Some context: Born Florence Annie Bridgwood in Hamilton, Ontario, she was youngest of three children of George Bridgwood, an English-born carriage builder and Charlotte "Lotta" Bridgwood (nee Dunn), a vaudeville actress. Charlotte Bridgwood had emigrated to Canada from Ireland after the Great Famine with her family as a child. She was known professionally as Lotta Lawrence and was the leading lady and director of the Lawrence Dramatic Company. At the age of three, Lawrence made her debut onstage with her mother in a song and dance routine.
Also at Vitagraph was a young actor, Harry Solter, who was looking for "a young, beautiful equestrian girl" to star in a film to be produced by the Biograph Studios under the direction of D.W. Griffith. Griffith, the most prominent producer-director at Biograph Studios, had noticed the beautiful blonde-haired woman in one of Vitagraph's films. Because the film's actors received no mention, Griffith had to make discreet inquiries to learn she was Florence Lawrence and to arrange a meeting. Griffith had intended to give the part to Biograph's leading lady, Florence Turner, but Lawrence managed to convince Solter and Griffith that she was the best suited for the starring role in The Girl and the Outlaw. With the Vitagraph Company, she had been earning $20 a week, working also as a costume seamstress over and above acting. Griffith offered her a job, acting only, for $25 a week. After her success in this role, she appeared as a society belle in Betrayed by a Handprint and as an Indian in The Red Girl. In total, she had parts in most of the 60 films directed by Griffith in 1908. Toward the end of 1908 Lawrence married Harry Solter. Lawrence gained much popularity, but because her name was never publicized, fans began writing the studio asking for it. Even after she had gained wide recognition, particularly after starring in the highly successful Resurrection, Biograph Studios refused to publicly announce her name and fans simply called her "The Biograph Girl". During cinema's formative years, silent screen actors were not named, because studio owners feared that fame might lead to demands for higher wages. She continued to work for Biograph in 1909. Her demand to be paid by the week rather than daily was met, and she received double the normal rate. She achieved great popularity in the "Jones" series, filmdom's first comedy series, in which she played Mrs. Jones in around a dozen films. More popular still were the dramatic love stories in which she co-starred with John R. Cumpson, as Mr. Jones, and Arthur Johnson. The two played husband and wife in The Ingrate, and the adulterous lovers in Resurrection. Lawrence and Solter began to look elsewhere for work, writing to the Essanay Company to offer their services as leading lady and director. Rather than accepting this offer, however, Essanay reported the offer to Biograph's head office, and they were promptly fired.
Any other roles while at Biograph?
A: In total, she had parts in most of the 60 films directed by Griffith in 1908.

Some context: Marc Zakharovich Chagall ( sh@-GAHL; born Moishe Zakharovich Shagal; 6 July [O.S. 24 June] 1887 - 28 March 1985) was a Russian-French artist of Belarusian Jewish origin. An early modernist, he was associated with several major artistic styles and created works in virtually every artistic format, including painting, book illustrations, stained glass, stage sets, ceramic, tapestries and fine art prints. Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists".
Goodman notes that during this period in Russia, Jews had two basic alternatives for joining the art world: One was to "hide or deny one's Jewish roots". The other alternative--the one that Chagall chose--was "to cherish and publicly express one's Jewish roots" by integrating them into his art. For Chagall, this was also his means of "self-assertion and an expression of principle." Chagall biographer Franz Meyer, explains that with the connections between his art and early life "the hassidic spirit is still the basis and source of nourishment for his art." Lewis adds, "As cosmopolitan an artist as he would later become, his storehouse of visual imagery would never expand beyond the landscape of his childhood, with its snowy streets, wooden houses, and ubiquitous fiddlers... [with] scenes of childhood so indelibly in one's mind and to invest them with an emotional charge so intense that it could only be discharged obliquely through an obsessive repetition of the same cryptic symbols and ideograms... " Years later, at the age of 57 while living in the United States, Chagall confirmed this when he published an open letter entitled, "To My City Vitebsk": Why? Why did I leave you many years ago? ... You thought, the boy seeks something, seeks such a special subtlety, that color descending like stars from the sky and landing, bright and transparent, like snow on our roofs. Where did he get it? How would it come to a boy like him? I don't know why he couldn't find it with us, in the city--in his homeland. Maybe the boy is "crazy", but "crazy" for the sake of art. ...You thought: "I can see, I am etched in the boy's heart, but he is still 'flying,' he is still striving to take off, he has 'wind' in his head." ... I did not live with you, but I didn't have one single painting that didn't breathe with your spirit and reflection.
When did he first get his start
A:
during this period in Russia,