Booth, Edwin Thomas (1833-1893), actor and theatrical manager

Archer, Stephen M.

doi:10.1093/anb/9780198606697.article.1800132

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“…179 Conversely, Terry, as 'an English actress' who embodied womanliness for theatregoers, could not 'enslave' with Bernhardt's cultural 'impunity'. 180 As Edward Percy argued after Terry's death, while Bernhardt was 'something oriental', her 'very conscious art' reinforcing her unreality, Terry was 'our greatest actress, as the Duke of Wellington was our greatest soldier': the object of national pride and emotional investment, and implicated in national identity. 181…”

Section: On Beauty: Style and Semioticsmentioning

confidence: 99%

“…179 Donkin described the female hysteric as one whose employment was not 'regular', whose 'abnormal action' was based on 'a craving for sympathy or notoriety' and consisted of 'exaggeration […] willful imposture, simulation'. 180 In 1881, George Henry Savage (who in 1904 treated Virginia Stephen) described the insane child as one in whom 'the power of romancing as a genius and the power or habit of lying' is 'scarcely […] distinguished'. 181 The link between madness and performance is such that performance itself could signify a kind of madness.…”

Section: Suicide and Madness: From Juliet To Opheliamentioning

confidence: 99%

“…179 Sir Horatio Bryan Donkin (1845-1929), consulting physician at the New Hospital for Women, and Lecturer in Medicine at the London School of Medicine for Women; instrumental in the creation of the Mental Deficiency Act, 1913. 180 Donkin, 'Hysteria', Daniel Hack Tuke (ed. ), A Dictionary of Psychological Medicine, 2 vols (London: J. and A. Churchill, 1892), I.619-621, 621.…”

Section: Suicide and Madness: From Juliet To Opheliamentioning

confidence: 99%

“…The Sheffield correspondent describes Victoria as having 'never at any moment' been 'so secure in the affection of her Imogen, had evinced 'feminine tenderness and desperate grief' in her public widowhood (although Imogen's is only presumed, the headless corpse being Cloten's) and both consistently enacted 'sweet remembrances of their husbands'. 180…”

Section: In Autumn 1820 London Audiences Formentioning

confidence: 99%

“…177 P. Pennyng, 'Art and Artistes', Jackson's Oxford Journal (5 January 1889), 8. 178 PMG (5 July 1884), reprinted Elaine Aston, Sarah Bernhardt (Oxford: Berg, 1989), 76.179 Elaine Aston, 81 180. Ibid 181.…”

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Shakespeare's Women and the Fin de Siècle

Duncan¹

2016

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Scholarship on Victorian productions of Shakespeare typically isolates Shakespeare from the rest of the repertory. My thesis illuminates how late-Victorian performances of Shakespeare and contemporary Victorian drama conditioned each other. I re-interrogate iconoclastic performances of Shakespeare's heroines to reveal actresses' performance networks, showing how actresses' movements between fin-de-siècle roles created consonances between ostensibly antithetical areas of the repertoire. The performances and receptions of British actresses with high cultural capital reveal Shakespeare's interventions into fin-de-siècle debates on gender and sexuality. Highlighting female performance genealogies, I offer the first narrative of women's acting traditions in Shakespeare. I explore actresses' commercial strategising, celebrity personae, theatrical innovations and contributions to Shakespearean hermeneutics. The thesis draws on significant unpublished archival material, including from private collections. Chapter One examines how the ostensibly puritanical Madge Kendal and Royal mistress Lillie Langtry used the role of Rosalind (As You Like It) within a portfolio of self-promotional strategies, inscribing their professional legitimacy and dramatising different sexual identities.Chapter Two explores how Terry's Lady Macbeth (1888-9), interpreted as a loving wife, challenged theatrical semiotics, contemporary ideals of marriage, and perceptions of 'good' and 'bad' women. Chapter Three, on Mrs Patrick Campbell, demonstrates the success of her movements between the 'sex-problem play' and Shakespeare, revealing how her Shakespeare reception reflected fin-de-siècle concerns as the unwell body and mind, the figure of Salome, and the child -as both a sexual object and potentially suicidal. Chapter Four, on Terry's Imogen (Cymbeline) discusses Shakespearean actresses' contribution to ideas of national character and queenship, as Queen Victoria's reign neared its end, including specific milestones such as the 1897 Diamond Jubilee. Chapter Five examines Shakespeare's intersections with the 'New Woman', commodity culture and politics, as suffragists co-opted Shakespeare as a 'suffrage' playwright, with The Winter's Tale's Paulina as their icon.

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Section: On Beauty: Style and Semioticsmentioning

confidence: 99%

Section: Suicide and Madness: From Juliet To Opheliamentioning

confidence: 99%

Section: Suicide and Madness: From Juliet To Opheliamentioning

confidence: 99%

Section: In Autumn 1820 London Audiences Formentioning

confidence: 99%

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