Radio - Players - Plays

Eyes of the Soul - John Prosser, Sam Slade, Herschel Hart, Helen Colvin

Radio - Players - Plays

The Stampede

Radio - Players - Dr. B.D. Welling and Glendora Forshee

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Radio - Players - Dr. B.D. Welling and Glendora Forshee

2 of 2

Grande biographie dramatique, ou Silhouette des acteurs, actrices, chanteurs, cantatrices, danseurs, danseuses, etc., de Paris et des départemens.

A "Supplément, suivi des adresses des acteurs et actrices" was published the same year. cf. Quérard, France litt., v.l, p. 31.

Days of the dandies.

"Edition de luxe limited to one thousand copies for England and America. No. 960."

Tragedy queens of the Georgian era /

Includes index.

Memoirs of Miss Mellon, afterwards Duchess of St. Albans;

Mode of access: Internet.

Tragedy queens of the Georgian era ...

Elizabeth Barry.--Anne Bracegirdle.--Anne Oldfield.--Mary Porter.--Susannah Maria Cibber.--Hannah Pritchard.--Mary Ann Yates.--Anne Crawford.--Elizabeth Pope.--Elizabeth Inchbald.--Sarah Siddons.--Julia Glover.--Eliza O'Neill (Lady Becher).

Beauty and the market: Actress postcards and their senders in early twentieth century Australia

A hundred years ago the international craze for picture postcards distributed millions of images of popular stage actresses around the world. The cards were bought, sent, and collected by many whose contact with live theatre was sometimes minimal. Veronica Kelly's study of some of these cards sent in Australia indicates the increasing reach of theatrical images and celebrity brought about by the distribution mechanisms of industrial mass modernity. The specific social purposes and contexts of the senders are revealed by cross-reading the images themselves with the private messages on the backs, suggesting that, once outside the industrial framing of theatre or the dramatic one of specific roles, the actress operated as a multiply signifying icon within mass culture – with the desires and consumer power of women major factors in the consumption of the glamour actress card. A study of the typical visual rhetoric of these postcards indicates the authorized modes of femininity being constructed by the major postcard publishers whose products were distributed to theatre fans and non-theatregoers alike through the post. Veronica Kelly is working on a project dealing with commercial managements and stars in early twentieth-century Australian theatre. She teaches in the School of English, Media Studies, and Art History at the University of Queensland, is co-editor of Australasian Drama Studies, and author of databases and articles dealing with colonial and contemporary Australian theatre history and dramatic criticism. Her books include The Theatre of Louis Nowra (1998) and the collection Our Australian Theatre in the 1990s (1998).

Atuações e papéis femininos: o corpo a corpo da atriz no teatro pernambucano durante a ditadura militar

This research investigated the female performance in Pernambuco theater during the Brazilian military dictator ship in the 1970s, analyzing the works of four actresses of theater groups Hermilo Borba Filho, Experiential and Expression, who acted in the period. Launches a look at the female body in the theater from a body scenic transgression: the conscience of a body insubordination in response to a given context. However, before delineated an overview of the artistic and socio - cultural position of women in the theater, in the periods prior to the dictatorship in Brazil and Pernambuco, covering theatrical and historical references, in order to reflect on how these settings interfered in the picture Social actr ess under the dictatorship. The groups are revisited by the looks of interpreters, which was perceived that female targeted search relationships, and in this context, relations with other theater groups of the time, with other artists of the groups that we re inserted with the dictatorial context with censorship, with the offender engaged and theater, with the body. In parallel, it develops a reflection on the scenic body that opposed the dictatorship, a body that violates the established norms, the Transgre ssor Body. The research also discusses an analogy between the work of the actresses who opposed the military regime and militant women. Starting from analyzes with interviews with the actresses from the methodologies of Oral History and Discourse Analysis, the study is developed by building up connections between the testimonies of the artists and the philosophical assumptions of Henri Bergson, on the body and memory. It is also designed to reflect on the changes of the female body in the theater in history , also in line with the philosophical concept of Becoming Woman Felix Guattari. It was found, therefore, that the actresses from the nineteenth century, were a group of female social actors who changed the position of women in history; the stigmatization o f the actress by profession, considered indecent in previous centuries, left traces in some areas today and the idea of the liberation of the female body propagated by feminism in the 1970s, was configured at the time as the best way to protest and will influence, in some contexts, the representation of women in their theatrical make.

Betty Hutton

General note: Title and date provided by Bettye Lane.