Ira Aldridge, the African Roscius


Book Description

Ira Aldridge--a black New Yorker--was one of 19th-century Europe's greatest actors, performing abroad for 43 years, winning more awards, honors, and official decorations than any of his professional peers. This collection restores the luster to Aldridge's reputation by examining his extraordinary achievements against all odds.




Ira Aldridge


Book Description

The first widely available biography of this important black Victorian-age actor, Ira Aldridge: The Early Years, 1807-1833 details the early life and career of this New York-born thespian as he began to act on the British stage. Ira Aldridge: The Early Years, 1807-1833 chronicles the rise of one of the modern world's first black classical actors, as he ascended from an impoverished childhood in New York City to a career as a celebrated thespian onthe British stage. After a successful debut in London in 1825, Aldridge began touring the British provinces, billing himself grandiloquently as the "African Roscius," and attracting crowds with his powerful presence and style. He received accolades not only as a tragedian in classic roles such as Othello and Oroonoko but also as a comic actor in popular farces and musicals. In 1833, when a bill to abolish slavery was being debated in Parliament, he was called back to London to perform at one of the city's most prestigious theaters, where his appearance, now under his own name but also billed as "a native of Senegal," created a great deal of controversy. In dealing with Aldridge's emergence as a professional actor in the United Kingdom, Lindfors here records in detail the ups and downs of his itinerant existence in a world where no theatergoer had ever seen anyone like him on stage before. Aldridgewas genuinely a unique phenomenon in Britain at a pivotal point in history. Bernth Lindfors is Professor Emeritus of English and African Literatures, University of Texas at Austin, and editor of Ira Aldridge: The African Roscius (University of Rochester Press, 2007).







The African Roscius


Book Description

Beginning with his autobiographical sketch, Memoir and Theatrical Career of Ira Aldridge, The African Roscius follows Aldridge's journey as a Black man who, "obtained and maintains among Europeans...a reputation whose acquisition demands the highest qualities of the mind and the noblest endowments of the person." Making it a lifetime goal to use his success and influence to speak on the horrors of slavery in America and abroad; this memoir is addressed to what he hopes to be an enlighted reader, and details how he rose to fame as a Shakeperian actor in spite of the racism and prejudice he faced as a Black man in theater. This edition also includes Aldridge's 1847 translation of Auguste Anicet-Bourgeois'sLe Docteur Noir (The Black Doctor). At the age of forty, Aldridge adapted the play about a hidden romance between a formerly enslaved doctor and the daughter of a French aristocrat and was said to have brought dignity to a role that traditionally ended in tragedy for its bi-racial lead. Together, these two pieces paint a stunning portrait of one of the first great Black actors. One part memoir and one part translation, The African Roscius is an exceptional piece of Black history professionally typeset and reimagined for modern readers.




Ira Aldridge


Book Description

"On March 25, 1833, celebrated English actor Edmund Kean collapsed on stage at Covent Garden while playing the role of Othello and died shortly thereafter. Sixteen days later, young Ira Aldridge, an American-born black actor, replaced Edmund Kean in the role of the Moor. "Suddenly, members of the press were up in arms," and a real-life drama escalated, with all of London the stage." "The late biographers Herbert Marshall and Mildred Stock recreate this drama, which included a huge cast of characters: An adoring following among the common folk in the English provinces. The manager of Covent Garden, one Pierre Francois Laporte, a Frenchman who mixed business with liberal ideas about race. Theatre critics who relished calling Aldridge a "black servant" even as they idealized Shakespeare's peasant background. The proslavery lobby, at that very moment fighting its last battle." "Aldridge had come to London from New York City at age seventeen and for eight years had performed in the English provinces. In April 1833, he stood at the very heart of the Empire, beloved Covent Garden. Thrust out after only two performances, he was catapulted, in a wonderfully ironic twist, onto a world stage that included all of Europe and Russia. He would eventually return to conquer London, decked with medals of distinction."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved




Women Writers Dramatized


Book Description

This volume, arranged alphabetically by original author, provides basic information about stage and screen productions based upon the novels of 40 women writers before 1900. Each entry includes the novel and its publication date, the published texts or dramatizations based upon the book, and the performances of the piece in live theater and film versions, including the location, dates, and playwright or screenwriter (if there was one). For some of the performances the author includes a brief annotation listing the actors and describing the production.




Great Shakespeare Actors


Book Description

Great Shakespeare Actors provides a series of well-informed, well-written, illuminating, and entertaining accounts of many of the most famous stage performers of Shakespeare in both England and America, offering a concise, actor-centred history of Shakespeare on the stage.




A Documentary History of the African Theatre


Book Description

A history of the African Theatre, the first all-black theatre company in the United States. Founded in 1821 in New York by William Alexander Brown, the African Theatre was created in response to the social segregation of the day. Within its first year, however, the theatre had expanded its audience. No longer characterizing itself as a resort primarily for New York's African-American community, it began to address itself to New Yorkers in general. The author has researched and documented all available facts about the company: its members; productions; playhouses; length of operation; types of audiences; and the reasons for its demise.




Becoming Ira Aldridge, a Black Shakespearean Actor in Nineteenth Century Ireland


Book Description

This study throws light on a little-studied but emerging field within Irish studies: Black history. It focuses on an American-born Black Shakespearean actor, Ira Aldridge, who, to follow his vocation and escape prejudice in America, travelled to England in 1824, aged only 17. Despite some racial stereotyping, his rise to prominence in the theatrical world was meteoric. Until his premature death in 1867, he played to audiences throughout Europe—from Galway in Ireland to St Petersburg in Russia—winning plaudits and accolades, and recognition as the leading Shakespearean tragedian of the day. Aldridge was not just an actor; wherever he performed, he also delivered a message about the cruelty of enslavement and the need for Black equality. This publication focuses on Aldridge’s special relationship with Ireland and its theatrical traditions over a period of three decades.




Shakespeare Studies


Book Description

SHAKESPEARE STUDIES is an international volume published every year in hard cover that contains essays and studies by critics and cultural historians from both hemispheres. Although the journal maintains a focus on the theatrical milieu of Shakespeare and his contemporaries, it is also concerned with Britain's intellectual and cultural connections to the continent, its socio-political history, and its place in the emerging globalism of the period. In addition to articles, the journal includes substantial reviews of significant publications dealing with these issues, as well as theoretical studies relevant to scholars of early modern literature. Volume XXXVIII features another in the journal's ongoing series of Forums on an issue of importance to Renaissance studies. Organised and introduced by Greg Colon Semenza, this Forum, 'After Shakespeare and Film', includes the interdisciplinary perspectives of nine contributors on the positioning of Shakespeare studies in digital and other contemporary technologies. The volume also features an article on representing 'blackness' in Shakespearean productions from 1821 to 1844, and another on the influence of 19th-century melodrama on the Shakespeare critical tradition, as well as a review article on 'Shakespeare and the Gothic Strain'. Reviews in this issue address such disparate topics as Shakespeare and the problem of adaptation, Renaissance culture and the rise of the machine, and locating privacy in Tudor England.