By Mary Luckhurst, Jane Moody
Theatre has consistently been a domain for promoting outrage and sensation, a spot the place public reputations are made and destroyed in striking methods. this can be the 1st publication to enquire the development and construction of superstar within the British theatre. those fascinating essays discover points of popularity, notoriety and transgression in quite a lot of performers and playwrights together with David Garrick, Oscar Wilde, Ellen Terry, Laurence Olivier and Sarah Kane. This pioneering quantity examines the creative ways that those stars have negotiated their very own popularity. The essays additionally learn the complicated relationships among discourses of superstar and questions of gender, spectatorship and the operation of cultural markets.
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Additional info for Theatre and Celebrity in Britain, 1660–2000
Example text
37 There is something distinctly modern about this transformation of an author into a personality, and the distillation of that personality into a manner, and a button-hole. It is almost as though Wilde has begun to float free from his literary creations, a process that he might argue was entirely apposite, even if it was anathema to his critics. More radically, and perhaps alarmingly, it conceals an intuition about the alliance between theatre, actors and audience, an unwitting conspiracy, with Wilde as the almost invisible magician, or catalyst.
One could not stay at the Grand Hotel or the Metropole without the fact being reported in the newspapers: miss a train, as Lady Bracknell commented, and you were exposed to comment on the platform; present the prizes at the Worthing 44 Peter Raby Water Carnival, and you risked mockery in the London papers for uttering a platitude. It is remarkable that out of this inauspicious set of circumstances emerged Wilde’s holiday play, The Importance of Being Earnest.
248. Emphasis Bagehot’s. 31 Elinor Glyn, Romantic Adventure, p. 326. 32 Hardwick, Addicted to Romance, p. 263. 33 Hardwick, Romantic Adventure, p. 97. 3 Wilde: The Remarkable Rocket Peter Raby Wilde was arguably the first English-speaking playwright who systematically cultivated an image for himself. He was soon to be followed by George Bernard Shaw, who, while relishing the Celtic heritage he shared with Wilde, fashioned a distinctively contrasting public personality. Shaw, rival as well as colleague, also found himself in the role of critic when he began to write theatre notices for the Saturday Review in January 1895, and had to respond successively to An Ideal Husband and The Importance of Being Earnest, which marked Wilde’s re-entry to the public arena of West-End theatre in the first months of that year.