Janet Achurch, Ibsen, and the New Woman, Australia
The Woman Who Did: Janet Achurch, Ibsen, and the New Woman, Australia 1889–1891 by Christine Judith Angel, BTourism, B.A. (Hons) School of Humanities, English Program Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) University of Tasmania September 2014 Declaration of Originality I declare that this thesis contains no material which has been accepted for a degree or diploma by the University or any other institution, except by way of background information and duly acknowledged in the thesis, and to the best of my knowledge and belief no material previously published or written by another person except where due acknowledgement is made in the text of the thesis, nor does the thesis contain any material that infringes copyright. ………………………… September 2014 Authority of access This thesis may be made available for loan and limited copying and communication in accordance with the Copyright Act 1968. ………………………… September 2014 Abstract The Australian theatre in the late nineteenth century was in transition: it was, like the country, seeking its own identity in a period of social change. The contributions made to its development by men are well documented. Those made by women have received much less recognition. This thesis addresses that hiatus, by examining the life, celebrity, and influence of English actress, Janet Achurch. It focuses on her 1889–91 Australian tour and the ambivalent responses to her portrayal of Nora in Henrik Ibsen’s A Doll’s House. Achurch, with her husband, actor Charles Charrington, came to Australia under contract to entrepreneurs Williamson, Garner, and Musgrove. On 14 September, 1889 she opened at the Princess’s Theatre in Melbourne with A Doll’s House, the play now most closely connected with the concept of the New Woman.
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