Born in Louisville, Kentucky in 1862, Elizabeth Robins established herself in the American theater and then relocated to London in 1888. She epitomizes the grasp that the plays of Henrik Ibsen held on performers in the 1890s. Indeed, she outshone other professionals by laying claim to performing and producing the first English-speaking Hedda Gabler (1891) and the first Hilda Wangel (1893, in The Master Builder).
She felt that the stage-management system prevented women from having a say in their profession, and therefore she welcomed the Independent Theatre Movement. She formed the Joint Management Company with American actress Marion Lea, her stage partner and co-producer for Hedda Gabler, and she organized several subscription series to mount not only Ibsen’s plays but also other artistic theater. Her feminist play Votes for Women (1907) was at the vanguard of pro-suffrage drama.
Performances organized by Robins of Hedda Gabler and The Master Builder were rivaled in impact only by the initial sensation created by Janet Achurch as Nora Helmer in her London production of A Doll’s House in 1889. Robins’ other Ibsen roles included Martha in The Pillars of Society, Asta in Little Eyolf, Agnes in a production of Act 4 of Brand, Ella Reintheim in John Gabriel Borkman, Mrs Linde in A Doll’s House, and Rebecca West in Rosmersholm.
On 1 June 1891, when the controversy and success of the Elizabeth Robins production of Hedda Gabler had subsided after the longest run to date of any Ibsen play in London, publisher William Heinemann reprinted a deluxe "Large Paper" edition of the English translation that he had introduced in January. Ostensibly, this edition preserved the version of the playas it had been performed in April and May at the Vaudeville Theatre. Translator Edmund Gosse added an introduction which praised the London performers and stressed that "the version here printed is that which they used," except that, "for working purposes, and to avoid certain crudities of the original, they made a few highly judicious alterations." The large paper edition of the play testified to the astounding new popularity of Ibsen's drama. And, as Gosse most elaborately pointed out, the success of the production was due primarily to the acting talent of Elizabeth Robins.
According to reform documents, results from performance assessment tasks give teachers immediate feedback about students' mathematical strengths and weaknesses (NCTM 1995). However, little research has been done to demonstrate just how teachers take advantage of this feedback. Furthermore, less is known about how teachers benefit from collaboratively writing, revising, implementing, and scoring performance tasks.
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