- Edmund Kean
Edmund Kean (March 17, 1789 – May 15, 1833) was an English
actor, regarded in his time as the greatest ever. For many years he lived at Keydell House, Horndean.
Kean was born in
London. His father was probably Edmund Kean, an architect’s clerk, and his mother was an actress, Anne Carey, daughter of the 18th century composer and playwright Henry Carey. Kean made his first appearance on the stage, aged four, as Cupid in Jean-Georges Noverre’s ballet of "Cymon". As a child his vivacity, cleverness and ready affection made him a universal favourite, but his harsh circumstances and lack of discipline, both helped develop self-reliance and fostered wayward tendencies. About 1794 a few benevolent persons paid for him to go to school, where he did well; but finding the restraint intolerable, he shipped as a cabin boy at Portsmouth. Finding life at sea even more restricting, he pretended to be both deaf and lame so skillfully that he deceived the doctors at Madeira.
On his return to England he sought the protection of his uncle Moses Kean, mimic,
ventriloquistand general entertainer, who, besides continuing his pantomimic studies, introduced him to the study of Shakespeare. At the same time Miss Charlotte Tidswell, an actress who had been especially kind to him from infancy, taught him the principles of acting.
On the death of his uncle she took charge of him, and he began the systematic study of the principal Shakespearean characters, displaying the peculiar originality of his genius by interpretations entirely different from those of
John Philip Kemble, then considered the great exponent of these roles. Kean’s talents and interesting countenance caused a Mrs Clarke to adopt him, but he took offence at the comments of a visitor and suddenly left her house and went back to his old surroundings.
Aged fourteen, he obtained an engagement to play leading characters for twenty nights in York Theatre, appearing as
Hamlet, Hastings and Cato.
Shortly afterwards, while he was in a travelling theatre company, the rumour of his abilities reached George III, who commanded him to appear at
Windsor Castle. He subsequently joined Saunders’s circus, where in the performance of an equestrian feat he fell and broke both legs—the accident leaving traces of swelling in his insteps throughout his life.
About this time he picked up music from Charles Incledon, dancing from D’Egville, and fencing from Angelo. In 1807 he played leading parts in the Belfast theatre with
Sarah Siddons, who began by calling him “a horrid little man” and on further experience of his ability said that he “played very, very well”, but that “there was too little of him to make a great actor”. An engagement in 1808 to play leading characters in Beverley’s provincial troupe was brought to an abrupt close by his marriage (July 17) with Mary Chambers of Waterford, the leading actress. His wife bore him 2 sons.
Drury Lane and New York
For several years his prospects were very gloomy, but in 1814 the committee of
Drury Lanetheatre, which was on the verge of bankruptcy, resolved to give him a chance among the “experiments” they were making to win a return of popularity. When the expectation of his first appearance in London was close upon him he was so feverish that he exclaimed “If I succeed I shall go mad.” Unable to afford medical treatment for some time, his elder son died the day after he signed the 3-year Drury Lane contract.
His opening at Drury Lane on January 26, 1814 as
Shylockroused the audience to almost uncontrollable enthusiasm. Successive appearances in "Richard III", " Hamlet", " Othello", " Macbeth" and " King Lear" demonstrated his mastery of the range of tragic emotion. His triumph was so great that he himself said on one occasion, "I could not feel the stage under me." On November 29, 1820 Kean appeared for the first time in New Yorkas Richard III. The success of his visit to America was unequivocal, although he fell into a vexatious dispute with the press. On June 4, 1821 he returned to England.
Kean was the first to restore the tragic ending to Shakespeare's "King Lear", which had been replaced on stage since 1681 by Nahum Tate's,
happy endingadaptation " The History of King Lear". Kean had previously acted Tate's Lear, but told his wife that the London audience "have no notion of what I can do till they see me over the dead body of Cordelia." [ Edward Dowden, "Introduction to " King Lear" in "Shakespeare Tragedies", Oxford University Press, 1912, p. 743.] Kean played the tragic Lear for a few performances. They were not well received, though one critic described his dying scene as "deeply affecting", [George Daniel, quoted in Grace Ioppolo, "William Shakespeare's King Lear: A Sourcebook". London, Routledge, 2003, p. 79.] and with regret, he reverted to Tate. [ Stanley Wells, "Introduction" from "King Lear" Oxford University Press, 2000, p. 69.]
Kean’s lifestyle became a hindrance to his career. In Switzerland, he met Charlotte Cox, the wife of a London city alderman. Kean was sued by Cox for adultery on his return to England. Damages of £800 was awarded against him in the presence of a jury in just 10 minutes.
The Timeslaunched a violent attack on him. The adverse decision in the divorce case of Cox v. Kean on January 17, 1825 caused his wife to leave him, and aroused against him such bitter feeling, that he was booed and pelted with fruit when he re-appeared at Drury Lane, as nearly to compel him to retire permanently into private life.
econd American visit
A second visit to America in 1825 was largely a repetition of the persecution which he had suffered in England. Some cities showed him a spirit of charity; many audiences submitted him to insults and even violence. In
Quebeche was much impressed with the kindness of some Huron Indians who attended his performances, and he was purportedly made an honorary chief of the tribe, receiving the name "Alanienouidet".Fact|date=September 2007. Kean’s last appearance in New York was on December 5, 1826 in "Richard III", the role in which he was first seen in America.
Decline and death
He returned to England and was ultimately received with favour, but by now he was so dependent on the use of stimulants that the gradual deterioration of his gifts was inevitable. Still, his great powers triumphed during the moments of his inspiration over the absolute wreck of his physical faculties. His appearance in Paris was a failure owing to a fit of drunkenness.
His last appearance on the stage was at
Covent Garden, on March 25, 1833, when he played Othello to the Iagoof his son, Charles Kean, who was also an accomplished actor. At the words “Villain, be sure,” in scene 3 of act iii, he suddenly broke down, and crying in a faltering voice “O God, I am dying. Speak to them, Charles,” fell insensible into his son’s arms. He died at Richmond, Surreywhere he had spent his last years as manager of the local theatre two months later, and was buried in the Parish Church where there is a floor plaque marking his grave and a wall plaque originally on the outside but moved inside and heavily restored during restoration work in 1904. In Dublin, Gustavus Vaughan Brooketook up the part of William Tellvacated by Kean.
It was in the impersonation of the great creations of Shakespeare’s genius that the varied beauty and grandeur of the acting of Kean were displayed in their highest form, although probably his most powerful character was Sir Giles Overreach in
Philip Massinger’s "A New Way to Pay Old Debts", the effect of his first performance of which was such that the pit rose en masse, and even the actors and actresses themselves were overcome by the terrific dramatic illusion. His main disadvantage as an actor was his small stature. Coleridge said, “Seeing him act was like reading Shakespeare by flashes of lightning.”
If the range of character in which Kean attained supreme excellence was narrow, no one except
David Garrickwas so successful in so many great roles. Unlike Garrick, Kean had no true talent for comedy, but in the expression of biting and saturnine wit, of grim and ghostly gaiety he was unsurpassed.
His eccentricities at the height of his fame were numerous. Sometimes he would ride recklessly on his horse Khylock throughout the night. He was presented with a tame lion with which he might be found playing in his drawing-room The prize-fighters Mendoza and Richmond the Black were among his visitors. Grattan was his devoted friend.
In his earlier days, Talma said of him, “He is a magnificent uncut gem; polish and round him off and he will be a perfect tragedian.” Macready, who was much impressed by Kean’s "Richard III" and met the actor at supper, speaks of his “unassuming manner ... partaking in some degree of shyness” and of the “touching grace” of his singing. Kean’s delivery of the three words “I answer—No!” in the part of Sir Edward Mortimer in "The Iron Chest", cast Macready into an abyss of despair at rivalling him in this role. So full of dramatic interest is the life of Edmund Kean that it formed the subject for the play "Kean" by
Jean-Paul Sartreas well as a play by Alexandre Dumas, père, entitled "Kean, ou Désordre et génie", in which the actor Frédérick Lemaîtreachieved one of his greatest triumphs.
Several theatrical works have been based on Kean's life:
* "Kean", a drama by
Alexandre Dumas, père, 1836
* "Kean", a comedy by
Jean-Paul Sartre, 1953 (produced 1954 with Pierre Brasseur, revived London 2007 starring Antony Sher) [cite web |url=http://www.thestage.co.uk/reviews/review.php/17019/kean |title=Kean Theatre Review |accessdate=2008-08-29 |last=Thaxter |first=John |date=2007-05-31 |publisher=The Stage]
* "Kean", a Broadway musical by
Peter Stone, Robert Wright, and George Forrest, 1961
* "Kean IV", a tragicomedy by
Grigoriy Gorin, 1991
* Francis Phippen, "Authentic memoirs of Edmund Kean, containing a specimen of his talent at composition" (London, 1814)
* B. W. Procter, "The Life of E. K." (London, 1835)
* Frederick William Hawkins, "The life of Edmund Kean" (Tinsley Brothers, London, 1869)
George Henry Lewes, "On Actors and the Art of Acting" (Smith Elder, London, 1875)
* Henry Barton Baker "Our Old Actors", (R. Bentley & Son, London, 1881)
Edwin Booth, "Edmund Kean," in "Actors and Actresses of Great Britain and the United States from the days of David Garrick to the present time", edited by Brander Matthewsand Laurence Hutton, volume iii (Cassell & Co., New York, 1886)
* Joseph Fitzgerald Molloy, "The Life and Adventures of Edmund Kean, Tragedian, 1787-1833" (Downey & Co. Limited, London, 1897)
* Edward Stirling, "Old Drury Lane: Fifty Years' Recollections of Author, Actor, and Manager" (
Chatto and Windus, London, 1887).
* Lynch, Jack (2007). "Becoming Shakespeare: The Strange Afterlife That Turned a Provincial Playwright into the Bard." New York: Walker & Co.
Mark Twain's "Adventures of Huckleberry Finn", one of the con artists poses as Kean.
* [http://www3.hants.gov.uk/localpages/south-east/waterlooville/horndean.htm Family Graves]
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Edmund Kean — Saltar a navegación, búsqueda Edmund Kean interpretando a Sir Giles Overreach en la obra de Massinger A New Way to Pay Old Debts ( Nuevo modo de pagar antiguas deudas ), 1816 Edmund Kean (17 de marzo de 1787 – 15 de … Wikipedia Español
Edmund Kean — (* 4. November 1782 in London; † 15. Mai 1833 in Richmond) war ein englischer Schauspieler. Inhaltsverzeichnis … Deutsch Wikipedia
Edmund Kean — Pour les articles homonymes, voir Kean. Edmund Kean Edmund Kean, né le 17 mars 1787 à Londres et … Wikipédia en Français
Edmund Kean — noun English actor noted for his portrayals of Shakespeare s great tragic characters (1789 1833) • Syn: ↑Kean • Instance Hypernyms: ↑actor, ↑histrion, ↑player, ↑thespian, ↑role player * * * … Useful english dictionary
Edmund Kean — ➡ Kean * * * … Universalium
Kean — may refer to:;Theatre * Kean (play), by Jean Paul Sartre and Alexandre Dumas, père * Kean (musical), adaptation by Peter Stone, Robert Wright and George Forrest; People * Edmund Kean (1789 1833), English actor * Thomas Kean, Sr. (b. 1935),… … Wikipedia
Kean — ist der Familienname folgender Personen: Charles Kean (1811–1868), britischer Theaterschauspieler Edmund Kean (1782–1833), britischer Schauspieler Ellen Kean (1805–1888), britische Schauspielerin Hamilton Fish Kean (1862–1941), US amerikanischer… … Deutsch Wikipedia
Edmund — or Edmond [ed′mənd] n. 〚OE Eadmund < ead (see EDGAR1) + mund, hand, protection: see MANUAL〛 a masculine name: dim. Ed, Ned * * * (849–870) a … Universalium
Kean, Edmund — born March 17?, 1789, London, Eng. died May 15, 1833, London British actor. He acted with a touring stage company from 1805, and in 1814 he won acclaim in London with his innovative portrayal of Shylock in The Merchant of Venice. He went on to… … Universalium
Kean — Cette page d’homonymie répertorie les différents sujets et articles partageant un même nom. Kean est un nom de famille irlandais (voir Keane pour plus de détails) : Ce nom désigne le plus souvent l acteur britannique Edmund Kean (1787 1833)… … Wikipédia en Français