Relevant bibliographies by topics / Tragic actress

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Tragic actress'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Tragic 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,
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Brown, Pamela Allen. "Anatomy of an Actress: Bel-imperia as Tragic Diva." Shakespeare Bulletin 33, no. 1 (2015): 49–65. http://dx.doi.org/10.1353/shb.2015.0004.

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Rant, Tjaša. "A Slovenian Actress of Russian Origin – Maria Nablotskaya." Monitor ISH 17, no. 1 (2015): 79–101. http://dx.doi.org/10.33700/1580-7118.17.1.79-101(2015).

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Russian actress Maria Nikolaevna Borislavska, better known as Maria Nablotskaya, was carried by love and an emigration wave to Ljubljana in 1922, where she became a member of Ljubljana’s Drama Theatre after her very first performance. With the help of her second husband, actor and director Boris Putyata, she transferred the knowledge acquired in Russian imperial theatres to the Slovenian territory, where she further developed her talent. Her acting was modern and direct, and her most outstanding roles were those of psychologically realistic tragic and tragicomic female characters. Her humorous
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Stokes, John. "‘Lion Griefs’: the Wild Animal Act as Theatre." New Theatre Quarterly 20, no. 2 (2004): 138–54. http://dx.doi.org/10.1017/s0266464x04000041.

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This essay is concerned with the history of wild animal training between the early nineteenth and the mid-twentieth centuries, specifically with circus acts involving ‘big cats’. The author, John Stokes, is sympathetic to the view that such performances are inhumane, degrading to animal and human alike, but rather than simply rehearsing familiar attitudes, he subjects the ‘big cat’ act to a performance analysis based on established criteria, in the belief that, if performance theory is to have the widespread application that its advocates claim, then it should be able to elucidate many differe
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Nipe, Christine. "Mrs. Siddons' Currency." Theatre Survey 40, no. 2 (1999): 71–77. http://dx.doi.org/10.1017/s0040557400003562.

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“At last, Hollywood publicists and their high-profile clients have a chance to pay homage to their patron saint, Sarah Siddons,” claimed the August 17–23 issue of The Hollywood Reporter in its story on the concurrent exhibits of portraits of Sarah Siddons this summer at the J. Paul Getty Museum and he Huntington Art Collection (27 July-19 September). Also characterizing Siddons as calculating media mogul, the Los Angeles Times of July 25 compared the fame of the historical tragic actress (1755–1831) to that of current stars like Madonna, O.J., Diana, and even Monica. England's highly respectab
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Jervis, Simon Swynfen. "Anniversary Address 2001." Antiquaries Journal 81 (September 2001): 1–14. http://dx.doi.org/10.1017/s0003581500072127.

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Long Presidential tenure can go to the head, and sitting on this Chair your President has sometimes wondered how he may appear to Fellows and guests. The extreme images are Laurence Olivier as Richard III, writhing malevolently and misshapenly on his throne, and Reynolds's ‘Mrs Siddons as the Tragic Muse’, shown at the Royal Academy in 1784 and now in Dulwich College Art Gallery, in which the actress has adopted an imposing, even monumental, Michelangelesque pose, which she claimed to have invented. But I am fairly certain that these theatric tableaux are not true to life, and that the reality
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Salvato, Nick. "A HORSE'S HUSBAND: DAVID GREENSPAN'S QUEER TEMPORALITIES AND THE POLITICS OF SAME-SEX MARRIAGE." Theatre Survey 52, no. 1 (2011): 7–28. http://dx.doi.org/10.1017/s0040557411000044.

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Near the end of his solo pieceThe Myopia, an epic burlesque of tragic proportion, prominent playwright and performer David Greenspan presents a pair of scenes in which he investigates, from a queer perspective, the question of time in the theatre. In the spirit ofThe Myopia's own temporally disruptive mechanics, I will describe the second scene first: an Orator and his Doppelganger, who “bears a striking resemblance to the actress Carol Channing,” have a conversation in which they explain to the audience that the overlong fourth act, in whose stead they appear, has been cut from the play. The
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Mudrák, József. "Benedek László ideggyógyász-professzor, a debreceni m. kir. Tisza István-Tudományegyetem 1935–36. tanévi rector magnificusa." Gerundium 9, no. 3 (2019): 3–10. http://dx.doi.org/10.29116/gerundium/2018/3/1.

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László Benedek Professor of the Neurology, the Rector Magnificus of the Hungarian Royal István Tisza University of Debrecen during the academic year 1935/1936. The first professor of neurology and psychiatry and the director of the Department of Neurology of the University of Debrecen between 1921 and 1936 was László Benedek who studied at Cluj as a student of Károly Lechner. In the academic year of 1935/36 he held the post of the Rector of the university. This period was the era of silent development in the life of the university. Benedek as Rector focused on improving the living circumstance
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Horelova, V. S. "The Kharkiv actresses Polina Kumanchenko and Lidiya Krynytska in the image of a mother in the films “Human’s blood is not water”, “Dmytro Horytsvit”, “People don’t know the all” and “Lymerivna”." Aspects of Historical Musicology 17, no. 17 (2019): 130–47. http://dx.doi.org/10.34064/khnum2-17.09.

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Background. Domestic cultural space is in urgent need of selfpreservation, and a renaissance of national self-identity of the Ukrainian cinema is connected with the state interest in this topic. There are the discussions around the attempts to revive the Ukrainian poetic cinema with its inherent mythological outlook erasing the boundaries between imaginary and real. It is logical, that the further development and studying of national cinema is impossible without revise of creative work of actors of the past; they were the bearers of poetic worldview, guided by folk traditions and customs. The
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Devlin, Diana, Michael R. Booth, John Stokes, and Susan Basnett. "Three Tragic Actresses: Siddons, Rachel, Ristori." Modern Language Review 93, no. 2 (1998): 492. http://dx.doi.org/10.2307/3735390.

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Dissertations / Theses on the topic "Tragic actress"

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Marguier, Florence. "Maria Casarès : Recherches et métamorphoses d'une comédienne." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030144.

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Notre approche concernant Maria Casarès est une découverte de son art où sa propre recherche tient une place importante. Elle est en effet une des figures de proue du théâtre de la deuxième moitié du XXème siècle qui poursuit sa route jusqu'à devenir une Figure du théâtre français. D'elle, on garde les visages de la Mort d'Orphée de Cocteau ou de la femme fatale des Dames du Bois de Boulogne de Bresson, sa participation au T.N.P. Et pourtant ceci ne constitue qu'une étape dans une trajectoire où la comédienne va s'enrichir à chaque fois de ses propres découvertes. Au delà de son image de monst
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Books on the topic "Tragic actress"

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1943-, Stokes John, and Bassnett Susan, eds. Three tragic actresses: Siddons, Rachel, Ristori. Cambridge University Press, 1996.

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2

Fleming, E. J. Carole Landis: A tragic life in Hollywood. McFarland, 2005.

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O'Connell, Jay. Train robber's daughter: The melodramatic life of Eva Evans, 1876-1970. Raven River Press, 2008.

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O'Connell, Jay. Train robber's daughter: The melodramatic life of Eva Evans, 1876-1970. Raven River Press, 2008.

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Sherrill, Martha. My last movie star: A novel of Hollywood. Random House, 2003.

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My last movie star: A novel of Hollywood. Random House, 2002.

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7

Gibson, Rachel. Nothing but trouble. Thorndike Press, 2010.

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8

Dann, Jack. The Rebel. HarperCollins, 2008.

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9

Dann, Jack. The rebel: An imagined life of James Dean. William Morrow, 2004.

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10

Plante, Lynda La. Silent scream. Windsor, 2009.

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Book chapters on the topic "Tragic actress"

1

Scioli, Emma. "Confronting the Ancient Greek Golden Age in Jules Dassin’s Phaedra (1962)." In Screening the Golden Ages of the Classical Tradition. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474440844.003.0007.

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In the second of three chapters examining Athens’ golden-age legacy, Scioli traces how Jules Dassin repeatedly draws attention to the origins of his 1962 melodrama Phaedra in Greek myth and tragedy through visual imagery, as a complement to his 1960 comedy Never on Sunday. Phaedra’s use of ancient Athenian art, and its suggestive modernization of elements from the ancient Athenian tragedyHippolytusand Racine’s 1677 adaptation Phèdre, force a confrontation with a particular modern formulation of the ancient Greek past. Dassin draws upon the golden age to characterize the world of ancient Greece that irrupts into the early 1960s setting of the film both visually and thematically. Rather than fostering nostalgia for a golden age that might prompt a desire for its return, Phaedra presents it as an intrusive presence from which its characters feel alienated, only to demonstrate that they are inextricably bound, in their modern dress, to repeat what the tragic past has prescribed for them. Such self-conscious appropriation of Athens’ literary-dramatic and artistic-material remains informs the tragic belatedness of Phaedra and reflects upon the American expatriate director’s sense of foreignness in the homeland of his lover and artistic muse, Greek actress and activist Melina Mercouri.
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Kitsnik, Lauri. "Dancer, Doctor, Maiden, Mother: Tanaka Kinuyo’s Early Star Image." In Tanaka Kinuyo. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474409698.003.0002.

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The chapter examines Tanaka’s early career as an actress in the 1930s and her star persona in terms of acting style and roles played within the Japanese studio system. The notion of ‘idiogest’ is introduced to analyse the gestural characteristics of Tanaka’s acting style, which constitute a fundamental element of her star image. Against preconceptions of a homogenised star image, it explores Tanaka versatile acting skills and roles in films, ranging from traditional girls to modern career women and athlete. The chapter argues that the recurrent link between her characters and tragic motherhood and romance is connected to contemporary social shifts in femininity and Tanaka’s real life. Because her star persona had a significant impact on the content, promotion and appraisal of the films as the chapter demonstrates, Kitsnik suggests talking about ‘joint stardom’ or joint authorship between Tanaka and the directors of the films.
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Callahan, Dan. "Strangers on a Train, I Confess." In The Camera Lies. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197515327.003.0012.

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On the first day of shooting, Hitchcock referred to Strangers on a Train (1951) as “my real first film,” and the Master drew a charismatic, shoot-the-works performance from Robert Walker, who was cast against type as the colorful psychopath Bruno Anthony. But then Hitchcock was annoyed by the extensively labored-over Method acting of Montgomery Clift in I Confess (1952), a case of an actor doing too much, albeit very expressively, underneath a surface that keeps cracking because of lack of control. He also had to use the breathy Anne Baxter when he would have preferred the Swedish actress Anita Bjork.
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Austen, Jane. "Chapter XVIII." In Mansfield Park. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199535538.003.0020.

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Every thing was now in a regular train; theatre, actors, actresses, and dresses, were all getting forward: but though no other great impediments arose, Fanny found, before many days were past, that it was not all uninterrupted enjoyment to the party themselves, and that...
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