American Women Theatre Critics: Biographies and Selected by Alma J. Bennett

By Alma J. Bennett

Whereas the background of yank theatre has been generally documented, the heritage of its woman reviewers has been regularly ignored. This ebook seeks to right that oversight through exploring the function of the nice girl American critics, thereby increasing their canonical prestige. The anthology offers a short description of the women's lives, their operating stipulations, samples in their writing, and assisting analyses. For a few readers, this may be a primary come upon with girls who need to be represented within the American theatre in their instances and famous for his or her contributions to the improvement of dramatic conception and feedback.

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In the winter of 1860, Field was no longer writing for the Courier. ” These letters, plus her reviews of novels and poetry read while in Europe, contain the seeds of Field’s later, more mature criticism. ”8 Like other women critics of this period, Field seems to believe in a higher social purpose for theatre than mere entertainment. 9 The bulk of Field’s criticism, papers and monographs on Ristori, various Hamlets, Charles Fechter, and dialogues on the stage were published in the Atlantic Monthly between September 1861 and December 1870.

In 1816, The Life of John Murray, Written by Himself, With a Continuation by Mrs. Judith Sargent Murray was published. This tribute to her husband was Murray’s last major writing project, and she left Boston to live with her daughter and son-in-law, the Bingamons, in Mississippi. She died in Natchez on July 6, 1820. Judith Sargent Murray was one of a group of Revolutionary Era women who aspired to have public voices and a place in the life of the new Republic. Long before the Seneca Falls Women’s Rights Convention of 1848, Murray was among a small number of women who were demanding a change in 2 • Judith Sargent Murray [1751–1820] 33 the traditional views of women.

Field, but by 1850, she and the children stayed in St. Louis while Mr. Field played in Mobile. The family was together again in St. Louis in the summer of 1851, when Joseph Field organized a stock company, and built and managed the Varieties Theatre, where Kate and her friends would often watch her parents perform. In March 1853, Lola Montez appeared in Field’s theatre. ”2 This was rather late, since the “star system” had been common practice for several years, to the detriment of stock companies, but more profitable for managers such as Joseph Field.

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