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Films — Animated
- Mentioned in An American Tail: Fievel Goes West.
Tanya Mousekewitz: Look, Mama, a singer... and an actor.
Mama Mousekewitz: Tanya, stop that! You shouldn't stare at people less fortunate than yourself.
Films — Live-Action
- Shakespeare in Love shows our actor friends a-whoring and a-wasting in houses of ill repute.
- In The King's Speech, King George V remarks on this when discussing the importance of radio with Bertie after giving his 1934 Christmas address. The king tells Bertie to try reading the speech himself, and when Bertie refuses, he replies:
"This devilish device will change everything if you don't. In the past, all a king had to do was look respectable in uniform and not fall off his horse. Now we must invade people's homes and ingratiate ourselves with them. This family's been reduced to those lowest, basest of all creatures. We've become actors."
- In the last of Louisa May Alcott's Little Women books, Jo's Boys, an actress discusses the purification of the stage with an aspiring actress.
- Used a couple of times in Jane Austen's works, although Austen herself was known to enjoy staging private plays for family amusement.
My Mother was the natural Daughter of a Scotch Peer by an Italian Opera-girl.
- Love and Freindship, the narrator's grandmother:
- In Mansfield Park, Fanny's disapproval of private theatricals is a mark of her character, even before the others use it as an excuse to flirt inappropriately.
- In Dorothy L. Sayers' Strong Poison, a major element of the Back Story is Rosanna Wrayburn, aka "Cremorna Garden", who ran away to go on stage and fully lived up the reputation of actresses.
- Mentioned in a Judge Dee story, where an actress tells the judge he probably thinks actresses are all prostitutes.
- This stigma is a recurring theme in Edward Marston's Elizabethan Theatre mysteries, which feature amateur detective Nicholas Bracewell, the book-holder [stage manager] for Lord Westfield's Men, one of Elizabethan London's leading theatrical companies. There are recurring mentions of the legitimacy the company gets from having a nobleman as a patron (indeed, they would have been regarded as common criminals without it), and some of the plots turn on the possible consequences of losing that patronage or the inn-cum-theatre where they regularly perform, if not both.
- Huck and Jim meet a two-man Shakespearean troupe in Adventures of Huckleberry Finn. The guys are in town with "The Royal Nonesuch," and they turn out to be conmen. Their performance...didn't exactly meet with rave reviews.
- In one of G. K. Chesterton's Father Brown stories, Father Brown realizes that an alleged High Church Anglican is a fake when his poses are inconsistent; for instance, he's severe about acting, which is rather more Low Church.
- In Josephine Leslie's The Ghost and Mrs. Muir, Mrs. Muir's son insists that his sister change her name to go on stage — as a dancer — so he, as an Anglican priest won't be associated with her. His later mellowing is shown by his being merely somewhat embarrassed — and proud — when his grandson becomes an actor.
- In Gene Stratton-Porter's Freckles, in the Back Story, a wife had had go on stage — to sing — when a family was desperate.
It was slow business, because he never had been taught to do a useful thing, and he didn't even know how to hunt work, least of all to do it when he found it; so pretty soon things were going wrong. But if he couldn't find work, she could always sing, so she sang at night, and made little things in the daytime. He didn't like her to sing in public, and he wouldn't allow her when he could HELP himself; but winter came, it was very cold, and fire was expensive.
- Spoofed in Terry Pratchett's novel Wyrd Sisters where the town of Lancre has a law which says all undesirables such as actors must be outside the town boundaries by sunset. However it doesn't say they have to stay there, and everyone is fine with them popping back in after sunset to go down the pub.
- Several Jeeves and Wooster-stories deal with some acquaintance or other falling in love with a chorus girl, and the resulting familial disapproval. note
- Happens in Wodehouse's Blandings Castle stories as well.
- In the Sherlock Holmes story A Scandal in Bohemia, the titular detective is hired by a foreign king to find and steal the evidence of the king's scandalous love affair in case it gets used for blackmail. What makes the affair scandalous is, of course, that it was with an opera singer - a profession only one step at most above actress. Amusingly, in order to retain the scandalous feel of the affair in a more modern setting, the modernised adaptation in Sherlock had to change her from an opera singer to a lesbian dominatrix.
- In the Elemental Masters series, particularly The Serpent's Shadow and Reserved for the Cat, ballet dancing (and to a lesser extent other forms of acting) are seen as essentially vehicles for prostitution or stripping. Ballerinas are paid like crap but have opportunities to acquire male patrons, who pay very well indeed for their services; meanwhile, a can-can dancer lives off of tips from showing her legs. In an aversion, the viewpoint characters don't see this as dishonorable, but society as a whole finds the business rather skeevy (as well as the Back-Alley Doctor helping these women).
Live Action TV
- Show Boat discusses this in the number "Life on the Wicked Stage." Ellie disillusions her female admirers that she's only had scandalous affairs on stage.
- In Iolanthe, the Lord Chancellor has this to say.
In other professions in which men engage
Said I to myself, said I
And the stage (dramatic shiver)—
Said I to myself, said I
Professional license if carried too far
Your chance of promotion will certainly mar
And I fancy the same might apply to the bar
Said I to myself, said I
- In Rosencrantz and Guildenstern Are Dead, the Player is duplicitous and willing to put on erotic adventures if the price is right, which will also include the hapless Alfred, the young crossdresser in the troupe.
- Invoked in "Peron's Latest Flame" in Evita: "And she's an actress/The last straw!"
- The Splat book Book of Fiends (published by Green Ronin but written by Wizards of the Coast author Chris Pramas) introduced Ipos, a demon worshipped by a cult made up of actors and performers. Members of this cult are either truly morally destitute, as the stereotype claims, or sees membership as their way of coping, or even opposing the upper class. Ipos himself is a being that represents deceit and lies, very much how this Trope depicts actors.