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.
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.
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.
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.
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.
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.
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.
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.
In 1915 the society shifted its attention from the political to the aesthetic, from 'propaganda' plays and the 'feminist play of ideas' to formally unusual plays performed in translation. Their endeavour to prove that women could organise art theatre in Britain was successful."--Jacket.
Ellen Terry (1847–1928) was one of the first modern stars of the British stage. She toured America and Australia and was adored by the public. A transitional figure, Terry straddled both the Victorian and the modern world. The controversies of her private life were numerous: elopement, cohabitation, single-motherhood, multiple marriages – two with significant age differences – yet she maintained the reputation of a thoroughly feminine woman of the age. Terry’s correspondence was both exuberant and extensive. Despite falling victim to selective destruction, the remaining letters provide a fascinating insight into the dynamics of the Victorian theatre, as well as the difficulties of life for a woman maintaining a successful public persona whilst raising two illegitimate children. The collection brings together material from across the world, and includes letters to many famous figures – Bram Stoker and George Bernard Shaw among them – as well as many lesser or unknown recipients who often get the best of Terry’s playful prose. The collection will be of value to those with an interest in Victorian theatre, women’s suffrage and fin-de-siècle literature.
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.
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.
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.
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.
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