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In this essay collection, established experts and new researchers, reassess the performances and cultural significance of Ellen Terry, her daughter Edith Craig (1869–1947) and her son Edward Gordon Craig (1872–1966), as well as Bram Stoker, Lewis Carroll and some less familiar figures.
Ellen Terry's correspondence was both exuberant and extensive. Her remaining letters provide a fascinating insight into the dynamics of the Victorian theatre, and the difficulties of life for a woman maintaining a successful public persona whilst raising two illegitimate children.
Extracts from diaries, memoirs, private letters, obituaries and other rare ephemera are drawn together to build a contemporary account of the acting achievements and personal lives of three inspiring figures from the late nineteenth-century theatre; Herbert Beerbohm Tree, Henry Irving and Ellen Terry.
Sophie Duncan illuminates iconoclastic performances of Shakespeare's heroines in late Victorian theatre, through the celebrity, commentary, and careers of the actresses who played them. Duncan draws on a wealth of archival material to explore the vital ways in which fin-de-siecle Shakespeare and Victorian theatre culture conditioned each other.
Since the late twentieth century, there has been a strategic campaign to recover the impact of Victorian women writers in the field of English literature. However, with the increased understanding of the importance of interdisciplinarity in the twenty-first century, there is a need to extend this campaign beyond literary studies in order to recognise the role of women writers across the nineteenth century, a time that was intrinsically interdisciplinary in approach to scholarly writing and public intellectual engagement.
How can you find out about the lives of ancestors who were involved in the world of theater: on stage and on film, in the music halls and traveling shows, in the circus and in all sorts of other forms of public performance? Katharine Cockin’s handbook provides a fascinating introduction for readers searching for information about ancestors who had clearly defined roles in the world of the theater and performance as well as those who left only a few tantalizing clues behind. The wider history of public performance is outlined, from its earliest origins in church rituals and mystery plays through periods of censorship driven by campaigns on moral and religious grounds up to the modern world of stage and screen. Case studies, which are a special feature of the book, demonstrate how the relevant records and be identified and interpreted, and they prove how much revealing information they contain. Information on relevant archives, books, museums and websites make this an essential guide for anyone who is keen to explore the subject.
Shakespeare, Performance and the Archive is a ground-breaking and movingly written exploration of what remains when actors evacuate the space and time of performance. An analysis of ‘leftovers’, it moves between tracking the politics of what is consciously archived and the politics of visible and invisible theatrical labour to trace the persistence of performance. In this fascinating volume, Hodgdon considers how documents, material objects, sketches, drawings and photographs explore scenarios of action and behaviour – and embodied practices. Rather than viewing these leftovers as indexical signs of a theatrical past, Hodgdon argues that the work they do is neither strictly archival nor documentary but performative – that is, they serve as sites of re-performance. Shakespeare, Performance and the Archive creates a deeply materialized historiography of performance and attempts to make that history do something entirely new. Barbara Hodgdon is Professor of English at the University of Michigan, now retired. Her major interest is in theatrical performances, especially performed Shakespeare. She is the author of: The End Crowns All, The Shakespeare Trade, and most recently the Arden edition of The Taming of the Shrew.
Tennyson experienced at first hand the all-pervasive nature of celebrity culture. It caused him to retreat from the eyes of the world. This book delineates Tennyson's reluctant celebrity and its effects on his writings, on his coterie of famous and notable friends and on the ever-expanding, media-led circle of Tennyson's admirers.
The first material history of how Shakespeare has been 'recruited' in wartime.
This new biography explores the extraordinary life of Edith Craig (1869-1947), her prolific work in the theatre and her political endeavours for women's suffrage and socialism. At London's Lyceum Theatre in its heyday she worked alongside her mother, Ellen Terry, Henry Irving and Bram Stoker, and gained valuable experience. She was a key figure in creating innovative art theatre work. As director and founder of the Pioneer Players in 1911 she supported the production of women's suffrage drama, becoming a pioneer of theatre aimed at social reform. In 1915 she assumed a leading role with the Pioneer Players in bringing international art theatre to Britain and introducing London audiences to expressionist and feminist drama from Nikolai Evreinov to Susan Glaspell. She captured the imagination of Virginia Woolf, inspiring the portrait of Miss LaTrobe in her 1941 novel Between the Acts, and influenced a generation of actors, such as Sybil Thorndike and Edith Evans. Frequently eclipsed in accounts of theatrical endeavour by her younger brother, Edward Gordon Craig, Edith Craig's contribution both to theatre and to the women's suffrage movement receives timely reappraisal in Katharine Cockin's meticulously researched and wide-ranging biography, released for the seventieth anniversary of Craig's death.