She kept a satin-lined coffin in her bedroom, and occasionally slept in it or lay in it to study her roles, though, contrary to the popular stories, she never took it with her on her travels. "[110] Anatole France wrote of her performance in Lorenzaccio: "She formed out of her own self a young man melancholic, full of poetry and of truth. In 1885, when her debts mounted, she sold the house. She wasn’t the first woman to play it, … The Loves of Queen Elizabeth premiered at the Lyceum Theater in New York City on 12 July 1912, and was a financial success; Zukor invested $18,000 in the film and earned $80,000, enabling him to found the Famous Players Film Company, which later became Paramount Pictures. Up to 36 in. The Duke's stage mother, Marie-Louise of Austria, was played by Maria Legault, an actress 14 years younger than Berhnardt. She returned to Paris in early 1889 with an enormous owl given to her by the Grand Duke Alexis Alexandrovich, the brother of the Czar. 1", "Ma double vie : mémoires / de Sarah Bernhardt", "Hollywood Walk of Fame – Sarah Bernhardt", "Bernhardt/Hamlet – Broadway Play – Original", "The Tony Award nominees were revealed and there were some surprising snubs", My Double Life: Memoirs of Sarah Bernhardt, Cylinder Preservation and Digitization Project, Dangerous Women Project: Celebrating Transgressive Celebrity, Sarah Bernhardt at the Literary Encyclopaedia, Columbia University Women Film Pioneers Project, 1914-1918-online. "[26], Bernhardt did not remain long with the Comédie-Française. [159], Her passion for sculpture was more serious. [44], Her next success was her performance in François Coppée's Le Passant, which premiered at the Odéon on 14 January 1868,[45] playing the part of the boy troubadour, Zanetto, in a romantic renaissance tale. He put in a good word for her with the National Minister of the Arts, Camille Doucet. A plaque on the facade commemorates Bernhardt's earlier residence. [49], In 1868, a fire completely destroyed her apartment, along with all of her belongings. She is better than an actress, she is a woman. [15], In 1859, Bernhardt learned that her father had died overseas. [213] To the perception that she was emaciated, sick, skeletal, Bernhardt responded by modeling sculptures of death's heads, had herself photographed in a coffin, and marketed the pictures. [217][218], In 2018 Roundabout Theatre Company produced Theresa Rebeck's play Bernhardt/Hamlet. [109][124], Bernhardt as Zoraya in La Sorcière by Sardou (1903), Playing Pelléas in Pelléas and Mélisande (1905), Bernhardt in the role of Phedre at the Hearst Greek Theatre at the University of California, Berkeley (1906), Portrait of Sarah Bernhardt in 1910 by Henry Walter Barnett, After her season in Paris, Bernhardt performed L'Aiglon in London, and then made her sixth tour to the United States. It was lavish and expensive, but was a monetary failure, lasting only 12 performances. All that remains is the original old fort, and a seat cut into the rock where Bernhardt awaited the boat that took her to the mainland. Later that year, she produced a new play by Rostand, La Gloire, and another play by Verneuil, Régine Arnaud in 1922. [211] In 1913, The Literary Digest reported that she became vegetarian to lose weight and regain her figure. The critics and audiences were not impressed, and the play was unsuccessful. The play inspired the creation of Bernhardt souvenirs, including statuettes, medallions, fans, perfumes, postcards of her in the role, uniforms and cardboard swords for children, and pastries and cakes; the famed chef Escoffier added Peach Aiglon with Chantilly cream to his repertoire of desserts. The film has been lost. [61], She maintained a highly theatrical lifestyle in her house on the rue de Rome. Sardou wrote a nonhistoric but dramatic new death scene for Bernhardt; in his version, the empress was publicly strangled, whereas the historical empress died of cancer. A short drama she wrote herself, L'Aveu, disappointed both critics and the audience and lasted only 12 performances. Maurice Bernhardt est le fils naturel de la grande actrice Sarah Bernhardt (1844-1923) et d'un prince belge Henri-Maximilien-Joseph de Ligne (1824-1871). Hugo himself was in the audience. This quality was persistently foregrounded in the multiple representations of her proliferating in art, caricature, and photography. Bernhardt refused to pay, and threatened to resign from the Comédie. Based on the figure of Salome, Moreau created three famous paintings devoted to the subject, In which they attracted enormous crowds of more than 500,000 people. Bernhardt was, indeed, one of a kind. When asked who his father was, she sometimes answered, "I could never make up my mind whether his father was Gambetta, Victor Hugo, or General Boulanger. Mexican actress Virginia Fábregas (1871–1950) was nicknamed "The Mexican Sarah Bernhardt."[214]. Chilly responded with a lawsuit, and she was forced to pay 6,000 francs of damages. Furthermore, the parts assigned for her performance were classical and required carefully stylized emotions, while she preferred romanticism and fully and naturally expressing her emotions. [68], Back in Paris, she was increasingly discontented with Perrin and the management of the Comédie Française. Bernhardt lived with her longtime friend and assistant Madame Guerard and her son in a small cottage in the suburb of Auteuil, and drove herself to the theater in a small carriage. [3][4][5][6] The name of her father is not recorded. However, the senior members of the company protested the high salary offered, and conservative defenders of the more traditional theater also complained; one anti-Bernhardt critic, Albert Delpit of Le Gaulois, wrote, "Madame Sarah Bernhardt is forty-three; she can no longer be useful to the Comédie. Bernhardt wrote that she was "confused, sorry, and delighted—because he loved me the way people love in plays at the theater. She is adorable; she is better than beautiful, she has the harmonious movements and looks of irresistible seduction. In 1892 she asked Oscar Wilde to write her a play. [94], Bernhardt then performed a new play by Sardou, Theodora (1884), a melodrama set in sixth-century Byzantium. [136] The tour took her from Boston to Jacksonville, through Mississippi, Arkansas, Tennessee, Kentucky, West Virginia, and Pennsylvania, to Canada and Minnesota, usually one new city and one performance every day. One such guest, French author Colette, described being served coffee by Bernhardt: "The delicate and withered hand offering the brimming cup, the flowery azure of the eyes, so young still in their network of fine lines, the questioning and mocking coquetry of the tilted head, and that indescribable desire to charm, to charm still, to charm right up to the gates of death itself. This was followed by revivals of her other major successes, including Phédre, Theodora, Gismonda, and La Dame aux Camélias, plus Octave Feuillet's Dalila, Gaston de Wailly's Patron Bénic, and Rostand's La Samaritaine, a poetic retelling of the story of the Samaritan woman at the well from the Gospel of St. John. The following year, Youle was pregnant again, this time with Sarah. In 1876, Bernhardt constructed a large townhouse at 35 rue Fortuny in the 17th arrondissement, not far from Parc Monceau, for her family, servants, and animals. Sarah Bernhardt [born Henriette-Rosine Bernard; October 22, 1844—March 21, 1923] was a French stage and early film actress whose career spanned over 60 years. Marcel Marceau gave his first big public performance to 3000 troops after liberation of Paris in August of 1944. The extreme love, the extreme agony, the extreme suffering. She did not notify the Prince. "[178] He wrote that in her roles, "enchantment is smothered in artifice. The play went ahead, but was a failure. [25][note 3] Her premiere was not a success. [213] As such, the effect is to foreground and frame an entirely different model of female beauty than that on offer in Orientalist representations of the Jewish woman. "[146], In 1922, she began rehearsing a new play by Sacha Guitry, called Un Sujet de Roman. To earn more money, Bernhardt set aside a certain number of printed posters of each play to sell to collectors. In June 1879, while the theater of the Comédie Française in Paris was being remodeled, Perrin took the company on tour to London. Bernhardt ignored the snub and continued to play both inoffensive and controversial characters. She also had affairs with many of her leading men, and with other men more directly useful to her career, including Arsène Houssaye, director of the Théâtre-Lyrique, and the editors of several major newspapers. [221] Bernhardt's ability to own her own theater also speaks to the ways in which she embodies a new form of women. This was one of the earliest films by a celebrity inviting us into the home, and is again significant for the use it makes of contemporary art references in the mis-en-scene of the film. Late nineteenth and early twentieth-century melodramatic actress of stage and screen. In April 1843, she gave birth to twin girls to a "father unknown." [citation needed], Bernhardt took as lovers many of the male leads of her plays, including Mounet-Sully and Lou Tellegen. Sarah Bernhardt was known for many things besides her onstage talents. Sarah Bernhardt was born Henriette-Rosine Bernard into the Parisian demi-monde of courtesans and affluent gentlemen on October 23, 1844. In early December 1882, when she confronted him, he declared that he was going to North Africa to join the Foreign Legion, and disappeared. Her lover in the play was her lover off-stage, as well, Mounet-Sully. Bernhardt, called The Divine Sarah, was known as Queen of the French stage in classical and romantic tragedy. Bernhardt was linked with a quality of thinness. [207] He continued to act, sometimes with success, particularly in a play by Georges Ohnet, Le Maître des Forges, in 1883. [213] The idea of Jewish femininity shifted away from the maternal and womanly features and instead led in the direction of the slender, lean, and girlish figure. The British critic Max Beerbohm wrote, "the only compliment one can conscientiously pay her is that her Hamlet was, from first to last, a truly grand dame. [221], “The Eternal Feminine” was published January 16, 1886 by Revista Illstrada in Brazil six months prior to the first visiting of Sarah Bernhardt. [35] The affair was cut short when she learned that her mother had suffered a heart attack. The critic Francisque Sarcey wrote simply, "he makes us feel sick." Bernhardt had already been scheduled for a new role with the theater, and had begun rehearsals. He stated that "We are far from admiring the talent of Sarah Bernhardt. [50], The outbreak of the Franco-Prussian War abruptly interrupted her theatrical career. Some audience members made fun of her thin figure. Sarah Bernhardt -- a famous French actress -- died March 26, 1923, in Paris. She gave countless press interviews, and in Boston posed for photos on the back of a dead whale. In 1869, as she became more prosperous, she moved to a larger seven-room apartment at 16 rue Auber in the center of Paris. He edited the book, and it was published as L'Art du Théâtre in 1923. Maurice's finished two-minute film, Le Duel d'Hamlet, was presented to the public at the 1900 Paris Universal Exposition between 14 April and 12 November 1900 in Paul Decauville's program, Phono-Cinéma-Théâtre. (2004). However, looking at Sarah Bernhardt's role as Salome, there is a relevant shift in the way Jewish women are portrayed, and viewed throughout theatrical performances and art. Her impresario, Edouard Jarrett, immediately proposed she make another world tour, this time to Brazil, Argentina, Uruguay, Chile, Peru, Panama, Cuba, and Mexico, then on to Texas, New York, England, Ireland, and Scotland. [7] Bernhardt later wrote that her father's family paid for her education, insisted she be baptized as a Catholic, and left a large sum to be paid when she came of age. Arriving in St. Petersburg, Bernhardt invited Damala to give up his diplomatic post to become an actor in her company, as well as her lover, and before long, they decided to marry. She placed Bernhardt with a nurse in Brittany, then in a cottage in the Paris suburb of Neuilly-sur-Seine.

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