Sex, Song and Self-Fashioning: Women on the Parisian Popular Stage

该项目以jossamphine Delorme和thsam<s:1> tre des variacemots作为灵感和案例研究，以更广泛地挖掘1820-50年巴黎流行舞台上的女演员的职业生涯：她们的自我塑造和她们通过评论、八卦专栏、戏剧版、肖像等在公共领域的表现；他们的表演技巧和能动性，他们的表演方法和曲目；他们的机构地位和职业轨迹。在流行戏剧中，女性的社会地位和流动性是怎样的？到19世纪上半叶，女演员和妓女之间的历史联系在多大程度上仍然是对这一角色的核心认识？他们接受过什么样的训练——音乐、舞蹈、戏剧或其他方面？他们的表演有多少艺术表现力？这些女性对塑造她们的公众形象有多大贡献？他们在塑造公众对时尚和艺术的品味方面扮演了什么角色？这些都是值得更多关注的问题。除了补充莱纳德·伯兰斯坦（Lenard Berlanstein）的《夏娃的女儿：从旧政权到最后的法国戏剧女性的文化史》（剑桥，马萨诸塞州：哈佛大学出版社，2001年）等对“戏剧女性”的更一般的描述外，该项目还有助于理解19世纪20年代至50年代巴黎流行戏剧，包括女性演员和在th<s:1> <s:1> tre de la gait<e:1>、th<s:1> tre du Vaudeville、th<s:1> tre de l' ambigu - comique以及variacimtsamats中的实践。例如，追求表演者的实践是一种富有成效的方式，可以解决对诸如杂耍和杂耍（其中印刷的libretti leave提供的表演线索比其他地方少）等流派的审美价值和文本实践的相对缺乏了解，以及体现表演的方面，如动作和手势。因此，这项工作满足了更广泛的学术需求，也满足了鲍斯博物馆的目标，即解决对jossamphine的背景和职业以及档案馆中一些戏剧馆藏缺乏了解的问题。换句话说：这个项目的研究将有助于鲍斯博物馆的外观，考虑到jossamphine对他们讲述的故事的重要性。本博士课程的研究内容包括：批判性报刊和戏剧期刊的评论和年鉴；机构的记录;女演员的私人账号（自己的和别人的）；出版回忆录和表演手册；检查流行戏剧曲目的手稿和管弦乐/声乐乐谱；肖像和服装设计。这个项目的核心成果当然会是学生的博士学位，然后以一本书或一系列文章的形式出版。这将伴随着更多面向公众的出版物；有关流行类型如杂耍的学术表演工作坊；面向外部的表演工作坊，重建了德洛姆小姐的一些剧目（博物馆志愿者已经开始翻译歌词，可能是为了这个目的）；鲍斯博物馆的个人藏品和关于约翰·鲍斯和乔斯·鲍斯夫妇的叙述都展示了材料。

The project uses Joséphine Delorme and the Théâtre des Variétés as both inspiration and case study for a broader excavation of the careers of women female actors on the Parisian popular stage, c.1820-50: their self-fashioning and their representation in the public sphere through reviews, gossip columns, theatrical plates, portraits etc; their skill-set and agency in performance, their performance practices and repertoire; their institutional status and career trajectories. What was the social status and mobility typical of women in popular theatre? How far were the historic associations between the role of female actor and prostitute still central to perceptions of the role by the first half of the nineteenth century? What sort of training - in music, dance, drama or otherwise - did they have? How much artistic agency did they have in their performances? How far did such women contribute to the shaping of their public profile? And what role did they play in shaping public taste in fashion and in art?These are questions deserving of more attention. As well as complementing more general accounts of 'Theater Women' such as Lenard Berlanstein's Daughters of Eve: A Cultural History of French Theater Women from the Old Regime to the Fin de Siècle (Cambridge, MA: Harvard University Press, 2001), the project contributes to understanding of Parisian popular theatre in the 1820-50s, taking in female actors and practices at the Théâtre de la Gaité, the Théâtre du Vaudeville, the Théâtre de l'Ambigu-Comique was well as the Variétés. Pursuing performers' practices, for example, is a productive way to address the relative lack of knowledge about the aesthetic values and textual practices of genres such as vaudeville and mélodrame (where printed libretti leave provide fewer clues to performance than elsewhere), as well as aspects of embodied performance such as movement and gesture. The work thus fills a wider scholarly need, as well as the objectives of the Bowes Museum in addressing the lack of knowledge about Joséphine's background and career, and about some of the theatrical holdings in the archives. In other words: the research from this project will be useful to the outward face of the Bowes Museum, given the importance of Joséphine to the story they tell.The research to be carried out in the course of the PhD project includes the examination of: the critical press and theatrical journal reviews and almanacs; institutional records; private accounts of female actors (their own, and others'); published memoirs and acting manuals; examination of manuscript libretti and orchestral/vocal scores for popular theatrical repertoire; portraiture and costume designs. The central outcome of this project will of course be the student's PhD, later published either as a book or a series of articles. This would be accompanied by more public-facing publications; academic performance workshops on popular genres such as vaudeville; outward-facing performance workshops reconstructing some of Mlle Delorme's repertoire (museum volunteers have already begun translating libretti for this possible end); display materials both for individual items in the Bowes Museum collection and in the narrative presented about John and Joséphine Bowes.