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56 books match the query 'Actors' and 23 start with a
A Biographical Dictionary of Actors, Volume 1, Abaco to Belfille
Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800Philip H. Highfill, Jr., Kalman A. Burnim, and Edward A. Langhans
Southern Illinois University Press, 1973
Tobe completed in 12volumes, this monumental work here begins publication with the first two volumes—Abaco to Bertie and Bertin to Byzard. When completed, it is expected that the biographical dictionary will include information on more than 8,500 individuals.
Hundreds of printed sources have been searched for this project, and dozens of repositories combed, and the names of personnel listed have been filtered through parish registers whenever possible. From published and unpublished sources, from wills, archives of professional societies and guilds, from records of colleges, universities, and clubs, and from the contributions of selfless scholars, the authors have here assembled material which illuminates theatrical and musical activity in London in the 1660–1800 period.
The information here amassed will doubtless be augmented by other specialists in Restoration and eighteenth-century theatre and drama, but it is not likely that the number of persons now known surely or conjectured finally to have been connected with theatrical enterprise in this period will ever be increased considerably. Certainly, the contributions made here add immeasurably to existing knowledge, and in a number of instances correct standard histories or reference works.
The accompanying illustrations, estimated to be some 1,400 likenesses—at least one picture of each subject for whom a portrait exists—may prove to be a useful feature of the Work. The authors have gone beyond embellishment of the text, and have attempted to list all original portraits any knowledge of which is now recoverable, and have tried to ascertain the present location of portraits in every medium.
A Biographical Dictionary of Actors, Volume 10, M'Intosh to Nash
Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800Philip H. Highfill, Jr.
Southern Illinois University Press, 1984
Those featured in Volume 10 include Margaret Martyr, a singer, actress, and dancer whose “conjugal virtues were often impeached,” according to the July 1792Thespian Magazine. The Dictionary describes this least constant of lovers as “of middling height, with a figure well-proportioned for breeches parts. [Her] black-haired, black-eyed beauty and clear soprano made her an immediate popular success in merry maids and tuneful minxes, the piquant and the pert, for a quarter century.”
A Biographical Dictionary of Actors, Volume 12, Pinner to Rizzo
Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800Philip H. Highfill, Jr., Kalman A. Burnim, and Edward A. Langhans
Southern Illinois University Press, 1987
A Biographical Dictionary of Actors, Volume 13, Roach to H. Siddons
Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800Philip H. Highfill, Jr., Kalman A. Burnim, and Edward A. Langhans
Southern Illinois University Press, 1991
Like the works already published, these latest volumes of the Biographical Dictionary deal with theatre people of every ilk, ranging from dressers and one-performance actors to trumpeter John Shore (inventor of the tuning fork) and the incomparable Sarah Siddons.
Also prominent is Susanna Rowson, a novelist, actress, and early female playwright. Although born into a British military family, Rowson often wrote plays that dealt with patriotic American themes and spent much of her career on the American stage.
The theatrical jewel of these volumes is the "divine Sarah" Siddons: "She raised the tragedy to the skies," wrote William Hazlitt, and "embodied to our imagination the fables of mythology, of the heroic and dignified mortals of elder time." She endured much tragedy herself, including a crippling debilitating illness and the deaths of five of her seven children. Siddons played major roles in both comedy and tragedy, not the least of which was a performance as Hamlet.
A Biographical Dictionary of Actors, Volume 14, S. Siddons to Thynne
Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800Philip H. Highfill, Jr., Kalman A. Burnim, and Edward A. Langhans
Southern Illinois University Press, 1991
Like the works already published, these latest volumes of the Biographical Dictionary deal with theatre people of every ilk, ranging from dressers and one-performance actors to trumpeter John Shore (inventor of the tuning fork) and the incomparable Sarah Siddons.
Also prominent is Susanna Rowson, a novelist, actress, and early female playwright. Although born into a British military family, Rowson often wrote plays that dealt with patriotic American themes and spent much of her career on the American stage.
The theatrical jewel of these volumes is the "divine Sarah" Siddons: "She raised the tragedy to the skies," wrote William Hazlitt, and "embodied to our imagination the fables of mythology, of the heroic and dignified mortals of elder time." She endured much tragedy herself, including a crippling debilitating illness and the deaths of five of her seven children. Siddons played major roles in both comedy and tragedy, not the least of which was a performance as Hamlet.
A Biographical Dictionary of Actors, Volume 15, Tibbett to M. West
Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800Philip H. Highfill, Jr., Kalman A. Burnim, and Edward A. Langhans
Southern Illinois University Press, 1993
A major project begun in 1973 reaches its conclusion with the publication of volumes 15 and 16 of the Biographical Dictionary, a series considered "a reference work of the first order" by Theatre and Performing Arts Collections.
Among performers highlighted in these last volumes is Catherine Tofts, a gifted singer whose popular acclaim was captured in lines by Samuel Phillips: "How are we pleas’d when beauteous Tofts appears, / To steal our Souls through our attentive Ears?’ / Ravish’d we listen to th’ inchanting Song, / And catch the falling Accents from her Tongue." The first singer of English birth to master the form of Italian opera, Tofts frequently won leading roles over native Italian singers. Her salary—£400 to £500 a season—was one of the highest in the theatre. Her popularity declined, however, as her demands for payment increased—a situation captured in an epigram Alexander Pope may have penned: "So bright is thy beauty, so charming thy song, / As had drawn both the beasts and their Orpheus along; /But such is thy avarice, and such is thy pride, / That the beasts must have starved, and the poets have died."
John Vanbrugh, whose play The Relapse is ranked as one of the best comedies of the Restoration period, became a subordinate crown architect under Sir Christopher Wren in 1702. In 1703, Vanbrugh began plans for the Queen’s Theatre in the Haymarket, an enterprise endorsed by the Kit Cat Club (of which Vanbrugh was a member). Even though his lavish design was acoustically defective, restructuring helped correct the problem and the theatre eventually became the exclusive center for opera in London.
A Biographical Dictionary of Actors, Volume 16, W. West to Zwingman
Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800Philip H. Highfill, Jr., Kalman A. Burnim, and Edward A. Langhans
Southern Illinois University Press, 1993
A major project begun in 1973 reaches its conclusion with the publication of volumes 15 and 16 of the Biographical Dictionary, a series considered "a reference work of the first order" by Theatre and Performing Arts Collections.
Among performers highlighted in these last volumes is Catherine Tofts, a gifted singer whose popular acclaim was captured in lines by Samuel Phillips: "How are we pleas’d when beauteous Tofts appears, / To steal our Souls through our attentive Ears?’ / Ravish’d we listen to th’ inchanting Song, / And catch the falling Accents from her Tongue." The first singer of English birth to master the form of Italian opera, Tofts frequently won leading roles over native Italian singers. Her salary—£400 to £500 a season—was one of the highest in the theatre. Her popularity declined, however, as her demands for payment increased—a situation captured in an epigram Alexander Pope may have penned: "So bright is thy beauty, so charming thy song, / As had drawn both the beasts and their Orpheus along; /But such is thy avarice, and such is thy pride, / That the beasts must have starved, and the poets have died."
John Vanbrugh, whose play The Relapse is ranked as one of the best comedies of the Restoration period, became a subordinate crown architect under Sir Christopher Wren in 1702. In 1703, Vanbrugh began plans for the Queen’s Theatre in the Haymarket, an enterprise endorsed by the Kit Cat Club (of which Vanbrugh was a member). Even though his lavish design was acoustically defective, restructuring helped correct the problem and the theatre eventually became the exclusive center for opera in London.
A Biographical Dictionary of Actors, Volume 2, Belfort to Byzand
Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800Philip H. Highfill, Jr., Kalman A. Burnim, and Edward A. Langhans
Southern Illinois University Press, 1973
Tobe completed in 12volumes, this monumental work here begins publication with the first two volumes—Abaco to Bertie and Bertin to Byzard. When completed, it is expected that the biographical dictionary will include information on more than 8,500 individuals.
Hundreds of printed sources have been searched for this project, and dozens of repositories combed, and the names of personnel listed have been filtered through parish registers whenever possible. From published and unpublished sources, from wills, archives of professional societies and guilds, from records of colleges, universities, and clubs, and from the contributions of selfless scholars, the authors have here assembled material which illuminates theatrical and musical activity in London in the 1660–1800 period.
The information here amassed will doubtless be augmented by other specialists in Restoration and eighteenth-century theatre and drama, but it is not likely that the number of persons now known surely or conjectured finally to have been connected with theatrical enterprise in this period will ever be increased considerably. Certainly, the contributions made here add immeasurably to existing knowledge, and in a number of instances correct standard histories or reference works.
The accompanying illustrations, estimated to be some 1,400 likenesses—at least one picture of each subject for whom a portrait exists—may prove to be a useful feature of the Work. The authors have gone beyond embellishment of the text, and have attempted to list all original portraits any knowledge of which is now recoverable, and have tried to ascertain the present location of portraits in every medium.
A Biographical Dictionary of Actors, Volume 3, Cabanel to Cory
Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800Philip H. Highfill, Jr., Kalman A. Burnim, and Edward A. Langhans
Southern Illinois University Press, 1975
Volumes three and four of this monumental work include full entries for all such illustrious names as those of the Cibbers—Colley, Theophilus, and Susanna Maria—Kitty Clive, and Charlotte Charke, George Colman, the Elder, and the Younger, William Davenant, and De Loutherboug. But here also are full entries for dozens of important secondary figures and of minor ones whose stories have never been told, as well as a census (and at least a few recoverable facts) for even the most inconsiderable performers and servants of the theatres.
As in the previous volumes in this distinguished series, the accompanying illustrations include at least one picture of each subject for whom a portrait exists.
A Biographical Dictionary of Actors, Volume 4, Corye to Dynion
Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800Philip H. Highfill, Jr., Kalman A. Burnim, and Edward A. Langhans
Southern Illinois University Press, 1975
Volumes three and four of this monumental work include full entries for all such illustrious names as those of the Cibbers—Colley, Theophilus, and Susanna Maria—Kitty Clive, and Charlotte Charke, George Colman, the Elder, and the Younger, William Davenant, and De Loutherboug. But here also are full entries for dozens of important secondary figures and of minor ones whose stories have never been told, as well as a census (and at least a few recoverable facts) for even the most inconsiderable performers and servants of the theatres.
As in the previous volumes in this distinguished series, the accompanying illustrations include at least one picture of each subject for whom a portrait exists.
A Biographical Dictionary of Actors, Volume 5, Eagan to Garrett
Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800Philip H. Highfill, Jr., Kalman A. Burnim, and Edward A. Langhans
Southern Illinois University Press, 1978
In contrast to each other, Volume 5 is a sociological portrait of mostly little people in their tragic and comic efforts to achieve fame on the London stage during the Restoration and eighteenth century, whereas Volume 6 is dominated by the glamour of David Garrick, Nell Gwyn, and Joseph Grimaldi, the celebrated clown. Some 250 portraits individualize the great and small of the theatres of London.
A Biographical Dictionary of Actors, Volume 6, Garrick to Gyngell
Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London 1660-1800Philip H. Highfill, Jr., Kalman A. Burnim, and Edward A. Langhans
Southern Illinois University Press, 1978
In contrast to each other, Volume 5 is a sociological portrait of mostly little people in their tragic and comic efforts to achieve fame on the London stage during the Restoration and eighteenth century, whereas Volume 6 is dominated by the glamour of David Garrick, Nell Gwyn, and Joseph Grimaldi, the celebrated clown. Some 250 portraits individualize the great and small of the theatres of London.
A Biographical Dictionary of Actors, Volume 7, Habgood to Houbert
Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800Philip H. Highfill, Jr., Kalman A. Burnim, and Edward A. Langhans
Southern Illinois University Press, 1982
Volume 7 includes such notables as the composers Handel and Haydn and the alluring actress Elizabeth Hartley.
A Biographical Dictionary of Actors, Volume 8, Hough to Keyse
Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800Philip H. Highfill, Jr., Kalman A. Burnim, and Edward A. Langhans
Southern Illinois University Press, 1982
A Concise Field Guide to Post-Communist Regimes
Actors, Institutions, and DynamicsBálint Madlovics
Central European University Press, 2022
While the literature of hybrid regimes has given up the presumption that post-communist countries must democratize, its language and concepts still mostly relate to Western democracies. Magyar and Madlovics strongly argue for a vocabulary and grammar tailored to the specifics of the region. In 120 theses they unfold a conceptual framework with (1) a typology of post-communist regimes and (2) a detailed presentation of ideal-type actors and the political, economic, and social phenomena in these regimes. The book is a more digestible companion to the 800-page The Anatomy of Post-Communist Regimes (CEU Press, 2020), which was a detailed theoretical study with plenty of empirical illustrations.
Each of the 120 theses contains a statement and its concise discussion supported by illustrative tables, figures, and QR-codes that connect the interested reader to the more detailed analysis in the Anatomy. In a condensed variety, this book has kept the holistic approach of the Anatomy and treats the spheres of political, market, and communal action as parts of a single, coherent whole. The endeavor to synthesize a vast range of ideas does not, however, result in a too complicated text. On the contrary, freed from the implicit presumptions of democracy theory, the new terminology yields a readily usable toolkit of unambiguous means of expression to speak about post-communism.
A Player and a Gentleman
The Diary of Harry Watkins, Nineteenth-Century U.S. American ActorEdited by Amy E. Hughes and Naomi J. Stubbs
University of Michigan Press, 2018
Hardworking actor, playwright, and stage manager Harry Watkins (1825–94) was also a prolific diarist. For fifteen years Watkins regularly recorded the plays he saw, the roles he performed, the books he read, and his impressions of current events. Performing across the U.S., Watkins collaborated with preeminent performers and producers, recording his successes and failures as well as his encounters with celebrities such as P. T. Barnum, Junius Brutus Booth, Edwin Forrest, Anna Cora Mowatt, and Lucy Stone. His is the only known diary of substantial length and scope written by a U.S. actor before the Civil War—making Watkins, essentially, the antebellum equivalent of Samuel Pepys. Theater historians Amy E. Hughes and Naomi J. Stubbs have selected, edited, and annotated excerpts from the diary in an edition that offers a vivid glimpse of how ordinary people like Watkins lived, loved, struggled, and triumphed during one of the most tumultuous periods in U.S. history. The selections in A Player and a Gentleman are drawn from a more expansive digital archive of the complete diary. The book, like its digital counterpart, will richly enhance our knowledge of antebellum theater culture and daily life in the U.S. during this period.
A Spectacle of Suffering
Clara Morris on the American StageBarbara Wallace Grossman
Southern Illinois University Press, 2009
Once called "America's greatest actress," renowned for the passion and power of her performances, Clara Morris (1847-1925) has been largely forgotten. A Spectacle of Suffering: Clara Morris on the American Stage is the first full-length study of the actress's importance as a feminist in the late nineteenth and early twentieth centuries. Detailing her daunting health problems and the changing tastes in entertainment that led to her retirement from the stage, Barbara Wallace Grossman explores Morris's dramatic reinvention as an author. During a second robust career, she published hundreds of newspaper and magazine articles and nine books—six works of fiction and three memoirs.
Grossman draws on the fifty-four-volume diary that Morris kept from 1868 until 1924, as well as on the manuscript fragments and notes of journalist George T. MacAdam, who died in 1929 before completing the actress's biography. Grossman provides a dramatic account of Morris's life and work from her troubled early years, through an unhappy marriage, morphine addiction, and invalidism, to the challenges of touring, the decline of her artistic reputation, and the demands of the writing career she pursued so tenaciously. A Spectacle of Suffering reveals how Morris, even after experiencing blindness and the loss of her home, livelihood, and family, did not succumb to despair and found comfort in the small pleasures of her circumscribed life.
A Spectacle of Suffering recovers an important figure in American theatre and ensures that Morris will be remembered not simply as an actress but as a respected writer and beloved public figure, admired for her courage in dealing with adversity. The book, which is enhanced by twenty-four illustrations, is the only published biography of Clara Morris. It is as much a tribute to the power of the human spirit as it is an effective means of exploring American theatre and society in the Gilded Age.
A Triptych from the Russian Theatre
An Artistic Biography of the Komissarzhevsky FamilyVictor Borovsky
University of Iowa Press, 2001
Acting Now
Conversations on Craft and CareerVilga, Edward
Rutgers University Press, 1997
Actors and American Culture, 1880-1920
Benjamin Mcarthur
University of Iowa Press, 2000
Actors, Athletes, and Astronauts
Political Amateurs in the United States CongressDavid T. Canon
University of Chicago Press, 1990
Written in a lucid style accessible to the nonspecialist, David T. Canon's Actors, Athletes, and Astronauts is a definitive study of political amateurs in elections and in Congress. Canon examines the political conditions that prompt amateurs to run for office, why they win or lose, and whether elected amateurs behave differently from their experienced counterparts. Challenging previous work which presumed stable career structures and progressively ambitious candidates, his study reveals that amateurs are disproportionately elected in periods of high political opportunity, such as the 1930s for Democrats and 1980s for Republicans.
Canon's detailed findings call for significant revision of our prevailing understanding of ambition theory and disarm monolithic interpretations of political amateurs. His unique typology of amateurism differentiates among policy-oriented, "hopeless," or ambitious amateurs. The latter resemble their professional counterparts; "hopeless" amateurs are swept into office by strong partisan motivations and decision-making styles of each type vary, affecting their degree of success, but each type of amateur provides a necessary electoral balance by defeating entrenched incumbents rarely challenged by more experienced politicians.
American Tragedian
The Life of Edwin BoothDaniel J. Watermeier
University of Missouri Press, 2015
Daniel J. Watermeier has, through decades of tireless research paired with his own sharp insight, put together the most complete Edwin Booth biography to date. Drawing on a wealth of archival materials and contemporary theatrical scholarship, American Tragedian: The Life of Edwin Booth gives more attention than previous biographies to Booth’s apprentice and journeyman years; his rise in antebellum America to stardom with a new, acclaimed style of acting; his work as an innovative theater builder and theatrical producer; his several foreign tours; and his nationwide tours in the late 1880s. It also addresses Booth’s critical reception in dozens of cities in America and abroad and situates his professional activities within the events and trends of the time.
As interesting as it is informative, Watermeier’s book offers an in-depth look at the triumphal career and tumultuous life of one of the American stage’s most celebrated figures.
An Actor's Tale
Theater, Culture, and Everyday Life in the Nineteenth-Century United StatesAmy Hughes
University of Michigan Press, 2025
Ultimately, Hughes reveals how this actor’s tale illuminates the widespread tendency to ignore, deny, and forgive White male mediocrity in US culture, and how a deeper understanding of people like Watkins can transform our understanding of the past—and our understanding of ourselves.