120:
97:
83:
67:
54:
33:
223:
all the wonderful muscular powers she displays for a child of twelve, can hardly be overrated in their attractions; while as a mere actress, her versatility of expression, both of feature and gesture, and her winning archness and finished byplay, impart to her performance a charm infinitely beyond her years." The next month
Maywood appeared together with Lee in
315:
Maywood's family returned to the United States after
Maywood married, but she remained in Europe. There is no record of Maywood performing in 1842, as she was likely pregnant and giving birth to a baby girl. She would spend the next five years dancing in venues in smaller cities such as Marseille and
222:
wrote, "Philadelphia has covered herself with glory in borrowing this native-born sprite of New York for a season, and returning her so rich in attractions to the home of her childhood... Her bright, pretty elfish face and ariel-like figure, the mingled grace and precision of her movements, and above
260:
referred to her as an "infant prodigy" and reviews described her dancing as "original," "eccentric," and "astonishing." Much was made of the fact that she was born in the New World, with
Parisian reviewers describing her as a "wild doe" or a "lively gazelle." Two weeks later she performed in her
196:
wrote it was "a most extraordinary debut. Perhaps for the brief tuition that the little goddess underwent, and correlative non-advantages surrounding her, this was a first appearance unprecedented in ballet annals." One of the other dancers at that performance caught the attention of critics:
352:
Maywood became the first ballerina to tour with her own ensemble company, joining with the Lasina brothers, Giovanni
Battista and Giuseppi, to create a semi-permanent ensemble. She toured Italy with the company from 1850 to 1858, performing in ballet versions of Harriet Beecher Stowe's
160:
on March 5, 1825. She was the second of two daughters born to Henry August
Williams and Martha Bally, itinerant actors from England who divorced when Augusta was an infant. When Augusta was three, her mother remarried Robert Campbell Maywood, an actor who also managed
334:
Her growing renown at Vienna provided enough for an invitation to La Scala in Milan in 1848. At La Scala, Maywood became the prima ballerina at age twenty-three, she would remain there until her retirement in 1862. She danced the ballerina role in operas such as
374:
She was frequently critiqued by the press for scandalous behavior, including her elopement, divorce, abandonment of her child, and allegedly leaving her stepfather to die in a poorhouse. In 1858 she married Carlo
Gardini, an Italian physician and journalist.
192:. Philadelphia newspapers reported that the performance had caused "a sensation among the veteran playgoers," and critics lauded her performance, including one who was "astonished by her excellence." Theater historian
249:, the ballet master and principal dancer at the Académie Royale de Musique (the Paris Opéra). Charles de Boigne described her as a high-spirited child who shocked the other students out of their complacency.
306:. Her time at the Academie was cut short, however, when she eloped to Lisbon in November 1840 with her dancing partner, Charles Mabille. The elopement made headlines on both sides of the Atlantic; the
326:
with her husband, though they had a troubled relationship and by 1845 Maywood had returned to using her maiden name. They divorced and she abandoned her infant daughter to the care of her ex-husband.
216:
wrote: "Though scarcely twelve years of age there was a precision, a strength and even a force, in her dancing, such as we do not ordinarily see in any but practiced danseuses of mature age." The
312:
described
Maywood as "the fugitive diablesse" in reference to the most recent ballet they had danced in together. They were both removed from the payroll as they had missed performances.
273:, a full-length ballet-pantomime with choreography by Mazilier. That month she was offered a contract for an appointment at the Opéra, for a generous annual sum of 3,000 livres.
726:
276:
Maywood danced with older and more experienced dancers in her performances, and was considered an artist to watch in the future. In 1840 she danced in
731:
316:
Lyon. For the 1843-1845 seasons, at age eighteen, she was prima ballerina at the Teatro
Nacional de SĂŁo Carlos in Lisbon. Her debut in
168:
In 1836, her stepfather arranged for her to take ballet lessons with Paul H. Hazard, a
Philadelphia instructor who had danced with the
741:
201:, another protégée of Paul Hazard. A rivalry between the two girls was encouraged by the public, the press, and Maywood's stepfather.
664:
446:
141:
136:, was the first American ballerina to gain international recognition. In a career spanning forty-four years, she danced at the
241:
In May 1838, Maywood traveled with her mother to Paris; she would never return to the United States. She studied under
736:
302:
378:
After retiring in 1862, she opened a ballet school in Vienna, returning to northern Italy in 1873 where she lived on
368:
209:
180:
On
December 30, 1837, Maywood made her stage debut at age twelve in a benefit for her mother, a performance of
685:
162:
296:
32:
721:
716:
355:
290:
257:
119:
82:
53:
308:
278:
96:
66:
536:
323:
416:
660:
528:
442:
520:
412:
404:
269:. Her third debut performance at the Paris Opéra was in December 1839 with an appearance in
343:
246:
218:
625:
580:
284:
193:
165:. Both Augusta and her older sister Mary Elizabeth took their stepfather's last name.
710:
266:
157:
60:
382:. Maywood died in obscurity on November 3, 1876, in Lemberg, Austria-Hungary (later
148:
in Milan. Maywood was the first ballerina to have her own touring ensemble company.
336:
242:
198:
185:
233:
by Taglioni. She performed in a successful benefit in New York City on April 7.
229:
169:
137:
524:
532:
379:
145:
113:
540:
508:
318:
252:
She made her Paris debut at age fourteen in November 1839 in Coralli's
509:""The Wild Doe": Augusta Maywood in Philadelphia and Paris, 1837-1840"
439:
Women in world history : a biographical encyclopedia (volume 10)
109:
204:
In February 1838, Maywood traveled to New York City to perform the
383:
90:
659:. New York: Britannica Educational Publishing. pp. 68–70.
322:
received rave reviews. From 1845 to 1847, she danced at the
575:
573:
571:
569:
567:
565:
563:
561:
559:
557:
132:(March 5, 1825 – November 3, 1876), born
371:, marking her as a part of Italian theater culture.
441:. Waterford, CT: Yorkin Publications. p. 677.
105:
75:
46:
23:
363:. A marionette version of her 1852 production of
624:Winter, Marian Hannah (January–February 1943).
502:
500:
498:
496:
494:
492:
490:
488:
486:
484:
482:
480:
478:
476:
474:
472:
470:
468:
466:
464:
462:
460:
458:
8:
619:
617:
615:
613:
611:
609:
607:
605:
603:
601:
367:was created by the Teatro Mecanico of the
256:. The response to her debut was positive;
118:
95:
81:
65:
52:
31:
20:
417:10.1093/anb/9780198606697.article.1800811
405:"Maywood, Augusta (1825-1876), ballerina"
680:
678:
676:
265:, a two-act ballet-pantomime, alongside
395:
140:and became prima ballerina at both the
7:
727:19th-century American ballet dancers
507:Costonis, Maureen Needham (1994).
14:
655:Hamilton, Trenton, ed. (2016).
1:
156:Augusta Williams was born in
142:Teatro Nacional de SĂŁo Carlos
657:The history of Western dance
225:The Dew Drop, or La Sylphide
732:19th-century American women
437:Commire, Anne, ed. (2001).
409:American National Biography
758:
742:American prima ballerinas
525:10.1080/01472529408569157
403:Needham, Maureen (2000).
365:Il sogno di un alchimista
42:
30:
359:and Filippo Termanini's
152:Early life and education
585:Encyclopedia Britannica
163:Chestnut Street Theatre
324:Theater am Kärntnertor
206:Le Dieu et la bayadère
190:Le Dieu et la bayadère
79:November 3, 1876
291:La muette de Portici
182:The Maid of Cashmere
309:Spirit of the Times
297:La fille mal gardée
279:Gustave III (Auber)
50:March 5, 1825
737:Italian ballerinas
369:Anfiteatro Goldoni
303:Le Diable amoureux
16:American ballerina
686:"Augusta Maywood"
626:"Augusta Maywood"
581:"Augusta Maywood"
356:Uncle Tom's Cabin
344:Antonio Cortesi's
258:Théophile Gautier
254:Le Diable boiteux
127:
126:
112:, dance teacher,
749:
701:
700:
698:
696:
690:Oxford Reference
682:
671:
670:
652:
646:
645:
643:
641:
621:
596:
595:
593:
591:
577:
552:
551:
549:
547:
504:
453:
452:
434:
428:
427:
425:
423:
400:
188:'s opera ballet
134:Augusta Williams
123:
122:
101:
100:
99:
86:
85:
71:
70:
69:
57:
56:
35:
21:
757:
756:
752:
751:
750:
748:
747:
746:
707:
706:
705:
704:
694:
692:
684:
683:
674:
667:
654:
653:
649:
639:
637:
623:
622:
599:
589:
587:
579:
578:
555:
545:
543:
513:Dance Chronicle
506:
505:
456:
449:
436:
435:
431:
421:
419:
402:
401:
397:
392:
332:
247:Joseph Mazilier
239:
227:, a version of
184:, a version of
178:
154:
130:Augusta Maywood
117:
94:
89:
88:
80:
64:
59:
58:
51:
38:
37:Augusta Maywood
26:
25:Augusta Maywood
17:
12:
11:
5:
755:
753:
745:
744:
739:
734:
729:
724:
719:
709:
708:
703:
702:
672:
665:
647:
597:
553:
519:(2): 123–148.
454:
447:
429:
394:
393:
391:
388:
337:Jules Perrot's
331:
328:
285:Fernand Cortez
238:
237:Move to Europe
235:
212:. A review in
194:Charles Durang
177:
176:Dancing career
174:
153:
150:
144:in Lisbon and
125:
124:
107:
103:
102:
77:
73:
72:
48:
44:
43:
40:
39:
36:
28:
27:
24:
15:
13:
10:
9:
6:
4:
3:
2:
754:
743:
740:
738:
735:
733:
730:
728:
725:
723:
720:
718:
715:
714:
712:
691:
687:
681:
679:
677:
673:
668:
666:9781680480801
662:
658:
651:
648:
635:
631:
627:
620:
618:
616:
614:
612:
610:
608:
606:
604:
602:
598:
586:
582:
576:
574:
572:
570:
568:
566:
564:
562:
560:
558:
554:
542:
538:
534:
530:
526:
522:
518:
514:
510:
503:
501:
499:
497:
495:
493:
491:
489:
487:
485:
483:
481:
479:
477:
475:
473:
471:
469:
467:
465:
463:
461:
459:
455:
450:
448:9780787637361
444:
440:
433:
430:
418:
414:
410:
406:
399:
396:
389:
387:
385:
384:Lviv, Ukraine
381:
376:
372:
370:
366:
362:
361:Rita Gauthier
358:
357:
350:
348:
345:
341:
338:
330:Fame in Italy
329:
327:
325:
321:
320:
313:
311:
310:
305:
304:
299:
298:
293:
292:
287:
286:
281:
280:
274:
272:
268:
267:Fanny Elssler
264:
261:second debut
259:
255:
250:
248:
244:
236:
234:
232:
231:
226:
221:
220:
215:
211:
207:
202:
200:
195:
191:
187:
183:
175:
173:
171:
166:
164:
159:
158:New York City
151:
149:
147:
143:
139:
135:
131:
121:
115:
111:
108:
104:
98:
92:
84:
78:
74:
68:
62:
61:New York City
55:
49:
45:
41:
34:
29:
22:
19:
693:. Retrieved
689:
656:
650:
638:. Retrieved
633:
629:
588:. Retrieved
584:
544:. Retrieved
516:
512:
438:
432:
420:. Retrieved
408:
398:
377:
373:
364:
360:
354:
351:
346:
339:
333:
317:
314:
307:
301:
295:
289:
283:
277:
275:
270:
263:La Tarentule
262:
253:
251:
243:Jean Coralli
240:
228:
224:
217:
213:
210:Park Theatre
205:
203:
199:Mary Ann Lee
189:
186:Daniel Auber
181:
179:
167:
155:
133:
129:
128:
18:
722:1876 deaths
717:1825 births
695:November 3,
640:October 21,
630:Dance Index
590:October 21,
546:October 21,
422:October 21,
230:La Sylphide
170:Paris Opera
138:Paris Opera
711:Categories
390:References
347:La silfide
214:The Albion
106:Occupation
533:0147-2526
380:Lake Como
87:(aged 51)
271:La Gypsy
146:La Scala
114:educator
541:1567809
319:Giselle
208:at the
663:
539:
531:
445:
300:, and
219:Mirror
116:
110:Dancer
93:
63:
636:(1–2)
537:JSTOR
340:Faust
697:2021
661:ISBN
642:2021
592:2021
548:2021
529:ISSN
443:ISBN
424:2021
342:and
245:and
91:Lviv
76:Died
47:Born
521:doi
413:doi
386:).
713::
688:.
675:^
634:II
632:.
628:.
600:^
583:.
556:^
535:.
527:.
517:17
515:.
511:.
457:^
411:.
407:.
349:.
294:,
288:,
282:,
172:.
699:.
669:.
644:.
594:.
550:.
523::
451:.
426:.
415::
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
