Actresses - Revision history

Pankratz at 19:34, 5 October 2022

2022-10-05T19:34:27Z

← Older revision		Revision as of 19:34, 5 October 2022
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	Before the theatres were closed down in 1642, female characters in the plays were usually played by males, often young boys, although women already took over some minor roles in e.g. mystery plays. When the theatres were reopened in 1660, ~~i.a.~~ the shortage of actors lead to the inclusion of women in female roles.		Before the theatres were closed down in 1642, female characters in the plays were usually played by males, often young boys, although women already took over some minor roles in e.g. mystery plays. When the theatres were reopened in 1660, the shortage of actors lead to the inclusion of women in female roles.

	===The First Woman on Stage===		===The First Woman on Stage===

WikiSysop at 12:31, 3 January 2018

2018-01-03T12:31:08Z

← Older revision		Revision as of 12:31, 3 January 2018
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	Before the theatres were closed down in 1642, female characters in the plays were usually played by males, often young boys, although women already took over some minor roles in e.g. mystery plays. When the theatres were reopened in 1660, i.a. the shortage of actors lead to the inclusion of women in female roles.		Before the theatres were closed down in 1642, female characters in the plays were usually played by males, often young boys, although women already took over some minor roles in e.g. mystery plays. When the theatres were reopened in 1660, i.a. the shortage of actors lead to the inclusion of women in female roles.


	~~----~~

	===The First Woman on Stage===		===The First Woman on Stage===

	In December 1660, the first woman appeared on stage in the role of Desdemona in Thomas Killigrew’s production of ''Othello''. A prologue was written<br>		In December 1660, the first woman appeared on stage in the role of Desdemona in Thomas Killigrew’s production of ''[[Othello]]''. A prologue was written<br>

	“to introduce the first Woman that came to act on the stage in the tragedy called the Moor of Venice:<br>		“to introduce the first Woman that came to act on the stage in the tragedy called the Moor of Venice:<br>
Line 13:		Line 10:

	On 3 January 1661, [[Samuel Pepys\|Pepys]] recorded in his diary that when he went to see a play at the King’s Company it was “the first time that ever I saw Women come upon the stage” (Howe 1992: 19).		On 3 January 1661, [[Samuel Pepys\|Pepys]] recorded in his diary that when he went to see a play at the King’s Company it was “the first time that ever I saw Women come upon the stage” (Howe 1992: 19).


	~~----~~

	===Reasons===		===Reasons===

	Apart from the shortage of actors, the reasons why the female characters were accepted have a more social and cultural background. During the Restoration, the sexual relation between men and women changed and women were granted their own individuality, they were seen as the opposite sex, yet they were still excluded from the public male sphere.		Apart from the shortage of actors, the reasons why the female characters were accepted have a more social and cultural background. During the [[Restoration]], the sexual relation between men and women changed and women were granted their own individuality, they were seen as the opposite sex, yet they were still excluded from the public male sphere.
	Before 1660, women already acted in court privacy (in the performance of [[masques]]), but were not fully accepted. This difference is due to the change in the audience. During the Interregnum, [[Charles II]] and the court spent much time abroad on the ~~Continent~~ where actresses were a normal feature. When the king returned to power in 1660, he supported the actresses in England; this was to be seen at the two patented theatres which were created in 1660. The audience was more exclusive than in the Renaissance period where everyone could see a play for one penny, and its favour for the court explained the acceptance of women in the performances.		Before 1660, women already acted in court privacy (in the performance of [[The masque\|masques]]), but were not fully accepted. This difference is due to the change in the audience. During the [[Interregnum]], [[Charles II]] and the court spent much time abroad on the continent where actresses were a normal feature. When the king returned to power in 1660, he supported the actresses in England; this was to be seen at the two patented theatres which were created in 1660. The audience was more exclusive than in the [[Renaissance]] period where everyone could see a play for one penny, and its favour for the court explained the acceptance of women in the performances.


	~~----~~

	===The Two Companies===		===The Two Companies===

	Both Killigrew from the King’s Company and Davenant from the Duke’s Company started to recruit some actresses. Davenant recruited: Hester Davenport, Mary Saunderson, Jane Long, Anne Gibbs, Mrs. Jennings and Mrs. Norris. Killigrew recruited: Katherine Corey, Anne Marshall; Mrs. Eastland and Mrs. Weaver (Elizabeth Farley).		Both Killigrew from the King’s Company and Davenant from the Duke’s Company started to recruit some actresses. Davenant recruited: Hester Davenport, Mary Saunderson, Jane Long, Anne Gibbs, Mrs. Jennings and Mrs. Norris. Killigrew recruited: Katherine Corey, Anne Marshall; Mrs. Eastland and Mrs. Weaver (Elizabeth Farley).


	~~----~~

	===Law and Women’s status===		===Law and Women’s status===
Line 38:		Line 26:

	“we do […] permit and give leave that all the women’s parts to be acted in either of the said two companies for the time to come may be performed by women” (Howe 1992: 25).		“we do […] permit and give leave that all the women’s parts to be acted in either of the said two companies for the time to come may be performed by women” (Howe 1992: 25).


	But the status of women in the workplace and their exclusion from the public sphere and executing power is still visible: the percentage of male actors was always higher and during the first years no women was allowed to be a sharer in one of the companies. William Davenant’s wife took over the role of the manager after his death in 1668 until in 1673 her son was old enough to step in his father’s place.		But the status of women in the workplace and their exclusion from the public sphere and executing power is still visible: the percentage of male actors was always higher and during the first years no women was allowed to be a sharer in one of the companies. William Davenant’s wife took over the role of the manager after his death in 1668 until in 1673 her son was old enough to step in his father’s place.
Line 44:		Line 31:


	~~----~~

	===Sources===		===Sources===

Pankratz at 16:40, 27 January 2010

2010-01-27T16:40:40Z

← Older revision		Revision as of 16:40, 27 January 2010
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	===Reasons===		===Reasons===

	~~But apart~~ from the shortage of actors, the reasons why the female characters were accepted have a more social and cultural background. During the Restoration, the sexual relation between men and women changed and women were granted their own individuality, they were seen as the opposite sex, yet they were still excluded from the public male sphere.		Apart from the shortage of actors, the reasons why the female characters were accepted have a more social and cultural background. During the Restoration, the sexual relation between men and women changed and women were granted their own individuality, they were seen as the opposite sex, yet they were still excluded from the public male sphere.
	Before 1660, women already acted in court privacy, but were not fully accepted. This difference is due to the change in the audience. During the Interregnum, [[Charles II]] and the court spent much time abroad on the Continent where actresses were a normal feature. When the king returned to power in 1660, he supported the actresses in England; this was to be seen at the two theatres which were ~~opened~~. The audience was more exclusive than in the Renaissance period where everyone could see a play for one penny, and its favour for the court explained the acceptance of women in the performances.		Before 1660, women already acted in court privacy (in the performance of [[masques]]), but were not fully accepted. This difference is due to the change in the audience. During the Interregnum, [[Charles II]] and the court spent much time abroad on the Continent where actresses were a normal feature. When the king returned to power in 1660, he supported the actresses in England; this was to be seen at the two patented theatres which were created in 1660. The audience was more exclusive than in the Renaissance period where everyone could see a play for one penny, and its favour for the court explained the acceptance of women in the performances.


Line 37:		Line 37:
	In 1662, the casting of women for theatres became a law:		In 1662, the casting of women for theatres became a law:

	“we do […] permit and give leave that all the women’s parts to be acted in either of the said two companies for the time to come may be performed by women”. (Howe 1992: 25)		“we do […] permit and give leave that all the women’s parts to be acted in either of the said two companies for the time to come may be performed by women” (Howe 1992: 25).


	But the status of women in the workplace and their exclusion from the public sphere and executing power is still visible: the percentage of male actors was always higher and during the first years no women was allowed to be a sharer in one of the companies. William Davenant’s wife took over the role of the manager after his death in 1668 until in 1673 her son was old enough to step in his father’s place.		But the status of women in the workplace and their exclusion from the public sphere and executing power is still visible: the percentage of male actors was always higher and during the first years no women was allowed to be a sharer in one of the companies. William Davenant’s wife took over the role of the manager after his death in 1668 until in 1673 her son was old enough to step in his father’s place.
	But even during Mrs. Davenant’s time as a manager, the actresses ~~were~~ low ~~paid~~, and if they were married their husbands controlled their earnings. This might be the reason why the two ~~most paid~~ actresses Elizabeth Barry and Anne Bracegirdle remained unmarried.		But even during Mrs. Davenant’s time as a manager, the actresses had to cope with low pay, and if they were married their husbands controlled their earnings. This might be the reason why the two best-earning actresses Elizabeth Barry and Anne Bracegirdle remained unmarried.

Azim at 21:15, 21 July 2009

2009-07-21T21:15:47Z

← Older revision		Revision as of 21:15, 21 July 2009
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	===The First Woman on Stage===		===The First Woman on Stage===

	In December 1660, the first ~~women~~ appeared on stage in the role of Desdemona in Thomas Killigrew’s production of ''Othello''. A prologue was written<br>		In December 1660, the first woman appeared on stage in the role of Desdemona in Thomas Killigrew’s production of ''Othello''. A prologue was written<br>

	“to introduce the first Woman that came to act on the stage in the tragedy called the Moor of Venice:<br>		“to introduce the first Woman that came to act on the stage in the tragedy called the Moor of Venice:<br>

Azim at 17:31, 21 July 2009

2009-07-21T17:31:04Z

← Older revision		Revision as of 17:31, 21 July 2009
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	~~==Actresses==~~


	Before the theatres were closed down in 1642, female characters in the plays were usually played by males, often young boys, although women already took over some minor roles in e.g. mystery plays. When the theatres were reopened in 1660, i.a. the shortage of actors lead to the inclusion of women in female roles.		Before the theatres were closed down in 1642, female characters in the plays were usually played by males, often young boys, although women already took over some minor roles in e.g. mystery plays. When the theatres were reopened in 1660, i.a. the shortage of actors lead to the inclusion of women in female roles.

Azim: Undo revision 2671 by Pankratz (Talk)

2009-07-21T16:49:43Z

Undo revision 2671 by Pankratz (Talk)

← Older revision		Revision as of 16:49, 21 July 2009
Line 13:		Line 13:
	“to introduce the first Woman that came to act on the stage in the tragedy called the Moor of Venice:<br>		“to introduce the first Woman that came to act on the stage in the tragedy called the Moor of Venice:<br>
	The Woman playes today, mistake me not,<br>		The Woman playes today, mistake me not,<br>
	No Man in Gown, or Page in Petty-Coat”<br> (~~Elizabeth~~ Howe: ~~The First English Actresses~~).		No Man in Gown, or Page in Petty-Coat”<br> (Howe 1992: 19).

	On 3 January 1661, [[Samuel Pepys\|Pepys]] recorded in his diary that when he went to see a play at the King’s Company it was “the first time that ever I saw Women come upon the stage” (Howe 1992: ~~page?~~).		On 3 January 1661, [[Samuel Pepys\|Pepys]] recorded in his diary that when he went to see a play at the King’s Company it was “the first time that ever I saw Women come upon the stage” (Howe 1992: 19).


Line 40:		Line 40:
	In 1662, the casting of women for theatres became a law:		In 1662, the casting of women for theatres became a law:

	“we do […] permit and give leave that all the women’s parts to be acted in either of the said two companies for the time to come may be performed by women”. (Howe 1992: ~~page?~~)		“we do […] permit and give leave that all the women’s parts to be acted in either of the said two companies for the time to come may be performed by women”. (Howe 1992: 25)

Pankratz at 09:16, 21 July 2009

2009-07-21T09:16:41Z

Azim at 21:58, 20 July 2009

2009-07-20T21:58:39Z

← Older revision		Revision as of 21:58, 20 July 2009
Line 13:		Line 13:
	“to introduce the first Woman that came to act on the stage in the tragedy called the Moor of Venice:<br>		“to introduce the first Woman that came to act on the stage in the tragedy called the Moor of Venice:<br>
	The Woman playes today, mistake me not,<br>		The Woman playes today, mistake me not,<br>
	No Man in Gown, or Page in Petty-Coat”<br>(Elizabeth Howe: The First English Actresses).		No Man in Gown, or Page in Petty-Coat”<br> (Elizabeth Howe: The First English Actresses).

	On 3 January 1661, [[Samuel Pepys\|Pepys]] recorded in his diary that when he went to see a play at the King’s Company it was “the first time that ever I saw Women come upon the stage” (Elizabeth Howe: The First English Actresses).		On 3 January 1661, [[Samuel Pepys\|Pepys]] recorded in his diary that when he went to see a play at the King’s Company it was “the first time that ever I saw Women come upon the stage” (Elizabeth Howe: The First English Actresses).
Line 40:		Line 40:
	In 1662, the casting of women for theatres became a law:		In 1662, the casting of women for theatres became a law:

	“we do […] permit and give leave that all the women’s parts to be acted in either of the said two companies for the time to come may be performed by women”.(Elizabeth Howe: The First English Actresses)		“we do […] permit and give leave that all the women’s parts to be acted in either of the said two companies for the time to come may be performed by women”. (Elizabeth Howe: The First English Actresses)

Azim at 21:57, 20 July 2009

2009-07-20T21:57:33Z

← Older revision		Revision as of 21:57, 20 July 2009
Line 4:		Line 4:
	Before the theatres were closed down in 1642, female characters in the plays were usually played by males, often young boys, although women already took over some minor roles in e.g. mystery plays. When the theatres were reopened in 1660, i.a. the shortage of actors lead to the inclusion of women in female roles.		Before the theatres were closed down in 1642, female characters in the plays were usually played by males, often young boys, although women already took over some minor roles in e.g. mystery plays. When the theatres were reopened in 1660, i.a. the shortage of actors lead to the inclusion of women in female roles.


			----

	===The First Woman on Stage===		===The First Woman on Stage===
Line 15:		Line 17:
	On 3 January 1661, [[Samuel Pepys\|Pepys]] recorded in his diary that when he went to see a play at the King’s Company it was “the first time that ever I saw Women come upon the stage” (Elizabeth Howe: The First English Actresses).		On 3 January 1661, [[Samuel Pepys\|Pepys]] recorded in his diary that when he went to see a play at the King’s Company it was “the first time that ever I saw Women come upon the stage” (Elizabeth Howe: The First English Actresses).


			----

	===Reasons===		===Reasons===
Line 21:		Line 25:
	Before 1660, women already acted in court privacy, but were not fully accepted. This difference is due to the change in the audience. During the Interregnum, [[Charles II]] and the court spent much time abroad on the Continent where actresses were a normal feature. When the king returned to power in 1660, he supported the actresses in England; this was to be seen at the two theatres which were opened. The audience was more exclusive than in the Renaissance period where ‘everyone’ could see a play for one penny, and its favour for the court explained the acceptance of women in the performances.		Before 1660, women already acted in court privacy, but were not fully accepted. This difference is due to the change in the audience. During the Interregnum, [[Charles II]] and the court spent much time abroad on the Continent where actresses were a normal feature. When the king returned to power in 1660, he supported the actresses in England; this was to be seen at the two theatres which were opened. The audience was more exclusive than in the Renaissance period where ‘everyone’ could see a play for one penny, and its favour for the court explained the acceptance of women in the performances.


			----

	===The Two Companies===		===The Two Companies===
Line 26:		Line 32:
	Both Killigrew from the King’s Company and Davenant from the Duke’s Compny started to recruit some actresses. Davenant recruited: Hester Davenport, Mary Saunderson, Jane Long, Anne Gibbs, Mrs. Jennings and Mrs. Norris. Killigrew recruited: Katherine Corey, Anne Marshall; Mrs. Eastland and Mrs. Weaver (Elizabeth Farley).		Both Killigrew from the King’s Company and Davenant from the Duke’s Compny started to recruit some actresses. Davenant recruited: Hester Davenport, Mary Saunderson, Jane Long, Anne Gibbs, Mrs. Jennings and Mrs. Norris. Killigrew recruited: Katherine Corey, Anne Marshall; Mrs. Eastland and Mrs. Weaver (Elizabeth Farley).


			----

	===Law and Women’s status===		===Law and Women’s status===
Line 38:		Line 46:
	But even during Mrs. Davenant’s time as a manager, the actresses were low paid, and if they were married their husbands controlled their earnings. This might be the reason why the two most paid actresses Elizabeth Barry and Anne Bracegirdle remained unmarried.		But even during Mrs. Davenant’s time as a manager, the actresses were low paid, and if they were married their husbands controlled their earnings. This might be the reason why the two most paid actresses Elizabeth Barry and Anne Bracegirdle remained unmarried.


			----

	===Sources===		===Sources===

	Brunkhorst, Martin. ''Drama und Theater der Restaurationszeit''. Heidelberg: Winter, 1985.		* Brunkhorst, Martin. ''Drama und Theater der Restaurationszeit''. Heidelberg: Winter, 1985.

	Howe, Elizabeth. ''The first English Actresses: Women and Drama''. Cambridge: University Press, 1992.		* Howe, Elizabeth. ''The first English Actresses: Women and Drama''. Cambridge: University Press, 1992.

Azim at 21:44, 20 July 2009

2009-07-20T21:44:57Z

← Older revision		Revision as of 21:44, 20 July 2009
Line 11:		Line 11:
	“to introduce the first Woman that came to act on the stage in the tragedy called the Moor of Venice:<br>		“to introduce the first Woman that came to act on the stage in the tragedy called the Moor of Venice:<br>
	The Woman playes today, mistake me not,<br>		The Woman playes today, mistake me not,<br>
	No Man in Gown, or Page in Petty-Coat”<br>		No Man in Gown, or Page in Petty-Coat”<br>(Elizabeth Howe: The First English Actresses).

	On 3 January 1661, [[Samuel Pepys\|Pepys]] recorded in his diary that when he went to see a play at the King’s Company it was “the first time that ever I saw Women come upon the stage”.		On 3 January 1661, [[Samuel Pepys\|Pepys]] recorded in his diary that when he went to see a play at the King’s Company it was “the first time that ever I saw Women come upon the stage” (Elizabeth Howe: The First English Actresses).


Line 32:		Line 32:
	In 1662, the casting of women for theatres became a law:		In 1662, the casting of women for theatres became a law:

	“we do […] permit and give leave that all the women’s parts to be acted in either of the said two companies for the time to come may be performed by women”.		“we do […] permit and give leave that all the women’s parts to be acted in either of the said two companies for the time to come may be performed by women”.(Elizabeth Howe: The First English Actresses)


	But the status of women in the workplace and their exclusion from the public sphere and executing power is still visible: the percentage of male actors was always higher and during the first years no women was allowed to be a sharer in one of the companies. William Davenant’s wife overtook the role of the manager after his death in 1668 until in 1673 her son was old enough to step in his father’s place.		But the status of women in the workplace and their exclusion from the public sphere and executing power is still visible: the percentage of male actors was always higher and during the first years no women was allowed to be a sharer in one of the companies. William Davenant’s wife overtook the role of the manager after his death in 1668 until in 1673 her son was old enough to step in his father’s place.

← Older revision		Revision as of 09:16, 21 July 2009
Line 9:		Line 9:
	===The First Woman on Stage===		===The First Woman on Stage===

	In December 1660, the first women appeared on stage in the role of Desdemona in Thomas Killigrew’s production of Othello. A prologue was written<br>		In December 1660, the first women appeared on stage in the role of Desdemona in Thomas Killigrew’s production of ''Othello''. A prologue was written<br>

	“to introduce the first Woman that came to act on the stage in the tragedy called the Moor of Venice:<br>		“to introduce the first Woman that came to act on the stage in the tragedy called the Moor of Venice:<br>
Line 15:		Line 15:
	No Man in Gown, or Page in Petty-Coat”<br> (Elizabeth Howe: The First English Actresses).		No Man in Gown, or Page in Petty-Coat”<br> (Elizabeth Howe: The First English Actresses).

	On 3 January 1661, [[Samuel Pepys\|Pepys]] recorded in his diary that when he went to see a play at the King’s Company it was “the first time that ever I saw Women come upon the stage” (~~Elizabeth~~ Howe: ~~The First English Actresses~~).		On 3 January 1661, [[Samuel Pepys\|Pepys]] recorded in his diary that when he went to see a play at the King’s Company it was “the first time that ever I saw Women come upon the stage” (Howe 1992: page?).


Line 23:		Line 23:

	But apart from the shortage of actors, the reasons why the female characters were accepted have a more social and cultural background. During the Restoration, the sexual relation between men and women changed and women were granted their own individuality, they were seen as the opposite sex, yet they were still excluded from the public male sphere.		But apart from the shortage of actors, the reasons why the female characters were accepted have a more social and cultural background. During the Restoration, the sexual relation between men and women changed and women were granted their own individuality, they were seen as the opposite sex, yet they were still excluded from the public male sphere.
	Before 1660, women already acted in court privacy, but were not fully accepted. This difference is due to the change in the audience. During the Interregnum, [[Charles II]] and the court spent much time abroad on the Continent where actresses were a normal feature. When the king returned to power in 1660, he supported the actresses in England; this was to be seen at the two theatres which were opened. The audience was more exclusive than in the Renaissance period where ~~‘everyone’~~ could see a play for one penny, and its favour for the court explained the acceptance of women in the performances.		Before 1660, women already acted in court privacy, but were not fully accepted. This difference is due to the change in the audience. During the Interregnum, [[Charles II]] and the court spent much time abroad on the Continent where actresses were a normal feature. When the king returned to power in 1660, he supported the actresses in England; this was to be seen at the two theatres which were opened. The audience was more exclusive than in the Renaissance period where everyone could see a play for one penny, and its favour for the court explained the acceptance of women in the performances.


Line 30:		Line 30:
	===The Two Companies===		===The Two Companies===

	Both Killigrew from the King’s Company and Davenant from the Duke’s ~~Compny~~ started to recruit some actresses. Davenant recruited: Hester Davenport, Mary Saunderson, Jane Long, Anne Gibbs, Mrs. Jennings and Mrs. Norris. Killigrew recruited: Katherine Corey, Anne Marshall; Mrs. Eastland and Mrs. Weaver (Elizabeth Farley).		Both Killigrew from the King’s Company and Davenant from the Duke’s Company started to recruit some actresses. Davenant recruited: Hester Davenport, Mary Saunderson, Jane Long, Anne Gibbs, Mrs. Jennings and Mrs. Norris. Killigrew recruited: Katherine Corey, Anne Marshall; Mrs. Eastland and Mrs. Weaver (Elizabeth Farley).


Line 40:		Line 40:
	In 1662, the casting of women for theatres became a law:		In 1662, the casting of women for theatres became a law:

	“we do […] permit and give leave that all the women’s parts to be acted in either of the said two companies for the time to come may be performed by women”. (~~Elizabeth~~ Howe: ~~The First English Actresses~~)		“we do […] permit and give leave that all the women’s parts to be acted in either of the said two companies for the time to come may be performed by women”. (Howe 1992: page?)


	But the status of women in the workplace and their exclusion from the public sphere and executing power is still visible: the percentage of male actors was always higher and during the first years no women was allowed to be a sharer in one of the companies. William Davenant’s wife ~~overtook~~ the role of the manager after his death in 1668 until in 1673 her son was old enough to step in his father’s place.		But the status of women in the workplace and their exclusion from the public sphere and executing power is still visible: the percentage of male actors was always higher and during the first years no women was allowed to be a sharer in one of the companies. William Davenant’s wife took over the role of the manager after his death in 1668 until in 1673 her son was old enough to step in his father’s place.
	But even during Mrs. Davenant’s time as a manager, the actresses were low paid, and if they were married their husbands controlled their earnings. This might be the reason why the two most paid actresses Elizabeth Barry and Anne Bracegirdle remained unmarried.		But even during Mrs. Davenant’s time as a manager, the actresses were low paid, and if they were married their husbands controlled their earnings. This might be the reason why the two most paid actresses Elizabeth Barry and Anne Bracegirdle remained unmarried.