Ellen Terry
Ellen Terry
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Full Name and Common Aliases
Full Name: Ellen Alexandra Terry
Common Aliases: N/A
Ellen Terry was a renowned English actress who performed on the stage for over five decades. Born into an acting family, she rose to fame during the Victorian era and became one of the most celebrated actresses of her time.
Birth and Death Dates
Birth Date: February 24, 1847
Death Date: July 21, 1928
Ellen Terry's life spanned over eight decades, witnessing significant changes in theater, society, and culture.
Nationality and Profession(s)
Nationality: British
Profession(s): Actress, Stage Manager
Terry was a versatile performer who excelled in various roles, from Shakespearean heroines to comedic characters. Her talent earned her numerous accolades and recognition within the theatrical community.
Early Life and Background
Born in Coventry, England, Ellen Terry was the youngest of seven children born to playwright and actor Samuel Wigan and his wife, Charlotte Woollams. Theatrical performances were a regular occurrence at home, as her parents often rehearsed and staged plays with family members. This exposure sparked Terry's passion for acting from an early age.
Terry received her education at the Coventry Girls' Board School and later attended the Royal Academy of Dramatic Art (RADA). She made her stage debut in 1863 at the age of 16, joining the Adelphi Theatre as a chorus member. Her breakthrough performance came when she played the role of Portia in Shakespeare's _The Merchant of Venice_.
Major Accomplishments
Terry's illustrious career spanned over five decades and included numerous iconic roles:
Portia in _The Merchant of Venice_
Beatrice in _Much Ado About Nothing_
Juliet in _Romeo and Juliet_
She also became known for her performances in plays such as _Hamlet_ and _Macbeth_. Terry's portrayal of Lady Macbeth remains one of the most memorable in theatrical history.
Notable Works or Actions
Ellen Terry was instrumental in shaping the development of Shakespearean theater during the late 19th century. Her interpretations of classic roles influenced generations of actors, including her own daughters, Edith Craig and Helen Lenoir.
In addition to her acting career, Terry advocated for women's rights and education. She actively supported the Women's Social and Political Union (WSPU), a leading organization in the fight for women's suffrage.
Impact and Legacy
Ellen Terry's impact on theater is undeniable:
Shaping Shakespearean Theater: Her performances helped popularize Shakespeare's works, influencing the way actors interpreted classical roles.
Inspirational to Future Generations: Terry's daughters followed in her footsteps as actresses, while other notable performers, such as Sir Henry Irving and Dame Maggie Smith, drew inspiration from her work.Why They Are Widely Quoted or Remembered
Ellen Terry is widely quoted for her wit, intelligence, and insight into the human experience. Her performances continue to captivate audiences, ensuring her enduring legacy in the world of theater:
Timeless Performances: Terry's portrayal of Shakespearean heroines remains unmatched, with each performance a testament to her artistic genius.
* Enduring Legacy: As an advocate for women's rights and education, Ellen Terry left behind a lasting impact that extends beyond the stage.
Throughout her life, Ellen Terry demonstrated unwavering dedication to her craft. Her remarkable performances, coupled with her tireless advocacy for social justice, solidified her position as one of the most celebrated actresses in history.
Quotes by Ellen Terry
If it is the mark of the artist to love art before everything, to renounce everything for its sake, to think all the sweet human things of life well lost if only he may attain something, do some good, great work - then I was never an artist.
Imagination! Imagination! I put it first years ago, when I was asked what qualities I thought necessary for success on the stage.
Applause is an instinctive, unconscious act expressing the sympathy between actors and audience. Just as our art demands more instinct than intellect in its exercise, so we demand of those who watch us an apppreciation of the simple unconscious kind which finds an outlet in clapping rather than the cold intellectual approval which would self-consciously think applause derogatory. I have yet to meet the actor who was sincere in saying that he disliked applause.
The tragedian will always be a limited tragedian if he has not learned how to laugh. The comedian who cannot weep will never touch the highest levels of mirth.
