Rise of the Victorian Actor

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A01=Michael Baker
Acclaimed Performances
Amateur Dramatic Club
Author_Michael Baker
British stage profession
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Category=ATD
Central Theatres
charles
Contemporary Theatrical Activity
Corps De Ballet
courtneidge
Dion Boucicault
drury
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henry
Independent Livelihood
Indoor Playhouse
irving
kean
lane
Lord Chamberlain's Office
Lord Chamberlain’s Office
madame
Modern Theatrical Profession
nineteenth-century theatre
performing arts sociology
Pisanus Fraxi
Public Administration
robert
Robert Courtneidge
Royal Academies
Royal Dramatic College
Royal General Theatrical Fund
Shakespeare Memorial Theatre
Social Exclusiveness
social history performance
social mobility in acting careers
St Leonards
theatrical working conditions
vestris
Victorian Actors
Victorian Actresses
Victorian actresses roles
West End Houses
West End Theatre
William Oxberry
Young Man

Product details

  • ISBN 9781138936584
  • Weight: 453g
  • Dimensions: 156 x 234mm
  • Publication Date: 06 Jun 2017
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Paperback
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Originally published in 1978. Between 1830 and 1890 the English theatre became recognisably modern. Standards of acting and presentation improved immeasurably, new playwrights emerged, theatres became more comfortable and more intimate and playgoing became a national pastime with all classes. The actor’s status rose accordingly. In 1830 he had been little better than a social outcast; by 1880 he had become a member of a skilled, relatively well-paid and respected profession which was attracting new recruits in unprecedented numbers.

This is a social history of Victorian actors which seeks to show how wider social attitudes and developments affected the changing status of acting as a profession. Thus the stage’s relationship with the professional world and the other arts is dealt with and is followed by an assessment of the moral and religious background which played so decisive a part in contemporary attitudes to actors. The position of actresses in particular is given special consideration.

Many non-theatrical sources are used here and there is a survey of salaries and working conditions in the theatre to show how the rising social status of the actor was matched by changes in his theatrical standing. A novel area of study is covered in tracing the changing social composition of the acting profession over the period and in exploring the case-histories of three generations of performers.

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