Leaves from a Beech Tree by Gwendolyn Beaufoy
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Diprose's Theatrical Anecdotes
^ :> Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/diprosestheatricOOdipruoft ^DIP ROSE'S theatrical anecdotes' CONTAINING ANECDOTES OF THE SCENES-OLD iIIE STAGE AND THE PLAYERS-BEHIND PLACES OF AMUSEMENT-THEATRICAL JOTTINGS- == MUSIC-AUTHORS-EPITAPHS, &c., &c. London : DIPROSE & BATEMAN, Sheffield Street, Lincoln's Inn Fields. : LONDON DIPROSE, BATEMAN AND CO., PRINTEUS, SHEFFIELD STREET, LINCOLN'S INN, THE STAGE I AND THE PLAYERS BY JOHN DIPROSE. ^ THE ORIGIN OF THE STAGE. -:o:- HE first religious spectacle was, probably, the miracle play of St Catherine^ mentioned by Matthew Paris as having been written by Geoffrey, a Norman, afterwards Abbot of St. Albans, and played at Dunstable Abbey in mo. In the Description of the Most Noble City of London^ by Fitz Stephen, a monk, about 1174, in treating of the ordinary diversions of the inhabitants of the metropolis, says, that, instead of the common interludes belonging to theatres, they have plays of a more holy subject. The ancient religious dramas were distinguished by the names Origin of the Stage. of mysteries, properly so called, wherein were exhibited some of the events of Scripture story, and miracles which were of the nature of tragedy, representing the acts of Martyrdom of a Saint of the Church. One of the oldest religious dramas was written by Gregory, entitled Christ's Passion, the prologue to which states that the Virgin Mary was then for the first time brought upon the stage. In 1264, the Fraternite del Goufal'one Avas established, part of whose occupation was to represent the sufferings of Christ in Passion Week. -
Brycheiniog 39:44036 Brycheiniog 2005 27/4/16 15:59 Page 1
53548_Brycheiniog_39:44036_Brycheiniog_2005 27/4/16 15:59 Page 1 BRYCHEINIOG VOLUME XXXIX 2007 Edited by E. G. PARRY Published by THE BRECKNOCK SOCIETY and MUSEUM FRIENDS 53548_Brycheiniog_39:44036_Brycheiniog_2005 27/4/16 15:59 Page 2 THE BRECKNOCK SOCIETY and MUSEUM FRIENDS CYMDEITHAS BRYCHEINIOG a CHYFEILLION YR AMGUEDDFA OFFICERS President Sr Bonaventure Kelleher Chairman Mr K. Jones Honorary Secretary Miss H. Guichard Membership Secretary Mrs S. Fawcett-Gandy Honorary Treasurer Mr A. J. Bell Honorary Auditor Mr B. Jones Honorary Editor Mr E. G. Parry Honorary Assistant Editor Mr P. Jenkins Curator of Brecknock Museum and Art Gallery Back numbers of Brycheiniog can be obtained from the Assistant Editor, 9 Camden Crescent, Brecon LD3 7BY Articles and books for review should be sent to the Editor, The Lodge, Tregunter, Llanfilo, Brecon, Powys LD3 0RA © The copyright of material published in Brycheiniog is vested in the Brecknock Society & Museum Friends 53548_Brycheiniog_39:44036_Brycheiniog_2005 27/4/16 15:59 Page 3 CONTENTS Officers of the Society 2 Notes on the Contributors 4 Editorial 5 Reports: The Royal Regiment of Wales Museum, Brecon Alison Hembrow 7 Powys Archives Office Catherine Richards 13 The Roland Mathias Prize 2007 Sam Adams 19 Prehistoric Funerary and Ritual Monuments in Breconshire Nigel Jones 23 Some Problematic Place-names in Breconshire Brynach Parri 47 Captain John Lloyd and Breconshire, 1796–1818 Ken Jones 61 Sites and Performances in Brecon Theatrical Historiography Sister Bonaventure Kelleher 113 Frances Hoggan – Doctor of Medicine, Pioneer Physician, Patriot and Philanthropist Neil McIntyre 127 The Duke of Clarence’s Visit to Breconshire in 1890 Pamela Redwood 147 53548_Brycheiniog_39:44036_Brycheiniog_2005 27/4/16 15:59 Page 4 NOTES ON CONTRIBUTORS Sam Adams is a poet and critic who is a member of the Roland Mathias Prize Committee. -
John Philip Kemble
Prescot Museum John Philip Kemble John Philip Kemble was born on 1st February 1757 in Hillock Street, Prescot. He was baptised at Prescot Parish Church on 16th February 1757. He belonged to a famous acting dynasty headed by his father Roger Kemble, a celebrated comedian. Portrait of John Philip Kemble John’s elder sister Sarah Siddons was an accomplished actress and achieved fame with him on the stage of The Theatre Royal, Drury Lane. The brother and sister duo first appeared there together in 1783, as Beverley and Mrs Beverley in The Gamester. His other siblings Charles, Stephen, Ann and Elizabeth also enjoyed success on the stage. John’s niece Frances Ann (Fanny) Kemble was a respected actress and author. John Philip Kemble as Hamlet John Kemble’s father wanted him to become a priest and was sent to study in France, but being born into a theatrical family, it was unsurprising that John took to the stage. In December 1787 he married actress Priscilla Hopkins Brereton, the widow of another actor. Kemble’s life was as dramatic and eventful as any play he performed in. In 1781, in defence of an actress friend, he attacked a group of officers with his sword. Ten years later, he fought a duel with a man named James Aicken. In a show of great chivalry, he faced the fire of Aicken’s pistol, and retaliated by shooting into Kemble was noted for the air rather than at his rival. his tragic roles, specialising in http://www.knowsley.gov.uk/things-to-see-and-do/galleries-and-museum.aspx Shakespearean dramas, and was Kemble & Siddons, Macbeth 1786, by Thomas Beach Sarah Siddons by Gilbert Stuart particularly celebrated for his portrayal of Hamlet – the first character he played on the London stage in 1783. -
Women in the Western Theatre Tradition Antiquity to 1700
Women in the Western Theatre Tradition Antiquity to 1700 Timeline Classical Period The Greek Theatre 2000-1100 B.C.E. Bronze Age Arrival of the Greeks in Greece. Rise and Fall of the Mycenean kingdoms. Trojan War occurs near the end of this period 1400 B.C. Cult of Dionysus, God of Wine, intoxication and sexual vitality established in Greece 1100-800 B.C.E. Dark Age Social and political recovery, evolution of the Greek City State, Rebirth of literacy Homer writes The Iliad and Odyssey on the exploits of the great Trojan and Greek Heroes of the Trojan War. Hesiod writes the Theogony, an epic account of the gods, their origins and exploits 7th-6th B.C.E. Cult of Dionysus reaches its greatest power. Festivals started with choruses of satyrs dancing in the street, followed by “fat” people wearing phalli. Dithyramb, hymn or song of praise to Dionysus started celebrating his life, death and resurrection. Choral leader emerges. Becomes narrator, improvising the story in song while the chorus fills in the story with traditional song and dance Women Most women, as far as can be traced, live private, domestic lives under the domination of fathers and husbands. Women in aristocratic families sometimes educated. Great mythic figures of women – goddesses, queens, princesses, priestesses – who will become the subjects of the great tragedies, recorded in the writings of Hesiod and Homer. Sappho (630-12?-570) first extant woman poet in the Greek tradition writes. Widely admired for her lyrical and love poetry. Later European women writers often compared to her favorably as continuing to write in her tradition. -
Old Drury Lane
:CNJ ! VMBBJ ICD ' : '- - --" ; . , ",.' 1 \. ffi . I | m 1 1 ! |g ' 1 -' - . '. _ : I ' - - - ' ' : '_ i p I /,'.'/v;^' v | j ' ' - , '-', , nHI pn ; H ^ B 1 ' .'"' ''-'"' : K ' ' a mm i OLD DRURY LANE. A OLD DRURY LANE FIFTY YESES' RECOLLECTIONS OF AUTHOR, ACTOR, AND MANAGER BY EDWARD STIRLING IN TWO VOLUMES VOL. II. lontton CHATTO AND WINDUS, PICCADILLY 1881 [All Rights Reserved] CONTENTS OF VOL. II. BOOK III. PAGE ACTORS AND ACTRESSES WHO HAVE APPEARED AT DRURY LANE THEATRE FROM ITS EARLIEST ANNALS TO THE PRESENT TIME, SKETCHES OF THEIR CAREER, AND ANEC- DOTES CONNECTED WITH THEM ... I BOOK IV. DRAMATIC ANA AND THEATRICAL VARIETIES, WITH AN ACCOUNT OF CURIOUS OLD PLAYS, ETC. 267 OLD DRURY LANE. BOOK III. ACTORS AND ACTRESSES WHO HAVE APPEARED AT DRURY LANE THEATRE FROM ITS EARLIEST ANNALS TO THE PRESENT TIME, SKETCHES OF THEIR CAREER, AND ANECDOTES CONNECTED WITH THEM. ' Players are the abstracts and brief chronicles of the Time : after your death, you were better have a bad epitaph than their ill report.' VOL. II. EDWARD KYNASTON, 16191687. IN the Restoration days (Charles II.), it was a frequent custom of the ladies of quality to carry Kynaston, the actor of Drury Lane and Lincoln's Inn Fields, in his female dress, after the performances, in their coaches to Hyde Park. JOHN LACEY, 16221681. JOHN LACEY, a Yorkshireman and King's servant at Drury Lane, greatly relished by Charles II., who frequently commanded his performances. CLUN (DIED 1664). TRAGIC NEWS, 1664. 'Clun, one of the best tragic actors at the King's House, 242 Old Drury Lane. -
2059344 James Henderson
University of South Wales 2059344 JAMES HENDERSON AN EDITION OF THE POEMS OF ANN OF SWANSEA (ANN JULIA HATTON, NEE KEMBLE, 1764-1838) INCLUDING UNPUBLISHED MATERIAL IN Two VOLUMES VOLUME I UNIVERSITY OF GLAMORGAN submitted for the degree of Master of Philosophy 2005 Ann of Swansea, painted by Henry Watkeys, 1834 ACKNOWLEDGEMENTS A treatise of this length could not have been completed without the leadership and guidance of many people. I am happy to acknowledge the help given to me by Professor Jane Aaron who refused to acknowledge that my age was any impediment, by Professor Gavin Edwards who daily corrected my extravagances and greatly added to my knowledge of Ann of Swansea's times; by Harley Acheson who frequently interrupted his life to come to my aid by correcting the many solecisms of which I was guilty; by Professor J. H. C. Jones of the University of Victoria, B.C.; by Bemice Cardy of the Swansea Museum who spent an inordinate amount of time chasing after rainbows; by Steven Blake, Keeper of Collections, the Cheltenham Gallery and Museum; by Nina Evans of the British Library; by Georgiana Ziegler of the Folger Library; by Angelica Vora; to Cassandra Volpe of the Research Division of the New York Public Library; by Mrs. M. P. Jones of the Local Studies Department, City of Swansea; by Kim Collis of the West Glamorgan Archive Service (for finding in the minutes of Swansea Infirmary several mentions of Dr. Douglas Cohen); by Mrs Margaret Sharman who produced a plethora of hitherto undiscovered letters of Ann of Swansea; by Sister Mary at the American Music Research Center, the University of Colorado at Boulder; and not least by my wife Judy, who put up with my many requests for help and searches at libraries and on the internet with endless patience. -
The Reminiscences of Alexander Dyce Alexander Dyce
THE REMINISCENCES OF ALEXANDER DYCE ALEXANDER DYCE FROM AN ENGRAVING BY C. H. JEENS. REPRODUCED BY COURTESY OF THE VICTORIA & ALBERT MUSEUM. THE Reminiscences OF Alexander Dyce EDITED, WITH A BIOGRAPHY BY RICHARD J. SCHRADER OHIO STATE UNIVERSITY PRESS Copyright © 1972 by the Ohio State University Press All Rights Reserved Library of Congress Catalog Card Number 75-157716 Standard Book Number 8142-0160-1 Manufactured in the United States of America FOR MY PARENTS CONTENTS FOREWORD x i ALEXANDER DYCE 3 EDITORIAL PRINCIPLES 2 9 THE REMINISCENCES 3 3 PREFACE TO CHAPTER I 35 CHAPTER ONE : Early Years 39 SCOTLAND. % MARY ANN PATON. J SIR DAVID OCHTERLONY. % MRS. SMOLLETT. $ STRAW BERRY-HILL J LORD WALDEGRAVE. % CUMNOR PLACE (FROM MY DIARY). PREFACE TO CHAPTER II 5 1 CHAPTER TWO: The Stage 55 PART I : MAJOR CHARACTERS 5 5 EDMUND KEAN AND HIS WIFE. { CHARLES KEAN. % JOH N KEMBLE. $ MRS. CHARLES KEMBLE (MISS DE CAMP), t MRS. SIDDONS. PART 2 : MINOR CHARACTERS 9 9 GIOVANNI B. BELZONI. % MRS. MARY ANN DAVENPORT) WILLIAM FARREN, &C. $ MRS. GIBBS. % MRS. DOROTHY Vlll CONTENT S JORDAN. | JAMES KENNEY AND HIS LAST DRAMATIC PRODUCTION, t JOHN HENDERSON'S AND CHARLES MACKLIN'S SHYLOCK ; GEORGE F. COOKE'S RICHARD THE THIRD, SIR PERTINAX MACSYCOPHANT, AND SIR ARCHY MACSARCASM; MACKLIN AND D [ . ] . % MADEMOISELLE MARS. % CHARLES MATHEWS THE ELDER. $ JOSEPH S. MUNDEN. % MRS. PIOZZI AND CONWAY THE ACTOR. { MRS. ELIZABETH POPE (MISS YOUNG) J HOLCROFT'S "FOLLIES OF A DAY OR TH E MARRIAGE OF FIGARO" ; CHARLES BONNOR. J MISS JANE POPE, T GEORGE RAYMOND. PREFACE TO CHAPTER III 12J CHAPTER THREE: The Clerisy 131 THOMAS TAYLOR, THE PLATONIST. -
Old Drury Lane
;.;::/; OLD DRURY LANE. OLD DRURY LANE FIFTY YEfiRS' RECOLLECTIONS AUTHOR, ACTOR, AND MANAGER BY EDWARD STIRLING IN TWO VOLUMES VOL. I. I ou lion CHATTO AND WINDUS, PICCADILLY 1881 [All Right* Rttttvtd] CONTENTS OF VOL. I. BOOK I. PERSONAL RECOLLECTIONS OF THE AUTHOR FROM SCHOOL-DAYS TO THE PRESENT TIME. CHAPTER PAGE 1 3 II 12 111 37 iv. ... .44 v. 55 vr 71 VII 89 VIII I ! ; ix 130 x 151 XI * '97 vi Contents. BOOK II. RECORDS OF DRURY LANE AND ITS LESSEES AND MANAGERS, WITH A SKETCH OF THE HISTORY OF HER MAJESTY'S OPERA. CHAPTER PAGE 1 213 II 226 III 238 iv '255 v 273 VI 289 vii 318 viii 324 ix 344 OLD DRURY LANE. BOOK I. PERSONAL RECOLLECTIONS OF THE AUTHOR FROM SCHOOL-DAYS TO THE PRESENT TIME. VOL. I. CHAPTER I. The Author's birthplace School-days at Southwark Southwark Fair Samuel Pepys' account Bul- lock's Booth Original Bill of 1728 Fielding and Reynolds's Great Theatrical Booth The Author's first appearance on the Stage Samuel Phelps The ' Temple of Arts ' in Catherine-street * Tom ' ' and Jerry The Brown Bear,' and its landlord, Ikey Solomons* A New Way to Pay Old Debts.' I WAS born at Thame in Oxfordshire in the year 1807, an<^ received my education at Queen Elizabeth's Latin School, South- wark, the ancient Southwark of our Saxon forefathers, a famous place for hostelries ' and inns the old ' Tabard of Chaucer's Canterbury Tales and Sam Weller's quar- ters, the 'White Hart' Inn, ranking first in the affection and regard of lovers of i 2 Old Drury Lane. -
A Century of Great Actors, 1750-1850
CO • ^'.ofiijiN f r'HI"""'!-.,, . 'i 1 • I :'' ' i 1. .' : - ' '!:. 1 ' ' 1 : i ' !' ' . 5 .- ' i « f i ' ;;liiili!lllil!li!llfl!ililiililli!i!iii' . , li 1 , iiliii!iiiai'iiiiiii,iniii. I Digitized by tine Internet Arciiive in 2007 witii funding from IVIicrosoft Corporation littp://www.arcliive.org/details/centuryofgreatacOOarmsuoft A CENTURY OF GREAT ACTORS 1750-1850 A SELECTION FROM MILLS & BOON'S LIST OF GENERAL LITERATURE MY PARISIAN YEAR. By Maude Annesley. With 20 Illustrations. Demy 8vo, lOS. 6d. net. MY SUDAN YEAR. By E. S. Stevens. With 40 Illustra- tions. Demy 8vo, los. 6d. net. THE MAN WHO SAVED AUSTRIA : The Life and Times of Baron Jellacic. By M. Hartley. With 18 Illustrations. Demy 8vo, los. 6d. net. A MYSTIC ON THE PRUSSIAN THRONE: Frederick William II. By Gilbert Stanhope. With 12 Illustrations. Demy 8vo, los. 6d. net. A CENTURY OF GREAT ACTORS. By Cecil F. Arm- strong, Author of " The Dramatic Author's Companion." With 16 Illustrations. Demy 8vo, los. 6d. net. THE ROMANCE OF THE MEN OF DEVON. By Francis Gribble, Author of "The Romance of the Oxford Colleges." With a Frontispiece in Photogravure and 16 Illustrations. Crown 8vo, 6s. FORTY YEARS OF A SPORTSMAN'S LIFE. By Sir Claude Champion de Crespigny, Bart. With 18 Illustrations. Popular Edition. 6s. SIXTY-EIGHT YEARS ON THE STAGE. By Mrs. Charles Calvert. With a Photogravure and 17 Illustrations. Popular Edition. 6s. A CENTURY OF BALLADS (1810-1910). Their Composers and Singers. By Harold Simpson. With 49 Illustrations. Popular Edition. 6s. BRITISH MOUNTAIN CLIMBS. By George D. Abraham, Fully Illustrated with Photographs and Diagrams. -
Acting Southern
ACTING FEMININE ON THE SOUTH’S ANTEBELLUM AND CIVIL WAR STAGES by ROBIN OGIER WARREN (Under the Direction of Christy Desmet and Frances Teague) ABSTRACT This dissertation analyzes the theatrical repertory and performative daily roles of women who acted on the antebellum and Civil War southern stage. Actresses helped shape gendered identity for the South by entrenching and subverting accepted norms of femininity. Because their stage and everyday performances took many appearances according to class, time, place, and race, they showed that constructions of gendered identity vary according to circumstance. Family connections brought women to the southern stage; these relationships operated as one of the multiple cultural, social, and political forces that Judith Butler says constructs identity. Actresses learned to enact scripted feminine behavior in their personal lives and on stage as young girls. Trained to improvise, however, actresses did not always adhere to their play or social scripts. Instead, abiding by and transgressing against the region’s traditional gender norms, they occupied what Victor Turner calls a liminal status. Actresses constituted part of a small, diverse group of urban women who worked for pay and contributed to the region’s developing economy and cultural life. Since actresses maintained private lives, they moved between what Jürgen Habermas terms the private and public spheres and showed that these supposedly distinct worlds actually overlapped. As members of what Michel Foucault calls “a society of blood” in which sex maintained the family relations of the power structure, actresses had to temper the sexuality of performances to maintain pure reputations. Because some players overturned traditional sexual values while others upheld them, these shifting representations of sexuality confirmed the artificiality of gendered identity and showed masculine and feminine roles are bodily styles outwardly enacted through repeated performative gestures.