145:
344:
608:
17:
380:
628:
664:
178:
323:
127:
159:
684:
362:
916:
646:
252:). They didn’t strive for versatility and avoided risky casting choices. Their task, or the task of their agent, was in casting them into roles where their personal brand would fit and shine. It could have been an extensive dying scene at the end of amorous suffering. Many dramatists learned to incorporate these scenes into their plays to suit the actresses’ demands (many of those dramas became libretti for operas, as
970:“A large number of actresses' contracts have stated that marriage is an immediate reason for termination. … This basically means that at least the smaller stages take into account the sexual attractiveness of their actresses, and that the sexual interest of the men's world is weakened if the actress in question does not necessarily appear to be "free" but is officially claimed by a marriage alliance.”
191:
physical appearance, voice, temperament, sensitivity, and similar characteristics. Actors in a particular "character" did not need to search for and build a role. A set of gestures, voice mannerisms etc. were enough for them to express the outer of the psychology of the character. However, great actresses often played the same popular show-off roles and performed them on their tours around
79:
overall concept of the role and the entire performance. Stars, their personalities and sometimes even legends around them (as well as contemporary film stars today), shaped the overall impression and understanding of the dramatic form presented on stage. Stage actors, and actresses even more so, achieved global and popularity and fame, which they soon after lost to film actors.
522:). Their task, or the task of their agent was in casting them into roles where their personal brand would fit into the particular role. It could have been an extensive dying scene at the end of amorous suffering. Many dramatists learned to incorporate these scenes into their plays to suit the actresses’ demands (many of those dramas became libretti for operas, as
964:“Are you also having relationships?” the director of a city theatre of good repute recently asked a poor creature who was supposed to play his first lover, casting a critical eye at her simple street dress. Cooks are often required by their rigorous mistresses not to have any jewels. Conversely, a jewel of an actress is also a jewel of her theatre director.
961:
As part of the theatre production at the time, actresses had to provide luxurious gowns and costumes at their own expense, and the society required the actress to have a new set of gowns for each role, one dress for each act (men often got by with a tailcoat, a summer suit and a set of uniforms, and
957:
On the other hand, many actresses (also dancers and women in theatre in general) were often considered modern-day courtesans providing sexual favour to rich male theatre-goers. Not only did actresses often play fallen women (women from a better society were interested in lives of "the others"), they
595:
The theatre had a great feature of femininity (emphasis on visual impression, precision, costume design, female sexuality and aesthetics, expressing emotions, feeling touched and crying as an audience response, and the presence of a number of great female artistic personalities. Some interpretations
1014:
This acting style was often later described as derogatory, as mannerist, unrealistic, and superficial. But, theatre acting, as a transient artistic expression, changes and develops. What one generation considers progressive, subsequent generations condemn as outdated. In its time, grand acting must
553:
This acting style was often later described as derogatory, as mannerist, unrealistic, and superficial. But, theatre acting, as a transient artistic expression, changes and develops. What one generation considers progressive, subsequent generations condemn as outdated. In its time, grand acting must
195:
or the world. These roles were dangerous because the audience got opportunity to compare the performance of one actress with the previous artist. All these roles were luxuriously dressed women, queens, aristocrats and ladies of the great world. And actresses had to play them in lavish design gowns.
310:
Another important feature of the theatre practice was that the audience could see each other, because the lighting technology did not allow the auditorium to be completely dimmed (at least not until the electrification of theatres in 1880s). The audience could thus experience emotions as a group,
283:
Actresses often toured other language regions. There, they were performing in their mother tongue, so the audience watched a several-hour production without often understanding the dramatic text. That's why they had their permanent repertoire of well-known plots, which was easy to understand even
78:
was a type of theatre performance that served as a vehicle for the main star, eventually stars. Playwrights and stage directors of this epoch were there to serve performers and their needs to create the desired emotion. The looks, voice, persona, name, style and fame of the star often created the
190:
All these actresses performed characters in a category of “tragic heroine” or “salon lady” (examples of these roles are mentioned later). Acting at that time was divided into "characters" (”emploi” in French, “Fach” in German, similar to a “stock character”), i.e. sets of roles requiring similar
697:
Plays with a strong melodramatic potential were most valued concepts, those embracing such emotion-evoking concepts as sacrifice, infidelity, separation, revenge and forgiveness. Popular dramatic texts allowed actresses to show strong and overwhelming emotions and experience great passions and,
721:) etc. All these plays, although written by men, focus fully or substantially on women's understanding of the world, experiences, values and perception of the world, and with a leading woman presenting these topics, the grand drama was also an empowering experience for the female audience.
440:. These stage actresses often crossed their language regions and toured Europe and gained fame in many countries, although they were performing their repertoire in their mother tongue. There actresses were no longer tied to a single country but rather turned themselves into global icons.
907:. These plays required a completely different type of participation from the audience, more subtle and more attentive to the context of the play. They pointed to the need for social change or the absurdity of human existence, and meant the new direction of European theatre.
200:
complained about the actresses’ obsession to appear on stage in the most magnificent costumes possible. He sarcastically mocked a great tragedian who depicted a scene of suffering and desolation in a costume richly made of velvet and silk and with a long train.
1074:. These styles favored a comprehensive, unified approach to theatrical production. The actors had to follow the director's requirements in their acting style, costumes and overall conception of their roles. Grand acting definitely lost its reputation during
986:
Young Sarah
Bernhardt kept several lovers at the same time. She even developed various tricks to extract extra money from her patrons, eg. she would puncture her gums with a needle to be later discovered with blood on a handkerchief held up to her mouth.
982:
practices were rather rare. The social imagination figured theatre women as mistresses of powerful men who became their influential protectors, politicians, aristocrats and diplomats. This practice was both quietly tolerated and loudly criticized.
228:
Most actresses developed their acting style directly on stage. Some of them had tutors, others depended on their intuition or learned by imitating more successful actresses. However, there was no uniform acting style. Some actresses, like
343:
1021:
was a strong stigma of this art form. Next to her acting performance, each star was heavily depending on her good looks, with her beauty and sex-appeal being her only asset at the beginning of her career. A showing example could
607:
560:
was a strong stigma of this art form. Next to her acting performance, each star was heavily depending on her good looks, with her beauty and sex-appeal being her only asset at the beginning of her career. A showing example could
962:
their historical costumes being provided by the theatre). This fashion design pressure often caused even the very successful ones to seek rich patrons to sponsor them. The luxury of the star enhanced her theater's prestige.
204:
The vast majority of theater productions were business projects dependent on ticket revenue. Theatre directors and agents had to cast stars or actors with star potential to attract audiences. Over time, some stars, like
573:, mainly thanks to her charming appearance and attractiveness for officers of the nearby garrison. She came to Vienna, where Johann Nepomuk Nestroy hired her as an extra and for small roles at the Carl Theater.
115:). In this period, men had the same opportunities for realization as women, but there was a focus on female themes and expressing emotions, and the presence of a number of great female artistic personalities.
100:
theater were suppressed. The idea was to let the spectator empathize with a strong passionate, often even destructive emotion, the legitimacy of which was ensured by the reputation of the main star.
627:
379:
244:
Many great actresses used their persona as the leading interpretation of their particular roles, no matter in whatever play they were in. Similarly as
Hollywood stars of the 1930s and 1940s (
144:
237:, became timeless examples of high quality acting. They became masters of role interpretation and often emphasized the psychological nuances of the characters they played. Some, like
935:
Top actresses often maintained extravagant theatrical lifestyles to draw attention to their stage art and they were expected to be fashion icons and social influencers. Most notably
663:
514:
Many great actresses presented themselves first, and then that particular role, no matter in whatever play they were in. Similarly as
Hollywood stars of the 1930s and 1940s (
750:(a play about a high society wife that is treated as a plaything; when she perceives that her husband prefers her sister, she runs away with her lover. French playwright
735:(a story of a courtesan who falls in love and decides to leave her past behind but fails and eventually dies - the original actress for the role of Marguerite Gautier,
322:
503:
and both RĂ©jane and
Pospischil toured repeatedly London; all gained great success although RĂ©jane was performing in French, and Pospischil and Haverland in German).
158:
93:). Acting focused on expression of feelings and emotional imagination of the audience, arousing of sensibility, and sentimentalism as the key artistic concept.
946:
High-status actresses had certain social concessions from rigid
Victorian morality. Bourgeois society accepted this as fact without the usual moralizing. Both
58:, developed into an artistic-social phenomenon with emphasis on expressing and evoking emotions. This trend was common especially in the second half of the
126:
694:
Actresses (the same as opera singers today) had a set of roles they could perform both with their own troupe or as a guest star with another company.
596:
claim that during most of the nineteenth century the theatre was supposed to offer a strongly erotic experience to men and service to their fantasies.
16:
943:
of exotic animals even on her travels, had a satin-lined coffin in her bedroom, and occasionally slept in it or lay in it to study her roles.
361:
177:
1003:
820:
ability to broadcast human vices, and his linguistic and emotional opulence suited the actresses' demands for a role (especially plays as
784:(outcast daughter returns home as a famous artist, refuses a marriage offer from the man who ruined her). In both cases, as French writer
499:. These "provincial" stars mostly did not reach beyond their region, although some of them made successful tours abroad (Haverland toured
1217:"Tragedy, Gender, Performance: Women as Tragic Heroes on the Nineteenth-Century Stage. In. Comparative Drama, Vol. 30, 1996/2. P. 147 .
645:
107:
theatre art, which by itself exhausted its artistic possibilities. But it carries a strong legacy in other artistic disciplines (
511:
This acting style was based on a big star who performed the destiny of the main female character of the drama in her own style.
724:
A whole series of dramas emerged that placed a woman in the focus. French dramatists often depicted shocking settings of the
1015:
have had its justification, that's why it became so popular and some names of that era are still synonymous with acting.
554:
have had its justification, that's why it became so popular and some names of that era are still synonymous with acting.
1079:
975:
855:
676:
371:
633:
832:). Esp. in the first half of the 19th century many English actresses also took the challenge to play the titular
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without knowledge of the language. At the same time, these plays often had very long dialogues, often in verses (
256:
214:
25:
683:
1041:
was one of the early fashion houses to provide high-end lavish gowns for actresses. Another great example is
580:
was one of the early fashion houses to provide high-end lavish gowns for actresses. Another great example is
1071:
353:
1049:
Théodora (Mucha became more famous for creating several posters for
Bernhardt’s shows). The German word
978:
studio actresses, stage divas were not exploited by theatre managers as their power was often bigger and
588:
Théodora (Mucha became more famous for creating several posters for
Bernhardt’s shows). The German word
292:) and the actress had to showcase the beauty of the verse with a dramatic delivery that was captivating.
915:
810:
732:
706:
773:
German drama tended more towards social criticism, duties and freedom of women and presentation of the
702:, weren’t intellectually or emotionally challenging. The charisma of the performer dominated the text.
729:
526:
523:
253:
1034:, mainly thanks to her charming appearance and attractiveness for officers of the nearby garrison.
845:
817:
767:
736:
592:(artist of fashion, specifically actress) shows the expectations and the critique of this concept.
452:
392:
87:
802:
1053:(artist of fashion, specifically women) shows the expectations and the critique of this concept.
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drama began to emerge outside the epicenter of theatrical activity, northern and eastern Europe.
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35:
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The actresses used the modulation and timbre of their voice (close to the performance of an
267:
245:
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63:
213:, depended on repertoire choices of their theater group leaders. (Eg. Terry longed to play
1046:
995:
947:
936:
763:
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According to the typology of the actress, it could be a long final redeeming dying scene (
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guest star role list with her Berlin agent contact (similar to contemporary opera singers’
651:
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241:, were criticized by some critics as too flamboyant and mannerist even in their time.
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39:
1114:
Komodiantin-Dirne? Der
Kunstlerin Leben Und Lieben Im Lichte Der Wahrheit. P. 152.
1031:
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1037:
Many of these productions were fashion shows as much as theatrical performances.
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Many of these productions were fashion shows as much as theatrical performances.
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813:. Other actresses of the big stage mostly found Ibsen too obscure or intimate.
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869:
407:. She is believed to be the first global celebrity, becoming renowned both in
221:
didn’t approve of her choice as he didn’t find a suitable role for himself in
97:
968:
Marriage could be also difficult for actresses of both high and lower ranks.
1056:
The grand acting style gradually began to disappear at the beginning of the
848:
practice, however, was common mostly in
Britain, and only to certain roles.
774:
725:
710:
618:
83:
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759:
728:, courtesans, fallen women, harlot/saint dichotomy or penitent sinners -
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openly raised their children born out of wedlock without being shamed.
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90:
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192:
209:, became independent and produced their own shows. Some stars, like
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were also opera singers) and large gestures (with some features of
914:
682:
613:
French postcard from the beginning of the 20th century presenting
547:
416:
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108:
15:
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112:
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790:“Respectable women want to know how other women live and die.”
434:
412:
1205:"A Cultural History of Theatre in the Age of Empire. P. 101 .
1123:
1121:
86:, even for dramatic texts that came from other periods (e.g.
1337:"A Cultural History of Theatre in the Age of Empire. P. 31 .
1133:
1157:"A Cultural History of Theatre in the Age of Empire. P. 61.
1145:"A Cultural History of Theatre in the Age of Empire. P. 31.
958:
also got a dubious reputation of morally loose attitude.
713:), a moment of broken pride and self-awareness (Magda in
1006:
who was selecting his mistresses from artistic circles.
717:) or a scene in which the heroine showed great cruelty (
1060:, and was replaced by contemporary trends, such as the
939:, said to be the first global celebrity, kept a little
352:, a group portrait of German and Austrian actresses by
1289:
Aus dem Tagebuch einer deutschen Schauspielerin. 1912.
1229:
Actresses and Whores. On Stage and in Society. P. 128.
931:
depicts a scene of seduction or soliciting at theatre
1078:. A reflection of this stage star style survived in
103:
Grand theatre was only one of the directions of the
443:There were other famous theatre stars, for example
865:were particularly popular among German actresses.
1193:"Acting Women. Images of Women in Theatre. P. 79.
1265:Die Frau als Schauspielerin. Ein Aufsatz. P. 61.
739:, played the role over six hundred times) or
709:), a scene of suffering and defiling purity (
415:. Other important actresses of this era were
8:
1301:Sarah. The Life of Sarah Bernhardt. Pg. 57.
797:also found a deep interest in interpreting
96:Realism, psychology and other elements of
1325:In. Amerikán. 1895/34, 8 May 1895. p. 14.
1313:Elizabeth: Kaiserin wider Willen. P. 282.
1093:
603:
318:
122:
851:From the classical German repertoire,
82:The dominant interpretation genre was
1253:Das Theater der Prostitution. P. 144.
7:
1030:who got her first stage success in
1004:Franz, Prince of Thun and Hohenstein
569:who got her first stage success in
1102:The Melodramatic Imagination. P. 63
698:especially those in the style of a
1241:Der Frauenberuf im Theater. p. 53.
38:of several great actresses of the
14:
816:Among the older dramatic works,
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360:
342:
321:
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1045:costume and jewelry design for
994:was rumoured to be mistress of
584:costume and jewelry design for
459:. In German speaking countries
399:The most notorious example was
634:Georges Jules Victor Clairin’s
171:, based on an 1888 production
1:
1169:The Daughters of Eve. P. 111.
636:painting of the character of
911:Social position of actresses
809:, and, above all, Ellida in
74:Grand theatrical art of the
766:, and Madame Sans-GĂŞne for
1356:
1181:"Le corps poétique. P. 89.
350:”Heroines of German stage”
929:“Two Dancers and Two Men”
311:publicly and share them.
1277:Daughters of Eve. P. 26.
1010:Critique of grand acting
299:singer, some of them as
1275:Lenard R. Berlanstein:
1167:Lenard R. Berlanstein,
1072:Konstantin Stanislavski
495:was a great actress of
1323:PĹŻvodnĂ dopis z ÄŚech,
1287:Helene Scharfenstein,
932:
884:. First production of
880:was first produced in
836:, or the male lead in
691:
548:opera of the same name
278:opera of the same name
217:but actor and manager
32:
990:Czech-German actress
918:
811:The Lady from the Sea
686:
463:became a star at the
119:Grand acting practice
19:
754:wrote his tragedies
733:La Dame aux Camélias
707:La Dame aux Camélias
674:Friedrich Schiller's
527:La Dame aux Camelias
390:Friedrich Schiller's
354:Richard Ernst Kepler
257:La Dame aux Camélias
26:La Dame aux Camélias
1311:Theater und Kunst,
1100:Theater und Kunst,
1051:ToilettenkĂĽnstlerin
801:heroines - Nora in
590:ToilettenkĂĽnstlerin
393:The Maid of Orleans
1070:or the realism of
933:
868:At the same time,
805:, Rebecca West in
692:
688:Maria Pospischil’s
333:Victorien Sardou's
33:
1299:Robert Gottlieb:
1239:Paul Schlenther,
842:Charlotte Cushman
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1227:Kirsten Pullen,
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1129:Charlotte Wolter
1125:
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1098:
1043:Alphonse Mucha’s
1028:Charlotte Wolter
1002:and Czech Count
992:Maria Pospischil
838:Romeo and Juliet
768:Gabrielle RĂ©jane
752:Victorien Sardou
670:Maria Pospischil
666:
648:
630:
610:
582:Alphonse Mucha’s
567:Charlotte Wolter
516:Marlene Dietrich
493:Maria Pospischil
461:Charlotte Wolter
453:Gabrielle RĂ©jane
382:
368:Charlotte Wolter
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329:Maria Pospischil
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315:Notable examples
305:physical theatre
246:Marlene Dietrich
239:Charlotte Wolter
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937:Sarah Bernhardt
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764:Sarah Bernhardt
758:, Théodora and
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652:Sarah Bernhardt
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479:gained fame in
438:Helena Modjeska
405:Sarah Bernhardt
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301:Agatha Bârsescu
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184:Helena Modjeska
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135:as Doña Sol in
133:Sarah Bernhardt
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56:Helena Modjeska
44:Sarah Bernhardt
30:Sarah Bernhardt
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5:
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1215:Anne Russell:
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1082:glamor stars.
1039:House of Worth
1011:
1008:
1000:Franz Joseph I
912:
909:
891:was staged in
874:A Doll's House
846:cross-dressing
830:As You Like It
803:A Doll’s House
700:well-made play
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617:about to kill
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473:Anna Haverland
445:Lillie Langtry
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198:Heinrich Laube
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814:
812:
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796:
795:Eleonora Duse
792:
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737:Eugénie Doche
734:
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64:Fin de siècle
61:
57:
53:
49:
48:Eleonora Duse
45:
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37:
31:
27:
23:
18:
1336:
1331:
1324:
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1307:
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1295:
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1263:Julius Bab,
1259:
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1228:
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1199:
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1058:20th century
1055:
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945:
934:
928:
920:Edgar Degas’
886:Strindberg’s
867:
856:Maria Stuart
850:
815:
793:
789:
772:
723:
719:Lady Macbeth
704:
696:
693:
677:Maria Stuart
594:
589:
575:
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513:
510:
442:
398:
372:Maria Stuart
349:
309:
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243:
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219:Henry Irving
203:
189:
169:Lady Macbeth
105:19th century
102:
95:
81:
76:19th century
73:
60:19th century
40:19th century
34:
20:A poster by
1076:World War I
1062:avant-garde
1047:Bernhardt’s
901:The Seagull
807:Rosmersholm
786:Jules Janin
779:Sudermann’s
586:Bernhardt’s
534:La Traviata
467:theatre in
427:Ellen Terry
290:alexandrine
286:blank verse
264:La Traviata
235:Ellen Terry
165:Ellen Terry
52:Ellen Terry
1088:References
889:Miss Julie
853:Schiller’s
600:Repertoire
70:Definition
42:, as e.g.
1080:Hollywood
1032:Timișoara
976:Hollywood
948:Bernhardt
897:Chekhov's
775:New Woman
748:Frou-Frou
726:demimonde
711:Desdemona
638:Frou-Frou
619:Desdemona
571:Timișoara
545:Puccini’s
275:Puccini’s
207:Bernhardt
196:Director
84:melodrama
36:Stage art
28:starring
1024:Viennese
998:Emperor
996:Austrian
760:La Tosca
745:Halévy’s
656:La Tosca
563:Viennese
541:La Tosca
538:Sardou’s
501:New York
435:American
411:and the
403:actress
268:Sardou’s
215:Rosalind
1019:Lookism
974:Unlike
899:comedy
844:. This
826:Macbeth
822:Othello
799:Ibsen’s
788:noted:
741:Meilhac
615:Othello
558:Lookism
531:Verdi’s
497:Hamburg
465:Hofburg
424:British
417:Italian
261:Verdi’s
137:Hernani
91:Othello
926:pastel
870:modern
863:Sappho
834:Hamlet
782:Heimat
756:FĂ©dora
730:Dumas’
715:Heimat
524:Dumas’
489:Munich
481:Berlin
469:Vienna
457:France
431:Polish
409:Europe
401:French
336:Fedora
254:Dumas’
193:Europe
98:modern
62:, the
1026:star
952:Terry
878:Ibsen
840:, as
565:star
543:into
536:, or
529:into
507:Style
297:opera
273:into
271:Tosca
266:, or
259:into
211:Terry
109:opera
66:era.
950:and
923:1880
905:1896
893:1889
882:1879
858:and
762:for
743:and
483:and
475:and
429:and
113:film
54:and
24:for
941:ZOO
876:by
672:as
654:as
550:).
518:or
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455:in
451:or
447:in
413:USA
388:as
370:as
331:as
307:).
280:).
248:or
233:or
225:).
167:as
1131:,
1120:^
895:.
828:,
824:,
777:-
770:.
491:.
471:,
422:,
288:,
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621:]
433:-
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