''Start petitioning a library near you to begin the collection.' - From the boo
k review of Plays International
シェイクスピア上演史および英国戯曲史を語る上で欠かせない名優達の足跡とその時代の実像を、同時代の雑誌・新聞に掲載された多数の劇・演技評や様々な記事および書簡・日記などの伝記資料から浮かび上がらせる、初の復刻文献コレクションが好評刊行継続中です。
原資料の復刻収録だけでなく、今後の研究の補助のため以下が各巻の編者により付加されています。
●総合序文 ●ヘッドノート ●脚注 ●参考文献書誌 ●年表 ●巻末インデックス
英文学および演劇、パフォーミング・アーツ等の学部・学科、大学図書館にて継続での購入をご検討ください。
推薦文 ●近代を見た名優たち● 喜志哲雄
『シェイクスピア俳優と上演史』第５集には、１９世紀後半のイギリスを代表する三人の名優についての資料を収める。
ヘンリー・アーヴィング（１８３８〜１９０５）は興行師としても活躍したが、俳優としては藝域の広さで知られた。彼のシェイクスピア上演は華麗な装置を用い、観客の視覚に訴えるものだった。つまり聴覚を重視する従来のやり方が、いい意味でも悪い意味でも近代的なものに変ったのである。彼を批判する人もいたが、圧倒的な人気を誇ったこの人物は、俳優としては初めて「サー」の称号を与えられた。
エレン・テリー（１８４７〜１９２８）も多様な役を演じたが、今ではもっぱらアーヴィングの相手役を務めたことによって記憶されている。この資料集のおかげで、二人が共演したシェイクスピア劇がどんなものだったかが具体的に分るのは、本当に有難い。なおエレン・テリーの息子は、高名な演出家、舞台美術家となったゴードン・クレイグである。また、我々がよく知っている名優ジョン・ギールグッドは、彼女の姉の孫だ
。
ハーバート・ビアボーム・トリー（１８５３〜１９１７）は、アーヴィングと同じように名優で有能な興行師だった。彼も、シェイクスピア劇以外の作品によく出演した。
ひとつだけ例を挙げると、ミュージカル『マイ・フェア・レイディ』の原作となったショーの『ピグマリオン』の初演でヘンリー・ヒギンズ教授を演じたのは彼である。
三人の俳優はすべて２０世紀まで生きていたから、二、三十年前までは、実際に彼等の舞台を観たことのある人がまだたくさんいた。別の言い方をするなら、この三人の俳優は近代劇の成立に立合い、時にはワイルドやショーといった初期の近代劇の作者の劇に自ら出演したのだ。彼等の時代はそれほど遠いものではない。
◆収録文献明細◆
VOLUME 1: BEERBOHM TREE (Edited by Victor Emeljanow)
'Herbert Beerbohm Tree', The Theatre (1881); Arthur Goddard, 'Herbert Beerbohm
Tree', in Players of the Period (1891); 'Re-opening of the Haymarket', Era (1
887); 'The Haymarket Theatre', Saturday Review (1887); 'Captain Swift', Era (1
888); 'A Man’s Shadow', Pall Mall Gazette (1889); 'The Dancing Girl', Saturda
y Review (1891); Julia Nielson, This for Remembrance (1940) [extract]; 'London
theatres - The Haymarket', Era (1893); 'The Player’s World', Encore (1893);
'Hypatia', Jewish Chronicle (1893); 'Drama - At His Majesty’s Theatre', Acade
my (1907); 'The London theatres - The Haymarket Theatre', Era (1893); 'Trilby
on the stage at Manchester: first performance in England', Daily News (1895);
'Trilby', Era (1895); 'Enemy of the People', Era (1893); X, 'Mr Tree’s Monday
Nights', Fortnightly Review (1890); 'Merry Wives of Windsor', Saturday Review
(1889); 'Drama: the Week', Athenaeum (1889); 'King John', Theatre (1889); Wil
liam Archer, 'King Henry IV on the stage', Daily Chronicle (1896); G B Shaw, '
Henry IV', Saturday Review (1896) repr. Our Theatre in the Nineties (1932); 'H
aymarket Theatre: a fine revival and appeal to Mr. Tree', London Echo (1896);
Owen Nares, Myself and some Others, (1925) [extract]; Beerbohm Tree, 'Hamlet f
rom an actor’s prompt book', Fortnightly Review (1895) repr. In Thoughts and
Afterthoughts (1913); Clement Scott, 'Herbert Beerbohm Tree: Haymarket Theatre
, Jan. 21 1892', Some Notable “Hamlets” (1905); 'Hamlet at the Haymarket', E
ra (1892); 'Haymarket Theatre', Queen (1892); 'Art and Architecture on the sta
ge: Twelfth Night' (1901); 'Her Majesty’s Theatre', The Times (1901); Ellen T
erry, Ellen Terry’s memoirs, eds. Edith Craig and Christopher St. John (1932)
[extract]; 'The Merry Wives', Daily Mail (1902); 'His Majesty’s Theatre - Mi
ss Ellen Terry’s Jubilee', The Times (1906); 'His Majesty’s Theatre', Mornin
g Post (1908); Raymond Blathwayt, 'Mr. Tree as Shylock: an impression of the g
reat production at His Majesty’s', Black and White (1908); 'Mr. Tree’s Shylo
ck', Daily Telegraph (1908); 'The Ghetto on the Stage: behind the scenes at Hi
s Majesty’s', Daily Chronicle (1908); Leon M. Lion, The Surprise of my Life:
the lesser half of an autobiography (1948) [extract]; 'A Great Shylock', Eveni
ng Standard (1908); S D, 'Shylock in a new garb', Daily Express (1908); 'The N
ew Faust-Mr Tree as Mephistopheles', Daily Telegraph (1908); 'A Memorable Faus
t night', Referee (1908); H M Walbrook, 'Henry VIII', Nights at the Play (1911
); Edward Morton, 'King Henry VIII at His Majesty’s Theatre', Playgoer and So
ciety Illustrated (1910); 'Henry VIII on the film', Daily News (1911); 'Henry
VIII on the Bioscope', Morning Post (1911); 'Sir H Tree’s Macbeth,' The Times
(1911); H H C, 'First of the Season: two Shakespeare Revivals', Times of Indi
a (1911); 'At the Play', Observer (1911); 'Othello at His Majesty’s Theatre',
The Times (1912); P C, 'Sir Herbert Tree’s Othello', Manchester Guardian (19
12); 'Sir H Tree as Othello', Standard (1912); Beerbohm Tree, 'The New Costume
Society and the Stage', The Theatre (1883); Sidney Lee, 'Shakespeare and the
Modern Stage', Shakespeare and the Modern Stage and other Essays, (1906) [extr
act]; Beerbohm Tree, 'The Staging of Shakespeare', Fortnightly Review (1900);
William Poel, 'The Staging of Shakespeare', Fortnightly Review (1900) [extract
]; W. Hughes Hallett, 'The staging of Shakespeare: a reply to Mr. Beerbohm Tre
e', Fortnightly Review (1900); Percy Fitzgerald, Shakespearean Representations
(1908) London Shakespeare League: 'Report of a Public Discussion on the best
method of presenting Shakespeare’s plays' (1905); St. John Hankin, 'Some rema
rks on Julius Caesar', Academy (1898); Beerbohm Tree, 'An apology for Julius C
aesar', Academy (1898); E M R, 'Mr Beerbohm Tree’s Mark Antony', Westminster
Review (1898); 'King John', Era (1899); 'King John at Her Majesty’s Theatre',
The Times (1899); W Moy Thomas, 'King John', Graphic (1899); 'King John at He
r Majesty’s Theatre', Daily News (1899); J T Grein, 'Her Majesty’s: A Midsum
mer Night’s Dream', Premieres of the Year (1900); 'Her Majesty’s Theatre: A
Midsummer Night’s Dream', The Times (1900); 'A Midsummer Night’s Dream', Era
(1900) 'His Majesty’s Theatre', The Times (1903); Beerbohm Tree, 'The Tempes
t in a Teacup', Thoughts and Afterthoughts (1904); 'His Majesty’s Theatre-The
Tempest', The Times (1904); Mrs George Cran, 'Shakespearean controversy and T
he Tempest', Herbert Beerbohm Tree (1907) [extract]; 'New Tempest', Daily Chro
nicle (1904); Desmond MacCarthy, 'Shakespeare at His Majesty’s', Speaker (190
7); 'Drama-The Week', Athenaeum (1907); Harold Hodge, 'Antony and Cleopatra',
Saturday Review (1907); 'The Shakespeare Festival', Era, (1905); J T Grein, 'S
hakespeare’s Festival at His Majesty’s Theatre', Sunday Times (1905); 'His M
ajesty’s Theatre-Hamlet', The Times (1905); Carados, 'Shakespeare Celebration
', Referee (1906); 'Miss Terry’s Jubilee', Standard (1906); 'His Majesty’s T
heatre-Julius Caesar', Morning Post (1906); 'Shakespeare Festival', Daily Grap
hic (1907); 'Merry Wives of Windsor', Morning Post (1907); 'A Jubilee Night at
His Majesty’s Theatre', Standard (1907); 'Dramatic Gossip', Referee (1908);
'Shakespeare and the schools', Education (1909); 'Children at the theatre', St
andard (1909); 'His Majesty’s-Shakespeare Festival', Observer (1909); 'His Ma
jesty’s Theatre-Hamlet', Stage (1910); 'An Elizabethan stage performance at H
is Majesty’s', Morning Post (1910); 'The Two Gentlemen of Verona', Westminste
r Gazette (1910); 'Fairies, Rabbits and some others', Pall Mall Gazette (1911)
; 'At His Majesty’s', Globe (1911); 'The London Shakespeare festival', The Ti
mes (1912); Mordred, 'Exit Shakespeare', Referee (1912); J T Grein, 'This Week
’s premieres', Sunday Times (1912); The Theatre - the Shakespeare Festival at
His Majesty’s', Academy (1913); W A, 'His Majesty’s', Star, (1913); 'Sir He
rbert Tree: a versatile actor and manager', The Times (1917); William Archer,
'Beerbohm Tree', The Nation, (1917); Desmond MacCarthy, 'From the stalls', in
Max Beerbohm (ed) Herbert Beerbohm Tree, (1920) [extract]; H M Walbrook, 'Beer
bohm Tree and Shakespearean Theatre', Nineteenth Century, November (1917) [ext
ract]; T P O’Connor, 'Memories of Beerbohm Tree, a personal pen picture' Era
Annual (1918) [extract]; Gordon Crosse, Shakespearean Playgoing 1890?1952 (19
53) [extracts]
VOLUME 2: HENRY IRVING (Edited by Denis Salter)
W Archer and R W Lowe, The Fashionable Tragedian: A Criticism With Ten Ilustra
tions [By G. R. Halkett] (1877) [extracts]; H Irving [Yorick, pseud], A Letter
Concerning Mr. Henry Irving Addressed to E. R. H. Edinburgh (1877); F A Marsh
all [An Irvingite, pseud], Henry Irving Actor and Manager: A Criticism Of A Cr
itic's Criticism (1883) [extract]; E R Russell, 'Mr. Irving's Work', Fortnight
ly Review 36 (1884) [extracts]; A Ainger, 'The New Hamlet and His Critics', Ma
cmillan's Magazine (1875); E R Russell, Irving As Hamlet (1875); 'Drama. Mr. I
rving's Hamlet', Examiner (1874); M Schlesinger, 'A German Critique on Mr. Irv
ing's Hamlet', Times (1875); R H Hutton, 'Mr. Irving's Hamlet', Spectator (187
4); F Wedmore, 'The Stage.Irving in "Hamlet"', Academy (1874); M E Braddon, 'M
acbeth At The Lyceum Theatre', Belgravia (1876); E R Russell, 'Mr. Irving's In
terpretations of Shakspeare [sic],' Fortnightly Review (1883); E R Russell, Th
e True Macbeth. A Paper Read Before The Literary And Philosophical Society Of
Liverpool. November 29th, 1875 (1875); 'Drama. Mr Irving's Macbeth', Examiner
(1875); ‘Dramatic’, Figaro (1876); '"Othello"', Era (1876); 'Mr Irving's Oth
ello [From '"Bell's Weekly Messenger"]’, Orchestra (1876); H Irving, 'Four Fa
vourite Parts', English Illustrated Magazine (1893) [extracts]; 'Dramatic', Fi
garo (1877); 'Drama. Mr Irving's Richard III', Examiner (1877); '"Richard The
Third" At The Lyceum', Era (1877); 'Theatre Royal. Mr Henry Irving As Richard
The Third', North British Daily Mail (1877); 'The Stage. Two Richards', Touchs
tone; or, The New Era (1877); 'Hamlet', Truth (1879); M Thomas, 'The Stage. Mr
Irving and Miss Ellen Terry at the Lyceum', Academy (1879) Lady Hardy, 'The H
amlet of the Day', Theatre (1879); M Oliphant, 'Hamlet', Blackwood's (1879); '
Mr. Irving and Miss Terry in "Hamlet"', Liverpool Daily Post (1883); E A Dithm
ar, 'The Amusement Season Dramatic. Mr. Irving As Hamlet', New York Times (188
4); W Winter, 'The Drama--Music. Henry Irving As Hamlet.', New York Daily Trib
une (1884); H Irving [Pseud By An Actor], 'The Round Table. The Character Of S
hylock', Theatre (1879); E R Russell, ‘Henry Irving As Shylock’, The Theatre
: A Monthly Review Of The Drama, Music, And The Fine Arts (1880); P Fitzgerald
, 'Irving's Acting. A Study', Whitehall Review (1880); 'Lyceum Theatre', Era (
1879); '"The Merchant Of Venice'", Pall Mall Gazette (1879); T Martin, 'Theatr
ical Reform: The "Merchant Of Venice" At The Lyceum', Blackwood's Edinburgh Ma
gazine (1879); 'Dramatic', London Figaro (1879), 'Dramatic. Mr. Irving's "Shyl
ock"', London Figaro (1880); A B McMahan, 'Mr. Irving's Shylock', Dial (1893);
A B Walkley, 'Drury Lane Theatre. "The Merchant Of Venice"', Times (1905); 'M
usic And The Drama. Bradford Theatre Royal. Sir Henry Irving As "Shylock"', Br
adford Daily Telegraph (1905); G A. Sala, 'The Playhouses', Illustrated London
News (1881); G A Sala, 'The Playhouses', Illustrated London News (1881); 'Oth
ello At The Lyceum', Saturday Review (1881); 'Othello at the Lyceum', Saturday
Review (1881); E. R. Russell, '"Romeo and Juliet" at the Lyceum', Macmillan's
Magazine (1882) T H Ward, 'Romeo and Juliet at the Lyceum', Times (1882), 'Ro
meo and Juliet at the Lyceum', Saturday Review (1882); H Labouchere [Scrutator
, pseud], 'That Baggage Juliet', Truth (1882) M Arnold, 'An Old Playgoer At Th
e Lyceum', Pall Mall Gazette (1883); 'The London Theatres. The Lyceum', Era (1
882); 'Lyceum Theatre', Times (1882), 'Mr. Irving & Miss Ellen Terry at the Al
exandra Theatre', Liverpool Daily Post (1883); 'Amusements. The Haverly', Chic
ago Daily Inter Ocean (1885), 'The London Theatres. The Lyceum', Era (1891); J
R Towse, ‘Henry Irving’, Century (1884); H A Clapp, ‘Henry Irving’, Atlan
tic Monthly (1884); E R Russell, 'Mr. Irving's Work', Fortnightly Review (1884
); F A Marshall, 'Our Play-Box. "Twelfth Night; Or, What You Will"', Theatre (
1884); G A Sala, 'The Playhouses', Illustrated London News (1884); W Archer, '
"Twelfth Night" At The Lyceum', Macmillan's Magazine (1884); E Aveling, '"Twel
fth Night" At The Lyceum', Our Corner (1884); 'The Revival Of "Macbeth"', Era
(1888); E R Russell, '"Macbeth" Revisited', Macbeth program for 135th performa
nce (1889) [extracts]; H Labouchere [Scrutator, pseud], 'Macbeth And His Wife
’, Truth (1889); J T Grein, ‘M. Irving et Mlle Terry au Lyceum’, Reveue d’
Art Dramatique 13 (1889); W Archer, 'The Theatre. "Macbeth"', World (1889); R
Towse, Sixty Years Of The Theater [sic]: An Old Critic's Memories (1916); C Me
ltzer, 'Mr. Irving's Macbeth', World [New York] (1895); J F Nisbet, 'Lyceum Th
eatre', Times (1892); 'The Drama. Henry VIII. at the Lyceum', Daily News (1892
); H Irving 'Four Favourite Parts', English Illustrated Magazine (1893) [extra
ct]; E R Russell, 'Irving's "King Lear": A New Tradition', Nineteenth Century
(1893); H J Jennings, '"King Lear" At The Lyceum', Gentleman's Magazine (1892)
; 'The Week. Lyceum.--"King Lear"', Athenaeum (1892); 'King Lear At The Lyceum
', Saturday Review (1892), 'King Lear', Saturday Review (1892); R Warwick Bond
, '"Cymbeline" at the Lyceum', Fortnightly Review (1896); 'Drama. The Week. Ly
ceum. "Cymbeline"', Athenaeum (1896); 'Lyceum Theatre. "Cymbeline"', Daily Gra
phic (1896); '"Cymbeliine" at the Lyceum', Daily News (1896); FCG, ‘Round the
Theatres’, Westminster Gazette (1896); W Wallace, 'Sir Henry Irving's Claims
', National Review (1896); G Barlow, 'Talent and Genius on the Stage', Contemp
orary Review (1892); A B Walkley, Playhouse Impressions (1892); Sir Edward Rus
sell, 'The Round Table. Sir Henry Irving's Richard III', Theatre (1897); '"Ric
hard III." at the Lyceum', Lloyd's Weekly Newspaper (1896); '"Richard III" at
the Lyceum', Standard (1896); J F Nisbet, 'Lyceum Theatre', Times (1896) 'Dram
a', Athenaeum (1896); ‘Theatres. The Lyceum', Era (1896); W Archer, 'The Thea
tre. "Coriolanus"--"Count Tezma"', World (1901); 'Lyceum Theatre. "Coriolanus"
', Daily Graphic (1901); R Dickins, Forty Years Of Shakespeare On The English
Stage, August 1867 To August, 1907: A Student’s Memories [1907 or 1908]; J T
Grein, Dramatic Criticism (1900-1901) [extract]; A Symons, Plays, Acting, and
Music: A Book Of Theory (1909) [extract]; A Warren, London Days: A Book of Rem
iniscences (1921) [extracts]; Sir J. Martin-Harvey, The Autobiography Of Sir J
ohn Martin-Harvey [1933] [extracts];
VOLUME 3: ELLEN TERRY (Edited by Katharine Cockin)
Charles Dodgson, The Diaries of Lewis Carroll Volume One, ed. Roger Lancelyn G
reen (1953) [extracts]; Charles Tawse, ‘Charles Kean’s Winter’s Tale', Thea
tre (1888); Daily News (1858) [extract]; Daily News (1887) [extract]; Frederic
k Wedmore, ‘The Merchant of Venice at the Prince of Wales’, The Stage, (1875
); ‘Theatres’, The Graphic (1875); J S, ‘The Merchant of Venice at the Prin
ce of Wales’s Theatre’, Fraser’s Magazine (1875) Henry James, The Scenic Ar
t of Henry James: Notes on Acting and the Drama 1872-1901 (1949) [extracts]; C
harles Hiatt, Ellen Terry and Her Impersonations (1899) [extract]; John Ruskin
letter to Henry Irving (1879); Aberdeen Journal, (1879) [extract]; H Savile C
lark, To Miss ET as Portia, and review ‘Hamlet at the Lyceum’, The Examiner
(1879); ‘Theatrical Reform: The Merchant of Venice at the Lyceum’, Blackwood
’s Magazine (1879); ‘The Examiner of Plays The Lyceum’, The Examiner (1879)
; ‘The Examiner of Plays: The Merchant of Venice at the Lyceum', The Examiner
(1879); ‘Theatres’, The Graphic (1879); Anna Lea Merritt, ‘Miss Ellen Terr
y as Ophelia, Etcher (1879); W Davenport Adams, ‘Ellen Terry as Beatrice', Th
e Theatre (1880); ‘Mr Irving and Miss Terry in Glasgow’, The Era (1883), ‘M
iss Ellen Terry’s Benefit', The Era (1887); Dutton Cook, ‘Ellen Terry’, The
atre (1880); [Henry James], ‘The London Theatres’, Scribner’s Monthly: An I
llustrated Magazine, conducted by J. G. Holland (1881); ‘Public Amusements’,
The Liverpool Mercury (1881); ERR, ‘Ellen Terry as Portia’, Theatre (1880);
‘Helen Faucit and Ellen Terry’, Era (1880); ‘Miss Ellen Terry as Portia’,
The Illustrated London News (1880); Charles Hiatt, Ellen Terry and Her Impers
onations (1899) [extracts]; Kate Terry Gielgud, An Autobiography (1953) [extra
ct]; Graham Robertson, Time Was: The Reminiscences of W. Graham Robertson (193
1) [extract]; ABW, ’The Drama’, The Speaker (1898); ‘King Lear at the Lyceu
m’, The Times (1892); [GBS] 'Romeo and Juliet', Saturday Review (1895); GBS,
‘Mainly About Shakespeare’, Saturday Review (1897); Marie Corelli, ‘Viola’
, Temple Bar (1884); William Archer, ‘Twelfth Night at the Lyceum’, Macmilla
n’s Magazine (1884); Lewis Carroll, ‘The Stage and the Spirit of Reverence',
Theatre (1888) [extract]; William Winter, Shadows of the Stage (1906) [extrac
t]; William Archer, ‘Macbeth and Common Sense’, Murray’s Magazine (1889); A
G L ,‘Irving’s Macbeth’, Poet-lore (1889); Percy Fitzgerald, 'Macbeth', Th
eatre (1889); [Anon review of Macbeth], Morning Post (1888); Edward Gordon Cra
ig, Ellen Terry and Her Secret Self (1931) [extract]; Charles Hiatt, Ellen Ter
ry and Her Impersonations (1899) [extract]; Henry James, The Scenic Art of Hen
ry James: Notes on Acting and the Drama 1872-1901 (1949); George Bernard Shaw,
‘Blaming the Bard’, The Saturday Review (1896); R Warwick Bond, ‘Cymbeline
at the Lyceum’, Fortnightly Review (1896); Clement Scott, Ch III Queens of t
he Stage, in The Drama Of Yesterday and To-Day (1899); Bram Stoker, ‘The Art
of Ellen Terry’, Playgoer (1902); Bernard Partridge, ‘Fifty Years A Queen (A
n Author’s Tribute)’, Punch (1906); Basil Dean, Seven Ages (1970) [extract];
Kate Terry Gielgud, An Autobiography (1953) [extract]; 'Miss Ellen Terry’s J
ubilee Benefit’, Review of Reviews (1906); ‘The Winter’s Tale Revived at Hi
s Majesty’s Theatre’, Illustrated London News (1906); B W Findon, ‘The Play
and Its Story’, Play Pictorial (1906); Christopher St John, Introduction, Fo
ur Lectures on Shakespeare by Ellen Terry (1932); Ellen Terry, Four Lectures o
n Shakespeare (1932) [extract]; Christopher St John, The First Actress (1911)
[extract]; ‘Miss Ellen Terry at the Haymarket’, Academy (1911); ‘Shakespear
e’s Heroines by Ellen Terry’, Review of Reviews (1910); Basil Dean, Seven Ag
es (1970); [Anon] ‘The Last Rosalind’, Theatre (1885); Oscar Wilde, ‘Shakes
peare and Stage Costume’, The Nineteenth Century (1885); William Archer, ‘A
Well-Graced Actress’, National Review (1886); Henry James, ‘The Acting in Mr
Irving’s Faust’, The Scenic Art of Henry James: Notes on Acting and the Dra
ma 1872?1901 (1949); Harry How, 'Illustrated Interview No. XVII: Ellen Terry'
, Strand (1892); [Anon] ‘Miss Ellen Terry on Operatic Acting’, Magazine of M
usic (1893); Joseph Knight et al, ‘Who is the Greatest Living Actress-And Why
?', The Idler (1895); Clement Scott, ‘The New Dictator’, Theatre (1895); GBS
, ‘The Silver Key’, Saturday Review (1897); Austin Brereton, ‘Ellen Terry,
Player Queen’, English Illustrated Magazine (1897); T Edgar Pemberton, Ellen
Terry and Her Sisters (1902) [extract]; Christopher St John, Ellen Terry (1907
) [extract]; ‘Henry Irving and Ellen Terry’, The Bookman (1908); H M Walbroo
k, ‘Great Acting in Shakespeare’, Pall Mall Magazine (1910); Anon, ‘Kate Do
uglas Wiggin and Ellen Terry’, Bookman (1911); Editorial, The Freewoman (1911
); Alice Comyns Carr, ‘Ellen Terry: Recollections of a Long Friendship’, For
tnightly Review (1922); Ivor Brown, ‘To the Goddess’, Saturday Review (1928)
; Stephen Gwynn, ‘Ebb and Flow’, Fortnightly Review (1928); Edward Gordon Cr
aig, Ellen Terry and Her Secret Self (1931); Virginia Woolf, ‘Ellen Terry’,
New Statesman (1941) in Collected Essays by Virginia Woolf Volume Four (1967);
Edith Sitwell, ‘Ellen Terry (1847?1928)’ in English Women (1942); Graham R
obertson, Time Was: The Reminiscences of W. Graham Robertson (1931) [extract];
Ernest Milton, ‘Heart and Hand’, Edy: Recollections of Edith Craig (1949);
Margaret Webster, The Same Only Different: Five Generations of a Great Family
(1969) [extracts]; Christopher St John, ‘Ellen Terry’s Shrine’, Sackbut (19
33)
【好評発売中】（各集全3巻）
第1集：D. ギャリック、C. マクリン、M. ウォフィントン
Part 1: David Garrick, Charles Macklin and Magaret Woffington
2008年3月刊行 ISBN 13: 978-4-902454-33-8
セット本体価格 \88,000（税込￥92,400）
第2集：E. キーン、S. シドンズ、J. P. ケンブル、H. スミスソン
Part 2: Edmund Kean, Sarah Siddons, John Philip Kemble and Harriet Smithson
edited by Jim Davis, Lisa Freeman and Peter Raby
2009年2月刊行 ISBN 13: 978-4-902454-34-5
セット本体価格 \88,000（税込￥92,400）
第3集：チャールズ・キーン、サミュエル・フェルプス、ウィリアム・チャールズ・マ
クリーディ
Part 3: Charles Kean, Samuel Phelps and William Charles Macready
2010年1月刊行 ISBN 13: 978-4-902454-43-7
セット本体価格 \68,000（税込￥71,400）
第4集：H. フォーシット、F.ケンブル、E. ヴェストリス
Part 4: Helen Faucit, Lucia Elizabeth Vestris and Fanny Kemble
2011年1月刊行ISBN 13: 978-4-902454-44-4
セット本体価格68,000円（税込71,400円）
【予約受付中】（各集全3巻）
第6集：I. オールドリッジ、E. フォレスト、E. ブース、C.クッシュマン
Part 6: Ira Aldridge, Edwin Forrest, Edwin Booth and Charlotte Cushman
2012年末刊行予定 ISBN 13: 978-4-902454-46-8
第7集：S. ベルナール、H. モジェスカ、A.リストーリ
Part 7: Sarah Bernhardt, Helena Modjeska and Adelaide Ristori
2013年末刊行予定 ISBN 13: 978-4-902454-47-5
第8集：T. サルヴィーニ、E. ロッシ、C. フェクター
Part 8: Tommaso Salvini, Ernesto Rossi and Charles Fechter
2014年刊行予定 ISBN 13: 978-4-902454-64-2
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