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
12 - Describing the Ellen Terry and Edith Craig Archive
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
The AHRC Ellen Terry and Edith Craig Database Project 2006–8: Descriptive Guide to Contents by Katharine Cockin
Marguerite Steen describes the creation of the Ellen Terry Museum as ‘the most permanent of Edy's works’:
the natural outcome of her industry, her historical scholarship, her endless patience and perseverance in the classification of material and facts. All her life she had kept up the Victorian ritual of the scrapbook, and had jealously preserved all her mother's possessions, which, of latter years, Ellen Terry had been inclined too freely to give away.
The place changed after Edith Craig's death in 1947, after which it was run by her cousin Olive Chaplin who, according to Steen, even came to resemble Terry. The kind of memorialization which Lisa Kazmier has discussed in her article is alluded to by Steen in her description of the transformation of The Farm into ‘a kind of theatrical Lourdes’. The cultural and social significance placed on the artefacts and documents in the Ellen Terry Memorial Museum from the outset naturally tended to inform the approach to their organization and presentation. The principal focus of the Museum was Terry and therefore the letters and books of Terry were indexed first,4 followed by other letters. As the interests of researchers and visitors changed, a new perspective developed on the significance of Edith Craig and the other women of Smallhythe Place.
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- Information
- Ellen Terry, Spheres of Influence , pp. 149 - 160Publisher: Pickering & ChattoFirst published in: 2014