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Published online by Cambridge University Press: 21 October 2010
Archeological evidence for the history of theatre art has always been less definitive and less extensive than either artists or historians have wished. We have the stone remains of late Greek theatres and we have the pictorial fragments from some ancient amphorae which, when co-ordinated with inscriptions, give us a modicum of knowledge concerning the performances in Greek theatres. From Renaissance architects and painters we have beautiful drawings and engravings of scenes and costumes which give us an indication of the grandeur which was possible in the court performances of Europe for two or three hundred years.
1 Duerr, Edwin, The Length and Depth of Acting (New York: Holt, Rinehart and Winston, 1962), p. 283.Google Scholar
2 Numerical references in parentheses apply to the numbered illustrations, the originals of which may be found in the Hoblitzelle Theatre Arts Library at The University of Texas.
3 Siddons, Henry, Practical Illustrations of Rhetorical Gesture and Action Adapted to the English Drama (London: Sherwood, Neely, and Jones, 1822)Google Scholar, illustration 17 on unnumbered pages.
4 Horan, James D., Brady, Mathew, Historian with a Camera (New York: Crown Publishers, 1955), pp. 6–12.Google Scholar
5 Logan, Olive, Apropos of Women and Theatres (New York: Carleton Publisher, 1869), p. 53.Google Scholar
6 Ibid., pp. 60–61.
7 Modjeska, Helena, Memories and Impressions (New York: The Macmillan Company, 1910), p. 347.Google Scholar
8 This picture was later published in The Theatre, vol. VI (April, 1906), p. 101.
9 Howells, William D., “The Plays of This Season,” Harper's Weekly, vol. XLVI (June 7, 1902), pp. 729–730.Google Scholar
