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2021
The Paradox of The Actress and accompanying new solo theatre work The Disappearing Trilogy examines the proposition of Western actresses often disappearing into female gendered stereotyped roles. These roles are often sexually objectifying and oppressive.
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The Paradox of The Actress and accompanying new solo theatre work The Disappearing Trilogy examines the proposition of Western actresses often disappearing into female gendered stereotyped roles. These roles are often sexually objectifying and oppressive.
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1993
During the post-war years the image of the English actress underwent a radical sea change as a result of shifts in the position of women and family life. Actresses of this generation found themselves caught between the grand Shakespeareans of the 1940s and the rebels of the 1960s.
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During the post-war years the image of the English actress underwent a radical sea change as a result of shifts in the position of women and family life. Actresses of this generation found themselves caught between the grand Shakespeareans of the 1940s and the rebels of the 1960s.
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Abstract This chapter examines Hepburn’s skill as actress. It looks at examples of her expert timing, her use of props, her expressive face, her interaction with other actors in an ensemble, and the overall nuance with which she developed complex characterizations.
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This Element looks at the art of the actress in the eighteenth century. It considers how visual materials across genres, such as prints, portraits, sculpture, costumes, and accessories, contribute to the understanding of the nuances of female celebrity, fame, notoriety, and scandal.
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2015
No playwright has exercised more power over the casting of his plays than Bernard Shaw. Between the writing of Widowers’ Houses and Buoyant Billions , he spent millions of words wooing, bullying, flattering, and personally coaching actors he tagged for his plays. Shaw needed to verbally dominate: words were his life; words were creative power – ‘And
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No playwright has exercised more power over the casting of his plays than Bernard Shaw. Between the writing of Widowers’ Houses and Buoyant Billions , he spent millions of words wooing, bullying, flattering, and personally coaching actors he tagged for his plays. Shaw needed to verbally dominate: words were his life; words were creative power – ‘And
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