[DOWNLOAD] ~ Hilda, Harnessed to a Purpose: Elizabeth Robins, Ibsen, And the Vote (Hilda Wangel and Henrik Ibsen) (Report) ~ by Maroula Joannou ~ eBook PDF Kindle ePub Free

eBook details

Title: Hilda, Harnessed to a Purpose: Elizabeth Robins, Ibsen, And the Vote (Hilda Wangel and Henrik Ibsen) (Report)
Author : Maroula Joannou
Release Date : January 22, 2010
Genre: Performing Arts,Books,Arts & Entertainment,Professional & Technical,Education,Language Arts & Disciplines,
Pages : * pages
Size : 104 KB

Description

When Elizabeth Robins died in 1952 her obituary in the Manchester Guardian described her as the "last of that little phalanx which let Ibsen loose on the English stage ... with the most shattering results." (1) Robins came to be remembered by the theatergoing public for her pioneering performances of Ibsen, to whom she introduced audiences for the first time, after moving to England from the United States in 1888. Robins's first big Ibsen part was as Mrs. Linden in a matinee of A Doll's House, in January 1891. She then staged the first English production of Hedda Gabler at the Vaudeville Theatre in April to May 1891 in collaboration with the young Philadelphian actor Marion Lea. Robins, who had worked with William Archer on the translation from the Norwegian, took the leading role. Archer was impressed with her acclaimed performance as Hedda and called the production the "finest piece of modern tragedy within my recollection." (2) Robins secured another personal triumph as Hilda Wangel in the first English production of The Master Builder (1893-94), which she co-produced with the actor Herbert Waring at the Trafalgar Square Theatre. Her other successes in the West End of London were as Martha Bernick in The Pillars of Society (1889), Rebecca West in Rosmersholm (1893), and Ella Rentheim in John Gabriel Borkman (1896-97). After she had acted in a series of Ibsen plays at Ellen Terry's Opera Comique, financed by private subscription in May-June 1893 and jointly managed with Marion Lea, Oscar Wilde wrote to Robins styling himself "one of her warmest admirers" and made a guinea subscription toward the silver tea service that was presented to her by appreciative audiences: she "deserves an offering indeed: a very imaginative artist. The English stage is in her debt." (3)