE, 116, REGENT STREET, AND SOLD BY ALL BOOKSELLERS. 1847. Digitized by Google M'OOWAN AND CO., GREAT WINDMILL STREET, HAYMAREET Digitized by Google Digitized by Google ; ADVERTISEMENT. (by tiik kditor.) It will be seen, that the principle object of this work is to place that part of the entertainment at the Lyric Theatres or Opera, called the Ballet, on a new basis. This, the eminent artiste, who is the author of this work, has already effected in his own country, where he is patronized and supported by the government, and is there undoubtedly the first in his profession, as he is perhaps in Europe. The true object of the Ballet appears to be the Beautiful in motion, supported by expressive and well-adapted music. This may be effected in two ways, by two classes of movements the one is quick, vehement and joyous, and is no other than Dancing—but the other class of motions is a far different tiling ; it is no less than a mute expression of feelings, passions, ideas, intentions, or any other sensations belonging to a reasonable being—this is properly termed Pantomime, and must also be sus- tained by music, which now becomes a kind of explanatory voice ; and while it greatly assists the Mime, when well adapted to the subject to be ex- pressed by his gestures, it produces upon the mind and feelings of the spectator an extraordinary effect.
    [Show full text]
  • Cal Poly Arts Brings Miami City Ballet to PAC Oct. 5 for Performance of "Coppelia"
    California Polytechnic State University Sept. 17, 2004 FOR IMMEDIATE RELEASE CONTACT: LISA WOSKE (805) 756-7110 Cal Poly Arts Brings Miami City Ballet To PAC Oct. 5 For Performance of "Coppelia" SAN LUIS OBISPO – The light-hearted tale of star-crossed lovers and mistaken identities is exquisitely danced in “Coppelia,” the full-length comic ballet performed by Miami City Ballet on Tuesday, October 5, 2004 at the Christopher Cohan Center. Part of the Cal Poly Arts Great Performances Series, the 19th Century, Romantic era masterpiece of comedy is presented at a special 7 p.m. curtain time. “Coppelia” takes place in three acts and tells the story of two mischievous lovers who, on the eve of their nuptials, find their affection for each other surprisingly put to the test. The beloved classical ballet was first presented by the Paris Opera Ballet on May 2, 1870. The Miami City Ballet production captures the timeless beauty and sweet sensibilities of the classic story. The New Yorker magazine called Miami City Ballet “one of the most daring and rewarding of the younger companies now on the rise.” Founding Miami City Ballet Artistic Director Edward Villella was the first American-born male principal ballet stars of the New York City Ballet (1957-1975). His career is said to have established the male's role in classical dance in the U.S. Villella's vision and style for the Company is based on the neoclassical 20th-century aesthetic established by famed choreographer George Balanchine. The Company’s repertoire features 90 ballets -- including 38 world premieres -- ranging from Balanchine masterworks to pieces by contemporary choreographers such as Paul Taylor.
    [Show full text]
  • London's Poverty Profile
    London’s Poverty Profile Tom MacInnes and Peter Kenway London’s Poverty Profile Tom MacInnes and Peter Kenway www.londonspovertyprofile.org.uk A summary of this report can be downloaded in PDF format from www.londonspovertyprofile.org.uk We are happy for the free use of material from this report for non-commercial purposes provided City Parochial Foundation and New Policy Institute are acknowledged. © New Policy Institute, 2009 ISBN 1 901373 40 1 Contents 5 Foreword Acknowledgements 6 7 Introduction and summary 11 Chapter one: An overview of London London’s boroughs: ‘cities’ in their own right 11 The changing populations of Inner and Outer London 12 London’s diverse population 12 London’s age structure 15 London’s ‘sub-regions’ 16 At London’s margins 17 19 Chapter two: Income poverty Key points 19 Context 20 Headline poverty statistics, ‘before’ and ‘after’ housing costs 21 Before or after housing costs? 22 Poverty in London compared with other English regions 23 Poverty in Inner and Outer London 26 In-work poverty 27 29 Chapter three: Receiving non-work benefits Key points 29 Context 30 Working-age adults receiving out-of-work benefits 30 Children and pensioners in households receiving benefits 34 37 Chapter four: Income and pay inequality Key points 37 Context 38 Income inequality in London compared with other English regions 39 Inequalities within London boroughs 40 43 Chapter five:Work and worklessness Key points 43 Context 44 Working-age adults lacking work 45 Children in workless households 48 Lone parent employment rates 49 The
    [Show full text]