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Review of Helen E.M. Brooks, <Em>Actresses, Gender, and The
ABO: Interactive Journal for Women in the Arts, 1640-1830 Volume 5 Issue 1 Volume 5.1 (Spring 2015) Article 7 2015 Review of Helen E.M. Brooks, Actresses, Gender, and the Eighteenth-Century Stage: Playing Women Leslie Ritchie Queeens University, Canada, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/abo Part of the Dramatic Literature, Criticism and Theory Commons, Educational Methods Commons, Feminist, Gender, and Sexuality Studies Commons, and the Literature in English, British Isles Commons Recommended Citation Ritchie, Leslie (2015) "Review of Helen E.M. Brooks, Actresses, Gender, and the Eighteenth-Century Stage: Playing Women," ABO: Interactive Journal for Women in the Arts, 1640-1830: Vol. 5 : Iss. 1 , Article 7. https://www.doi.org/http://dx.doi.org/10.5038/2157-7129.5.1.6 Available at: https://scholarcommons.usf.edu/abo/vol5/iss1/7 This Reviews is brought to you for free and open access by Scholar Commons. It has been accepted for inclusion in ABO: Interactive Journal for Women in the Arts, 1640-1830 by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Review of Helen E.M. Brooks, Actresses, Gender, and the Eighteenth-Century Stage: Playing Women Keywords actress, maternity, gender, breeches, travesty, Dorothy Jordan, Sarah Siddons, Margaret Woffington Creative Commons License This work is licensed under a Creative Commons Attribution-No Derivative Works 3.0 License. This reviews is available in ABO: Interactive Journal for Women in the Arts, 1640-1830: https://scholarcommons.usf.edu/abo/vol5/iss1/7 Ritchie: Actresses, Gender, and the Eighteenth-Century Stage Helen E.M. -
Regency Actors and the Inspiration Behind Romantic Drama
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2017 Fit for the Stage: Regency Actors and the Inspiration Behind Romantic Drama James Armstrong The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2317 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] FIT FOR THE STAGE: REGENCY ACTORS AND THE INSPIRATION BEHIND ROMANTIC DRAMA by JAMES ARMSTRONG A dissertation submitted to the Graduate Faculty in Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2017 ii © 2017 JAMES ARMSTRONG All Rights Reserved iii Fit for the Stage: Regency Actors and the Inspiration Behind Romantic Drama by James Armstrong This manuscript has been read and accepted for the Graduate Faculty in Theatre in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. May 12, 2017 ______________________________ Date Chair of Examining Committee Marvin Carlson Distinguished Professor May 12, 2017 ______________________________ Date Executive Officer Peter Eckersall Professor ______________________________ Jean Graham-Jones Professor ______________________________ Annette J. Saddik Professor Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract Fit for the Stage: Regency Actors and the Inspiration Behind Romantic Drama by James Armstrong Adviser: Distinguished Professor Marvin Carlson In this dissertation, I argue that British verse tragedies of the Romantic era must be looked at not as "closet dramas" divorced from the stage, but as performance texts written with specific actors in mind. -
The Road to Bristol Old Vic
250 YEARS OLD Thank you for being part of one of the most significant anniversaries in the history of British theatre. We’ve done our best to curate a programme worthy of your efforts, inspired by the astonishing creativity of the thousands of artists – from Sarah Siddons to Sally Cookson – who have delighted and entertained you and your forebears over the last 250 years. But at heart, ours is a story of passion, survival and reinvention. All the other theatres producing plays in 1766 have fallen down or been demolished because, at some point in their history, their audiences abandoned them. This one has survived because each time it’s faced disaster, Bristolians from all over the world have given it new life. It happened in 1800, when popular demand led to the ceiling being tipped up and the new gallery being built, increasing the capacity to an eye-watering 1,600. It happened in 1933 when Blanche Rogers initiated the campaign that the old place should be saved and become ‘Bristol’s Old Vic’. It happened in 2007 when Dick Penny held the open meeting (which many of you attended), leading to the Arts Council continuing its vital support for the theatre. And it’s happening throughout this wonderful anniversary, as you carry us towards the final stage of the refurbishment that will set us securely on our adventures over the next 250 years. So as you read about the shows we’re staging and the projects we’re curating during our birthday year, don’t forget to give yourself a warm pat on the back for being the people who are, in the end, responsible for all of it. -
CYMBELINE" in the Fllii^Slhi TI CENTURY
"CYMBELINE" IN THE fllii^SLHi TI CENTURY Bennett Jackson Submitted in partial fulfilment for the de ree of uaster of Arts in the University of Birmingham. October 1971. University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. SYNOPSIS This thesis consists of an Introduction, followed by Part I (chapters 1-2) in which nineteenth- century criticism of the play is discussed, particular attention being paid to Helen Faucit's essay on Imogen, and its relationship to her playing of the role. In Part II the stags-history of Oymbcline in London is traced from 1785 to Irving's Lyceum production of 1896. Directions from promptbooks used by G-.P. Cooke, W.C. Macready, Helen Eaucit, and Samuel ±helps are transcribed and discussed, and in the last chapter the influence of Bernard Shaw on Ellen Terry's Imogen is considered in the light of their correspondence and the actress's rehearsal copies of the play. There are three appendices: a list of performances; transcriptions of two newspaper reviews (from 1843 and 1864) and one private diary (Gordon Crosse's notes on the Lyceum Gymbeline); and discussion of one of the promptbooks prepared for Charles Kean's projected production. -
Bodily Motion As Innovation in Bernhardt's Hamlet
University of New Orleans ScholarWorks@UNO Foreign Languages Faculty Publications Department of English and Foreign Languages 9-2020 Something in the Way She Moves: Bodily Motion as Innovation in Bernhardt’s Hamlet Juliana Starr University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/fl_facpubs Part of the Theatre History Commons Recommended Citation Starr, Juliana. "Something in the Way She Moves: Bodily Motion as Innovation in Bernhardt’s Hamlet." American International Journal of Humanities and Social Science, vol. 6, no. 1, Sept. 2020, pp. 24-33. This Article is brought to you for free and open access by the Department of English and Foreign Languages at ScholarWorks@UNO. It has been accepted for inclusion in Foreign Languages Faculty Publications by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. American International Journal of Humanities and Social Science, Vol. 6 No 1; September 2020 ISSN 2415-1270 (Online), ISSN 2415-1424 (Print) Published by Center for Global Research Development Something in the Way She Moves: Bodily Motion as Innovation in Bernhardt’s Hamlet Juliana Starr Associate Professor University of New Orleans United States of America Abstract Sarah Bernhardt’s audiences often described feeling thrilled by the star performer, and they relished the ways in which her agency exceeded their own. She developed a style of setting her entire body in motion, often in arresting, unusual ways. Using Sharon Marcus’s concept of “exteriority effects”-mobility, framing, tempo control, and hyperextension-this article analyzes Bernhardt’s stage movement in her most famous cross-gender role, Hamlet. -
Remaking Sarah Siddons's Hamlet Costume by Morgan A. Marshall A
Remaking Sarah Siddons’s Hamlet Costume by Morgan A. Marshall A thesis presented to the Honors College of Middle Tennessee State University in partial fulfillment of the requirements for graduation from the University Honors College. December 2019 Remaking Sarah Siddons’s Hamlet Costume by Morgan A. Marshall APPROVED: ____________________________ Kate Goodwin Department of Theatre and Dance _____________________________ Jeff Gibson Department of Theatre and Dance ____________________________ Tommy Macon Department of Theatre and Dance _____________________________ Dr. Philip E. Phillips, Associate Dean University Honors College Acknowledgements Thank you, Professor Goodwin, Professor Macon, Dr. Albakry, and Dr. Hixon for your kind encouragement, belief, and guidance. Thank you, Dr. Woo of Bard High School Early College Newark for generously sharing your image of Mrs. Siddons from the British Museum. Last but not least, thank you to my friend Keaton Varden for taking the photos of me in the costume. iii Abstract Remaking Sarah Siddons’s Hamlet Costume By Morgan A. Marshall Advisor: Kate Goodwin This honors thesis examines Sarah Siddons’s role as Hamlet. I consider the historical period and cultural climate in which she performed, her performances and their receptions, and how she influenced 19th-century theatre and ideas of gender and sex. To aid my research, I re-create the costume that she wore for her 1802 performance, as depicted by Mary Sackville Hamilton in her diary sketch. By wearing this costume myself I gain insight into how Sarah Siddons appeared on stage to her audiences and how the costume may have affected her ability to portray a male role. iv Table of Contents Part One: Historical Overview 1. -
Prints Collection
Prints Collection: An Inventory of the Collection at the Harry Ransom Humanities Research Center Descriptive Summary Creator: Prints Collection Title: Prints Collection Dates: 1669-1906 (bulk 1775-1825) Extent: 54 document boxes, 7 oversize boxes (33.38 linear feet) Abstract: The collection consists of ca. 8,000 prints, the great majority of which depict British and American theatrical performers in character or in personal portraits. RLIN Record #: TXRC02-A1 Language: English. Access Open for research Administrative Information Provenance The Prints Collection was assembled by Theater Arts staff, primarily from the Messmore Kendall Collection which was acquired in 1958. Other sources were the Robert Downing and Albert Davis collections. Processed by Helen Baer and Antonio Alfau, 2000 Repository: Harry Ransom Humanities Research Center, University of Texas at Austin Prints Collection Scope and Contents The Prints Collection, 1669-1906 (bulk 1775-1825), consists of ca. 8,000 prints, the great majority of which depict British and American theatrical performers in character or in personal portraits. The collection is organized in three series: I. Individuals, 1669-1906 (58.25 boxes), II. Theatrical Prints, 1720-1891 (1.75 boxes), and III. Works of Art and Miscellany, 1827-82 (1 box), each arranged alphabetically by name or subject. The prints found in this collection were made by numerous processes and include lithographs, woodcuts, etchings, mezzotints, process prints, and line blocks; a small number of prints are hand-tinted. A number of the prints were cut out from books and periodicals such as The Illustrated London News, The Universal Magazine, La belle assemblée, Bell's British Theatre, and The Theatrical Inquisitor; others comprised sets of plates of dramatic figures such as those published by John Tallis and George Gebbie, or by the toy theater publishers Orlando Hodgson and William West. -
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. -
Sarah Siddons As Lady Macbeth / Patricia T
Lehigh University Lehigh Preserve Theses and Dissertations 1974 Sarah Siddons as Lady Macbeth / Patricia T. Michael Lehigh University Follow this and additional works at: https://preserve.lehigh.edu/etd Part of the English Language and Literature Commons Recommended Citation Michael, Patricia T., "Sarah Siddons as Lady Macbeth /" (1974). Theses and Dissertations. 4414. https://preserve.lehigh.edu/etd/4414 This Thesis is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. SA.RAH SIDDONS AS LADY MACBETH by Patricia T. Michael A Thesis Presented to the Graduate Committee of Lehigh University in Candidacy for the Degree of Master of Arts in English Lehigh University 1974 This thesis 1s accepted and approved in partial ru1- f111rncnt of tl1e requirements for the degree of ?-1aster of Arts. ~,} / g. H Chairman o , ii \ AC KNOW LEDGMEN'I' The completion of this thesis would not have been possible without the contstant advice and assistance of Professor Fraink S. Hook, who I deeply respect for his wisdom and knowledge, and admire for his patience and understanding. • • • lll ,A' Table of Contento Page 11 Certificate of Approval . • • • • • • • • • • • • • • 111 Acknowledgment • • • • • • • • • • • • • • • • • • • iv Table of Contents . • • • • • • • • • • • • • • • • • 1 Abstract • • • • • • • • • • • • • • • • • • • • • • 2 Chapter I: Before Sarah Siddons • • • • • • • • • • 11 Chapter II: Mrs. Siddons on Stage • • • • • • • • • • 28 Act I. Sc. V • • • • • • • • • • • • • • • • • • 34 Act I. Sc. vi • • • • • • • • • • • • • • • • • • • Act I. Sc. Vll • • • • • • • • • • • • • • • • • 35 38 Act II. Sc. ii • • • • • • • • • • • • • • • • • • • 4:J- Act III. Sc. ll • • • • • • • • • • • • • • • • • 48 Act III. Sc. lV • • • • • • • • • • • • • • • • 45 Act V. -
Appropriated Shakespeare: Sensation, Politicization, and De(Con)Struction David George, Urbana College
Appropriated Shakespeare: Sensation, Politicization, and De(con)struction David George, Urbana College ow do you disappoint me, Shakespeare? Let me count the ways: long-winded, out of date, given to obsolete H words, no clear message. So let us cut, adapt, sensationalize, politicize, deconstruct – but always make relevant, because Shakespeare’s texts are for the most part just too much products of their time. Probably the play which has undergone the most surgery is Coriolanus, second in length after Hamlet and 45 lines longer than Cymbeline. Cutting is understandable but adaptation is odd because, as T. S. Eliot noted in 1919, it “may not be as ‘interesting’ as Hamlet, but it is, with Antony and Cleopatra, Shakespeare’s most assured artistic success.”1 Still, the play’s first recorded performance is an adaptation, and the roster of adapters is long indeed. Over a span of more than 300 years, Nahum Tate, John Dennis, Thomas Sheridan, John Philip Kemble, René- Louis Piachaud, Bertolt Brecht and Robert Lepage adapted it, and in the last fifteen years certain critics have interpreted it in a bizarre manner.2 At the root of this impulse is the feeling that actors cannot do justice to the Shakespearean concept, or that Shakespeare had no concept, or that audiences cannot connect with his play, and therefore must have something from the immediate world outside the theater to connect it with. No adapter seems to have realized that the contemporary world he was adapting the play to must itself rapidly become irrelevant. The first adapter, Nahum Tate, retitled Coriolanus as The Ingratitude of a Commonwealth, which was acted in London in 1681 or 1682. -
Sarah Siddons
Sarah Siddons (1755-1831) ● Born July 5, 1755 at the Shoulder of Mutton inn in Early Life Brecon to actors Roger Kemble and Sarah Ward ● Eldest of twelve children, several who became actors ○ Brother John Phillip Kemble would become “the most important actor and manager of his time” (OD) ● Educated at Mrs Harris's School for Young Ladies at Thornloe House in Worcester ● Met William Siddons ○ Her parents opposed their marriage and encouraged the courtship of a local squire ○ Sent her away to live as a maid to the Greatheed ● Married William November 26, 1773 ○ First son was born October of 1774 ● Performed for her father’s company, Ariel in The Tempest in 1766 The World of ○ Became obsessed with the stage despite parental opposition Acting ● Began performing on smaller country circuits after marriage ○ Impossible hours, meager pay, ever-growing family, supplied her own costumes ● Was engaged by Garrick in Drury Lane in 1776 after the birth of her daughter, to underwhelming effect ● Returned to smaller circuits, where she became the favorite of socialites and fashionable society ○ Performed Desdamona opposite John Kemble’s Othello in Liverpool in 1778 ● Returned to Drury Lane six years after her initial failure, 1782, to great success ● Early on forges a connection between her public identity and her Public Image motherhood ○ “Three Reasons” speech 1982 “Her figure, though in majesty and sublimity inferior to that of Mrs. Yates, is the most interesting and engaging ● Overshadowed her husband, her brother, and often her ever seen on any stage. Her face is at once beautiful co-performers and expressive, while the turn of her neck, and the hair of her head, are as graceful and elegant as the finest ● The Tragic Muse productions of the pencil of Raphael. -
The Rise and Fall of the New Edinburgh Theatre Royal, 1767-1859
East Tennessee State University Digital Commons @ East Tennessee State University ETSU Faculty Works Faculty Works 1-1-2015 The Rise and Fall of the New Edinburgh Theatre Royal, 1767-1859: Archival Documents and Performance History Judith Bailey Slagle East Tennessee State University, [email protected] Follow this and additional works at: https://dc.etsu.edu/etsu-works Part of the Literature in English, British Isles Commons, and the Women's Studies Commons Citation Information Slagle, Judith Bailey. 2015. The Rise and Fall of the New Edinburgh Theatre Royal, 1767-1859: Archival Documents and Performance History. Restoration and Eighteenth-Century Theatre Research. Vol.30(1,2). 5-29. https://rectrjournal.org/current-issue/ ISSN: 0034-5822 This Article is brought to you for free and open access by the Faculty Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in ETSU Faculty Works by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. The Rise and Fall of the New Edinburgh Theatre Royal, 1767-1859: Archival Documents and Performance History Copyright Statement This document was published with permission from the journal. It was originally published in the Restoration and Eighteenth-Century Theatre Research. This article is available at Digital Commons @ East Tennessee State University: https://dc.etsu.edu/etsu-works/718 Restoration and Eighteenth- Century Theatre Research “The Rise and Fall of the New Edinburgh Theatre Royal, 1767-1859: Archival Documents and Performance History” BY JUDITH BAILEY SLAGLE Volume 30, Issues 1 and 2 (Summer and Winter 2015) Recommended Citation: Slagle, Judith Bailey.