By Tracy C. Davis
In Victorian society performers have been drawn from various category backgrounds, and loved a distinct measure of social mobility. however the dwelling and dealing stipulations of girl performers have been very varied 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 existence cycle to a bodily challenging, itinerant career lower than consistent public scrutiny ended in assumptions approximately actresses' morality. those assumptions have been continually bolstered through theatrical conventions which mirrored renowned pornographic photos, and have been super tough to beat. This e-book can be of curiosity to scholars and lecturers 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)
The Bancrofts’ social dramas at the Prince of Wales’s, Harris’s pantomimes at Drury Lane, the Alhambra ballet, Wyndham’s society comedy, and Gilbert and Sullivan at the Savoy). By adhering to a particular product, they also determined hiring practices. After the industrial transformation of the Northern and Midland counties, London functioned as a small-scale production and distribution centre for finished consumer goods and the luxury trades. The theatre fitted admirably into this pattern, though by the mid-century it was more labour intensive than most industries.
6d. 88 Matinees sometimes paid only half the rate of evening performances, if anything, and further restricted daytime employment (including the hours available for tutoring young dancers). Actresses of the legitimate stage also had professional costs apart from their performing wardrobes. Like women in other trades where personal appearance was considered important, actresses were required to look their best at all times. Maude Royden draws a parallel between the situations of actresses and office typists.
In this respect, the theatre was no different from manufacturing, distributive, and agricultural trades that devalued women’s labour and got away with paying women at a lower rate because competition for their jobs was so high. 68 Experienced actresses frequently complained about the preference for moneyed and well-dressed women who usurped the tradition of apprenticeship into the craft by quite literally dressing their way onto the stage, or outbidding women who actually worked for their livings, but since it was in managers’ interest to hire the best-dressed supers, the complaints were disregarded.
Actresses as Working Women: Their Social Identity in Victorian England (Gender and Performance Series) by Tracy C. Davis