By Dyan Colclough
Child exertions significantly contributed to the cultural and financial good fortune of the British Victorian theatrical undefined. This booklet highlights the complexities of the conflict for baby exertions legislation, the arguments for the desires of the theatre undefined, and the load of competition that faced any try to keep an eye on employers.
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Extra info for Child Labor in the British Victorian Entertainment Industry: 1875–1914
56 Child productions were exceptionally beneficial to the industry. 57 These did not necessarily replace the adult versions but often played alongside them. For instance, one all-child production of HMS Pinafore played in the afternoons while the evening performance was given over to the adult version. 59 Contemporary comment confirms that far from encroaching upon existing profitable ventures, all-child productions created additional revenue for the industry. 60 The public appeared willingly to accept this additional cost.
102 As shown below Fawcett and her supporters identified the ways in which inadequate laws and deliberate collusion left child performers in a vulnerable position. EDUCATION Expectations of child recruits were such that they could not help but interfere with the general education of those apprenticed into the industry. The toll was confirmed by one ballet master. ”103 Time demands made by the industry on its young workforce were matched by the time demands made on them by the 1880 Education Act.
Of the nineteenth century. Miss Emily Mclaughlin’s school of elocution is a case in point. She began her trade in 1884 and was based in the drawing room of her father’s home. 118 Raw Material, Labor, and the Finished Product 35 Theatrical training and the supply of children was not an exclusively female business domain. Male instructors were equally able to obtain a living from training young theatricals. ”119 Two of the most celebrated figures within the training field were also male. Mr. Nolan and Mr.