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Many women held positions of great responsibility and power in the United States during the 19th century as theatre managers: managing stock companies, owning or leasing theatres, hiring actors and other personnel, selecting plays for production, directing rehearsals, supervising all production details, and promoting their dramatic offerings. Competing in risky business ventures, these women were remarkable for defying societal norms that restricted career opportunities for women. The activities of more than 50 such women are discussed in Nineteenth-Century American Women Theatre Managers, beginning with an account of 15 pioneering women managers who were all managing theatres before 24 December 1853, when Catherine Sinclair, often incorrectly identified as the first woman theatre manager in the United States, opened her theatre in San Francisco.
Aquesta col·lecció d'assajos mostra els múltiples aspectes de la contribució que va fer la dona, al teatre americà del segle XIX. En aquest estudi s'ensenyen diversos tipus de dones i els rols que ocupen, així com reflecteix la manera que Susan Glaspell i Sophie Treadwell van ajudar a donar forma al teatre, entre moltes altres que escriurien dècades més tard.
Through a series of biographical sketches of female performers and managers, Dudden provides a discussion of the conflicted messages conveyed by the early theatre about what it meant to be a woman. It both showed women as sex objects and provided opportunities for careers.
First full-scale revision since 1987.
Drawing on fascinating archival discoveries from the past two centuries, Brent Salter shows how copyright has been negotiated in the American theatre. Who controls the space between authors and audiences? Does copyright law actually protect playwrights and help them make a living? At the center of these negotiations are mediating businesses with extraordinary power that rapidly evolved from the mid-nineteenth to mid-twentieth centuries: agents, publishers, producers, labor associations, administrators, accountants, lawyers, government bureaucrats, and film studio executives. As these mediators asserted authority over creativity, creators organized to respond, through collective minimum contracts, informal guild expectations, and professional norms, to protect their presumed rights as authors. This institutional, relational, legal, and business history of the entertainment history in America illuminates both the historical context and the present law. An innovative new kind of intellectual property history, the book maps the relations between the different players from the ground up.
Salomania and the Representation of Race and Gender in Modern Erotic Dance situates the 1908 dance craze, which The New York Times called “Salomania,” as a crucial event and a turning point in the history of the modern business of erotic dance. Framing Salomania with reference to imperial ideologies of motherhood and race, it works toward better understanding the increasing value of the display of the undressed female body in the 19th and early 20th centuries. This study turns critical attention to cultures of maternity in the late 19th century, primarily with reference to the ways in which women are defined in relation to their genitals as patriarchal property and space and are valued according to reproduction as their primary labour. Erotic dance as it takes shape in the modern representation of Salome insists both that the mother is and is not visible in the body of the dancer, a contradiction this study characterizes as reproductive fetishism. Looking at a range of media, the study traces the modern figure of Salome through visual art, writing, early psychoanalysis and dance, from "hootchie kootch" to the performances dancer Maud Allan called “mimeo-dramatic” to mid-20th-century North American films such as Billy Wilder's Sunset Boulevard and Charles Lamont's Salome, Where She Danced to the 21st-century HBO series The Sopranos.
Victorian touring actresses brings new attention to women’s experience of working in nineteenth-century theatre by focusing on a diverse group of largely forgotten ‘mid-tier’ performers, rather than the usual celebrity figures. It examines how actresses responded to changing political, economic and social circumstances and how the women were themselves agents of change. Their histories reveal dynamic patterns of activity within the theatrical industry and expose its relationship to wider Victorian culture. With an innovative organisation mimicking the stages of an actress’s life and career, the volume draws on new archival research and plentiful illustrations to examine the challenges and opportunities facing the women as they toured both within the UK and further afield in North America and Australasia. It will appeal to students and researchers in theatre and performance history, Victorian studies, gender studies and transatlantic studies.
These new essays by leading scholars explore nineteenth-century women's writing across a spectrum of genres. The book's focus is on women's role in and access to literary culture in the broadest sense, as consumers and interpreters as well as practitioners of that culture. Individual chapters consider women as journalists, editors, translators, scholars, actresses, playwrights, autobiographers, biographers, writers for children and religious writers as well as novelists and poets. A unique chronology offers a woman-centered perspective on literary and historical events and there is a guide to further reading.
Women's Theatre Writing in Victorian Britain is the first book to make a comprehensive study of women playwrights in the British theatre from 1820 to 1918. It looks at how women playwrights negotiated their personal and professional identities as writers, and examines the female tradition of playwriting which dramatises the central experience of women's lives around the themes of home, the nation, and the position of women in marriage and the family. The book also includes an extensive Appendix of authors and plays, which will be a useful reference tool for students and scholars in nineteenth-century studies and theatre historians.
Most scholarship on nineteenth-century America’s transformation into a market society has focused on consumption, romanticized visions of workers, and analysis of firms and factories. Building on but moving past these studies, Capitalism Takes Command presents a history of family farming, general incorporation laws, mortgage payments, inheritance practices, office systems, and risk management—an inventory of the means by which capitalism became America’s new revolutionary tradition. This multidisciplinary collection of essays argues not only that capitalism reached far beyond the purview of the economy, but also that the revolution was not confined to the destruction of an agrarian past. As business ceaselessly revised its own practices, a new demographic of private bankers, insurance brokers, investors in securities, and start-up manufacturers, among many others, assumed center stage, displacing older elites and forms of property. Explaining how capital became an “ism” and how business became a political philosophy, Capitalism Takes Command brings the economy back into American social and cultural history.