Download File

More documents

Recommendations

Info

CONTENTS CHAP. PAGE I. BY WAY OF INTRODUCTION .... I II. SPECTACLE, FARCE, MELODRAMA, AND MINSTRELSY FIFTY YEARS AGO . . 7 III. THE WORTH AND IMPOTENCE OF FREE CRITICISM 21 IV. SOME EARLY EXPERIENCES AND MIS- TAKES 27 V. SELWYN'S theatre and the ROBERT- SON PERIOD 33 VI. THE EPHEMERAL DRAMA AND THE EN- DURING DRAMA 41 VII. THE GREAT DRAMATIC QUINQUENNIUM AND THE BOSTON MUSEUM ... 47 VIII. WILLIAM WARREN, COMEDIAN • • • 53 IX. ACTUAL AND IDEAL TRAINING FOR THE STAGE 68 X. J. L. TOOLE AND CHARLES JAMES MA- THEWS 76 XI. CHARLOTTE CUSHMAN 82 XII. E. A. SOTHERN, SR 93 XIII. THE ISOLATION OF ACTORS .... I06 XIV. CHARLES FECHTER II3 XV. EDWIN BOOTH I3I XVI. TOMMASO SALVINI 1 42 [ vii ]
Page 1 and 2: UNIVERSITY OF CA RIVERSIDE, LIBRARY
Page 8 and 9: Bit
Page 10 and 11: COPYRIGHT, 1902, BY HENRY AUSTIN CL
Page 13: NOTE The reader is informed of what
Page 17: ILLUSTRATIONS WILLIAM WARREN .... F
Page 20 and 21: A DRAMATIC CRITIC of rare and novel
Page 22 and 23: A DRAMATIC CRITIC the place of crit
Page 24 and 25: A DRAMATIC CRITIC perhaps it is, th
Page 26 and 27: A DRAMATIC CRITIC hold to my opinio
Page 28 and 29: A DRAMATIC CRITIC and heard Adelaid
Page 30 and 31: A DRAMATIC CRITIC man, an actor wit
Page 32 and 33: ^-7- sS^aiJ "^ / fC^ ^^^ A DRAMATIC
Page 34 and 35: A DRAMATIC CRITIC Baker, Poor Pilli
Page 36 and 37: A DRAMATIC CRITIC and the best of h
Page 38 and 39: A DRAMATIC CRITIC this use of mild
Page 40 and 41: A DRAMATIC CRITIC matic critic must
Page 42 and 43: A DRAMATIC CRITIC crafty not to bet
Page 44 and 45: A DRAMATIC CRITIC cerned, the criti
Page 46 and 47: A DRAMATIC CRITIC in gender, whose
Page 48 and 49: A DRAMATIC CRITIC more than her bea
Page 50 and 51: A DRAMATIC CRITIC for the theatre.
Page 52 and 53: A DRAMATIC CRITIC frau, Miss Carson
Page 54 and 55: A DRAMATIC CRITIC right to live, I
Page 56 and 57: A DRAMATIC CRITIC the leading theat
Page 58 and 59: A DRAMATIC CRITIC of youth in it; b
Page 60 and 61: A DRAMATIC CRITIC That Robertson's
Page 62 and 63: A DRAMATIC CRITIC off his coat, and
Page 64 and 65:
A DRAMATIC CRITIC of half a lemon a
Page 66 and 67:
A DRAMATIC CRITIC in opera ; Edwin
Page 68 and 69:
A DRAMATIC CRITIC regularly establi
Page 70 and 71:
A DRAMATIC CRITIC vivid Mr. Keach ;
Page 72 and 73:
A DRAMATIC CRITIC of his work was t
Page 74 and 75:
A DRAMATIC CRITIC did not always ha
Page 76 and 77:
A DRAMATIC CRITIC " out of the bill
Page 78 and 79:
A DRAMATIC CRITIC rable from the wo
Page 80 and 81:
A DRAMATIC CRITIC the general heart
Page 82 and 83:
A DRAMATIC CRITIC same kind exist,
Page 84 and 85:
A DRAMATIC CRITIC lish grande dame
Page 86 and 87:
IX Actual and Ideal Training for th
Page 88 and 89:
A DRAMATIC CRITIC and dancing, prac
Page 90 and 91:
A DRAMATIC CRITIC pacity for genera
Page 92 and 93:
A DRAMATIC CRITIC France much bette
Page 94 and 95:
X J. L. Toole and Charles James Mat
Page 96 and 97:
A DRAMATIC CRITIC vaguely recall hi
Page 98 and 99:
A DRAMATIC CRITIC Mr. Warren in the
Page 100:
' our NEAR XI Charlotte Cushman the
Page 104 and 105:
A DRAMATIC CRITIC of the Grecian Fa
Page 106 and 107:
A DRAMATIC CRITIC tude of her speec
Page 108 and 109:
A DRAMATIC CRITIC pression. Kathari
Page 110 and 111:
A DRAMATIC CRITIC about the sick wo
Page 112 and 113:
A DRAMATIC CRITIC gotten. After the
Page 114 and 115:
A DRAMATIC CRITIC be substantially
Page 116 and 117:
A DRAMATIC CRITIC the glass in plac
Page 118 and 119:
A DRAMATIC CRITIC face resemblance
Page 120 and 121:
- !• J A DRAMATIC CRITIC the figu
Page 122 and 123:
A DRAMATIC CRITIC America." The pas
Page 124 and 125:
A DRAMATIC CRITIC upon a stage fict
Page 126 and 127:
THIS XIII The Isolation of Actors c
Page 128 and 129:
A DRAMATIC CRITIC ward limitations
Page 130 and 131:
A DRAMATIC CRITIC edge, the guild o
Page 132 and 133:
A DRAMATIC CRITIC achievement in th
Page 134 and 135:
A DRAMATIC CRITIC in giving with th
Page 136 and 137:
A DRAMATIC CRITIC rived from a dist
Page 138 and 139:
A DRAMATIC CRITIC ments of stress,
Page 140 and 141:
A DRAMATIC CRITIC romance, one retu
Page 142 and 143:
A DRAMATIC CRITIC in a spasm of sel
Page 144 and 145:
A DRAMATIC CRITIC gave it new comel
Page 146 and 147:
A DRAMATIC CRITIC out such concepti
Page 148 and 149:
A DRAMATIC CRITIC Leclercq, who sup
Page 150 and 151:
A DRAMATIC CRITIC sylvania, where h
Page 152:
A DRAMATIC CRITIC business." My mem
Page 156 and 157:
A DRAMATIC CRITIC periments with hi
Page 158 and 159:
A DRAMATIC CRITIC litheness and swi
Page 160 and 161:
A DRAMATIC CRITIC effectiveness wit
Page 162 and 163:
A DRAMATIC CRITIC constantly promin
Page 164:
MIDWAY XVI TOMMASO SaLVINI of the q
Page 168 and 169:
A DRAMATIC CRITIC ceeded from a man
Page 170 and 171:
A DRAMATIC CRITIC but a tawny barba
Page 172 and 173:
A DRAMATIC CRITIC deliverer of God'
Page 174 and 175:
A DRAMATIC CRITIC was capable of ei
Page 176 and 177:
A DRAMATIC CRITIC ter, both of whom
Page 178 and 179:
A DRAMATIC CRITIC he would not pres
Page 180 and 181:
A DRAMATIC CRITIC by a little even
Page 182 and 183:
A DRAMATIC CRITIC of her perfidy wa
Page 184:
A DRAMATIC CRITIC in Leeds, March 3
Page 188 and 189:
A DRAMATIC CRITIC pleasant in quali
Page 190 and 191:
A DRAMATIC CRITIC some practiced fo
Page 192 and 193:
A DRAMATIC CRITIC until then had no
Page 194 and 195:
A DRAMATIC CRITIC the regularity wh
Page 196 and 197:
A DRAMATIC CRITIC Miss Neilson as a
Page 198 and 199:
A DRAMATIC CRITIC began a dialogue
Page 200 and 201:
A DRAMATIC CRITIC Handel and Haydn
Page 202 and 203:
A DRAMATIC CRITIC and in his firm g
Page 204 and 205:
A DRAMATIC CRITIC keen delight of h
Page 206 and 207:
A DRAMATIC CRITIC which carried a c
Page 208 and 209:
A DRAMATIC CRITIC constructive skil
Page 210 and 211:
A DRAMATIC CRITIC had entered her s
Page 212 and 213:
A DRAMATIC CRITIC from a " vaudevil
Page 214 and 215:
A DRAMATIC CRITIC programme and mod
Page 216 and 217:
A DRAMATIC CRITIC can writers, one
Page 218 and 219:
A DRAMATIC CRITIC into one, and doi
Page 220:
XX Henry Irving TO say that of all
Page 224 and 225:
A DRAMATIC CRITIC blush, as if an a
Page 226 and 227:
A DRAMATIC CRITIC completely the st
Page 228 and 229:
A DRAMATIC CRITIC has been on the s
Page 230 and 231:
A DRAMATIC CRITIC founding and conf
Page 232 and 233:
A DRAMATIC CRITIC bad in other and
Page 234 and 235:
A DRAMATIC CRITIC fulness. It is a
Page 236 and 237:
A DRAMATIC CRITIC evidence given in
Page 238 and 239:
A DRAMATIC CRITIC of mind for a sin
Page 240 and 241:
A DRAMATIC CRITIC delicate shading,
Page 242 and 243:
A DRAMATIC CRITIC adaptation of mea
Page 244 and 245:
A DRAMATIC CRITIC Booth and Madame
Page 246 and 247:
A DRAMATIC CRITIC learning have the
Page 248 and 249:
A DRAMATIC CRITIC beauties and new
Page 250 and 251:
A DRAMATIC CRITIC him in refinement
Page 252 and 253:
A DRAMATIC CRITIC his loftier-reach
Page 254 and 255:
A DRAMATIC CRITIC that Hamlet is no
Page 256 and 257:
A DRAMATIC CRITIC " as easy " with
Page 258 and 259:
A DRAMATIC CRITIC have given, on th
Page 260 and 261:
A DRAMATIC CRITIC American engageme
Page 262 and 263:
A DRAMATIC CRITIC and will, the sol
Page 264 and 265:
A DRAMATIC CRITIC were so delivered
Page 267 and 268:
Actors, training of, 68-75; segrega
Page 269 and 270:
Nilsson, Christine, 47, 173-175. Ou
Page 275:
UCSOUTHFRNRFGIONAL LIBRARY FACILITY
show all

Download File

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?