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Crossing boundaries and negotiating the cultural landscape
Author: Janice Norwood

Victorian touring actresses: Crossing boundaries and negotiating the cultural landscape provides a new perspective on the on- and offstage lives of women working in nineteenth-century theatre, and affirms the central role of touring, both within the United Kingdom and in North America and Australasia. Drawing on extensive archival research, it features a cross-section of neglected performers whose dramatic specialisms range from tragedy to burlesque. Although they were employed as stars in their own time, their contribution to the industry has largely been forgotten. The book’s innovative organisation follows a natural lifecycle, enabling a detailed examination of the practical challenges and opportunities typically encountered by the actress at each stage of her working life. Individual experiences are scrutinised to highlight the career implications of strategies adopted to cope with the demands of the profession, the physical potential of the actress’s body, and the operation of gendered power on and offstage. Analysis is situated in a wide contextual framework and reveals how reception and success depended on the performer’s response to the changing political, economic, social and cultural landscape as well as to developments in professional practice and organisation. The book concludes with discussion of the legacies of the performers, linking their experiences to the present-day situation.

Janice Norwood

8 Closing scenes: the ageing actress If she was lucky an actress may have avoided accidental injury at work or disaster while travelling, but she was not immune to the passing of time. The age at which a woman was regarded as old was as much subject to cultural belief as it was to her longevity or physical condition. For Queen Victoria, it was after she was widowed at the age of forty-two (Chase, 2009: 154, 159). For many of her subjects, there was a less clear-cut transition between middle and old age. Nevertheless, the overwhelming consensus was that once a

in Victorian touring actresses
Asia Argento as an Italian Difficult Woman
Giovanna Maina, Federico Zecca, Danielle Hipkins, and Catherine O’Rawe

This article offers a reconstruction of the birth of Asia Argento’s star image, with specific reference to the Italian context. Through an analysis of the media discourses that circulated around the actress in the early phase of her career (from the end of the 1980s to the 2000s), we can trace the evolution of her star image from enfant prodige of Italian cinema, and youth icon, to that of the ‘anti-star’ who strongly divides public opinion, owing to her unruliness on and off-screen. The article concludes that her pre-existing association with sexual transgression inflected how her behaviour with Harvey Weinstein and Jimmy Bennett was interpreted in the Italian public sphere.

Film Studies
The Visual Politics and Narratives of Red Cross Museums in Europe and the United States, 1920s to 2010s
Sönke Kunkel

technology. Some of these displays were sent to world expositions in Vienna (1873), Paris (1878), and Brussels (1897) ( Hutchinson, 1996 : 165f). A full Red Cross museum was only realized by the end of World War I – in the United States. Many American Red Cross volunteers had collected significant symbolic gifts during their work in Europe. At the same time, American Red Cross president Henry Davison, teaming up with Broadway actress Eleanor Robson Belmont, looked for a place ‘to

Journal of Humanitarian Affairs
The Aid Industry and the ‘Me Too’ Movement
Charlotte Lydia Riley

Me Too, Aid Too The ‘Me Too’ movement was started in 2006 by Tarana Burke, who used the phrase to describe her internal, silent response to a thirteen-year-old girl who had come to her with a story of sexual assault ( Garcia, 2017 ). Burke encouraged women to stand in solidarity against the pervasiveness of sexual assault, abuse and harassment in patriarchal culture, and to show victims that they were not alone. In October 2016, the actress Alyssa Milano

Journal of Humanitarian Affairs
Abstract only
Janice Norwood

English actress Adelaide Neilson in 1880, this obituary in a local US newspaper insists that her superlative performances of Shakespeare’s heroines are unforgettable and unmatchable. Yet, memory of her achievements, like that of the majority of women who performed on the Victorian stage, faded remarkably quickly. Fast-forward to 2017 and a conversation with a young actress, responding to my research on Neilson and her contemporaries, who bemoaned the fact that she had been completely unaware of such histories when studying performing arts, even at drama school. She

in Victorian touring actresses
Open Access (free)
Actresses, charity work and the early twentieth-century theatre profession
Catherine Hindson

4 Offstage labour Actresses, charity work and the early twentieth-century theatre profession Catherine Hindson Though their stage performances often feature as the subjects of focused attention, early twentieth-century actresses functioned as part of a wider theatre industry that was sustained by the non-theatrical social, material, consumer and economic cultures that surrounded it. In this context, the onstage performances offered by actresses of this period were just one element of more expansive, diverse professional repertoires that also included offstage

in Stage women, 1900–50
Janice Norwood

3 Working life in the UK The leading actress in the country theatre will rise at nine, and, after laving her hot forehead and pale face with water, snatch a cup of turbid, provincially-prepared coffee, rush to the theatre, for the ‘call’ for rehearsal is at ten. The drama of ‘Susan Hopley’, in which she sustains the character of that pattern of domestic young ladies in service, occupies her till past twelve. She then waits till two, for the eminent tragedian, Mr. Lara Thundertone, who is to ‘star’ as Macbeth that night, does not rise early, and always keeps

in Victorian touring actresses
Janice Norwood

in the transmission of skill and entry to the stage. For those fortunate to be born or marry into such groups, kinship ties continued to operate across the actress’s whole career, her extended family functioning as an intergenerational mutual support network. Sometimes this is obvious only by its absence. In her diary, Ellerslie suffers from a sense of isolation because of antipathy to the stage from her family and friends, convinced that they cannot understand her life and the compromises she is forced to make ([Ellerslie], 2005: 36–7). In the companies in which

in Victorian touring actresses
Abstract only
Naomi Paxton

107 4 M i li tancy From woman, marvel of the age Surprises still we get, And soon each actress on the stage Will be a Suffragette. And by their new found ardour stirred, The footlights’ charming queens, Will make their gentle voices heard In ‘Acts’ as well as scenes!1 The AFL has not been thought of as having had a significant role in the militant agitation for the vote, perhaps because the organisation remained neutral towards militancy as a matter of policy. The fourth item of the League’s constitution stated that it was ‘strictly neutral in regard to

in Stage Rights!