Provoked Wife
Garrick, David, 1717-1779
Vanbrugh, John, 1664-1726. Provoked wife
Vanbrugh, John, Sir, 1664-1726 -- Characters -- Sir John Brute, depicted.
Actors -- 18th century, depicted.
David Garrick in costume as Lord Brute disguised as his wife, Lady Brute, in The Provoked Wife.
Published for Bells British theatre
<a href="http://luna.folger.edu/luna/servlet/detail/FOLGERCM1~6~6~273006~119038:Provoked-wife,-Mr--Garrick-in-the-c#">Folger Shakespeare Library</a>
<a href="http://luna.folger.edu/luna/servlet/detail/FOLGERCM1~6~6~273006~119038:Provoked-wife,-Mr--Garrick-in-the-c#">Folger Shakespeare Library</a>
1776
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English
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embta2016-00296
RSC King Lear, Act 5 Scene 3
Shakespeare, William. 1564-1616. King Lear.
Royal Shakespeare Company
The final scene of the RSC Production of King Lear at the Lincoln Center Festival.
Dir. David Farr
<a href="https://www.youtube.com/watch?v=_MpGb0nJ3eM">Youtube</a>
<a href="https://www.youtube.com/watch?v=_MpGb0nJ3eM">Youtube</a>
2011
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Video
English
embta2016-00295
Miss Brunton in Cordelia
Shakespeare, William 1564-1616--Characters--Heroines.
Shakespeare, William, 1564-1616. King Lear
Merry, Anne (née Brunton) (1769-1808)
Engraving image of Anne Merry portraying Cordelia on the heath.
Burney, E. (artist)
Thornthwaite, J., born 1735 (engraver)
J. Bell (publisher)
<a href="http://collections.vam.ac.uk/item/O1264473/miss-bruton-in-cordelia-o-print-e-burney/">Victoria and Albert</a>
<a href="http://collections.vam.ac.uk/item/O1264473/miss-bruton-in-cordelia-o-print-e-burney/">Victoria and Albert</a>
1785
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English
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embta2016-00294
Elizabeth Hartley as Cleopatra
Dryden, John, 1631-1700. All for love.
Act 5, Scene 3. Cleopatra stands and holds a knife in her right hand, and extends her left arm saying, : "I die, I will not bear it"
J. Roberts
<a title="Victoria and Albert Museum" href="http://collections.vam.ac.uk/item/O1259707/print-j-roberts/" target="_blank">Victoria and Albert Museum</a>
Bell British Theatre
1776
Thornthwaite (engraver)
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English
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embta2015-00197
Elizabeth Hartley as Cleopatra
Dryden, John, 1631-1700. All for love.
Act 5. Cleopatra sits with both of her arms extended asking: "Where shall I find him, where? Oh, turn me to him!"
--What scene is this quote from?
--How would you the costume? What are the dominant features?
Joseph Wenman
<a title="Victoria and Albert Museum" href="http://collections.vam.ac.uk/item/O1259704/print-j-wenman/" target="_blank">Victoria and Albert Museum</a>
<a title="http://collections.vam.ac.uk/item/O1259704/print-j-wenman/" href="Joseph%20Wenman" target="_blank">Joseph Wenman</a>
1778
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embta2015-00194
Harriett Litchfield (nee Hay) as Imoinda in "Oroonoko"
Southerne, Thomas. Oroonoko, a tragedy
Litchfield, Harriett, 1777-1854
Race in the theater
Full-length portrait of Litchfield in the role of Imoinda. Standing in front of a forest, she faces slightly left with arms outspread and the right palm forward. She wears a dark beaded necklace, a turban with a large feather, and a dark fringed sash against a white gown. The image is framed by an oval border consisting of a winged quiver of arrows, flowers, white cloth and a dove holding a banner.
Unknown Artist
<a title="University of Illinois Theatrical Print Collection" href="http://imagesearch.library.illinois.edu/cdm4/item_viewer.php?CISOROOT=/actors&CISOPTR=1236&CISOBOX=1&REC=4" target="_blank">University of Illinois Theatrical Print Collection</a>
C. Cooke
University of Illinois at Urbana-Champaign. Rare Book and Manuscript Library
1807
Behn, Aphra, 1640-1689. Oroonoko
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embta2014-00170
Elizabeth Hartley (nee White) as Imoinda in "Oroonoko"
Southerne, Thomas. Oroonoko, a tragedy
Hartley, Elizabeth, 1750?-1824
Race in the theater
Full length portrait of Mrs Hartley in the Character of Imoinda. Armed with a bow in her left hand, and a quiver of arrows on her back, she stands in profile. Her bodice and sleeves contain significant amounts of animal pelt. The bottom of her skirt and her headdress contain feathers.
Roberts, J. [artist]
<a title="University of Illinois Theatrical Print Collection" href="http://imagesearch.library.illinois.edu/cdm4/item_viewer.php?CISOROOT=/actors&CISOPTR=2363&CISOBOX=1&REC=6" target="_blank">University of Illinois Theatrical Print Collection</a>
<span>University of Illinois at Urbana-Champaign. Rare Book and Manuscript Library</span>
1777
Bell, John
Behn, Aphra, 1640-1689. Oroonoko
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embta2014-00168
Contemporary Depiction of <em>Titus Andronicus</em> Performance
Shakespeare, William, 1564-1616. Titus Andronicus
<span style="text-decoration: underline;">Content description:</span><br />In this sketch, Tamora, queen of the Goths, and two of her sons kneel in supplication before Titus, who wears a Roman toga and brandishes a large spear. In stark contrast to the kneeling figures of Tamara and her sons, Aaron the Moor defiantly stands near the right edge of the frame. Behind Titus, to the left of the frame, stand two soldiers, who—along with Tamara—are wearing Elizabethan rather than Roman dress.
<span style="text-decoration: underline;">Scholarly significance:</span><br />Peacham's sketch, believed to be the earliest depiction of a Shakespearean performance, sheds light on the representation of race and costume practices in the Renaissance theater. The coloring of Aaron the Moor suggests the actor may have performed in blackface, as did Queen Henrietta in Jonson's 1605 <em>Masque of Blackness</em>. The fact that Titus is wearing a Roman toga while his subordinate soldiers are wearing Elizabethan dress suggests that, although theatrical troupes may have owned a few specialized, historical costumes, the majority of dress worn on stage was not historically accurate.
Peacham, Henry, 1576?-1643?
Detail of Manuscript Image from <a href="http://en.wikipedia.org/wiki/File:Peacham_Drawing.jpg" target="_blank">Wikimedia Commons</a>
1595
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embta2013-00109