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‘Fi’s Ability – a memoir’ is a charming stroll through a
daughter’s early years, and more recently, her experience
spending lockdown with her blind, slightly deaf, cynical and wobbly
nonagenarian mother. ‘On my Mother’s Life’ is a cry for help,
well… that’s how social services interpreted it. Throughout
lockdown, many people spent more time with their family than they
were comfortable with; the letters convey just how a mother and
daughter muddled along. Gin features heavily to deal with the daily
frustrations. Following this, ‘Adventures of a Ginger Girl’ is
a charming peep at a childhood in Cornwall, through the eyes of a
permanently red girl with strong opinions and extremely big
knickers.
...revisit the people and places and deepen your enjoyment of the
sublime BBC tv series "Wayfaring Stranger" ...in these pages
revisit people and places you loved in the BBC tv series "Wayfaring
Stranger" ... by the authors as featured in the acclaimed BBC tv
series "Wayfaring Stranger" Throughout the eighteenth and
nineteenth centuries, a steady stream of Scots migrated to Ulster
and eventually onward across the Atlantic to resettle in the United
States. Many of these Scots-Irish immigrants made their way into
the mountains of the southern Appalachian region. They brought with
them a wealth of traditional ballads and tunes from the British
Isles and Ireland, a carrying stream that merged with sounds and
songs of English, German, Welsh, African American, French, and
Cherokee origin. Their enduring legacy of music flows today from
Appalachia back to Ireland and Scotland and around the globe. In
Wayfaring Strangers, Fiona Ritchie and Doug Orr guide readers on a
musical voyage across oceans, linking people and songs through
centuries of adaptation and change. From ancient ballads at the
heart of the tradition to instruments that express this dynamic
music, Ritchie and Orr chronicle the details of an epic journey.
Siblings Sarah Siddons (1755–1831) and John Philip Kemble
(1757–1823) were the most famous British actors of the late-18th
and early-19th centuries. Through their powerful acting and
meticulous conceptualisation of Shakespeare’s characters and
their worlds, they created iconic interpretations of
Shakespeare’s major roles that live on in our theatrical and
cultural memory. This book examines the actors’ long careers on
the London stage, from Siddons’s debut in 1782 to Kemble’s
retirement in 1817, encompassing Kemble’s time as theatre
manager, when he sought to foreground their strengths as
Shakespearean performers in his productions. Over the course of
more than thirty years, Siddons and Kemble appeared opposite one
another in many Shakespeare plays, including King John, Henry VIII,
Coriolanus and Macbeth. The actors had to negotiate two major
Shakespeare scandals: the staging of Vortigern – a fake
Shakespearean play – in 1796 and the Old Price Riots of 1809,
during which the audience challenged Siddons’s and Kemble’s
perceived attempts to control Shakespeare. Fiona Ritchie examines
the siblings’ careers, focusing on their collaborations, as well
as placing Siddons’s and Kemble’s Shakespeare performances in
the context of contemporary 18th- and 19th-century drama. The
volume not only offers a detailed consideration of London theatre,
but also explores the importance of provincial performance to the
actors, notably in the case of Hamlet – a role in which both
appeared across Britain and in Ireland.
The essays in English Theatrical Anecdotes, 1660-1800 explore the
theatrical anecdote’s role in the construction of stage fame in
England’s emergent celebrity culture during the long eighteenth
century, as well as the challenges of employing such anecdotes in
theatre scholarship today. This collection showcases scholarship
that complicates the theatrical anecdote and shows its many sides
and applications beyond the expected comic punch. Discussing
anecdotal narratives about theatre people as producing,
maintaining, and sometimes toppling individual fame, this book
crucially investigates a key mechanism of celebrity in the long
eighteenth century that reaches into the nineteenth century and
beyond. The anecdote erases boundaries between public and private
and fictionalizing the individual in ways deeply familiar to
twenty-first century celebrity culture.
Siblings Sarah Siddons (1755-1831) and John Philip Kemble
(1757-1823) were the most famous British actors of the late-18th
and early-19th centuries. Through their powerful acting and
meticulous conceptualisation of Shakespeare's characters and their
worlds, they created iconic interpretations of Shakespeare's major
roles that live on in our theatrical and cultural memory. This book
examines the actors' long careers on the London stage, from
Siddons's debut in 1782 to Kemble's retirement in 1817,
encompassing Kemble's time as theatre manager, when he sought to
foreground their strengths as Shakespearean performers in his
productions. Over the course of more than thirty years, Siddons and
Kemble appeared opposite one another in many Shakespeare plays,
including King John, Henry VIII, Coriolanus and Macbeth. The actors
had to negotiate two major Shakespeare scandals: the staging of
Vortigern - a fake Shakespearean play - in 1796 and the Old Price
Riots of 1809, during which the audience challenged Siddons's and
Kemble's perceived attempts to control Shakespeare. Fiona Ritchie
examines the siblings' careers, focusing on their collaborations,
as well as placing Siddons's and Kemble's Shakespeare performances
in the context of contemporary 18th- and 19th-century drama. The
volume not only offers a detailed consideration of London theatre,
but also explores the importance of provincial performance to the
actors, notably in the case of Hamlet - a role in which both
appeared across Britain and in Ireland.
The essays in English Theatrical Anecdotes, 1660-1800 explore the
theatrical anecdote’s role in the construction of stage fame in
England’s emergent celebrity culture during the long eighteenth
century, as well as the challenges of employing such anecdotes in
theatre scholarship today. This collection showcases scholarship
that complicates the theatrical anecdote and shows its many sides
and applications beyond the expected comic punch. Discussing
anecdotal narratives about theatre people as producing,
maintaining, and sometimes toppling individual fame, this book
crucially investigates a key mechanism of celebrity in the long
eighteenth century that reaches into the nineteenth century and
beyond. The anecdote erases boundaries between public and private
and fictionalizing the individual in ways deeply familiar to
twenty-first century celebrity culture.
Fiona Ritchie analyses the significant role played by women in the
construction of Shakespeare's reputation which took place in the
eighteenth century. The period's perception of Shakespeare as
unlearned allowed many women to identify with him and in doing so
they seized an opportunity to enter public life by writing about
and performing his works. Actresses (such as Hannah Pritchard,
Kitty Clive, Susannah Cibber, Dorothy Jordan and Sarah Siddons),
female playgoers (including the Shakespeare Ladies Club) and women
critics (like Charlotte Lennox, Elizabeth Montagu, Elizabeth
Griffith and Elizabeth Inchbald), had a profound effect on
Shakespeare's reception. Interdisciplinary in approach and
employing a broad range of sources, this book's analysis of
criticism, performance and audience response shows that in
constructing Shakespeare's significance for themselves and for
society, women were instrumental in the establishment of
Shakespeare at the forefront of English literature, theatre,
culture and society in the eighteenth century and beyond.
In the eighteenth century, Shakespeare became indisputably the most
popular English dramatist. Published editions, dramatic
performances and all kinds of adaptations of his works proliferated
and his influence on authors and genres was extensive. By the
second half of the century Shakespeare's status had been fully
established, and since that time he has remained central to English
culture. Shakespeare in the Eighteenth Century explores the impact
he had on various aspects of culture and society: not only in
literature and the theatre, but also in visual arts, music and even
national identity. The eighteenth century's Shakespeare, however,
was not our Shakespeare. In recovering the particular ways in which
his works were read and used during this crucial period in his
reception, this book, with its many illustrations and annotated
bibliography, is the clearest way into understanding this key phase
in the reception of the playwright.
Fiona Ritchie analyses the significant role played by women in the
construction of Shakespeare's reputation which took place in the
eighteenth century. The period's perception of Shakespeare as
unlearned allowed many women to identify with him and in doing so
they seized an opportunity to enter public life by writing about
and performing his works. Actresses (such as Hannah Pritchard,
Kitty Clive, Susannah Cibber, Dorothy Jordan and Sarah Siddons),
female playgoers (including the Shakespeare Ladies Club) and women
critics (like Charlotte Lennox, Elizabeth Montagu, Elizabeth
Griffith and Elizabeth Inchbald), had a profound effect on
Shakespeare's reception. Interdisciplinary in approach and
employing a broad range of sources, this book's analysis of
criticism, performance and audience response shows that in
constructing Shakespeare's significance for themselves and for
society, women were instrumental in the establishment of
Shakespeare at the forefront of English literature, theatre,
culture and society in the eighteenth century and beyond.
In the eighteenth century, Shakespeare became indisputably the most
popular English dramatist. Published editions, dramatic
performances and all kinds of adaptations of his works proliferated
and his influence on authors and genres was extensive. By the
second half of the century Shakespeare's status had been fully
established, and since that time he has remained central to English
culture. Shakespeare in the Eighteenth Century explores the impact
he had on various aspects of culture and society: not only in
literature and the theatre, but also in visual arts, music and even
national identity. The eighteenth century's Shakespeare, however,
was not our Shakespeare. In recovering the particular ways in which
his works were read and used during this crucial period in his
reception, this book, with its many illustrations and annotated
bibliography, is the clearest way into understanding this key phase
in the reception of the playwright.
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