MARY ROBINSON AND SARAH SIDDONS
Sarah Siddons:
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ACTRESS
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Known as:
‘One of the greatest actresses on the English stage’
Born: 1755 in Brecon
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Died: 1831 in London
Mary Darby Robinson:
ACTRESS/NOVELIST/POET/
DRAMATIST
Known as:
‘The English Sappho’
Born: 1757 in Bristol
Died: 1800 in Surrey
‘BOTH WOMEN TOOK CHARGE OF THEIR OWN LIVES AND NEGOCIATED A PATH THAT ENABLED THEM TO FASHION THEIR OWN IMAGE AND EXERCISE SOME AGENCY IN THEIR PERSONAL CONDUCT’
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Throughout the 18th century, actresses became very influential due to the novelty of gaining financial autonomy within a strong patriarchal society.
With the growing public interest on actresses’ private lives, women such as Mary Darby Robinson and Sarah Siddons had to understand the importance their public image had in forging public opinion regarding their reputation.
The fight against the possibility of a damaged representation in society, pushed both women to maintain resistance throughout their lives to assure their position as stable.
However, this unfortunately turned out very differently for Mary Robinson, as Sarah Siddons ‘cultivated an off-stage persona as wife and mother devoted to her children’ (Javis, 2020: 108). Siddons simplistic way of life was praised by many, contrasting strongly with Robinson’s difficult and unstable romantic life which was undermined by the public.
Sarah Siddons:
Siddons was one of the most influential actresses of her time, remembered for her successful role as Lady Macbeth. Even though her performance was only seen in the provinces, ‘she caused a great public commotion through what was seen by the conservative London audiences as a new, daring interpretation of the famous sleepwalking scene’ (Kirk, 2016).
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‘Sir William Beechey, 1793: oil on canvas, Sarah Siddons’
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Renowned for her talent and an inspiration for so many, Siddons’ life was one to remember. Being one of the highest paid actress and at the centre of the public eye at the time, she was soon victim of the press who implied ‘an unfeminine greed on her part’ (Javis, 2020: 113). ‘The implication of femininity was of clear importance to actresses during the 18th century due to the ongoing discourse of the actress being synonymous with a prostitute’ In fact, many reputations for female writers and actresses ‘were already fixed by their gender and they had continually to defend their virtue’ (Cross, 2001: 573). Women were in a constant battle to repronounce the distinction between femininity and their profession. Hence, women were for so long undermined in relation to their gender.
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While there has been an important historical tradition on the English stage of the representation of the female body (especially the demonstration of the legs) being shown off during a performance, Siddons intention was to move interest from femininity to a regard only placed on professionalism. As a matter of fact, Siddons had a strong interest in playing male characters due to the dramatic curiosity this brought along with it.
As many theoreticians argued the representation ‘of actresses as sexually promiscuous functioned to distract attention from their status, to deny them power, and to negate their threat’ (Brooks, 2014: 553). In other words, the battle in which actresses were found to be regarding their gender, was for years a constant negotiation between the separation of their physical representation on stage and this perception of femininity.
In this way, Siddons took constant control over her image by maintaining a powerful and stable public perception of what her private and professional life represented.
‘A. Hamilton, 1780: ‘The Dramatic Enchantress’
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As we can see in this portrait of Robinson, the media used these small oval representations to portray her false image as the ‘Dramatic Enchantress’, forging and manipulating a public opinion of her situation. Being a victim of the media, she fought for her identity throughout her life in many different ways.
By way of illustration and following her return to Britain, Robinson was in a constant fight to redeem her image. As she stayed in the public eye, she exploited her new fashion style by taking advantage of a Box in a theatre which she decorated with beautiful styles and drapes. Being seen by the audience and maintaining a powerful name for herself, she allowed the public to view her as a strong female actress overlooking her difficult past journey.
By the end of her life, Robinson – being a poet, novelist and dramatist- wrote an autobiography of her life (Robinson, 1803). As she discusses her strenuous journey and even refers to her life as a ‘melancholy story’ (Robinson, 1803: 11), she maintained a strong profile and rendered an impression of being a target of misrepresentation. Many have argued her memoirs have ‘been read as an ‘Apology’ for her life and a vindication of her character’ (Civale, 2018: 191). In fact, reading her memoirs left many with the impression Robinson was trying to redeem her reputation by explaining the reasons for her actions. Throughout her memoir, she allows her readers to understand her sense of morality regarding her difficult affair with the Prince of Wales. She goes on to state that ‘after we had corresponded some months without speaking to each other, I still declined meeting his Royal Highness, from a dread of the éclat which such a connection would produce’ (Robinson, 1803: 46). This simple example demonstrates her reasons and the burdensome situation she was in between her reputation as an actress and her public image. Robinson for so long declined any invitation, but was constantly brought back to her realistic situation as the Prince continued writing to her.
Writing her Memoirs enabled Robinson to disregard her painful portrayal throughout society and formed an important sense of resistance towards her untruthful representation.
‘Photos taken by Philippine Lazare on the 9th November 2020’
In many ways, both Sarah Siddons and Mary Darby Robinson fought for women’s rightful portrayals throughout the media. The two actresses understood the importance which their resistance would have within this strong patriarchal society. The fight for equality was and still is of huge influence in the industry today.
All in all, with the growing influence of media and public interest, the thin line between professional and private life was susceptible to change constantly. Being either victims or leaders of these platforms for personal benefits, many women writers and performers had to acknowledge and work with this power of representation.
Actresses, directors and novelists in the industry before and after Sarah Siddons and Mary Robinson, have been in constant resistance regarding the oppression they have been subject to for years, opening up a path of freedom and liberty. Much like Charlotte Charke and many others, their image control and battle for professional equitable representation have allowed upcoming women in the industry such as Mrs Patrick Campbell and Joan Littlewood, to maintain a powerful position and an honest regard towards their work.