Actresses as Working Women: Their Social Identity in by Tracy C. Davis PDF

By Tracy C. Davis

ISBN-10: 0415056527

ISBN-13: 9780415056526

In Victorian society performers have been drawn from various category backgrounds, and loved a special measure of social mobility. however the dwelling and dealing stipulations of girl performers have been very diverse from these in their male colleagues. Their segregation and focus in low-status jobs, like dancing, assured financial lack of confidence. Their makes an attempt to reconcile sexuality and the feminine lifestyles cycle to a bodily challenging, itinerant career less than consistent public scrutiny resulted in assumptions approximately actresses' morality. those assumptions have been regularly bolstered by means of theatrical conventions which mirrored renowned pornographic photos, and have been super tough to beat. This publication could be of curiosity to scholars and academics of theatre stories, women's stories, and social historical past.

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Extra info for Actresses as Working Women: Their Social Identity in Victorian England (Gender and Performance Series)

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4 0 0 4s. 90 The difference between £67 10s. and £33 4s. would disappear on insurance premiums, incidental travel expenses, and food, while the rest was laid by for the inevitable periods of unemployment. The result for most actresses was an average yearly wage considerably less than that of lower-middle-class working women. 91 The education needed for any of these jobs was comparable. A few actresses could make a great deal more than teachers, clerks, and journalists, but most made a great deal less in real terms.

Before she married Charles Calvert in 1856, Adelaide Biddles and her sister Clara earned a combined salary of £2 7s. 51 One 25 ACTRESSES AS WORKING WOMEN source states that in 1853 the maximum rate was £3 to £6 a week,52 but Mayhew indicates that in 1856, 15s. 53 The same low wage is recorded in the 1890s, when touring actresses could be paid as little as £2 a week for utility parts in a number one company, 30s. in number two and three companies, and as little as 15s. 54 The earnings of popular performers could rise very quickly.

The Gaiety Girl had not suffered the agony of a long classical ballet training; she may not even have come up through the 23 ACTRESSES AS WORKING WOMEN rigours of pantomime. She had to be able to walk well, move elegantly, and wear expensive costumes with dignity and poise. In a sense, the chorus, at the Gaiety, were choristers— ladies who sang their hearts out, unseen, behind a convenient ‘flat’. 38 Among dancers, therefore, the Gaiety Girl is a special case. Equestriennes were not limited to the circus ring, but were engaged as specialty acts in legitimate and other non-legitimate theatrical forms, just as gymnasts, tightrope walkers, and animal trainers sometimes found employment in circus, music hall, and melodrama.

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Actresses as Working Women: Their Social Identity in Victorian England (Gender and Performance Series) by Tracy C. Davis

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