Pilditch, Jan. Catherine Carswell. A Biography. John Donald.
47
Connections | Author name Sort descending | Excerpt |
---|---|---|
Literary responses | Elizabeth Baker | Despite its short run, the play was a critical success. The Times heartily congratulated the Play Actors
on their choice of play, saying that [o]ne such play as this a year would justify the existence... |
Literary responses | Catherine Carswell | The influential William Archer
was said to have demanded the identity of the man who was publishing better drama reviews in Scotland than anything being produced in London. Pilditch, Jan. Catherine Carswell. A Biography. John Donald. 47 |
Other Life Event | Ella Hepworth Dixon | EHD
helped William Heinemann
, William Archer
, and Elizabeth Robins
put on a reading of Ibsen'sJohn Gabriel Borkman in London for copyright purposes. She played a small part, which she read in German... |
Literary responses | Florence Farr | |
Textual Production | Michael Field | Oscar Wilde
, William Archer
, and John Gray
were in the audience on the opening night. Field, Michael. “Introduction”. Sight and Song; with, Underneath the Bough, edited by R. K. R. Thornton and Ian Small, Woodstock Books. |
Friends, Associates | John Oliver Hobbes | She made many friends and acquaintances both as a figure in society and as an author. These included literary people such as George Meredith
, Thomas Hardy
, Punch editor Owen Seaman
, William Archer |
Textual Production | John Oliver Hobbes | JOH
converted to Roman Catholicism
around this time. The thought she had been giving to religious life manifests itself repeatedly in her work, and influenced her views on literature. In an interview with William Archer |
Intertextuality and Influence | John Oliver Hobbes | JOH
's speeches and interviews regularly deal with literature. In an interview with William Archer
, she admits to admiring Arthur Wing Pinero
's characterisation of women, while noting how little individualised are some of... |
Textual Production | Henrik Ibsen | It has been frequently performed in English since William
and Charles Archer
translated it in 1892. Drabble, Margaret, editor. The Oxford Companion to English Literature. Oxford University Press. Hawkins-Dady, Mark et al., editors. International Dictionary of Theatre. St James Press. I: 584 |
Textual Production | Henrik Ibsen | Henrietta Frances Lord
translated the play into English in 1882 under the title Nora. Her version was followed by a more widely used translation by William Archer
(with unacknowledged assistance from Elizabeth Robins
) in 1889. OCLC WorldCat. http://www.oclc.org/firstsearch/content/worldcat/. Accessed 1999. |
Occupation | Elizabeth Robins | ER
, William Archer
, Alfred Sutro
, and H. W. Massingham
founded the New Century Theatre
, an independent subscription society with intellectual and artistic aims. John, Angela V. Elizabeth Robins: Staging a Life, 1862-1952. Routledge. 69 Demastes, William W., and Katherine E. Kelly, editors. British Playwrights, 1880-1956. Greenwood Press. 353 |
Textual Production | Elizabeth Robins | ER
, Marion Lea
, and William Archermodified for stage production Edmund Gosse
's translation of Ibsen
's Hedda Gabler (published earlier the same year). John, Angela V. Elizabeth Robins: Staging a Life, 1862-1952. Routledge. 55-7 |
Textual Production | Elizabeth Robins | Heinemann
published an English translation of Ibsen's The Master Builder by William Archer
and Edmund Gosse
; ER
helped with the translation. John, Angela V. Elizabeth Robins: Staging a Life, 1862-1952. Routledge. 65 |
Friends, Associates | Elizabeth Robins | ER
was romantically linked to William Archer
for most of the 1890s. John, Angela V. Elizabeth Robins: Staging a Life, 1862-1952. Routledge. 79 John, Angela V. Elizabeth Robins: Staging a Life, 1862-1952. Routledge. 81-2 |
Textual Production | Elizabeth Robins |