Stage women, 1900–50 explores the many ways in which women conceptualised, constructed and participated in networks of professional practice in the theatre and performance industries between 1900 and 1950. A timely volume full of original research, the book explores women’s complex negotiations of their agency over both their labour and public representation, and their use of personal and professional networks to sustain their careers. Including a series of case studies that explore a range of well-known and lesser-known women working in theatre, film and popular performance of the period. The volume is divided into two connected parts. ‘Female theatre workers in the social and theatrical realm’ looks at the relationship between women’s work – on- and offstage – and autobiography, activism, technique, touring, education and the law. Part II, ‘Women and popular performance’, focuses on the careers of individual artists, once household names, including Lily Brayton, Ellen Terry, radio star Mabel Constanduros, and Oscar-winning film star Margaret Rutherford. Overall, the book provides new and vibrant cultural histories of women’s work in the theatre and performance industries of the period.
This chapter explores the personal and professional networks created by female theatre practitioners in the late nineteenth and early twentieth century through a detailed case study of Gabrielle Enthoven – actor, playwright, translator and theatre collector. Born into privilege, Enthoven was the daughter of a colonial administrator who grew up in Egypt and the Sudan. She lived in Windsor, met Oscar Wilde and played with the royal children, spending her twenties messing about on boats and in theatres with the local soldiers. She then married and moved to Chelsea and began to network with theatre and arts professionals before devoting her life and wealth to creating a world-class collection of theatre ephemera that she donated to the Victoria and Albert Museum in London.
’ Franchise League discussed by Naomi
Paxton, or the Theatrical Ladies’ Guild discussed by Catherine Hindson.
Some were characterised more by shifting affiliations and practices and,
as a result, can be more challenging to map. In response to such a challenge Catherine Clay, in her study of British women writers between
1914 and 1945, selected three foci to reveal the personal and professionalnetworks of writers including Vera Brittain, Winifred Holtby and
Stella Benson. These foci are geography – based on different areas of
London; publishing – specifically Time and Tide
The failure and success of a Swedish film diversity initiative
Mara Lee Gerdén
project addressing mental
health among immigrants, and how this phenomenon is made invisible and
thus extremely difficult to approach. And lastly, the project of artist Aida
Chehrehgosha could be seen as part of an ongoing artistic project of hers
approaching the family, this time with a focus on the intra-generational
aspects through which histories of pain and love are handed down.
The ambitious aim of developing a film project over one year was to
be realised with a series of rapid and professionalnetworking encounters,
workshops and seminars. The budget was