![]() ASCSA Archives, Archaeological Photographic Collection.Įdith Hayward Hall (1877-1943) was the Agnes Hoppin Memorial Fellow and the only female student at the School that year. He further described the costumes “as more or less burlesque, otherwise with a limited outfit they would have fallen rather flat.” Edith Hall as Mrs. Between them and Miss Welch – a member of the British School, who lives at the same pension as Miss Hall- they planned for the different parts,” wrote Heermance to his mother and sister on December 27, 1903. Fowler, it was Edith Hall “who took the matter up with her usual energy and consented to be Mrs. If the original idea of a tableau vivant belonged to Mrs. Helen Bell Fowler (1848-1909) was the wife of Harold Fowler, the School’s Professor of Greek Language and Literature for the academic year 1903-1904. Just a year over thirty, he had studied at Yale and was the grandson of Theodore Dwight Woolsey, President of Yale University from 1846 to 1871. Fowler, “who had seen and participated in several such.” Heermance was the new director of the School, having started his term in the fall of 1903. In the School’s large Archaeological Photographic Collection (APC), in addition to photos documenting excavation and other fieldwork, there is a small number of images capturing more private aspects of life at 54 Speusippou (now Souidias).Īccording to the author of the letter, Theodore Woolsey Heermance (1872-1905), the idea of a party inspired by Mrs. ![]() It is one of these rare instances, where an event described blow-by-blow in a private letter, has also its visual match. One such performance took place at the American School of Classical Studies at Athens (ASCSA or the School hereafter), on Christmas in 1903. Vanderbilt often hosted tableaux vivants with young, unmarried women of high society performing in various roles (Chapman 1992). These kinds of performances were often used as a vehicle for local fund-raising. Unlike Dickens, Bartlett’s waxworks were fitted with clockworks inside so that they could move and “go through the same motions they did when living.” Louisa May Alcott (1832-1888), the author of Little Women, frequently participated in tableaux vivants, with Bartlett as her stage manager (Chapman 1992). Enriched with more characters, real and fictitious, Bartlett’s book is essentially a guidebook for staging amateur performances with animated pantomimes, also known as tableaux vivants. ![]() ![]() Jarley’s Far-Famed Collection of Waxworks. In 1873, George Bradford Bartlett (1832-1896), an American from Massachusetts, published Mrs. Jarley was the proprietor of a collection of still wax figures which she displayed on a stage protected by a cord. Inspired by Madame Tussaud’s famous wax models, Dickens’s Mrs. Jarley is a minor character in the plot, her story gained much popularity in British and American amateur theater and was performed widely at private parties in the 19th and early 20th centuries. Jarley’s Waxworks forms part of Charles Dickens’s novel The Old Curiosity Shop, published in 1841. Jarley’s Waxworks and a Jolly Jumble of Jests, Christmas 1903 Posted: J| Author: Natalia Vogeikoff-Brogan | Filed under: Archaeology, Archival Research, Biography, Classics, History of Archaeology | Tags: Edith Hall, Fritz Darrow, Gorham Stevens, Harold Fowler, Katherine Welsh, Lacey Caskey, Theodore W. ![]()
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