Subject
Theater -- Great Britain Books
Best books
Mrs. (Ethel) Alec-Tweedie
Behind the Footlights
"Behind the Footlights" by Mrs. Alec-Tweedie is a memoir written in the early 20th century that explores the intricacies of theatrical life. The narrative centers on the author’s own experiences and reflections on the world of acting, revealing both the glamour and harsh realities of pursuing a career on the stage. As she unfolds her story, she invites readers into the lives of notable figures in the theatre, shedding light on their personal struggles, triumphs, and the societal perceptions that surround the profession. The beginning of the book introduces a young girl, who aspires to become an actress, engaged in a tense conversation with her father, a physician, who expresses concern over her dreams. The girl's initial excitement about the glitz of performing fades as her father emphasizes the challenging and often unforgiving nature of a career in acting. This opening not only sets the tone for the memoir—balancing youthful ambition and parental caution—but also foreshadows a deeper exploration of the actress's life, filled with anecdotal experiences, the pressures of the profession, and the complexities that come with seeking stardom in the theatre.
Edward Fordham Spence
Our Stage and Its Critics By "E.F.S." of "The Westminster Gazette"
"Our Stage and Its Critics" by Edward Fordham Spence is a collection of essays written during the early 20th century, specifically around the year 1910. This work delves into the state of British drama, examining the roles and challenges of dramatic critics, as well as discussing the nuances of theatre production in England at that time. The author expresses a desire for a more vibrant national theatre that reflects the complexities and aspirations of modern life, emphasizing the importance of nurturing talent among playwrights and performers. The opening of the book begins with a preface that articulates Spence's mixed feelings about the current condition of the British stage, oscillating between optimism and concern. He comments on the lack of originality in much of the theatre, lamenting how commercialism and tradition often overshadow genuine artistic expression. Spence discusses the progress made towards creating a modern national drama while holding the notion that many critiques of modern theatre stem from a misunderstanding of the public's appetite. The author sets the stage for a deeper exploration of the role of the critic as both a commentator and a participant in the dramatic arts, outlining the responsibilities and challenges they face in a rapidly evolving artistic landscape.
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