By Shearer West, Mark Leonard, Robyn Asleson, Shelley Bennett
Popular for her majestic good looks and impassioned performances, the English actress Sarah Siddons (1755-1831) revolutionized the aesthetics of eighteenth-century theater whereas inventing a fancy public character to advertise her repute. Her aptitude for self-presentation used to be matched through the showmanship of the numerous artists who portrayed her. right here 3 vigorous essays--by Robyn Asleson, Shelley Bennett, Mark Leonard, and Shearer West--explore Siddons's lifestyles and occupation, in addition to her relationships with a couple of artists. impressive between them was once Sir Joshua Reynolds, whose masterpiece Sarah Siddons because the Tragic Muse turned an icon of this nice actress on the height of her profession. This lavish quantity additionally brings jointly fifty-five different pics of Siddons together with works through Thomas Gainsborough, George Romney, Thomas Lawrence, and Gilbert Stuart.
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Additional resources for A Passion For Performance: Sarah Siddons and Her Portraitists
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Associated University Presses, 39. 4243. 44. 45- 1985). , 9 — IO. , 17, 13. , 43-44)46. 47- 4849- quoted in Manvell, Siddons, 23 — 24)- During the height of her career, however, she tended to avoid the more popular breeches parts—many of which were associated with comic actresses like Dorothy Jordan. , Beauties of Siddons, 12 — 13; Boaden, Memoirs of Siddons, I: 315; and Campbell, Siddons, I: 2O8. , 158. , Reminiscences of Siddons, 3[William Russell], The Tragic Muse: A Poem Addressed to Mrs. Siddons (London: G.
But her provincialism, like her piety and virtue, was not a negligible part of Siddons's developing reputation. 91 Outside London, Siddons's perceived virtues as well as her fondness for regional theaters helped build her reputation early in her career and sustain it as she grew older. To an extent, this was also true in London, where Siddons became an object of middle-class admiration. 94 The theater increasingly became a forum that not only attracted mixed audiences but also had to maintain the interest of both aristocrats and working people.
W. Fores (fig. 22). shows Siddons as Lady Macbeth, sharing a horse with Burke and Charles James Fox and riding freely toward perdition. The juxtaposition of these three figures indicates the extent to which Siddons was associated with the aesthetics and politics of her own time. While Figure 2,1. " In lateeighteenth-century theatrical criticism, "picturesque" was used synonymously with the opprobrious word "pantomime" to suggest that the visual effect of the acting took precedence over the content of the play.