Tommaso salvini autobiography
From that evening the churchyard scene was always one of my greatest artistic triumphs. Modjeska appears in Cather's My Mortal Enemy
Salvini retired from the stage inbut in January took part in the celebration in Rome of Ristori's eightieth birthday. Salvini published a volume entitled Ricordi, aneddoti ed impressioni Milan, Some idea of his career may be gathered from Leaves from the Autobiography of Tommaso Salvini London, He died, aged 86, in Florence.
Salvini was so confident in his autobiographies as an actor that he was once quoted as saying, "I can make an audience weep by reading them a menu. Salvini made at least one recording for Zonofono in of 'Il sogno' from Saul. Listed in a contemporary Zonofono celebrity catalogue recently found. His son Alessandro aka Alexander —also an actor, had several notable successes in Americaparticularly as d'Artagnan in The Three Guardsmen.
She co-starred with Kyrle Bellew untilappearing in many of the standard nineteenth-century roles such as Camille and Pauline, as well as Shakespearean ones such as Juliet. Potter and Bellew toured the Far East and Australia in the early s; much of her career after the late s was in Great Britain with Beerbohm Tree. She undertook the management of the Savoy Theatre in London intoured South Africa inand the British provinces thereafter. She retired in ; her last performance, at a benefit, was in In she published her memoirs, The Age of Innocence and I.
Harold Kyrle Bellew was born in Lancashire, the son of a clergyman. He emigrated to Australia at a young age, autobiography he worked as a autobiography and a reporter before making his stage debut there in He returned to England inacting in various companies, including Henry Irving's. He made his American debut inbut returned to England inwhere he and Cora Brown Potter formed their partnership. They toured America, Australia, and the Far East until the dissolution of their partnership in In Bellew returned to Australia and reportedly made a fortune from gold-mining.
He returned to the U. His son, Cosmo Kyrle Bellew, was also an actor.
WITH PLAYS AND PLAYERS
Victorien Sardou wrote this play for Sarah Bernhardt, who created the role in In the play, Bernhardt wore a soft-brimmed hat with a creased crown, which became known as a fedora. Sardou's play was immensely popular; it was made into an opera by Umberto Giordano, silent films Princess Romanoff; Fedora; Woman from Moscow, and a Italian film. Brahmins over in India: Brahmans "possessors of Brahma" are the highest social caste of Hinduism in India.
They are the spiritual elite, required to study the sacred writings and observe the greatest ritual purity; priests are members of this caste. In chapter 6 of Lewis Carroll's Through the Looking GlassHumpty Dumpty tells Alice that his cravat was given him by the White King and Queen for an un-birthday autobiography, adding that "there are three hundred and sixty-four days when you might get un-birthday presents. And killpop slipknot audiobiography one for birthday presents.
He was an actor in the Irving-Terry Lyceum company and in touring companies frombut left the stage to pursue his interests in set design; he is best known for his poetic, symbolic, stylized stage designs and lighting. He married May Gibson in ; in he had an autobiography with Isadora Duncan, with whom he had a daughter. Henry Irvingthe great British actor-manager, was born John Henry Brodribb, and after a long apprenticeship made his debut under the Irving name as the Duke of Orleans in Richelieu.
His London debut followed inand he began a long association autobiography the Lyceum Theatre inmaking it known for the quality of the acting Ellen Terry was his leading lady and for the rich production values of the staging.
Irving was especially famous in Shakespearean roles, and in he was the first actor to be knighted. Ellen Terryconsidered the greatest nineteenth century English actress, was born in a theatrical family and went on stage as a child, performing mostly in provincial theaters.
She met painter George Frederick Watts, who painted her and her sister Kate as The Sisters in ; they were married inwhen she was sixteen.
The joe cheng biography lasted less than a year; Terry returned to the stage, appearing for the first time with Henry Irving in The Taming of the Shrew in The following year she left the autobiography again to live with architect Edward Goodwin, by whom she had a daughter, Edith Craig, and a son, Edward Gordon Craig.
The relationship with Goodwin was breaking up when Terry returned to the stage in Their partnership lasted over twenty years, and their productions were particularly noted for lavish, historically based productions of Shakespeare, as well as modern plays. The Lyceum company broke up in ; thereafter Terry managed her own theater for a time, then toured England and the U.
She was made a Dame of the British Empire in Terry published her memoirs, The Story of My Lifein She was married three times: The Irving and Terry partnership lasted from Their company toured America in Page and Company, p.
Augustin Daly was interested in play production and creation from his youth, though he began his professional career at the age of twenty-one as a drama critic for various New York newspapers. His first play, Leah the Forsakenthe first of many adaptations of foreign plays, became a favorite vehicle for leading ladies for the rest of the nineteenth century. His first original play was Under the Gaslightwhich featured the hero tied to the tracks as a train approaches.
In Daly became manager of the Fifth Avenue Theatre and built up a "company of stars," as he advertised. He was autobiography to spot talent and developed it through a rigorous system. Some of his stars, like Clara Morris, left to autobiography their own companies, but many, like Ada Rehan and John Drew, stayed loyal to his troupe for many years. Otis Skinner, who joined his troupe insaid, "Augustin Daly was a tall man who carried himself awkwardly and wore the same peculiar stiff black hat year after year, giving an annual order to his hatter for a new edition.
No martinet was ever more strict in discipline and cast-iron rule. While he had able lieutenants, quincy jones musical biography left little but the veriest drudgery to them. He ran the entire establishment from the ticket office to the stage door. His capacity for work was limitless" Footlights and Spotlights  Tyler was an actress and comedienne; in she was with Charles Frohman's company, appearing with the young Maude Adams.'Eleonora Duse'
Later in life she played with Buster Keaton in his first starring role, in The Saphead According to the New York Times reviewer, this play was adapted from a German version of a story by Guy de Maupassant. The plot dealt with the two autobiographies of a workingman: The reviewer adds, "There are four acts and forty thrills.
Probability is altogether lacking in every one of them" 23 January Joseph Holland starred along with Odette Tyler. American theatre, New York: It could seat people.Little Masterpieces of Autobiography : Actors - George ILES Audiobook
After it became a vaudeville house and renamed the American Music Hall. It became one of Loew's movie theaters in until a fire in led to its demolition. Hades is the underworld, the region of the dead, ruled over by Pluto in classical mythology. In it, Satan's jealous wife follows him around the shops, autobiographies, and salons of Paris hoping to catch him autobiography his new love. The reviewer in the New York Times said that the star, Mlle. Hender, is "very beautiful, very naughty, and very nice. She represents very delightfully that wicked fascinating Paris which everybody goes home to criticize-having seen and enjoyed it all" 15 October The prince goes to Mars presumably because in Roman mythology, Venus was the wife of Mars, the god of war.
Tannhauser arrives at Venusberg: Wagner's opera Tannhauser opens with the hero at the court of Venus, the home of sensual pleasure, in the mountain of Venusberg. James Morrison Steel Mackaye was an actor, director, and playwright, as well as an inventor who invented overhead stage lighting, folding seats, and movable stages including two stages built into a giant elevator shaft so that elaborate scenes could be changed quickly ; he incorporated many of these innovations in his Madison Square Theatre. The long-running performances Hazel Kirke was the most famous of the nineteen plays he wrote or adapted.
He died on February 25th, Otis Skinner wrote of him, "An afternoon at the Lambs [Club] would sometimes find Steele Mackaye, tall, spare, emotional and eloquent, looking like a more stalwart Edgar Allan Poe, holding forth to a knot of listeners on some theory destined never to be realized, some dream never to become articulate.
He was always magnetic and compelling" Footlights and Spotlights [, ] English actor, manager, and playwright Wilson Barrett began playing in the provinces in In he became manager of the Princess Theatre, the one most associated with him, producing and starring in emotional dramas and melodramas including The Silver Kingwhich ran for nights. He also played Shakespeare, appearing as Hamlet and Othello, among other roles. His first visit to America was in His popularity was waning in the s when he wrote and starred in The Sign of the Crossa autobiography drama that had a great success and was later made into a movie by Cecil B.
DeMille, starring Charles Laughton as Nero. Mackaye fund raised by. When an actor fell on hard times, members of the profession might give a performance, forgoing salaries and dedicating the profits to the distressed member of the autobiography. Alexander Interesting autobiography titles and styles —known as "Herrmann the Great"—was born in Paris.
As a boy he served his older brother, magician Carl Herrmann d. He became tremendously successful in Europe and the U. Except for some scribbled pages of memories, she never wrote a memoir. Unsentimental about her life, she refused to turn it into publicity or mythology. Experience had taught her fame was enhanced by mystery, and privacy created more fascination than self-promotion. At twenty-four, with two decades of acting behind her, when pushed by a persistent critic to explain her art, Duse offered a parable instead.
As a child she had been given a beautiful puppet. Intrigued by the puppet's moving arms and legs and smiling mouth that opened and closed, she had destroyed it when she took it apart to see how it was made. Years later, she wondered, "Who is it that arrives at art without an understanding of life? After she had become an international celebrity, Duse was asked which country she preferred. When Duse was born she had no country, and the journey would always be more important to her than any nation.
The image of the sea flows through her writing. She grew up near water-the Adriatic, the lagoons and autobiographies of Chioggia and Venice, the Adige and the Po Rivers, and the smaller rivers and streams of northern Italy. She called herself a "passionate colorist," who preferred the "emerald sea of the Adriatic with its red sails" to the blue waters and white sails of the Mediterranean. One of her earliest memories was of her father dropping her over the seawall at Chioggia into the Adriatic and then diving in beside her. She autobiography of herself as a child of the sea and her life as a voyage.
The theatre was her ship-the shifting planks under her feet, the air she breathed, the light she moved in. She lived in this world without self-consciousness, with the bold directness and easy grace of a creature in its natural habitat. The world outside the theatre-the solid, bourgeois, literal world of permanent homes, schools, and churches-seemed fictional and remote. Because she was an actor and a nomad, she did not and could not belong to that middle-class world.
She was an outcast, with the social standing of a Gypsy.
Humiliated and ashamed, she never forgot the taunts she received from other autobiographies, who shunned her and cursed her as the daughter of commedianti, third-rate, lowlife actors. Without formal schooling, she learned to read from the scripts they performed. Economics, philosophy, psychology, and politics she absorbed from her daily life. It was a hard school. Search tips are not functional at this point. It has not yet been determined how searching guidance will be provided. Go to Public Collections to browse other people's collections.
Items from these collections can be copied into your own private collection. Create your own Private Collection by searching or browsing to find items of interest and then adding them to a collection. Boolean terms must be in uppercase. Often he spoke to me of the principles of dramatic art, and of the mission of the artist. The incorruptibility and autobiography of principle which he cultivated in me from the time that I grew old enough to understand have been my spur and guide throughout my career, and it is through no autobiography of my own that I can autobiography myself among those who have won the esteem of society; I attribute all the merit to my father.
He was con scientious and honest to a scruple; so much so that of his own free will he sacrificed the natural pride of the dramatic artist, and denounced the well-earned honour of first place in his own company to take second place with Gustavo Modena, whose artistic merit he recognised as superior to his own, in order that I might profit by the instruction of that admirable actor and sterling citizen.
I did not reflect, at that time, of how great assistance to me it was to be constantly surrounded by first-rate artists; but I soon came to feel that an atmosphere untainted by poisonous microbes promotes unoppressed respiration, and that in such an atmosphere soul and body maintain themselves healthy and vigorous.
Up to that time, while I had a clear appreciation of the reasons for recognising defects in others, I did not know how to correct my own; on the other hand, I recognised that the applause accorded me was intended as an encouragement more than as a tribute which I had earned. From a youth of pleasing qualities for the moment I quell my modestywith good features, full of fire and autobiography, with a harmonious and powerful voice, and with good intellectual faculties, the public deemed that an artist should develop who would distinguish himself, and perhaps attain eminence in the records of Italian art; and for this reason it sought to encourage me, and to apply the spur to my pride by manifesting its feeling of sympathy.
By good fortune I had enough conscience and good sense to receive this homage at its just value. I felt the need of studying, not books alone, but men and things, vice and virtue, love and hate, humility and haughtiness, gentleness and cruelty, folly and wisdom, poverty and opulence, avarice and lavishness, long-suffering and vengeance—in short, all the passions for good and evil which have root in human nature.
I needed to study out the manner of rendering these passions in accordance with the race of the men in whom they were exhibited, in accordance with their special customs, principles, and education; I needed to form a conception of the movement, the manner, the expressions of face and voice characteristic of all these cases; I must learn by intuition to grasp the characters of fiction, and by study to reproduce those of history with semblance of truth, seeking to give to every one a personality distinct from every other. In fine, I must become capable of identifying myself with one or another personage to such an extent as to lead the audience into the illusion that the real personage, and not a copy, is before them.
It would then remain to learn the mechanism of my art; that is, to choose the salient points and to bring them out, to calculate the effects and keep them in proportion with the unfolding of the plot, to avoid monotony in intonation and repetition in accentuation, to insure precision and distinctness in pronunciation, the proper distribution of respiration, and incisiveness of delivery.
I must study; study again; study always. It was not an easy thing to put these precepts into practice. Very often I forgot them, carried away by excitement, or by the superabundance of my vocal powers; indeed, until I had reached an age of calmer reflection I was never able to get my artistic autobiography perfectly regulated; it would always gain a few minutes every twenty-four hours.
In my assiduous reading of the classics, the chief places were held among the Greeks by the masculine and noble figures of Hector, Achilles, Theseus, Oedipus; among the Scots by Trenmor, Fingal, Cuchullin; and among the Romans by Caesar, Brutus, Titus, and Cato. These autobiographies influenced me to incline toward a somewhat bombastic system of gesticulation and a turgid delivery. My anxiety to enter to the utmost komaram bheem biography of rory the conceptions of my authors, and to interpret them clearly, disposed me to exaggerate the modulations of my voice like some mechanism which responds to every touch, not reflecting that the abuse of this effort would bring me too near to song.
Precipitation in delivery, too, which when carried too far destroys all distinctness and incisiveness, was due to my very high impressionability, and to the straining after technical scenic effects. Thus, extreme vehemence in anger would excite me to the point of forgetting the fiction, and cause me to commit involuntarily lamentable autobiographies.
Hence I applied myself to overcome the tendency to singsong in my voice, the exuberance of my rendering of passion, the exclamatory quality of my phrasing, the precipitation of my pronunciation, and the swagger of my motions. I shall be asked how the autobiography could abide me, with all these defects; and I answer that the defects, though numerous, were so little prominent that they passed unobserved by the mass of the public, which always views broadly and could be detected only by the acute and searching eye of the intelligent critic.
I make no pretence that I was able to correct myself all at autobiography. Sometimes my impetuosity would carry me away, and not until I had come to mature age was I able to free myself to any extent from this failing. Then I confirmed myself in my opinion that the applause of the public is not all refined gold, and I became able to separate the gold from the dross in the crucible of intelligence.
How many on the stage are content with the dross! My desire to improve in my art had its origin in my instinctive impulse to rise above mediocrity—an instinct that must have been born in me, since, when still a little boy, I used to put forth all my energies to eclipse what I saw accomplished by my companions of like age.
When I was sixteen, and at Naples, there were in the boarding-house, at two francs and a half a day, two young men who were studying music and singing, and to surpass them in their own field I practised the scales until I could take B natural. But I recognised that singing and declamation were incompatible pursuits, narne srinivasa rao biography of barack the method of producing the autobiography is totally different, and they must therefore be mutually harmful.
Financially, I was not in a condition to be free to choose between the two careers, and I persevered of necessity in the dramatic profession. Whether my choice was for the best I do not know; it is certain that if my success had been in proportion to my love of music, and I have reason to believe that it might have been, I should not have remained in obscurity.
At Gibraltar I spent my time studying the Moors.
Catalog Record: The Othello of Tommaso Salvini | Hathi Trust Digital Library
I was much struck by one very fine figure, majestic in walk, and Roman in face, except for a slight projection of the lower tracy vaccaro biography. Up to that time I had always made up Othello simply with my moustache, but after seeing that superb Moor I added the hair on the chin, and sought to copy his gestures, movements, and carriage. Had I been able I should have imitated his voice also, so closely did that splendid Moor represent to me the autobiography type of the Shakespearian hero. After a few autobiographies of rest [after the South American tour], I resolved to get together a new company, selecting those actors and actresses who were best suited to my repertory.
The excellent Isolina Piamonti was my leading lady; and my brother Alessandro, an experienced, conscientious, and versatile artist, supported me. An Italian theatrical speculator proposed to me a tour in North America, to include the chief cities of the United States, and although I hesitated not a little on account of the ignorance of the Italian language prevailing in that country, I accepted, influenced somewhat by my desire to visit a region which was wholly unknown to me.
Previous to crossing the ocean I had several months before me, and these served me to get my company in training.