Ellen Alice Terry

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Terry, Ellen Alice


Born Feb. 27,1847, in Coventry, Warwickshire; died July 21, 1928, in Small Hythe, near the city of Tenterden, Kent. British actress.

Terry came from a family of actors and first appeared on the stage at the age of nine. She toured the country from 1859 to 1863 and in 1867–68. From 1878 to 1902 she was the leading actress at the Lyceum Theatre, which was managed by H. Irving, with whom she appeared regularly until 1898. Terry’s art was democratic and sincere and was imbued with love of mankind. She played Ophelia in Shakespeare’s Hamlet; Marguerite in Goethe’s Faust; Olivia in W. G. Wills’ Olivia, an adaptation of Goldsmith’s The Vicar of Wakefield; and Portia, Viola, and Beatrice in Shakespeare’s The Merchant of Venice, Twelfth Night, and Much Ado About Nothing. She was the manager of the Imperial Theatre in 1902–03, where she staged, jointly with her son, E. G. Craig, Much Ado About Nothing and Ibsen’s The Vikings at Helgeland, with herself as Hiordis. She appeared in 1906 at the Court Theatre as Lady Cecily Waynflete in Captain Brassbound’s Conversion, which G. B. Shaw had written for her.

From 1910 to 1915, Terry toured Great Britain, the USA, and Australia, lecturing on Shakespeare and illustrating the lectures with performances of excerpts from his plays. Her sisters Kate Terry (1844–1924), Florence Terry (1854–96), and Marion Terry (1856–1930) and her brother Fred Terry (1863–1933) were also actors.


The Story of My Life. London, 1908.
Ellen Terry and Bernard Shaw: A Correspondence. New York, 1931.
In Russian translation:
Istoriia moiei zhizni. Leningrad-Moscow, 1963.


Craig, E. G. Ellen Terry and Her Secret Self. London, 1931.
Manvell, R. Ellen Terry. London, 1968.


References in periodicals archive ?
Ellen Terry transgressed social norms (including conceiving her two children out of wedlock) and yet managed to maintain, 'simultaneously and without duplicity, the public-and self-image of a thoroughly feminine woman' (p xiv).
Holroyd's portrait of Terry is considerably less admiring, particularly in comparison with Nina Auerbach's feminist reading in her entranced 1987 biography Ellen Terry: Player in Her Time--or, for that matter, in comparison with the image that George Bernard Shaw--or "Pshaw," as Irving called him--sketched out in his preface to Ellen Terry and Bernard Shaw: A Correspondence (1931).
Inset below, John Gielgud, who presented her with the prestigious Ellen Terry Cup.
Though some tension between artistic expression and political expediency is felt throughout the book, the second chapter introduces the possibility of transcendent idealism in the person of Ellen Terry, a unique transitional figure embracing inherent contradictions in defining the feminine role both onstage and in her own person.
The Society's interest in Watts lay in his first, brief marriage to Ellen Terry.
Borne, Ellen Terry, Mary Yatsevitch, Michael Yatsevitch, Margaret Yatsevitch, Stephanie Yatsevitch, McGregor Yatsevitch, Leonard Drennan Jr.
For Ellen Terry (1847-1928), distinguished performer, exceptional woman prolific correspondent, the letter was a site where self-doubt could be exorcized.
little about actresses themselves, confining herself mainly to Helen Faucit, Mary Anderson, Ellen Terry, and Elizabeth Robins, with some
Like his famous theatrical forebears, the actresses Kate and Ellen Terry, Gielgud cried easily: The Gielguds and the Terrys, he quipped, shared "weak lachrymal glands.
Between his two marriages, he lived with the actress Ellen Terry for six years, and their red brick house in Hertfordshire was a laboratory of new ideas about bare floors and curtains.
One sees Ellen Terry as Lady Macbeth and Edwin Booth as Richard III at full emotional throttle with appropriately high-contrast lighting Taken together so much drama creates a hilarious effect.
In others, she's rightly identified as the actress Ellen Terry, leading lady of the London stage and future flirting partner of playwright George Bernard Shaw.