...Felicity Nussbaum Duke University Press 2008 R “Real, Beautiful Women”: Actresses and The Rival Queens Felicity Nussbaum University of California, Los Angeles “Theatrical revolutions...

...Helen E. M. Brooks This essay examines the ways marriage could function both to the benefit and detriment of an actress's professional activities and agency. It argues that an astute marital decision might support and promote an ambitious actress's future on the stage, largely through integrating...

..., Siddons played the role of maternal benefactress, largely rejecting the concept of supporting the public good and instead aligning herself with the private and domestic. In so doing, Siddons not only countered the sexually charged representations of actresses of the time, but also addressed the related...

... by examining the issues that arose when it was embodied in actresses whose personal lives, especially as mediated by the contemporary press, reflected crucial aspects of Fanny Hill’s. Cleland Druidesses Elfrida Caractacus actresses Copyright © 2019 by Duke University Press 2019 ...

...‐tragedy's depiction of enslaved European women in the Ottoman Empire. Evoking Desdemona in the then‐popular Othello , Imoinda offers a rare moment when the actress's whiteness is named as such diegetically. The stage Oroonoko shines a spotlight on the way that gendered performance worked through...

...Bradford Mudge Sir Joshua's Kitty Fisher as Cleopatra is a celebrated picture, one often taken as a representative of what are referred to as Reynolds's “courtesan portraits,” portraits of women—actresses, mistresses, models, prostitutes—who, in a variety of ways and with varying degrees...

... 1 1 1 Fatal Desire begins with the introduction of actresses following Charles II’s restoration and promises to explore the “ways in which their material pres- ence altered the representation of women in drama and even reshaped dramatic form” (3). Thus entering the robust dialogue...

... and actors. Her examination is supported and reinforced by the study of other figures from the period, as is exemplified by the cover, which features a detail from the portrait of actress Elizabeth Farren (ca. 1759 1829) painted by Thomas Lawrence (1769 1830). McPherson draws on writings in the histories...

... Boaden, recall- ing Mrs. Siddons’s thrilling performance as Euphrasia in Arthur Mur- phy’s The Grecian Daughter, pauses in his encomiums to comment on the inadequacy of William Hamilton’s portrait of the actress in the role: “The power of the pencil lost this momentary sublimity — Hamilton’s...

... (or mock alarm) about the instability and falsity of women, and sought both to demonstrate and to limit those qualities in women’s bodies. The essay that follows has two sections. The first identifies certain cul- tural factors—the advent of the actress, the nature...

..., theatergoers could echo this well- known thespian practice to shape their own public performances. In 1783, Mary “Perdita” Robinson, the retired actress, fashionable trendsetter, and erstwhile mistress of the Prince of Wales, reserved a King’s Theatre Opera box entirely to herself and installed wall...

... of dancers and singers at the Opéra de Paris and actresses of the Comédies-Française and -Italienne. The “sexual capital” (to use Kushner’s term) of these women was enhanced by the fortunes in income and presents that prominent men—sword and robe nobles, diplomats, financiers, function- aries...

... legitimate theaters often hit heavily at the craze for debate, which seriously detracted from their own revenues.12 In these middle years of the century women already appeared regularly if infrequently as public orators, but usually in the spirit of a freak show. They were probably all actresses...

... wore full female dress with skirts to masquerades.) Before 1790 or so, only actresses and cross-dressers were reliably recorded to have worn breeches— for instance, the actress about to play the role of Macheath in The Beggar’s Opera in An Actress at her Toilet, or Miss...

... in which Austen was both a material witness and participant: Kean’s handsome face on a souvenir dish (figure 9) as well as an engraving of him in that night’s haunting role, a pinup print of actress Mrs. Crawford, and a jewelry pin of actress Mrs. Yates.32 Nearby, a delightfully messy man- uscript...

..., and to a whole lineage of “poor” female celebrities, both the stage characters (Aniuta, Nina) and real-­ life women (Praskovia Zhemchugova, the celebrated serf actress and singer). All in all, it is satisfying to see Russian sentimentalism explored with greater depth and complexity than one finds...

.... The playhouse chapter presents standard evi- dence about anxiety over actresses’ bodies. Pritchard concludes the chapter by remarking that “the mask was reassuring to men” because it was “an empty sign that gains its meaning by metonymy; the container stands for its contents” (109-­10), and I would have...

... hitherto overlooked: world events and the artifacts of cultural history are ready explanations for each other. Anne’s familiarity with the stage, as child actress and audience, is part of her girlhood: she makes early acquaintance with John Crowne’s court masque Calisto, and Nathaniel Lee’s...

... for private per- formance, of Pierre de Marivaux’s Le Jeu de l’Amour et du Hasard under the title Simplicity, a Comedy.7 Haywood was an actress; her first recorded stage role was in 1714, and she continued acting well into the 1730s. She turned playwright herself with a tragedy entitled The Fair...

... Continental Presumptions Gave Rise to the United States of America (Charlottesville: Univ. of Virginia, 2011). Pp. xii + 402. $45 136      Eighteenth-Century Life Dupree, Mary Helen. The Mask and the Quill: Actress-­Writers in Germany from Enlightenment to Romanticism (Lewisburg: Bucknell...