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Acting like a Woman - Women and Playwriting in Nineteenth-Century Britain. Edited by Tracy C. Davis and Ellen Donkin. Cambridge: Cambridge University Press, 1999. Pp. vii + 295. $59.95 (cloth); $21.95 (paper). - Actresses on the Victorian Stage: Feminine Performance and the Galatea Myth. By Gail Marshall. Cambridge: Cambridge University Press, 1998. Pp. ix + 233. $54.95. - When Romeo Was a Woman: Charlotte Cushman and Her Circle of Female Spectators. By Lisa Merrill. Ann Arbor: University of Michigan Press, 1999. Pp. x + 318. $37.50 (cloth); $19.95 (paper). - Mesmerized: Powers of Mind in Victorian Britain. By Alison Winter. Chicago: University of Chicago Press, 1998. Pp. viii + 464. $30.00 (cloth); $17.00 (paper).

Published online by Cambridge University Press:  10 January 2014

Lynn M. Voskuil*
University of Houston


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Copyright © North American Conference of British Studies 2001

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1 The usual authority in such matters is Butler, Judith, Gender Trouble: Feminism and the Subversion of Identity (New York, 1990)Google Scholar.

2 In this emphasis, they follow Powell, Kerry, Women and Victorian Theatre (Cambridge, 1997)CrossRefGoogle Scholar.

3 Davis's and Donkin's previous work qualifies them eminently for this volume. See Davis, Tracy C., Actresses as Working Women: Their Social Identity in Victorian Culture (New York, 1991)Google Scholar; and Donkin, Ellen, Getting into the Act: Women Playwrights in London, 1776–1829 (New York, 1995)Google Scholar. For a general theater history of the era, see Booth, Michael R.Theatre in the Victorian Age (Cambridge, 1991)Google Scholar.

4 With this textual reach, Marshall augments the focus on individual actresses in two books by Bassnett, Susan, Booth, Michael R., and Stokes, John: Bernhardt, Terry, Duse: The Actress in Her Time (Cambridge, 1988)Google Scholar and Three Tragic Actresses: Siddons, Rachel Ristori (Cambridge: 1996)Google Scholar.

5 Corbett, Mary Jean, Representing Femininity: Middle-Class Subjectivity in Victorian and Edwardian Women's Autobiographies (Oxford, 1992), chapters 4 and 5Google Scholar.

6 Nina Auerbach similarly claims that actress Ellen Terry resisted conventional femininity in Ellen Terry, Player in Time (New York, 1987)Google Scholar.