AM Broadley's Annals of the Haymarket
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Shearer West Phd Thesis Vol 1
THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON (VOL. I) Shearer West A Thesis Submitted for the Degree of PhD at the University of St. Andrews 1986 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/2982 This item is protected by original copyright THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON Ph.D. Thesis St. Andrews University Shearer West VOLUME 1 TEXT In submitting this thesis to the University of St. Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and abstract will be published, and that a copy of the I work may be made and supplied to any bona fide library or research worker. ABSTRACT A theatrical portrait is an image of an actor or actors in character. This genre was widespread in eighteenth century London and was practised by a large number of painters and engravers of all levels of ability. The sources of the genre lay in a number of diverse styles of art, including the court portraits of Lely and Kneller and the fetes galantes of Watteau and Mercier. Three types of media for theatrical portraits were particularly prevalent in London, between ca745 and 1800 : painting, print and book illustration. -
A Moor Propre: Charles Albert Fechter's Othello
A MOOR PROPRE: CHARLES ALBERT FECHTER'S OTHELLO A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Matthew Scott Phillips, B.A. * * * * * The Ohio State University •· 1992 Thesis Committee: Approved by Alan Woods Joy Reilly Adviser Department of Theatre swift, light-footed, and strange, with his own dark face in a rage,/ Scorning the time-honoured rules Of the actor's conventional schools,/ Tenderly, thoughtfully, earnestly, FECHTER comes on to the stage. (From "The Three Othellos," Fun 9 Nov. 1861: 76.} Copyright by Matthew Scott Phillips ©1992 J • To My Wife Margaret Freehling Phillips ii ACKNOWLEDGEMENTS I express heartfelt appreciation to the members of my thesis committee: to my adviser, Dr. Alan Woods, whose guidance and insight made possible the completion of this thesis, and Dr. Joy Reilly, for whose unflagging encouragement I will be eternally grateful. I would also like to acknowledge the invaluable services of the British Library, the Jerome Lawrence and Robert E. Lee Theatre Research Institute and its curator, Nena Couch. The support and encouragement given me by my family has been outstanding. I thank my father for raising my spirits when I needed it and my mother, whose selflessness has made the fulfillment of so many of my goals possible, for putting up with me. Finally, I would like to thank my wife, Maggie, for her courage, sacrifice and unwavering faith in me. Without her I would not have come this far, and without her I could go no further. -
Romeo Revived .Pdf
McGirr, E. (2017). "What's in a Name?": Romeo and Juliet and the Cibber Brand. Shakespeare. https://doi.org/10.1080/17450918.2017.1406983 Peer reviewed version Link to published version (if available): 10.1080/17450918.2017.1406983 Link to publication record in Explore Bristol Research PDF-document This is the author accepted manuscript (AAM). The final published version (version of record) is available online via Taylor and Francis at http://www.tandfonline.com/doi/full/10.1080/17450918.2017.1406983. Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ Elaine M. McGirr Reader in Theatre & Performance Histories University of Bristol “What’s in a name?”: Romeo and Juliet and the Cibber brand Abstract: The 1744 and 1748/50 performances of Romeo and Juliet by Theophilus Cibber, Jenny Cibber and Susannah Cibber explain the significance of the play’s return to the repertory, uncover the history of rival interpretations of Juliet’s character, and make sense of the careers and reputations of the theatrical Cibbers. The “Cibberian” airs of all three Cibbers were markedly different, as were their interpretations of Shakespeare’s star-crossed lovers. Keywords: Shakespearean adaptation, performance history, celebrity, authorial reputation, repertory In Romeo and Juliet, Juliet apostrophizes Romeo to deny thy father and refuse thy name, assuring her (supposedly) absent lover that a rose by any other name would smell as sweet. -
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. -
Memories of Pitsford a 100 Years Ago
49 MEMORIES OF PITSFORD A HUNDRED YEARS AGO T. G. TUCKER Introduction by the late Joan Wake* All my life I had heard of the clever Pitsford boy, Tom Tucker-whose name was a legend in the Wake family. I knew he had emigrated to Australia a.s a young man and I had therefore never expected to see him in the flesh-when all of a sudden in the middle of my third war-he turned up! This was in 1941. He got into touch with my aunt, Miss Lucy Wake, who had known him as a boy, and through her I invited him to come and stay with me for a few days in my little house at Cosgrove. He was then a good-looking, white haired old gentleman, of marked refinement, and of course highly cultivated, and over eighty years of age. He was very communicative, and I much enjoyed his visit. Tom's father was coachman, first to my great-great-aunt Louisa, Lady Sitwell, at Hunter- combe near Maidenhead in Berkshire, and then to her sister, my great-grandmother, Charlotte, Lady Wake, at Pitsford. Tom described to me the two days' journey in the furniture van from one place to the other-stopping the night at Newport Pagnell, and the struggle of the horses up Boughton hill, slippery with ice, as they neared the end of their journey. That must have been in 1868 or 1869. He was then about eight years of age. My great-grandmother took a great interest in him after discovering that he was the cleverest boy in the village, and he told me that he owed everything to her. -
Two Gentlemen of Verona
39th Season • 378th Production SEGERSTROM STAGE / FEBRUARY 21 THROUGH MARCH 30, 2003 David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR presents TWO GENTLEMEN OF VERONA by WILLIAM SHAKESPEARE Scenic Design Costume Design Lighting Design DARCY SCANLIN JOYCE KIM LEE GEOFF KORF Composer/Sound Design Vocal Consultant Production Manager Stage Manager ARAM ARSLANIAN URSULA MEYER JEFF GIFFORD *SCOTT HARRISON Directed by MARK RUCKER Honorary Producers HASKELL & WHITE, LLP Two Gentlemen of Verona • SOUTH COAST REPERTORY P1 CAST OF CHARACTERS (In order of appearance) Valentine ................................................................................. *Gregory Crane Proteus .......................................................................................... *Scott Soren Speed, a servant to Valentine ............................................. *Daniel T. Parker Julia, beloved of Proteus ................................................... *Jennifer Elise Cox Lucetta, waiting woman to Julia ...................................... *Rachel Dara Wolfe Antonio, father to Proteus .............................................................. *Don Took Panthino, a servant to Antonio .............................................. *Hal Landon Jr. Silvia, beloved of Valentine ....................................................... *Nealy Glenn Launce, a servant to Proteus .................................................... *Travis Vaden Thurio, a rival to Valentine .................................................. *Guilford -
Management, Competition and Artistic Policy in London, 1861-70
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Opera in 'the Donizettian Dark Ages' : management, competition and artistic policy in London, 1861-70. Ringel, Matthew Laurence The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 09. Oct. 2021 Opera in 'The Donizettian Dark Ages' Management, Competition and Artistic Policy in London, 186 1-70 Matthew L. Ringel Dissertation submitted for the Ph.D. -
Marie Taglioni, Ballerina Extraordinaire: in the Company of Women
NINETEENTH-CENTURY GENDER STUDIES # ISSUE 6.3 (WINTER 2010) Marie Taglioni, Ballerina Extraordinaire: In the Company of Women By Molly Engelhardt, Texas A&M University—Corpus Christi <1>The nineteenth-century quest for novelty during the 1830s and 40s was nowhere better satisfied than from the stages of the large theatres in London and Paris, which on a tri-weekly basis showcased ballet celebrities and celebrity ballets as top fare entertainment.(1) While few devotees had the means to actually attend ballet performances, the interested majority could read the plots and reviews of the ballets published in print media—emanating from and traversing both sides of the channel—and know the dancers, their personalities and lifestyles, as well as the dangers they routinely faced as stage performers. During a benefit performance in Paris for Marie Taglioni, for example, two sylphs got entangled in their flying harnesses and audiences watched in horror as a stagehand lowered himself from a rope attached to the ceiling to free them. Théophile Gautier writes in his review of the performance that when Paris Opera director Dr. Veron did nothing to calm the crowds, Taglioni herself came to the footlights and spoke directly to the audience, saying “Gentlemen, no one is hurt.”(2) On another occasion a cloud curtain came crashing down unexpectedly and almost crushed Taglioni as she lay on a tombstone in a cloisture scene of Robert le Diable.(3) Reporters wrote that what saved her were her “highly- trained muscles,” which, in Indiana Jones fashion, she used to bound off the tomb just in time. -
NEWSLETTER Editor: Francis Knights
NEWSLETTER Editor: Francis Knights Volume v/1 (Spring 2021) Welcome to the NEMA Newsletter, the online pdf publication for members of the National Early Music Association UK, which appears twice yearly. It is designed to share and circulate information and resources with and between Britain’s regional early music Fora, amateur musicians, professional performers, scholars, instrument makers, early music societies, publishers and retailers. As well as the listings section (including news, obituaries and organizations) there are a number of articles, including work from leading writers, scholars and performers, and reports of events such as festivals and conferences. INDEX Interview with Bruno Turner, Ivan Moody p.3 A painted villanella: In Memoriam H. Colin Slim, Glen Wilson p.9 To tie or not to tie? Editing early keyboard music, Francis Knights p.15 Byrd Bibliography 2019-2020, Richard Turbet p.20 The Historic Record of Vocal Sound (1650-1829), Richard Bethell p.30 Collecting historic guitars, David Jacques p.83 Composer Anniversaries in 2021, John Collins p.87 v2 News & Events News p.94 Obituaries p.94 Societies & Organizations p.95 Musical instrument auctions p.96 Conferences p.97 Obituary: Yvette Adams, Mark Windisch p.98 The NEMA Newsletter is produced twice yearly, in the Spring and Autumn. Contributions are welcomed by the Editor, email [email protected]. Copyright of all contributions remains with the authors, and all opinions expressed are those of the authors, not the publisher. NEMA is a Registered Charity, website http://www.earlymusic.info/nema.php 2 Interview with Bruno Turner Ivan Moody Ivan Moody: How did music begin for you? Bruno Turner: My family was musical. -
Susan Rutherford: »Bel Canto« and Cultural Exchange
Susan Rutherford: »Bel canto« and cultural exchange. Italian vocal techniques in London 1790–1825 Schriftenreihe Analecta musicologica. Veröffentlichungen der Musikgeschichtlichen Abteilung des Deutschen Historischen Instituts in Rom Band 50 (2013) Herausgegeben vom Deutschen Historischen Institut Rom Copyright Das Digitalisat wird Ihnen von perspectivia.net, der Online-Publikationsplattform der Max Weber Stiftung – Deutsche Geisteswissenschaftliche Institute im Ausland, zur Verfügung gestellt. Bitte beachten Sie, dass das Digitalisat der Creative- Commons-Lizenz Namensnennung-Keine kommerzielle Nutzung-Keine Bearbeitung (CC BY-NC-ND 4.0) unterliegt. Erlaubt ist aber das Lesen, das Ausdrucken des Textes, das Herunterladen, das Speichern der Daten auf einem eigenen Datenträger soweit die vorgenannten Handlungen ausschließlich zu privaten und nicht-kommerziellen Zwecken erfolgen. Den Text der Lizenz erreichen Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode »Bel canto« and cultural exchange Italian vocal techniques in London 1790–1825 Susan Rutherford But let us grant for a moment, that the polite arts are as much upon the decline in Italy as they are getting forward in England; still you cannot deny, gentlemen, that you have not yet a school which you can yet properly call your own. You must still admit, that you are obliged to go to Italy to be taught, as it has been the case with your present best artists. You must still submit yourselves to the direction of Italian masters, whether excellent or middling. Giuseppe -
This Electronic Thesis Or Dissertation Has Been Downloaded from the King’S Research Portal At
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Repertory and rivalry : opera and the Second Covent Garden Theatre, 1830-56. Dideriksen, Gabriella The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 10. Oct. 2021 Repertory and Rivalry: Opera at the Second Covent Garden Theatre, 1830 to 1856 Gabriella Dlderlksen PhD, Historical Musicology King's College London, University of London June 1997 Abstract Victorian London has hitherto frequently been regarded as an operatic backwater without original musical or theatrical talent, and has accordingly been considered only marginally important to the history of 19th-century opera in general. -
A Study of the Management of Charles Kean at The
A STUDY OF THE MANAGEMENT OF CHARLES KEAN AT THE PRINCESS’S THEATRE; l850-l859 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By BUDGE THRELKELD, B. A., M. A. **** The Ohio State University 1955 Approved by Adviser Department of Speech PREFACE When a person approaches a subject with the idea in mind of using that subject for the purpose of a detailed study, he does so with certain provisions. In this instance I was anxious to do a dissertation which would require an extended use of The Ohio State University Theatre Collec tion and which would enable me, at the same time, to do original research. The recent collection, on microfilm, of prompt books of theatrical productions during the nineteenth century provided an opportunity to explore that area in search of a suitable problem. The. possibility of doing research on the management of Charles Kean at the Royal Princesses Theatre was enhanced when tentative probings revealed that the importance of Kean*s management was recog nized by every authority in the field. However, specific and detailed information about the Princesses Theatre and its management was meagre indeed. Further examination of some of the prompt books prepared by Kean for his outstand ing productions at the Princesses convinced me that evidence was available here that would establish Kean as a director in the modern sense of the word. This was an interesting revelation because the principle of the directorial approach to play production is generally accepted to date from the advent of the famous Saxe-Meiningen company.