What happens when an actor owns shares in the stage on which he performs and the newspapers that review his performances? Celebrity that lasts over 240 years. From 1741, David Garrick dominated the London theatre world as the progenitor of a new 'natural' style of acting. From 1747 to 1776, he was a part-owner and manager of Drury Lane, controlling most aspects of the theatre's life. In a spectacular foreshadowing of today's media convergences, he also owned shares in papers including the St James's Chronicle and the Public Advertiser, which advertised and reviewed Drury Lane's theatrical productions. This book explores the nearly inconceivable level of cultural power generated by Garrick's entrepreneurial manufacture and mediation of his own celebrity. Using new technologies and extensive archival research, this book uncovers fresh material concerning Garrick's ownership and manipulation of the media, offering timely reflections for theatre history and media studies.
English Theatrical Anecdotes, 1660-1800 explores the theatrical anecdote's role in the construction of stage fame in England's emergent celebrity culture during the long eighteenth century, as well as the challenges of employing anecdotes in theatre scholarship today. Chapters in this book discuss anecdotes about actors, actresses, musicians, and other theatre people.
Using the royal family of celebrity culture, the Kardashians, as a lens through which to scrutinize early 21st century culture, this book examines the worlds of business, politics, technology and entertainment, to show how celebrity has fundamentally changed the way we live.
In the first book-length study of the work and legacy of West End actor-manager George Alexander since the 1930s, George Alexander and the Work of the Actor Manager examines the key part this figure played in presenting new drama by authors including Oscar Wilde and Henry James. The book sheds new light on the figure of the actor-manager, assessing in detail the influence of Alexander within and beyond his time. At the St. James’s Theatre in London between 1891 and 1918, through a range of strategies including the support of new writers, and adaptation of fiction to the stage, Alexander sustained professional status through practices that continue to be reflected in the cultural industries today. A range of evidence is employed including production reviews, anecdotal accounts, financial records, and personal correspondence, to reveal how he operated as a business entrepreneur as well as an artistic innovator.