Book contents
- Frontmatter
- CONTENTS
- List of Contributors
- List of Figures and Tables
- Introduction: Ellen Terry and Her Circle – Formal Introductions and Informal Encounters
- Part I Ellen Terry's Influences on Others
- Part II Family Influences
- 6 Introduction: Edward Gordon Craig – Prophet or Charlatan?
- 7 E. W. G. and E. G. C.: Father and Son
- 8 Lewis Carroll, Ellen Terry and the Stage Career of Menella ‘Minna’ Quin: ‘A Very Kind and Christian Deed’
- 9 Edith Craig as Director: Staging Claudel in the War Years
- 10 Velona Pilcher and Dame Ellen Terry (1926)
- 11 Ellen Terry: Preserving the Relics and Creating the Brand
- 12 Describing the Ellen Terry and Edith Craig Archive
- Notes
- Works Cited
- Index
11 - Ellen Terry: Preserving the Relics and Creating the Brand
from Part II - Family Influences
- Frontmatter
- CONTENTS
- List of Contributors
- List of Figures and Tables
- Introduction: Ellen Terry and Her Circle – Formal Introductions and Informal Encounters
- Part I Ellen Terry's Influences on Others
- Part II Family Influences
- 6 Introduction: Edward Gordon Craig – Prophet or Charlatan?
- 7 E. W. G. and E. G. C.: Father and Son
- 8 Lewis Carroll, Ellen Terry and the Stage Career of Menella ‘Minna’ Quin: ‘A Very Kind and Christian Deed’
- 9 Edith Craig as Director: Staging Claudel in the War Years
- 10 Velona Pilcher and Dame Ellen Terry (1926)
- 11 Ellen Terry: Preserving the Relics and Creating the Brand
- 12 Describing the Ellen Terry and Edith Craig Archive
- Notes
- Works Cited
- Index
Summary
While the details of Ellen Terry's sixty-year career on the stage might be little known to the general public, many will recognize her from one or two portraits which are today on show at the National Portrait Gallery and the Tate. Perhaps most famous is John Singer Sargent's portrait (1889), catching her in the act of self-coronation in her role as Lady Macbeth, glittering in her insect-encrusted gown. Julia Margaret Cameron (1864) captured Terry's seventeen years of youth at the fateful moment when she married England's Michelangelo, G. F. Watts, and for whom she was restricted to the role of muse. His portrait entitled Choosing (1864) characterizes her, not having resolved on her choice in the face of the object of her desire, but, typically, in the act. She could not settle; she was always on the move. In Virginia Woolf 's curious comic play, Freshwater, Watts constantly reprimands Terry for fidgeting. After her first very wrong choice (the brief marriage to Watts from whom she was divorced in 1877), she was set on a path of ‘choosing’ which never became satisfactorily resolved. Once she made a choice based on her heart's desire, Edward Godwin, (her lover for seven years, the father of her children and designer of her Portia costume), she had to deal with the consequences of society's judgement: that the right choice for her was otherwise deemed to be wrong.
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- Information
- Ellen Terry, Spheres of Influence , pp. 133 - 148Publisher: Pickering & ChattoFirst published in: 2014