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HELENA FAUCIT
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Helena Faucit
Excerpt from Helena Faucit: Lady Martin First appearance in Edinburgh - Creates general enthusiasm First appearance in glasgow-her influence on character Her analysis of Rosalind - Appears in Cork - Trial perform ance there of Ophelia - Visits the Killarney Lakes. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Helena Faucit (Lady Martin)
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
On Some of Shakespeare's Female Characters
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Actresses on the Victorian Stage
Gail Marshall argues that the professional and personal history of the Victorian actress was largely defined by her negotiation with the sculptural metaphor, and that this was authorized and determined by the Ovidian myth of Pygmalion and Galatea. Drawing on evidence of theatrical fictions, visual representations and popular culture's assimilation of the sculptural image, as well as theatrical productions, she examines some of the manifestations of the sculptural metaphor on the legitimate English stage, and its implications for the actress in the later nineteenth century. Within the legitimate theatre, the 'Galatea-aesthetic' positioned actresses as predominantly visual and sexual commodities whose opportunities for interpretative engagement with their plays were minimal. This dominant aesthetic was effectively challenged only at the end of the century, with the advent of the 'New' drama, and the emergence of a body of autobiographical writings by actresses.
The Academy
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