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Volume 2 of the first available biography of this great African-American classical actor, covering his emergence as a professional actor in Britain during the years 1833-1852. Ira Aldridge: The Vagabond Years, 1833-1852 deals in depth with the later experiences of one of the modern world's first black classical actors as he toured throughout the United Kingdom impressing audiences with his virtuosity and versatility as an interpreter not only of tragic and comic black roles but also eventually as an actor of classic white Shakespearean parts -- Shylock, Macbeth, Richard III, even Iago. Aldridge was very popular in Ireland and remained there for six years, performing in venues large and small. He traveled often in his own carriage with assistants who supported him in scenes, enabling famous plays to be staged anywhere, even in villages that did not have a proper theater. He also performed periodically in large cities with professional acting companies, and returned to the London stage in 1848, after leaving it fifteen years earlier. During these years he expandedhis repertoire, refined his skills, and gained a reputation as one of Britain's most talented thespians. In dealing with Aldridge's emergence as a professional actor in the United Kingdom, Lindfors here records in detail theups and downs of his itinerant existence in a world where no theatergoer had ever seen anyone like him on stage before. Aldridge was genuinely a unique phenomenon in Britain at a pivotal point in history. Bernth Lindfors is Professor Emeritus of English and African Literatures, University of Texas at Austin, and editor of Ira Aldridge: The African Roscius (University of Rochester Press, 2007).
Taking as notional parameters the upheaval of the French Revolution and the events leading up to the Unification of Italy, this volume charts a period of political and social turbulence in Europe and its reflection in theatrical life. Apart from considering external factors like censorship and legal sanctions on theatrical activity, the volume examines the effects of prevailing operational conditions on the internal organization of companies, their repertoire, acting, stage presentation, playhouse architecture and the relationship with audiences. Also covered are technical advances in stage machinery, scenography and lighting, the changing position of the playwright and the continuing importance of various street entertainments, particularly in Italy, where dramatic theatre remained the poor relation of the operatic, and itinerant acting troupes still constituted the norm. The 460 documents, many of them illustrated, have been drawn from sources in Britain, France and Italy and have been annotated, and translated where appropriate.