Victorian touring actresses
Crossing boundaries and negotiating the cultural landscape
by Janice Norwood
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Albania, Algeria, Angola, Argentina, Armenia, Australia, Austria, Bahrain, Belgium, Belize, Benin, Bolivia, Bosnia and Herzegovina, Botswana, Brazil, Bulgaria, Burkina Faso, Burundi, Cameroon, Canada, Cape Verde, Central African Republic, Chad, Chile, China, Colombia, Comoros, Congo [DRC], Congo, Republic of the, Costa Rica, Ivory Coast, Croatia, Czech Republic, Denmark, Djibouti, Ecuador, Egypt, El Salvador, Equatorial Guinea, Eritrea, Estonia, Ethiopia, Faroe Islands, Finland, France, French Guiana, Gabon, Gambia, Georgia, Germany, Ghana, Greece, Guatemala, Guinea, Guinea-Bissau, Guyana, Honduras, Hongkong, Hungary, Iceland, India, Indonesia, Iran, Iraq, Ireland, Israel, Italy, Japan, Jordan, Kazakhstan, Kenya, Kuwait, Latvia, Lebanon, Lesotho, Liberia, Libya, Lithuania, Luxembourg, Macau, China, Macedonia [FYROM], Madagascar, Malawi, Malaysia, Mali, Malta, Mauritania, Mauritius, Mayotte, Mexico, Mongolia, Montenegro, Morocco, Mozambique, Namibia, Netherlands, New Zealand, Nicaragua, Niger, Nigeria, Norway, Oman, Pakistan, Panama, Paraguay, Peru, Philippines, Poland, Portugal, Puerto Rico, Qatar, Reunion, Romania, Russia, Rwanda, Saint Helena, Sao Tome and Principe, Saudi Arabia, Senegal, Serbia, Seychelles, Sierra Leone, Singapore, Slovakia, Slovenia, Somalia, South Africa, South Korea, Spain, Sri Lanka, Sudan, Suriname, Swaziland, Sweden, Switzerland, Syria, Taiwan, Tanzania, Thailand, Timor-Leste, Togo, Tokelau, Tunisia, Turkey, Uganda, Ukraine, United Arab Emirates, United Kingdom, United States, Uruguay, Venezuela, Vietnam, Western Sahara, Yemen, Zambia, Zimbabwe, South Sudan, Cyprus, Palestine, Bangladesh, Cambodia, Liechtenstein, Azerbaijan
Endorsements
Victorian touring actresses: Crossing boundaries and negotiating the cultural landscape provides a new perspective on the on- and offstage lives of women working in nineteenth-century theatre, and affirms the central role of touring, both within the United Kingdom and in North America and Australasia. Drawing on extensive archival research, it features a cross-section of neglected performers whose dramatic specialisms range from tragedy to burlesque. Although they were employed as stars in their own time, their contribution to the industry has largely been forgotten. The book's innovative organisation follows a natural lifecycle, enabling a detailed examination of the practical challenges and opportunities typically encountered by the actress at each stage of her working life. Chapters explore debuts, establishing a name, working life in the UK, touring North America, long-distance colonial touring, management, offstage life and ageing. Individual experiences are scrutinised to highlight the career implications of strategies adopted to cope with the demands of the profession, the physical potential of the actress's body, and the operation of gendered power on and offstage. Analysis is situated in a wide contextual framework and reveals how reception and success depended on the performer's response to the changing political, economic, social and cultural landscape as well as to developments in professional practice and organisation. The book concludes with discussion of the legacies of the performers, linking their experiences to the present-day situation. Victorian Touring Actresses will be of interest to students and researchers in theatre and performance history, Victorian studies, gender studies and transatlantic studies.
Reviews
Victorian touring actresses: Crossing boundaries and negotiating the cultural landscape provides a new perspective on the on- and offstage lives of women working in nineteenth-century theatre, and affirms the central role of touring, both within the United Kingdom and in North America and Australasia. Drawing on extensive archival research, it features a cross-section of neglected performers whose dramatic specialisms range from tragedy to burlesque. Although they were employed as stars in their own time, their contribution to the industry has largely been forgotten. The book's innovative organisation follows a natural lifecycle, enabling a detailed examination of the practical challenges and opportunities typically encountered by the actress at each stage of her working life. Chapters explore debuts, establishing a name, working life in the UK, touring North America, long-distance colonial touring, management, offstage life and ageing. Individual experiences are scrutinised to highlight the career implications of strategies adopted to cope with the demands of the profession, the physical potential of the actress's body, and the operation of gendered power on and offstage. Analysis is situated in a wide contextual framework and reveals how reception and success depended on the performer's response to the changing political, economic, social and cultural landscape as well as to developments in professional practice and organisation. The book concludes with discussion of the legacies of the performers, linking their experiences to the present-day situation. Victorian Touring Actresses will be of interest to students and researchers in theatre and performance history, Victorian studies, gender studies and transatlantic studies.
Author Biography
Janice Norwood is Senior Lecturer in English Literature, Drama and Theatre Studies at the University of Hertfordshire
Manchester University Press
Manchester University Press is a leading UK publisher known for excellent research in the humanities and social sciences.
View all titlesBibliographic Information
- Publisher Manchester University Press
- Publication Date January 2021
- Orginal LanguageEnglish
- ISBN/Identifier 9781526155467 / 152615546X
- Publication Country or regionUnited Kingdom
- FormatHTML
- Primary Price 95 GBP
- ReadershipGeneral/trade; College/higher education; Professional and scholarly
- Publish StatusPublished
- SeriesWomen, Theatre and Performance
- Reference Code13845
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