By Tracy C. Davis
In Victorian society performers have been drawn from various category backgrounds, and loved a different measure of social mobility. however the residing and dealing stipulations of girl performers have been very diverse from these in their male colleagues. Their segregation and focus in low-status jobs, like dancing, assured financial lack of confidence. Their makes an attempt to reconcile sexuality and the feminine existence cycle to a bodily tough, itinerant profession below consistent public scrutiny ended in assumptions approximately actresses' morality. those assumptions have been continually strengthened by means of theatrical conventions which mirrored renowned pornographic pictures, and have been super tricky to beat. This publication can be of curiosity to scholars and lecturers of theatre stories, women's reports, and social historical past.
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Extra resources for Actresses as Working Women: Their Social Identity in Victorian England (Gender and Performance Series)
A week; but in all cases they must dress like respectable middle-class girls. The chorusgirl or beginner on the stage cannot earn more than £2 2s. or £3 3s. 89 With the addition of travelling expenses, personal accessories, stationery, and postage, the actress’s advantage was soon whittled away. , Daisy Halling and Charles Lister calculated an average yearly expenditure: Lodgings Washing Wardrobe Newspapers and Tobacco TOTAL £13 5 10 5 £33 0s. 4 0 0 4s. 90 The difference between £67 10s. and £33 4s.
34 6d. 9 1½ 4½ 9 6 6 0 6 0d. SOCIOECONOMIC ORGANIZATION OF THE THEATRE The annual clothing allowance of £2 14s. barely sufficed for an upholsteress, but seriously jeopardized an actress’s employability. The unemployment problem was particularly acute for women in legitimate drama, where the ratio of roles for men and women was approximately two to one, but the genres where women found more employment than men (burlesque, extravaganza, ballet, and pantomime) were those that either engaged a corps for an eight to ten month season or hired only during the Christmas period.
5 Michael Baker’s The Rise of the Victorian Actor (1978) and Michael Sanderson’s From Irving to Olivier: A Social History of the Acting Profession 1880–1983 (1984) both begin with the premise of investigating the socioeconomic constitution of the acting profession. Both suggest that in the last decades of the nineteenth century the number of performers with a good education and elevated social position steadily grew, and both set out to describe the causes and consequences of this change. Unfortunately, however, the statistical portions of their analyses are extremely weak.
Actresses as Working Women: Their Social Identity in Victorian England (Gender and Performance Series) by Tracy C. Davis