Academic literature on the topic 'Nineteenth-century actress'
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Journal articles on the topic "Nineteenth-century actress"
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Hankey, Julie. "Body Language, the Idea of the Actress, and Some Nineteenth-Century Actress-Heroines." New Theatre Quarterly 8, no. 31 (1992): 226–40. http://dx.doi.org/10.1017/s0266464x00006850.
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The actor, as a reminder of personal mutability, has always provoked the condemnation of absolutist philosophers and churchmen. Historically, this anti-theatrical prejudice has pressed even harder on the actress, for in her case ‘personal’ connotes sexual mutability. In Victorian times, when purity was enjoined on Woman for Man's sake as well as her own, the actress's situation was further complicated. In the following article, Julie Hankey examines the treatment of actress-characters in certain novels of the nineteenth century – Wilkie Collin's No Name, Geraldine Jewsbury's The Half-Sisters, George Eliot's Daniel Deronda, and Henry James's The Tragic Muse, among others – exploring in particular their peculiarly physical system of representation, a system which reproduced the social and moral attitudes of the day on a more visceral level of irrational prejudice. Irrespective of their artistry or sympathies, authors were remarkably consistent in their use of the same relatively narrow but at the same time powerful range of signals – dress, pose, interiors, gardens, flowers, and so on – clearly confident that by this means the actress could be adequately expressed. Julie Hankey is presently co-editor of the ‘Plays and Performance’ series, now published by Cambridge University Press, and has herself prepared the individual volumes on Richard III and Othello.
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Bonapfel, Elizabeth M. "Reading Publicity Photographs through the Elizabeth Robins Archive: How Images of the Actress and the Queen Constructed a New Sexual Ideal." Theatre Survey 57, no. 1 (2015): 109–31. http://dx.doi.org/10.1017/s0040557415000587.
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In this article, I trace the origins of the normalization of pornographic tropes as the new sexual ideal in contemporary visual culture to late nineteenth- and early twentieth-century publicity photos of actresses and monarchs by examining one prominent transatlantic actress's collection of publicity photos, the Elizabeth Robins Papers at the Fales Library at New York University. As I show, around the turn of the twentieth century, a new standard of idealized feminine beauty was produced by the combination of two contradictory images of celebrity: the distant decorum of the monarch and the perceived erotic sexuality of the actress. The mass production of publicity photographs, which took the form of cartes-de-visite in the 1860s and cabinet photos in the 1870s, broadened the spectrum of sexuality by positioning these two quintessential celebrity types—the actress and the monarch—in relation to the tableau vivant and to existing and emerging tropes of portraiture. The image of the actress existed in relation to several mutually dependent discourses in the late nineteenth and early twentieth centuries: the rise of photography in relation to other art forms; the rise of theatrical spectacle in relation to advertising, consumerism, and fashion; the rise of women's public role in relation to sexuality, the body, and beauty culture; and the paradoxical democratization of celebrity culture as related to the monarchy. All of these factors center on a figure who lived so vividly in the public imaginary that she could be found in multiple spaces: on the stage, in stationers’ shops, on postcards, in newspapers, in photograph albums.
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Derrick, Patty S. "Rosalind and the Nineteenth-Century Woman: Four Stage Interpretations." Theatre Survey 26, no. 2 (1985): 143–62. http://dx.doi.org/10.1017/s0040557400008619.
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The nineteenth-century theatregoer in America and in England enjoyed a wonderful diversity of acting styles and roles among the actresses of the period. To be sure, it was an age of the womanly ideal, when playing Juliet appealed to every young actress. Perhaps too many aspired to the youthful, feminine charms of Juliet, for one disgusted New York critic complained that “40,000 American girls were doing the Balcony Scene that ought to be doing the family dishes.” Other roles such as Paulina, Galatea, and Parthenia thrived on the Victorian stage, male theatre critics applauding the feminine virtues of gentility and grace, loyalty, delicate humor, and occasional submissiveness. Interestingly, another sort of female role became extremely popular during this time: the breeches role.
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Ziegler, Georgianna. "The Actress as Shakespearian Critic: Three Nineteenth-Century Portias." Theatre Survey 30, no. 1-2 (1989): 93–109. http://dx.doi.org/10.1017/s0040557400000806.
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The nineteenth-century theatre saw the rise of the outspoken, intelligent leading lady. In a period in which actors were just shedding their status as second-class citizens, and women still were second-class citizens in society as a whole, three actresses established themselves as major interpreters of Shakespeare. Fanny Kemble, Helena Faucit Martin, and Ellen Terry had the double advantage of rising to the top of their profession and of being highly articulate writers as well, leaving records of their thoughts about acting and about the playwright who inspired them. This reading of their letters, memoirs, and criticism suggests answers to several questions: What do the actresses notice about Shakespeare's plays? How do their views relate to those of the literary critics of the time? And finally, do they ever consult formal scholarship when preparing for a role?
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Eriks Cline, Lauren. "Epistolary Liveness: Narrative Presence and the Victorian Actress in Letters." Theatre Survey 60, no. 2 (2019): 237–60. http://dx.doi.org/10.1017/s0040557419000061.
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In an influential essay on the place of autobiography in theatre history, Thomas Postlewait puts Fanny Kemble's memoirs at the crux of a historiographical problem. The literary sensibility of Kemble's work appears to Postlewait an instance of both the theatrical memoir's cultural richness and its limitations as biographical evidence: although Kemble's “epistolary mode of self-representation” gives her autobiography Records of a Girlhood “a documentary quality,” for example, even her “earliest letters reveal a calculated literary style” that signals her awareness of the “traits and conventions” of eighteenth- and nineteenth-century novels. In her consciousness of narrative trends, Kemble stands out as a particularly clear example of a general tendency in theatrical autobiographies of the period. As the nineteenth century's booming print market expanded the audience for stories about theatregoing, it also drew readers who were increasingly familiar with novelistic experiments in plotting, characterization, and point of view. This shared audience encouraged an exchange of discursive conventions across fictional and historical narratives, which makes memoirs a compelling but complicated source of historical data about nineteenth-century theatre. Indeed, the two-way influence between genres is so strong that Postlewait argues scholars “need to ask to what extent these autobiographies exist not only as historical records but as epistolary fictions.”
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McDonald, Jan. "Lesser Ladies of the Victorian Stage." Theatre Research International 13, no. 3 (1988): 234–49. http://dx.doi.org/10.1017/s0307883300005800.
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The theatrical memoirs published by actresses in the nineteenth century were generally written by women who had achieved recognition in their profession and had, therefore, acquired a place in society. Comparatively little is known about the jobbing actress who never achieved distinction in London, but who eked out an existence in the provinces, either with one of the better companies in Bath, Bristol or Edinburgh, on a theatrical ‘circuit’, or with one of the troupes of travelling players who rarely performed in theatre buildings, but in barns, village halls, inns and, occasionally, in private houses. At the bottom of the pile came the performers in fairground booths and penny theatres.
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Duckett, Victoria. "The Actress-Manager and the Movies: Resolving the Double Life of Sarah Bernhardt." Nineteenth Century Theatre and Film 45, no. 1 (2018): 27–55. http://dx.doi.org/10.1177/1748372718795562.
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Sarah Bernhardt is one of the most globally celebrated actress-managers of the late nineteenth century. Bernhardt’s fame, however, is rarely associated with silent film. This article explores the coincidence between Sarah Bernhardt’s role as a theatrical manager in the late nineteenth and early twentieth century and her pioneering work in the nascent film industry. I argue that Bernhardt was not only a performer and manager in the theatre, but a creative agent in modern media industries. Questions about the relationship between Bernhardt and early film allow us to discuss the formation of female business experience in the theatre and its subsequent movement into a cinematographic culture that would dominate and define twentieth-century culture and commerce. Even if Bernhardt is regarded as a ‘lone entrepreneur’ and therefore extraneous to broader national discussions of theatrical industrialisation, it is important to understand the impact she has as a media celebrity who used film in order to expand her own twentieth-century global marketability.
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Pettersson, Lin Elinor. "The Music-Hall Actress and Transcending Femininity in the Victorian Public Sphere. A Re-Orientation of Her Moral Status." Clepsydra. Revista de Estudios de Género y Teoría Feminista, no. 22 (2022): 95–110. http://dx.doi.org/10.25145/j.clepsydra.2022.22.05.
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The actress, like the prostitute, was one of the female figures who in the nineteenth century bore a certain social stigma for being professionally active in public and non-domestic roles that were considered vulgar and immoral. This prejudiced view is indebted to the ideology of separate spheres, which has proven to be both class-bound and unstable. While critics as Davis (1991) and Kift (1996) have questioned the overgeneralised association between actresses and prostitutes, feminist scholars have challenged the strict separation of gendered spheres, and argued for the instability and fluidity of this spatial divide. Taking this as a starting point, this essay addresses the Victorian popular actress from a feminist perspective to explore the transcendental role she had in music-hall culture. I will explore how this popular entertainment developed from a working-class culture and question the applicability of bourgeoise values and the ideology of separate spheres to the music hall. In doing so, I hope to shed new light over the music-hall actress as a working woman demonstrating that she was better esteemed than previously admitted, and argue that she turned the music hall into a space of self-fulfillment though subversion and transcendence of female roles
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Cobrin, Pamela. "Dangerous flirtations: politics, the parlor, and the nineteenth-century victorian amateur actress." Women & Performance: a journal of feminist theory 16, no. 3 (2006): 385–402. http://dx.doi.org/10.1080/07407700600958085.
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Gusev, Nikita. "Pehlivanova, Kira. Biography of Jordan Georgiev Pehlivanov." Slavic World in the Third Millennium 13, no. 1-2 (2018): 188–99. http://dx.doi.org/10.31168/2412-6446.2018.1.4.01.
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The source published is a biography of Jordan Georgiev Pehlivanov, Bulgarian, Russian, and then Soviet officer, who left Russia in 1919, the second husband of the Russian actress and educator Vera Pushkareva. The biography is written by Pehlivanov’s daughter Kira. The source covers previously undocumented periods of her father’s life and allows making conclusions of axiological nature about the Bulgarian society at the turn of the nineteenth and twentieth century.
Dissertations / Theses on the topic "Nineteenth-century actress"
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Adams, Susan M. "Rhetorical performance: inscription, embodiment, and resistance in the work of nineteenth-century actress/writers /." Related electronic resource:, 2007. http://proquest.umi.com/pqdweb?did=1410677841&sid=1&Fmt=2&clientId=3739&RQT=309&VName=PQD.
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Crestani, Eliana 1966. "Traveling actress and manager in the nineteenth century: The western career of Nellie Boyd, 1879-1888." Thesis, The University of Arizona, 1997. http://hdl.handle.net/10150/278588.
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This study examines the activity of the Nellie Boyd Dramatic Company between 1879 and 1888. Actress-manager Nellie Boyd formed the company around 1876 and from 1879 onward she decided to perform exclusively in the western U.S., pioneering several southwestern territories. This thesis discusses the Boyd company's impact on the life of particular western towns; the organization of the company, its repertoire and the possible significance of Boyd's choice of roles; and the critical reception accorded to Boyd and her company. The study of Boyd's career in the West offers insights into the significance of traveling companies on the cultural and social development of growing communities. It illustrates the activity of independent traveling companies parallel to the rise of the combination managerial system. It also reveals the story of a woman leading a successful show-business enterprise and enhancing her personal and professional reputation in the nineteenth-century western scene.
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Guenther, Amy. "“What is or can be the Record of an Actress, However Famous?”: Historicizing Women Through Performance in Leigh Fondakowski’s “Casa Cushman”." Miami University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=miami1310161174.
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Bishop, Mardia J. "From "wax-doll prettiness" to a "lifeless dough doll" : the actress in relation to the images of "woman" in mid-nineteenth-century America /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1334067580.
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Oliveira, Moura Monize. "Sarah Bernhardt vue du Brésil (1886- 1905)." Thesis, Université Paris-Saclay (ComUE), 2015. http://www.theses.fr/2015SACLV006/document.
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Cette thèse cherche à analyser les trois tournées de l’actrice française Sarah Bernhardt (1844-1923) au Brésil, précisément dans les villes de Rio de Janeiro et Sao Paulo. Les voyages datant de 1886, 1893, 1905. Cette étude a comme arrière-plan les réflexions autour de la circulation culturelle et de la mondialisation de la culture au XIXe siècle. On considère les voyages Sarah Bernhardt comme un exemple précieux du processus de diffusion du théâtre français et d’internationalisation des publics. Coté brésilien, on percevra que cette même période, marquée par une forte présence artistique étrangère, est aussi le moment où les Brésiliens (ou du moins l’élite lettrée du pays) cherchent à penser l’identité du pays, tout en édifiant l’art dramatique national. L’enjeu de cette thèse est alors de comprendre comment la présence théâtrale étrangère se place dans ce contexte. Plus qu’une étude sur une « influence théâtrale » française au Brésil, l’objectif des pages qui suivent est de réfléchir à la formation de la pratique artistique brésilienne dans le cadre d’un processus plus large de mondialisation de la culture au XIXe siècle – où le théâtre occupe une place majeure. En ce qui concerne précisément Sarah Bernhardt, cette thèse cherche à démontrer l’importance de l’actrice dans ce phénomène. Grande étoile médiatique de la période, Sarah est, dans le même temps, liée au grand théâtre français de répertoire. La question est alors de comprendre comment ce « grand théâtre » se diffuse internationalement, tout en s’imprégnant des stratégies commerciales de l’industrie théâtrale de l’époque. Dans ce sens, on se demandera comment l’actrice construit son image à l’étranger, plus particulièrement au Brésil, et quelle partie du « marché » culturelle cherche-t-elle à dominer, soutenue par ses imprésarios. En un mot comment la « Sarah Barnum* » se veut-elle également ambassadrice du génie français ? Référence à l’entrepreneur de spectacles américain Phineas Taylor Barnum (1810-1891). Il était connu pour ses affaires très prospères dans le domaine culturel. Le Cirque Barnum, fondé en 1871 est devenu l’un des plus connus de l’époque et a rassemblé des artistes provenant de divers pays. Dans le monumental ouvrage édité par Noel Daniel sur le cirque aux Etats-Unis entre 1850 et 1950, Linda Granfield remarque l’importance de Barnum : « Aujourd’hui encore, les hommes d’affaires du monde entier étudient la conférence donnée par Barnum en 1858 et intitulée The Art of Money Getting («L’Art de faire de l’argent »). Il y exposait sa vision de la réussite financière et déclarait : « Aux Etats-Unis où nous avons plus de terres que d’habitants, il n’est pas difficile pour une personne en bonne santé de prospérer ». (Granfield, Linda. « Un vent de folie souffle sur la ville » In Noel Daniel (ed.), The circus 1850-1950. New York : Éditions Taschen, 2008. p.53) Les titres des différentes parties de son discours comme « Quoique que vous entrepreniez, mettez-y toute votre énergie », « Lisez la presse » et, une des  clefs de sa réussite, « Faites de la publicité », continuent d’inspirer les entrepreneurs à ce jour. Le surnom « Sarah Barnum » a été employé par l’actrice Marie Colombier, dans un livre qui proposait de témoigner de la tournée de Sarah Bernhardt en Amérique. L’ouvrage paru en 1883, qui a fait scandale : « Les Mémoires de Sarah Barnum » cherchait clairement à donner l’image d’une Sarah Bernhardt cabotine et intéressée par le profit, tout comme le grand imprésario américain Taylor Barnum. Voir Marie Colombier, Voyages de Sarah Bernhardt en Amérique. Paris : C. Marpon et E. Flammarion Éditeurs, 1887<br>This work proposes an analysis of the french actress Sarah Bernhardt's (1844-1923) three tours in Brazil, precisely in the cities of Rio de Janeiro and São Paulo in 1886, 1893, 1905. Taking the thoughts about the flow of artists and the cultural globalization of the 19th century as a background, the present study considers Sarah Bernhardt tours as a precious example of the French theater diffusion process and of the internalization of audiences. In what regards Brazil, it is noticeable that the referred period, marked by a strong foreign artistic presence, is also the moment in which the country’s literate elite reflected about a project of a nation and about the construction of a national dramatic art. The focus of this thesis is, therefore, to locate Sarah Bernhardt’s tours in this panorama. More than a study about French “theatrical influence” in Brazil, our main goal is to ponder about the construction of the Brazilian artistic practice in a context of a broader process of cultural globalization in the 19th century, in which theater played a fundamental role. In what concerns Sarah Bernhardt specifically, this thesis intends to demonstrate the actress’s relevance in this phenomenon. Sarah was a great media star and, at the same time, associated to the french theater erudite repertoire. It attempts, therefore, to understand in what way this “repertory theater” is internationally broadcasted, also impregnating itself with commercial strategies common to the period’s theater industry. In that sense, the construction of the actress’s image abroad, specially in Brazil, is questioned. Also, what part of the cultural “market” Sarah Bernhardt and her managers tried to dominate is evaluated. In other words, how did the actress became Sarah Barnum, with a flair of ambassador of the génie français ?
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Bailar, Melissa. "The mirrored stage: Representations of the actress in nineteenth-century France and beyond." Thesis, 2005. http://hdl.handle.net/1911/18734.
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As the central figures in a booming theater industry, actresses in nineteenth-century France were granted the resources and freedoms to forge a powerful if unsuspectingly subversive voice. Comediennes were adulated as talented and beautiful women bringing fame and fortune to the stages of Paris yet were also legally and socially marginalized because of lingering Rousseauean conceptions of female performers as deceptive prostitutes. From this position outside mainstream society, the power of actresses to challenge norms from both on and off the stage went largely unrecognized. They had a profound effect on other women of the time who were as riveted as the men by the audacious personal lives, unconventional manners, independence, and difference of these new stars. Actresses' ability to convincingly adopt one role and then another and to juxtapose conflicting personas undermined the concept that certain attributes belong exclusively to a specific gender, class, or age.
With the growing success of the French theater industry, portrayals of actresses seemed to be everywhere---in the memoirs of Sarah Bernhardt and other celebrated performers, in the journals of the Goncourt brothers, in the photographs of Nadar, and in the literary works of such authors as Ajalbert, Balzac, Baudelaire, Champsaur, Leroux, Maupassant, Merimee, Nerval, Rodenbach, Villiers, and Zola. Attempts to portray their identities accurately, however, whether in fiction or in life, were continually betrayed by the many, often contradictory roles they played. Revealing little about the actresses who were their ostensible subjects, these representations reveal much, on the other hand, about the fears and desires of the writers: if the actress provided for many a convenient blank screen onto which one could project one's fantasies, she also functioned as a mirror (perhaps as a Lacanian mirror) that revealed hidden societal truths and exerted a profound influence over broader conceptions of identity.
Whether consciously or not, the nineteenth-century French actress raised critical questions of identity and representation, questions that continue to be explored in the highly conscious work of contemporary feminist filmmakers.
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Bethel, Marnie Elizabeth. "Rachel, the circulation of the image, and the death of tragedy." 2012. http://hdl.handle.net/2152/19603.
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Although it is frequently suggested that the idea of celebrity, as opposed to fame, is a construct of twentieth-century popular culture, many of the originating mechanisms and characteristics of modern celebrity have their roots in the more distant past. In France, the Industrial Revolution and the resulting mechanization of the media in the early to mid-nineteenth century fostered the processes of publicity. The invention of photography, the explosion in circulation of newspapers, and the emergence of cultural criticism gave rise to a new sense of both the importance and the relatability of people in the public eye.
Elisa Rachel Félix (1821-1858), known professionally as “Rachel,” was the undisputed star of the French state theater, the Comédie-Française, from 1838 until shortly before her death. She was in many ways the first exemplar of the tropes of celebrity in French popular culture. Not only was she greatly admired for her talent in performance, especially in the classical tragic repertoire of the Golden Age of French playwriting, but she was also a pioneer in what Tom Mole has called “the hermeneutic of intimacy,” the perception on the part of the public that the accessibility of images of the performer creates a sense of connection and sympathy between artist and audience.
This dissertation will explore the varieties of media through which Rachel’s career and life were publicized and the competing currents of her celebrity identity: the extent to which the star was understood as an exceptional woman versus her identification with her public. Depictions of Rachel in traditional arts, such as sculpture and painting, competed with her portrayal in such modern media as photographs, newspaper columns and caricatures, either enhancing her closeness to her fans or emphasizing her fundamental difference.
The image of celebrity which Rachel helped to create endured after her premature death and contributed mightily to a foundational shift in the emphasis of media culture in France. Coinciding as it did with the heyday of Romanticism and the rise of realism in the arts, the cult of celebrity contributed strongly to the death of the tragic genre.<br>text
Books on the topic "Nineteenth-century actress"
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Ammen, Sharon. Unbounded Domesticity. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040658.003.0006.
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This chapter looks at May Irwin’s alignment with domestic feminism as one of her strategies for success. Other actresses used domesticity to promote their professional lives, but Irwin created the most formidable pairing of these two lives. She wrote articles about the importance of women as savers, shoppers, and buyers of real estate in the new consumer capitalism of the late nineteenth century. She extolled motherhood as essential for success as an actress and she became the first celebrity chef when she published her popular cookbook in 1904. The author connects May Irwin to both the older idea of Victorian womanhood and the “New Woman” and considers the effects of the growing business of advertising, the culture of professionalism and the new field of home economics.
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Staging Family: Domestic Deceptions of Mid-Nineteenth-Century American Actresses. University of Nebraska Press, 2018.
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Kripal, Jeffrey J. Sexuality and the Erotic. Edited by John Corrigan. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780195170214.003.0010.
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The biological, psychological, cultural, and ethical complexities of what we today call sexuality, gender, sexual orientation, and sexual trauma have been the focus of intense research for well over a century now. It would be difficult to overestimate the importance of this corporate knowledge for how we have come to see “religion,” and it is worth noting that both the modern categories of religion and sexuality as signs marking fields of rational discourse and critical study were born more or less together within the same time period (the nineteenth and twentieth centuries) and within the same cultural institution (the Western university). This article examines the abstract categories of sexuality, gender, sexual orientation, the erotic, desire, and sexual trauma. It concludes with two individual fields of sexual-religious emotion and, in this case, two historical female bodies, one (apparently) heterosexual, the other homosexual or bisexual: Mother Ann Lee, the charismatic founder of the American Shaker community, and the contemporary Hollywood actress, Anne Heche.
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Marshall, Gail. Actresses on the Victorian Stage: Feminine Performance and the Galatea Myth (Cambridge Studies in Nineteenth-Century Literature and Culture). Cambridge University Press, 2006.
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Deborah and Her Sisters: How One Nineteenth-Century Melodrama and a Host of Celebrated Actresses Put Judaism on the World Stage. University of Pennsylvania Press, 2017.
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Lampert, Sara E. Starring Women. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043352.001.0001.
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Star actresses and dancers were among the most publicly visible, celebrated, and often polarizing female public figures in the early United States. This book examines the careers and celebrity of the women and girls from Europe and America whose fame drove the growth and transformation of theater between 1790 and 1850 from the Atlantic seaboard to the trans-Appalachian West. Starring women introduced new repertoire—melodramas, breeches roles, dance pantomime and ballet—that catalyzed debates about social ownership of American culture, regional and national identity, and women’s place in public life. This book transforms existing understandings of early U.S. theater and culture by examining a broad cohort of understudied figures and argues that women stars were vital to the development of transatlantic and U.S. entertainment, celebrity culture, and gender ideology. Most significantly, starring women lived and performed the tensions and contradictions of changing nineteenth-century gender roles. As this book demonstrates, even while they achieved unprecedented levels of wealth and prominence through the “starring system,” the patriarchal family structures that governed women’s lives and careers conditioned their participation in the industry. The celebrity culture that expanded from the 1820s demanded that starring women conform to new standards of sentimental domestic femininity, even as the structural realities of their lives defied such standards. Starring women were exceptional figures who mapped the margins of a narrowing white middle-class domestic ideal.
Book chapters on the topic "Nineteenth-century actress"
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Richards, Sandra. "Early Nineteenth Century and Victorian Actresses." In The Rise of the English Actress. Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-09930-6_5.
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"The difficult life of the actress." In The Theatre Industry in Nineteenth-Century France. Cambridge University Press, 1993. http://dx.doi.org/10.1017/cbo9780511597794.015.
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Cassiday, Julie A. "The Rise of the Actress in Early Nineteenth-Century Russia." In Women in Nineteenth-Century Russia. Open Book Publishers, 2012. http://dx.doi.org/10.2307/j.ctt5vjszk.11.
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Marshall, Gail. "Cultural formations: the nineteenth-century touring actress and her international audiences." In The Cambridge Companion to the Actress. Cambridge University Press, 2007. http://dx.doi.org/10.1017/ccol9780521846066.004.
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Cassiday, Julie A. "The Rise of the Actress in Early Nineteenth-Century Russia." In Women in Nineteenth-Century Russia: Lives and Culture. Open Book Publishers, 2012. http://dx.doi.org/10.11647/obp.0018.07.
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Lampert, Sara E. "Conclusion." In Starring Women. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043352.003.0008.
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The conclusion returns to actress Josephine Clifton, whose legacy underscores starring women’s negotiation of new entertainment opportunities in U.S. theater, celebrity culture, and gender roles in the early nineteenth century chronicled in this book. Neither their marginalized social status nor their cultural power liberated women stars from the patriarchal expectations governing family and entertainment. Navigating the shifting publics and address of American theater required the appearance of conformity to gendered scripts, as well as sometimes a disavowal of the very real cultural power and, in rare cases, personal autonomy that some achieved.
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Hobbs, Andrew. "The Provincial Nature of the London Letter." In The Edinburgh History of the British and Irish Press, Volume 2. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474424882.003.0049.
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These gossipy columns of news from the capital, published in provincial newspapers, acknowledged the cultural and political power of the metropolis in a distinctively provincial way. They continued an early nineteenth-century writing style after it disappeared from London papers, developed it (for example through the invention of Parliamentary lobby journalism) and saw it re-adopted by the metropolitan press as part of the New Journalism. The writers were sometimes obscure hacks working for press agencies and publishers such as Cassell, sometimes established journalists such as Shirley Brooks, Edward Lucy or William Jerdan. Some London letters were syndicated to smaller newspapers, but more prestigious papers boasted that theirs was written exclusively for them. The London letter was rightly mocked by metropolitan commentators, for its gossipy style and its writers’ exaggerated claims to have lounged in every club and dined with every earl and actress. Yet it prefigured many traits of the New Journalism, was an important source of income for many writers, and shows how the relationship between metropolitan and provincial press was more than a simple one of core and periphery.
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Chaplin, Felicity. "Icon of fashion." In La Parisienne in Cinema. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781526109538.003.0004.
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Fashion is ubiquitous in the depiction of la Parisienne and demonstrates perhaps better than any other motif the variations within the type. These variations are reflected in the eclectic array of film genres in which a fashionable Parisienne appears. The association of la Parisienne with fashion can be traced back to the nineteenth century, when the image of the chic Parisienne was first exported, both throughout France and abroad, as an ambassador for French luxury goods and style. The relationship between la Parisienne and fashion is perpetuated in cinema primarily through the way the type is costumed, but also includes extra-cinematic considerations such as the actress/couturier relationship and the way a certain look, designed or self-styled, was achieved and marketed. Costume forms an integral part of the mise en scène in Parisienne films and has three primary functions: it denotes the elegance of the Parisienne, aids in periodising a film, and provides meaning beyond denotation by referencing a pre-existing iconography. The films examined in this chapter are: Jules Dassin’s Reunion in France, Stanley Donen’s Funny Face(1956), Vincente Minnelli’s Gigi, (1958), Roman Polanski’s Frantic (1988), François Ozon’s 8 femmes (2001) and Jean-Luc Godard’s A bout de souffle(1960).
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Teukolsky, Rachel. "Sensation." In Picture World. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198859734.003.0005.
Full textAbstract:
Photography was a quintessential new visual technology of the nineteenth century. Chapter 4 studies cartes de visite, or small photographic portraits. These collectible photographs became both popular and controversial during the so-called “sensation” craze of the 1860s. Scholars have largely focused on sensation novels, known for their lurid crime plotlines and outrageous villainesses. Yet sensation was more than merely a literary aesthetic: it was a multimedia phenomenon encompassing both novels and photographs. It responded to new forms of spectacular female celebrity, as seen in the wild popularity of photo portraits of actresses, opera divas, prostitutes, even Queen Victoria. The carte-de-visite medium, circulating women’s portrait photographs in millions of paper copies, perfectly encapsulated sensation’s dialectic between embodiment and mediation, and between individual celebrity and the democratized mass. These themes drive the plots of sensation novels, especially Wilkie Collins’s The Woman in White and M. E. Braddon’s Lady Audley’s Secret.